Well, I guess we can just say these films have evolved, Ron. You go back to the 70's for example, and people like Stephen Shore built entire
bodies of work on the otherwise clashy contrast of pumpkin orange and poison green. That was the Vericolor L era among art photographers.
Skintones came out lovely, but every other warm netural in the image trended to the same muddiness, and it was almost impossible to peg a
neutral green which wasn't inflected with excess blue. Even I quickly adopted the palette for portrait commisions, but never for landscape work.
Chromes were far cleaner for that kind of thing. Now I still get a tiny bit of muddiness making it difficult to resolve certain shades of yellow-orange in Portra, and even Ektar. No film is perfect for every application. But comparing them to the color negs of previous decades (or current amateur color neg films) and it's downright amazing just how far things have come along. People seem to forget that film and paper
themselves are not stagnant technology, and that if Kodak has bungled certain things in recent years, the R&D of this kind of thing has at
least reached a high point. I wasn't exactly the last rat to abandon the sinking ship of Ciba, but at least I had an excellent new ship to land
on, seemingly even better.