Austin Franklin wrote: > It really depends on if you are talking color or B&W. For B&W, there is no > question, you need to use 16 bits for doing all but a minimum tonal curve > adjustment, but for color, for most applications you won't see any > difference using 8 bit data or 16 bit data.
Have to agree on the B&W front - 16 bit is essential - after scanning in a roll of old FP from some years ago and I forgot to set to 16 bit - I got a shock when doing curves - boom - highlights would just explode :) As for 16 bit, I cant agree. If you take a picture of a heavily red scene - autumnal sunsets and leaves etc are coming up for example, then your film is going to be using a much larger range of 'reds' than 8 bits can accomodate. Dithering with other colours will occur with the 8 bit scan to make up the difference in the digital scan vs the analogue film. Once you start messing with the curves on this, it will make matters worse. Having 16 bits of red to work with will leave much broader scope for manouvering in curves. Its analogous to the black and white issue above. 8 bits is only 256 possible reds/greens/blues. Theres no way I would rely on this for editing, although the final destination (print) might make no use of all that info. -- Linux - reaches the parts that other beers fail to reach. ---------------------------------------------------------------------------------------- Unsubscribe by mail to [EMAIL PROTECTED], with 'unsubscribe filmscanners' or 'unsubscribe filmscanners_digest' (as appropriate) in the message title or body