This example shows both color and luminance moiré. Rounding off those sharp edges in the image makes the moiré problem go away, but at the expense of a much softer-looking image. This basically produces a very controlled blurring of the image, so sharp edges and abrupt color and tonal transitions in the subject won't cause problems by interacting with the pixel pattern. The classic way of dealing with this is to put what's called an optical low-pass filter in front of the sensor. The same thing can happen in your camera when a pattern on the subject happens to align in just the wrong way with the regular array of colored pixels on the sensor. (Think of texture in cloth or subjects like venetian blinds.) If you've ever held two pieces of window screen at an angle to each other, you'll have seen the broad swirls of light and dark the conflicting patterns create. This isn't terribly difficult with conventional sensors, but a bigger issue is that the regularly repeating patterns of colored pixels can result in moiré patterns when the subject contains finely-detailed, repeating patterns. First, the camera has to do some number-crunching to turn each of the separate red green and blue pixels into full-color RGB ones. There are two problems with this approach. Subjects with varying hues or larger-scale detail patterns of their own can make removing color artifacts very difficult or impossible. In this particular case, the problem wouldn't be too difficult to eliminate in Photoshop, perhaps using a hue brush to remove the offending colors, however the luminance moiré pattern would still remain.
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The shot above and the 100% crop beneath show an excellent example of color aliasing in the blue fabric, caused by the fine thread patterns in the model's outfit. A subsequent SR II generation for 2005's FinePix S3 Pro put the smaller photodiodes in the gaps between the larger ones, and gave them their own microlenses. And in 2003, the Super CCD SR chip in the FinePix F700 put two photodiodes - one larger and one smaller - under each microlens, allowing for increased dynamic range. The Super CCD used an unusual grid of octagonal photosites, rotated at 45 degrees to put its peak resolution on the horizontal and vertical axes, where it would make the biggest difference in real-world shots. In the early 2000s, Fujifilm went its own way with its Super CCD technology, first seen in the FinePix 4700, announced in March of 2000. Super CCD technology led the way for what was to come
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Fuji, though, hasn't been afraid to buck that trend in its quest for better image quality. From the very beginning of the digicam boom, its rivals have almost exclusively used standard, Bayer-filtered sensors in their standalone cameras. More than perhaps any other company, Fujifilm has a long history as an innovator in image sensor design.