I would agree that while 1998 is a perfectly fine color space that ProPhoto is worthwhile to look into if your source images are coming from a digital back where the potential color captured is in a very large (device) color gamut. Mind you that the raw remains in the device color space so you could always go back later and process to a wider gamut but I see very little reason not to process in Profoto to start with, or for a more archival-oriented workflow save your tiffs with the embeded profile before changing them downstream to whatever your needs are.
I would agree with Mohammad though that at the extremity of the back's long exposure capabilities the first thing to go is often flexibility in blue channel data. That is to say that presented "straight" (meaning few curves/corrections/adjustments) the file from a P40+ or P65+ will look fine at 45 seconds or 60 seconds or, depending on temperature a bit longer, but that when pushed/pulled/manipulated the blues might start to break down. Whereas at 10-30 seconds the blue data will still have a lot of mailability.
What it comes down to is what it means to be at the extremity of long exposure capability. There must be a point between short exposures (with ridiculous file flexibility) and the longest possible remotely usable long exposure where the image is fine presented strait but the flexibility starts to fade away.
Another way of saying this is that getting the right in camera exposure becomes increasingly important as you reach the "cliff" of the longest possible exposure.
The same would be true of a P45+ at around 30-40 minutes; the image is great when presented strait but starts to loose some of it's flexibility in post and requires more attention in post.
So if you're talking about blue channel flexibility at 30-60 seconds then the color space is not the issue. If you're talking about banding/noise in blue in shorter exposures (e.g. 5 seconds) then the color space, settings in Capture One, and overall workflow might be responsible.
Doug Peterson
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