Borrowing from another A7/A7R post, that I thought might be fitting.
https://www.fredmiranda.com/forum/topic/1250966/0 theSuede wrote:
The real trick is finding (or better, making) a camera profile and base import setting that minimizes your PP. It isn\'t that hard, actually.
There\'s no denying that there are conceptual differences between different camera\'s CFA layouts, making them hard to ALWAYS match no matter what the light conditions are. Given just ONE light condition, I can arrive at a profile/setting combination that color matches almost any camera to another (or to reference) with just a session or two. After that it\'s a lot less work.
Shooting ambient light is often an exercise in continuously different color of light ranging from the obvious of golden vs. shadows to the subtle gradient of the sky as oriented N,E,S,W,near horizon, overhead.
While this is an exaggerated rendering, note the transition from white (255,255,255) to black (0,0,0) that exists. Also note that this was shot with 90mm and the \"vignetting\" is not lens induced, but natural (albeit enhanced for ease of illustration) variance in the sky (see opposite corners). Which portion of the sky is your subject reflecting light from and which portion of the sky are you pointed towards can mean that you are really using different colors of light for a given portion of the scene. So, which one is the WB being matched/corrected/adjusted to.
And a not so exaggerated example of the graduation (80mm stitched pano).
For that reason, I wouldn\'t be quite so quick to toss out the A7R as being worse for WA just yet ... maybe it warrants profiling for the given lenses (not that different lenses have different color casts or anything like that) to extract its excellence from the different algorithm (A7 vs. A7R) that TheSuede mentions in conjunction with the different lenses in use.
Borrowing from another A7/A7R post, that I thought might be fitting.
https://www.fredmiranda.com/forum/topic/1250966/0 theSuede wrote:
The real trick is finding (or better, making) a camera profile and base import setting that minimizes your PP. It isn\'t that hard, actually.
There\'s no denying that there are conceptual differences between different camera\'s CFA layouts, making them hard to ALWAYS match no matter what the light conditions are. Given just ONE light condition, I can arrive at a profile/setting combination that color matches almost any camera to another (or to reference) with just a session or two. After that it\'s a lot less work.
Shooting ambient light is often an exercise in continuously different color of light ranging from the obvious of golden vs. shadows to the subtle gradient of the sky as oriented N,E,S,W,near horizon, overhead.
While this is an exaggerated rendering, note the transition from white (255,255,255) to black (0,0,0) that exists. Also note that this was shot with 90mm and the \"vignetting\" is not lens induced, but natural (albeit enhanced for ease of illustration) variance in the sky (see opposite corners). Which portion of the sky is your subject reflecting light from and which portion of the sky are you pointed towards can mean that you are really using different colors of light for a given portion of the scene. So, which one is the WB being matched/corrected/adjusted to.
For that reason, I wouldn\'t be quite so quick to toss out the A7R as being worse for WA just yet ... maybe it warrants profiling for the given lenses (not that different lenses have different color casts or anything like that) to extract its excellence from the different algorithm (A7 vs. A7R) that TheSuede mentions in conjunction with the different lenses in use.
Borrowing from another A7/A7R post, that I thought might be fitting.
https://www.fredmiranda.com/forum/topic/1250966/0 theSuede wrote:
The real trick is finding (or better, making) a camera profile and base import setting that minimizes your PP. It isn\'t that hard, actually.
There\'s no denying that there are conceptual differences between different camera\'s CFA layouts, making them hard to ALWAYS match no matter what the light conditions are. Given just ONE light condition, I can arrive at a profile/setting combination that color matches almost any camera to another (or to reference) with just a session or two. After that it\'s a lot less work.
Shooting ambient light is often an exercise in continuously different color of light ranging from the obvious of golden vs. shadows to the subtle gradient of the sky as oriented N,E,S,W,near horizon, overhead.
While this is an exaggerated rendering, note the transition from white (255,255,255) to black (0,0,0) that exists. Also note that this was shot with 90mm and the \"vignetting\" is not lens induced, but natural (albeit enhanced for ease of illustration) variance in the sky (see opposite corners).
Dec 03, 2013 at 12:16 PM
Previous versions of RustyBug's message #11976184 « A7/A7r - performance with WA RF lenses »
