Re: SONY Artisan chromaticities
Re: SONY Artisan chromaticities
- Subject: Re: SONY Artisan chromaticities
- From: Richard Kenward <email@hidden>
- Date: Thu, 29 May 2003 01:09:23 +0100
In message Mon, 26 May 2003, bruce fraser writes
snip
The Barcos don't have a particularly large color gamut, and certainly
no larger than the Artisan. They do have a significantly narrower
dynamic range. The advantage of a color reference display is that YOU
can trust it for YOUR work, and, given good output profiles, the
decisions you make based on what you see on the color reference system
will be accurately executed on output.
Dear Bruce
Many thanks for lots of good information regarding the monitor issue.
I read on the Barco web site that their screens boasted an increased
gamut so its a shame to hear this is not so. Your assertion that what
you see will be accurately executed on output is perhaps wishful
thinking and as I see it it's rather dependent on factors outside our
control if we are talking print as in process colour.
Fixed dynamic range
What's the big deal here and how does this give me a real advantage?
Unlike other systems, when you ask for a specific black level (which
along with white luminance is what defines the contrast ratio), you get
it to within a ridiculously small fraction of a candela per meter
squared. That means that when you select a contrast ratio of 350:1, you
get it, every time. Not 320:1 one day of the week and 360:1 another.
Combined with good output profiles, it lets you see what you'll get in
print (with the exception of some midtone and darker teals, greens, and
orange-yellows that no commercially-available display can reproduce),
exactly, with no surprises. No fudging like "I know the shadows look a
bit more open on the monitor than they will in print."
I like accuracy dependability and consistency even if other factors
further on down the line may spoil the good intentions!
Perfectly neutral greyscale all the way to black
Is this not what one buys a top of the range calibrator and Optical
for, if so I've already got this part.
Not even close.
Many I imagine would want to know how close ....I appreciate this is an
impossible question to answer and at the end of the day it has to depend
on how particular one is.
Try this.
In Photoshop, set your working space to Monitor RGB so that RGB values
get sent directly to the monitor.
Make a solid black RGB000 doc.
Make a small selection in the middle.
Yes Bruce got the book ...Worth every penny and tried this test of yours
within the first few days of getting it!
big snip
Press the up arrow key once to change 0,0 to 0,1.
Do you see a difference? Is the selection still neutral gray?
Yes I see the slight density change and it still looks neutral but at
these densities I cannot confidently say about neutrality, however when
working on files I always refer to the info pallet as I am sure others
do.
Keep pressing the up arrow one press at a time.
Do you see a difference between each press of the arrow?
Yes, yes!
Is the difference between each press constant?
Generally yes, but on some steps not as even as I would wish.
Does it always result in a neutral gray?
Generally yes but sometimes there is a slight colour shift, but I was
aware of this looking at the grey ramps in the past...still I like this
test method better!
If you answer yes to all of the above, I want whatever you've got.
You cannot have it! It's a Sony FW 900 24"
Barco and Artisan are the only displays that have let me answer yes to
all of the above, and the Artisan is capable (in a very low-light
environment) of producing double the contrast ratio of the Barco.
Sadly I see from a recent post that at least one Artisan fails your
test, I hope that's just an isolated case but it obviously concerns me
as a potential purchaser. Buy the way, we get stung with a 50% price
difference here in the UK for this product....makes a heck of a price
hike!
There are advantages to having direct software control over the monitor
besides convenience. The software can make finer adjustments to gain
and bias than the OSD's user interface allows.
Yes I can buy that.
Some third-party calibrators can make those adjustments via a DDC
cable, but none of the third-party instruments come close to the
Artisan puck's accuracy in setting black.
Right.
Since the puck is matched to the specific monitor at the factory, it's
more accurate than any third-party instrument that has to accommodate
all monitors can ever be.
Makes sense.
Does this really make that much difference and more importantly will
it allow me to see an increased gamut, or will I still have to rely on
a CMYK ink jet print from say a BestcolorProof rip for that?
Unless you're printing with fluorescent inks, your BestcolorProof
prints have a much smaller gamut than any decent monitor.
I did not make myself clear..my error....what I was meaning was that to
see the whole gamut I might use when making separations using say the
Euro scale coated conversion in PhotoShop I will still only see the file
as it potentially should look when its proofed out via the BestColor rip
in our case. Anyhow however brilliant a monitor might be, the print
shop will be going by the contract proof that accompanies the job, not
the monitor, and my understanding is that our proofs almost completely
encompass the gamut of Euro scale coated gamut.
Ink on paper can produce some colors, mentioned above, that no display
can reproduce-the monitor gamut is larger, but no monitor gamut wholly
contains the gamut of high-quality CMYK printing. The Artisan
reproduces more of those colors than any other display I've used. The
ACD 23 beats it very slightly in the orange-yellows. The Artisan beats
the ACD 23 in the teals and greens.
It's quite simply the best display I've ever used.
Bruce, many thanks for taking the time to respond. I hope others have
found it as interesting as I have. Its very likely I will buy an
Artisan screen to check the drum scans we make for photographers and
designers are really as spot on as possible, and of course for all our
critical editing work. It would be really great if Sony offered this
standard of screen in the 24" CRT size as an option....any word on that?
Just to wrap this all up, am I correct in thinking that the Artisan is
significantly better in enough areas to make it significantly better for
critical file evaluation and editing work than the best LCD screens
available?
Bruce
Cheers
Richard
--
Richard Kenward (from the UK)
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