Sony/Minolta

저는 분명 있다고 느낍니다.

RAW로 촬영하더라도 차이가 느껴지고요.

니콘의 경우 캐논에 비해 채도가 좀 떨어지고 소니 역시 발색이 캐논만큼 발랄하지 않습니다.

참고로 저는 특정 메이커 팬보이가 아닙니다.오하려 팬보이를 혐오하는 편입니다.느낀 그대로 말하는 것입니다.

특정 메이커 발색이 낫다 못하다가 아니라 차이가 있다는 것을 말하는 것입니다.

참고로 밍 테인 역시 발색 차이가 있다고 말합니다:

https://blog.mingthein.com/2015/08/25/the-sony-a7r-ii-a7rii/

No matter how many times I profile the camera or what I do with the primary curves or HSL defaults in ACR, there’s some muddiness and color indistinction going on in the shadows if you want to extract the most dynamic range from it; on the other hand, if you want clean shadows, you’re going to be faced with fairly early clipping. More profiling work is clearly required here; perhaps combined with some individual channel curve adjustments. There is perhaps 13.5 or more stops of DR in there, but not all of them are clean. It sits between the D810 and 5DSR in that respect, and is closer to the D810 in highlight handling, DR and the overall ‘look’ (both Sony sensors after all) and definitely lacks the 5DSR’s color. It probably has the least pleasing color of the three, even after profiling. Under ideal conditions, the A7RII can come quite close but does not take the image quality crown from the D810. I really still think that last bit of transparent tonality is being held back by file compression; it will be very interesting to see what Nikon does with this sensor in the inevitable D850 or D900.

https://blog.mingthein.com/2015/08/19/long-term-canon-5dsr/

Much better color out of the box, especially for foliage and landscapes. This was also very visible in print, with a significant advantage over the Nikon; I’d have to do significant compensation work on files with the D810, but the 5DSR’s files just looked correct and pleasing after a single initial camera profile. I have no explanation for this other than native tonal response at the highlight and shadow ends of the green channel isn’t linear; this is probably related to the non-ISO-invariance of the sensor.