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 p.2 #18 · I left my digital camera behind. | |
Some more interesting quotes from the Fujifilm interview below. It's a really worthwhile read imo.
Part 1: https://dc.watch.impress.co.jp/docs/interview/1291049.html
Part 2: https://dc.watch.impress.co.jp/docs/interview/1291056.html
(Un)surprisingly those guys responsible for Fujifilm's color science, have a much more in-depth and nuanced understanding of the differences between film and digital than some in this thread.
It's also funny how they hint at some things being pure marketing decisions which they don't necessarily agree with 
Gemini-translated from Japanese, so a little clunky sometimes:
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— You mentioned earlier that there are areas where digital falls short of film. What specific points does Fujifilm consider film to be superior in?
Irie: To put it in extreme terms, we are in a situation where digital can do almost anything. Because it can do so much, evaluating it becomes very difficult; however, regarding "color continuity," we believe film still holds the advantage.
— Hearing that, I feel like I understand. Film is divided into several photosensitive layers that react to specific colors (wavelengths). Because these layers overlap, they possess a certain "ambiguity" and influence one another, creating a structure that expresses subtle color gradations. Indeed, that type of continuous color expression rooted in "ambiguity"—which is absent in digital where colors are clearly defined by numbers—is a unique strength of film.
Irie: Exactly. Conversely, a unique strength of digital is that it can easily achieve things that are very difficult for silver halide. The prime example of this is the "linearity of gray."
With silver halide, there is "color shifting" (color casts) depending on the density, but digital can express it as a completely neutral gray scale. This is because the image sensor is a semiconductor, so the output changes according to the intensity of the light. In other words, if it receives a fixed amount of light, it outputs quantified data, so it can easily output white as white, gray as gray, and black as black.
In contrast, with silver halide film, various factors such as the photosensitive characteristics of the emulsion or the diffusion characteristics of the film base come into play. This caused color shifts, such as shadows turning blue while highlights turned yellow.
However, by possessing that ambiguity, film is able to express color continuity and smooth tonal transitions. That indescribably beautiful reproduction is the part that is inevitably difficult for digital. Of course, the grain that film possesses also plays a part in this. We have a strong desire for digital to catch up to that level soon.
Fujiwara: For example, positive film shot underwater renders a very deep, beautiful blue. I feel there is still much to learn from film, such as that kind of deep color expression.
By the way, the "Color Chrome Effect" is the result of repeated research and trial and error in an attempt to get closer to that deep color expression possessed by film.
This feature was developed referencing film philosophy. It simulates the "multilayer effect"—also known as the inter-image effect—where the coloration of highly saturated areas is intentionally suppressed. We perform processing that digitally simulates the tonal gradation of these bright areas. By doing so, gradations in areas that tend to look flat* become distinct, allowing for deep color reproduction.
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— I’m actually an X-Pro2 user myself, and as I mentioned, I personally felt that Velvia wasn't quite right for me. However, when I tried Velvia while reviewing the X100V and X-S10, I recall being surprised, thinking, "Huh? Was it always this good?" I suppose the Color Chrome Effect was playing a role here, too.
Irie: One of the areas where digital Velvia fell short of replicating silver halide Velvia was "color depth." Therefore, by applying the Color Chrome Effect, you are able to get closer to the ideal Velvia.
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