On Wed, Apr 27, 2016 at 11:49 AM, johannes hanika <hana...@gmail.com> wrote:
> [..] > > > You've lost the color of the sunset on the lettering on the clock face > > though. > > oh, i bet that's the classic chrome film style. i just applied one > from the list to get a fuji-like tonecurve, since those affect > saturation of colours as well as the contrast a lot. > > > This is not the best test scene because it doesn't appear to actually > > contain any vibrant colors. > > i think for a certain kind of artefact it's just fine.. these fine > branches in front of a brighter sky already produce quite terrible > colour fringes (if i turn of the denoising that is). > > > A better scene would have real green, magenta > > and cyan objects, preferably with fine patterns. That would make it more > > apparent when the processing is not producing color artifacts vs. just > > smoothing all of the colors. > > the thing is, this sensor cannot capture colour information beyond a > certain frequency, because the red/blue pixels are spaced so wide > apart from each other. > > True, but I'm inclined to use the Fuji camera generated JPGs as a baseline for that: A minimum amount of luma and chroma resolution. With my Bayer images, I can get much more detail out of them by processing the RAWs in Darktable comparted to what the camera JPGs contain. I should think that the same should be true of X-Trans, since in-camera processing is presumably optimized for speed rather than quality. We always need to reference to the camera JPGs... If the RAW processing is producing less color detail than the JPG, then there's still room for improvement (and probably a lot of it). > -jo > > [..] > ___________________________________________________________________________ darktable developer mailing list to unsubscribe send a mail to darktable-dev+unsubscr...@lists.darktable.org
