Re: Colour calibration across CTR and LCD
Re: Colour calibration across CTR and LCD
- Subject: Re: Colour calibration across CTR and LCD
- From: email@hidden
- Date: Tue, 16 Nov 2004 10:08:07 -0500
Print professionals doing 4/c separations and printing use 5000K in
conjunction with a viewing booth, also at 5000K, and match the display
white point to the paper white....
Photographers use 6500K.
As i understand it the 6500K setting and native is better at
distributing tonalities, whereas the 5000K setting may cause banding
etc. The 5000K setting in my opinion always looks yellow, because your
eye will set a white point for your brain according to the brightest
area in you field of view. This could be a light, a window or the
dialog boxes on your display. It is easy enough to set up two
calibrations one a D50 and one at D65 and switch between then. I use
D65 for general work on images and D50 when working on proofing to 4/c
process. I print a fair amount of "fine art" using my own printers and
I have great predictability from screen to print using the D65 standard
at gamma 2.2.
I use viewing lights that are 6000K (macbeth fluorescence) and
daylight. If the prints are for a gallery I switch to D50 and view
prints under those tungsten lights. BTW. pursuant to the metamarism
discussion. I use ImagePrint Rip and the profiles are different for
prints viewed under daylight and under tungsten lights and it works
quite well.
In your case if you got used to native on a LaCie then you just have to
relearn.
If you sit by a window facing north then both 5000LK and 6500K will
look yellow.
Try to not have other bright light in your field of view and your eyes
will adjust.
Theoretically your screen could be set to anything and as long as it's
profiled - color management will still work.
Ulf Skogsbergh
On Tuesday, November 16, 2004, at 05:56 AM, Graeme Armitage wrote:
So I brought the Eye one display calibration system. Its says that the
standard monitor white point settings for print graphics professionals
is
5000K. I have calibrated my Lacie using these settings and to be
honest I
couldn't use or trust what is see, a muddy deep yellow cast. Not that
I
have ever trusted what I see but I have even less confidence in the
outcome
of the calibration.
Should I be trying to calibrate to the native white point or forcing to
5000K. Or 6500K
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