Ektar is a very predicatable, reliable, and accurate film if you understand it. It is obviously not a low
saturation muddied-up film engineered to minimize flesh-tone blemishes. Color inaccuracies in the shadows can be corrected using simple color-balancing filtration just like in a studio using a color temp meter. If the scene contains mixed lighting, some of it in open sun and some in deep shade, well then you'll get an
inevitable mixed result. Scanning small format Ektar negatives requires more finesse than large ones because you're sampling size in smaller, and in general, there is the risk of portions of the three respective
dye curves being unequally represented - in effect, you're changing the perceived shape of the curve in
one way or another. This isn't the fault of the film but an side effect of a less than ideal scan. I print optically, directly from the negative, so this is not an issue, and I can see the real characteristics of the
film without this kind of bias. However, a contrast-up or contrast-down unsharp mask can be used to offset saturation issues per magnification, and significantly, these will also affect color balance by controlling the skew of the respective curve. It's a little more involved than I can explain here, but just
part of "psychoanalyzing" any new film.