![]() The coloured section is the ‘software calibration’ colour space, and the wire frame the ‘hardware calibrated’ Eizo custom space – click the image to view larger in a separate window. ![]() The same that is, until I look at the colour spaces of the two generated ICC profiles: Here’s the funny thing though if I ‘software calibrate’ the CS270 using the ColorMunki software with the spectro plugged into the Mac instead of the monitor, I visually get the same result using D65/120cdm² as I do ‘hardware calibrating’ at D55 and 100cdm². (yes- warmer – don’t let that temp slider in Lightroom cloud your thinking!).Īfter all, 1000k is a noticeable variation – unlike the brightness 20cdm² shift. What struck me as odd though was the white point setting of D55 or 5500K – that’s 1000K warmer than I’m used to. The difference between 100 and 120 cdm² is less than 1/4 stop in camera Ev terms – so not a lot.The working environment should be somewhere between 32 and 64 lux or cdm² ambient – think Bat Cave! The ratio of ambient to monitor output should always remain at between 32:75/80 and 64:120/140 (ish) – in other words between 1:2 and 1:3 – see earlier post here. This value is always slightly arbitrary and very much dependent on working/viewing conditions.Now before anyone gets their knickers in a knot over the brightness value discrepancy there’s a couple of things to bare in mind: ![]() Once the monitor calibration profile has been done we get a result screen of the physical profile: The recommended white point is D55 not D65. The recommended brightness value is 100 cdm² – not 120. The start screen for ColorNavigator shows us some interesting items: To carry out a hardware monitor calibration on my new CS270 ColorEdge – or indeed any ColorEdge – we need to employ the Eizo ColorNavigator. However, these more specialised colour management monitors have the added bonus of giving you a ‘hardware monitor calbration’ option. This setup for ‘standard monitor calibration’ works extremely well, and has stood me in good stead for more years than I care to add up.Īs I mentioned in my previous post, standard monitor calibration refers to a standard method of calibration, which can be thought of as ‘software calibration’, and I have done many print workshops where I have used this method to calibrate Eizo ColorEdge and NEC Spectraviews with great effect. The ubiquitous ColorMunki Photo ‘standard monitor calibration’ method setup screen. ![]() ![]() Industry-standard documentation by folk a lot cleverer than me has for years recommended the same calibration target settings as I have alluded to in previous blog posts:īrightness: 120 cdm² or candelas per square meter The ‘brightness’ of the backlight is really the only true variable on a standard type of LCD display, and the inter-relationship between backlight brightness and colour temperature, and the size of the monitors CLUT (colour look-up table) can have a massive effect on the total number of colours that the monitor can display. The colour temperature of the backlighting gives the monitor a ‘native white point’. Wide CCFL gave a noticeably greater colour reproduction range and slightly warmer colour temperature than CCFL – and my old monitor was fitted with WCCFL back lighting, hence I used to be able to do my monitor calibration to near 98% of AdobeRGB.ĬCFL back lights have one major property – that of being ‘cool’ in colour, and LEDs commonly exhibit a slightly ‘warmer’ colour temperature.īut there’s LEDs – and there’s LEDs, and some are cooler than others, some are of fixed output and others are of a variable output. In my previous post I did mention one of them – the most important one – the back light type.ĬCFL and WCCFL – cold cathode fluorescent lamps, or LED.ĬCFL & WCCFL (wide CCFL) used to be the common type of back light, but they are now less common, being replaced by LED for added colour reproduction, improved signal response time and reduced power consumption. There are a few things to consider when it comes to monitor calibration, and they are mainly due to the physical attributes of the monitor itself. But I was favoring the Eizo CS2420, on the grounds of cost, both in terms of monitor and calibration tool options.īut I got offered a sweet deal on a factory-fresh Eizo CS270 by John Willis at Calumet – so I got my desire for more screen real-estate fulfilled, while keeping the costs down by not having to buy a new calibrator.īut it still hurt to pay for it! Monitor Calibration What have you gone for Andy? Well if you remember, in my last post I was undecided between 24″ and 27″, Eizo or BenQ. Okay, so I no longer NEED a new monitor, because I’ve got one – and my wallet is in Leighton Hospital Intensive Care Unit on the critical list. ![]()
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