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Torger: I have been thinking the same thing here (about the wb) so I can either take one of the 4 tungsten lamps I am using to light the painting and shine it directly at the LCC plate for the LCC shots, or simply replicate the whole thing back at the studio with a white card and perfectly even lighting, then apply there.The 80 with it's small pixel size is quite sensitive to pixel vignetting and crosstalk, much more so than the 60. I suggest that even after LCC correction that you try to match a color checker shot in the center of the image circle and one at the edge with the sensor shifted (as much as you need for your reproduction work). Match them by color picker on white (ie only white balance). If you see a saturation difference or some strange color shift of one or more colors you have crosstalk. The 120mm is a long lens though so I would be surprised if there are problems.
Also note that LCC needs a reference color (figure out a reference white), and as far as I know C1 picks it from the LCC shot itself, ie if you have three LCC shots you may get a slight different reference color in each so you need to manually match them afterwards anyway. With my own Lumariver HDR you can pick one LCC shot as "anchor" (which would be the center LCC where there is the least color cast) to make sure all shots in a stitch get the exact same white balance, but I'm not sure if C1 has a corresponding feature. Maybe there are fixed presets?
A question/clarification, did you need to further tune the white balance when stitching inside photoshop? In other words, did the LCC procedure succeed to equalize the white balance 100%, or did the shots still differ a bit?and white balance