Doug, I don't have a Z or a Sony camera body. I had thought all Nikon's used Sony sensors (some tweaked to a Nikon design spec), but maybe the DF is a Toshiba. Thing is, a company has to have extremely deep pockets to build a full frame digital sensor fab. The first portable DSLR took three companies to fund and develop - Kodak did the sensor, Nikon the body, and the Associated Press did the software. Initially colors were all over the place. Then Canon added their bodies to the three company mix. Canon had already been making small video CCDs, and it was natural for them to continue making their own, and Nikon turned to Sony to fabricate their designs. It is a very long road to color. Our eyes see a little less than 8 bit color (>16.7 million), a CRT monitor can display full 16 bit color (billions), but most LED monitors display less than SRGB palette or approximately 2 million colors. Then our cameras usually shoot between 10 and 14 bit color - using various palettes or "color spaces". (Pro Photo is greater than Adobe 1998 which is greater than SRGB). Everything posted on the web needs to be SRGB to look right, and most color differences that people notice are because of color space. I shoot in Pro Photo, or Adobe 1998, and then convert to SRGB for web posts. Many people choose to have entirely a SRGB workflow to avoid the perceived color shift when an incorrect color space is used on the web. The thing is - the human eye is incapable of discerning all the levels of luminosity our cameras shoot.
All this is to say - that it is more complicated than the sensor, or sensor manufacturer. I almost never use auto WB, because all cameras use to be really bad at it. I will likely have to re-think this, because the new bodies are now really good at it - even with mixed sources. Probably to get your Sony to more closely match the df you should change it's color profile (like Nikon's standard, natural, vivid etc), and or color space.
May 03, 2022 at 12:42 PM
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