Is it possible for a particular color to fall outside of the Portra 400 gamut?

[Sirius Glass]

I assume these people wear a badge that says something like "Real Certified Legitimate Color Pro Printer". When they meet each other, I imagine they do handshake routines that combine characteristics of contemporary rapper/gang culture and Monty Python's seminal "silly walks" routine. They carry dictionaries that they can slap acolytes and infidels with when those use terms like 'gamut', 'balance', 'hue' and 'primary' and evidently don't adhere to the standards set out in the Bible of Pro Color Printing. This text is not one that's traceable to a historical person, but allegedly has been handed down by the Rainbow Deity itself from the Pigment Mounds of the Midwest.

You recognize these Color Pros for their phenomenal acumen in discerning hues in printed materials. They may or may not be also be able to do this on real-world samples, but nobody really knows, since they rarely see the light of day. They carefully protect their eyes from any harmful UV radiation that would subtly alter the peak sensitivities of their rods and cones. Insofar as they see daylight, it's from behind tripe-pane museum glass on only north-facing windows of their viewing booths (the windows being blacked-out entirely on all days except the winter solstice to favor the artificial diffuse, shadowless black-body spectrum 5100K viewing lights) with no surfaces in view with a reflectance over 18%.

 

[DREW WILEY]

Pentaxuser - I have in multiple threads on this forum discussed the need for appropriate filtration at the time of the shot in relation to certain color negative film applications. I won't repeat any of that here.

I will only add, that in relation to the drift of this present thread, and pushback on a few of my own comments (which I don't resent - a little rugby won't hurt any of us), that what was once regarded as routine in professional circles when using color film is now, in the instant-everything generation, regarded as hopeless difficult and arcane. In the minds of many, it bizarrely makes more sense to spend days on end trying post-correct some image rather then spend 30 seconds up front attaching a proper color temp balancing filter, or going through the cruel ordeal of actually using a light meter.
It's just so much easier, they assume, to make one's confession spending a few weeks on the Inquisition rack afterwards.

But I always do learn new things here. I did already knew that the highest summit in parts of the Midwest changes regularly, depending on what the cattle left behind that morning. But I never knew these were the same "pigment mounds" which determine the muddy outcome of so many color neg shots. That explains quite a bit, really.