However, such assumptions can lead to real problems later in the project, specifically with post-production when most image capture problems come to light.

As an example of what issues can be found have a look at the following image which shows chromatic aberration from a Prime lens attached to a Viper digital cinematography camera.

This is a pixel replicated image, zoomed to show the pixel detail in close up.

The red and cyan fringing you can see shows that the registration of the RGB channels is not perfect, and is caused by the lens separating the colour component of the image slightly as different light wavelengths are magnified differently and/or have different focal points.

Where such chromatic error causes the most problem is with heavy vfx work where blue or green screen keying is to be performed, although with modern vfx techniques such errors can be corrected for, at the cost of additional post-production processing. Best to avoid the problem if at all possible - and means plenty of testing in advance of shooting the actual project.

Interestingly, the nature of film (grain) tends to mask this issue more than digital capture, not by capturing a better image, but by having less well defined edge detail in the first place.

Another problem can be ringing within the image, as can be seen in the following image where high-luminance detail immediately followed by low luminance detail can cause 'ringing' within the image, usually from errors within the camera A-to-D circuitry, although there can be many other reasons, even optical ones.

In the above image you can see quite obvious 'ringing' as the image transitions from white highlight to black low light. This is very difficult to correct in post-production and should be avoided at all costs. If you look very carefully at the top image you can just make out faint ringing there too. Notice in the above image slight chromatic aberration too, showing it's almost impossible to get a lens system that is 100% perfect.