I can't believe the ignorance of the comment "fix-it-in-post is an obscenity!" Whoever believes that has a long learning curve ahead of them!
My previous career was in post-production working on documentaries for NGT and PBS. The cameramen I worked with worked hard with whatever techniques were necessary to get shots as close as possible to corrected color. They had to, since there's only so much color correction that can be applied to compressed camera streams, even when shooting 100mbps DVCProHD, or similar. I learned to shoot from those guys, so my approach is strongly biased towards that. I'm no Howard Hall, but it ain't my first rodeo, either
I do understand that shooting RAW is totally different--and I agree that it will make it much easier to fix colors in post. However, given that most cameras are still shooting compressed codecs without anything near the color latitude of a camera shooting film or RAW video, I believe it's still good procedure to get the colors right (or close to it) in-camera, so that any color correction performed is just a minor adjustment, and doesn't end up pushing the codec farther than its color latitude allows.
As a post-production guy who learned to shoot, I know exactly what it takes to correct an image that could have been shot better on location...and I avoid it at all costs in my own footage!
You've got a stock footage business, and I don't, so I'm not going to argue with you about what sells, or what makes a successful shooting technique Clearly, the approach you outlined works great in many situations! I don't think that means it's the ONLY approach that will provide good results, though, and I think that having lots of techniques in the toolbag is the best way to guarantee success.
Edited by blaisedouros, 10 August 2012 - 08:37 AM.