Marc,
I don't have much to add except some comments on Kodak v Dalsa rendering. First, I'd say the difference is small, and will probably go unnoticed by the majority of your clients in a print. However, I am equally certain it won't go unnoticed by you...
To my eye, the color is smoother, and offers visibly better distinction of hues in the green palette, and to a small extent this carries into the the blues. What becomes noteworthy here is then the B&W conversions -- where there is then more and/or smoother tonal gradations within a given area (better "inter-tonality" ?) rendered by the Dalsa. For whatever reason, it is also easier for me to maintain better visible separation in stronger highlight areas with my Dalsa back.
I have read where other folks claim the Dalsa is more film-like. I understand why they say that, but hesitate to use that analogy myself. I will say the Dalsa file appears more "organic" and natural looking than the Kodak, which appears more digital. Of course I have no idea if these traits hold in the Hassy line, but I suspect they would.
My honest answer to you is there any way you can visit a dealer that has all of these options available, and spend a day or so creating files, then a week or so analyzing the performance for your needs? A 2-back solution sounds nice, but my experience is you'll either never have the back mounted you want to be using, so a time suck deciding and mounting whichever. Or you will ALWAYS migrate to one of them over the other, favoring some aspect or aspects, so the other is a wasted expenditure.
If the 60 had multi-shot and pixel binning, you'd be set...
Offered IMO only...
PS: Here is one image from my P65+ that I think conveys my green and highlight comments. This is a single capture, shot toward a full Sun, which is not in the image directly but is reflecting off the water. As such, the undersides of the cars are in deep shadows as can be seen. The grass is new, so contains varying hues of green and yellow. Not the greatest image, and much has been lost in the sRGB jpeg conversion, but perhaps you can see in it what I'm trying to explain above. I believe this same image captured by my P45+ would have rendered more consistent bluer greens, and not held the varying highlights in the specular reflections off the river mud as well:
I don't have much to add except some comments on Kodak v Dalsa rendering. First, I'd say the difference is small, and will probably go unnoticed by the majority of your clients in a print. However, I am equally certain it won't go unnoticed by you...
To my eye, the color is smoother, and offers visibly better distinction of hues in the green palette, and to a small extent this carries into the the blues. What becomes noteworthy here is then the B&W conversions -- where there is then more and/or smoother tonal gradations within a given area (better "inter-tonality" ?) rendered by the Dalsa. For whatever reason, it is also easier for me to maintain better visible separation in stronger highlight areas with my Dalsa back.
I have read where other folks claim the Dalsa is more film-like. I understand why they say that, but hesitate to use that analogy myself. I will say the Dalsa file appears more "organic" and natural looking than the Kodak, which appears more digital. Of course I have no idea if these traits hold in the Hassy line, but I suspect they would.
My honest answer to you is there any way you can visit a dealer that has all of these options available, and spend a day or so creating files, then a week or so analyzing the performance for your needs? A 2-back solution sounds nice, but my experience is you'll either never have the back mounted you want to be using, so a time suck deciding and mounting whichever. Or you will ALWAYS migrate to one of them over the other, favoring some aspect or aspects, so the other is a wasted expenditure.
If the 60 had multi-shot and pixel binning, you'd be set...
Offered IMO only...
PS: Here is one image from my P65+ that I think conveys my green and highlight comments. This is a single capture, shot toward a full Sun, which is not in the image directly but is reflecting off the water. As such, the undersides of the cars are in deep shadows as can be seen. The grass is new, so contains varying hues of green and yellow. Not the greatest image, and much has been lost in the sRGB jpeg conversion, but perhaps you can see in it what I'm trying to explain above. I believe this same image captured by my P45+ would have rendered more consistent bluer greens, and not held the varying highlights in the specular reflections off the river mud as well:
