On 12/25/2015 7:26 AM, C.H.Ling wrote:
I'm well aware of the cleaning issue but my piority is color
This is one reason I'm curious to try the High Resolution Mode on the E-M5 II. In moving the sensor and taking eight
exposures, it positions a sensel of each color in each sensel position. So like only the Foveon sensors, it does not
need to interpolate the color for each pixel from surrounding ones. The color results are spectacular in some of the
samples in reviews. I'm wondering if it might not also give better color results than re-photograping film with
conventional Bayer Array demosaicing.
, D-Max
D-Max may be dealt with by combining different exposures, HDRish.
then resolution, I will leave the dust there until I need to print them (mostly
unlikely). At the mean time dust issue with camera copy is much less
sensitive than scanner.
Dust and scratches are less of a problem with the Canon FS4000 than the various Nikons and the Minolta. The light source
doesn't tend to emphasize them.
You really need to process lots of images to find out a problem. There are
always color differences between different scanners and cameras, even
Vuescan gives very different results compared with the original software.
The differences sometimes is minor and can be fixed in post but one day I just found some images with color off too
much to be accepted.
One solution was to make ICC color profiles, using VueScan and an IT8 target. For those films that were/are still
available new, I found this a remarkably effective solution to color. The downside, is for those who use different films
to get different color 'looks'. ICC profiling makes all films look the same, as it's about accurate reproduction of
subject color.
For old films, the color profiles built into VueScan early on are often helpful, sometimes not. There is also using the
color picker in VS and finding a neutral 'color' in the image to set custom color. With a series of exposures all in the
same light, one need only find one neutral white/gray/black, and apply the result to all the similar exposures.
All this is helped a great deal by a 'Raw' workflow in VS. I scan all the film to 'Raw' files. Then I 'scan' the Raw
files to make completed TIFFs. This means trying different settings in the second scan, where all the adjustments are
applied, is almost instant, rather than waiting for another physical scan.
--
What if the Hokey Pokey *IS* what it's all about?
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