Re: Eizos and stuff
Re: Eizos and stuff
- Subject: Re: Eizos and stuff
- From: GARY BARNETT <email@hidden>
- Date: Sat, 07 May 2005 16:22:32 -0400
Man, you guys are even more serious than I had guessed. I've used a
Barco in the past, but never heard of Eizos til today. Went to the
site. $$$ Are they that screamingly better than the LaCie? Please don't
laugh. I am new to this level of enthusiasm and refinement. I never
thought the Barco was all that sweet compared to 1) a Phillips
Brilliance 21 or 2) my LaCie electron 22 blue II with blue eye, which
is getting old enough to consider replacing, especially now that I
finally have a G5 headed my way.
And I have never, even in a very dark room, been able to adjust to the
Barco or any other monitor at D50. Way too dim and yellow to my eyes.
D65/100cdm2 is fine by me, and looks very, very close to my GTI no
matter what illumination level I slide it to. Same with the floor
standing GTI models I have worked under.
I see the Eizo flat screen has an amazing 250cdm2 and outrageous 1000:1
contrast ratio (I am so not used to LCD yet, can you tell?). Do you
guys, in general, make use of numbers like this in critical color work?
At my usual yahoo printing forums some people recommend around 85cdm2
on their CRTs (I know we are talking apples and oranges momentarily).
What gives? My impression of the Apple Cinema Displays, the only LCDs I
have had the opportunity to work with, is that the contrast was too
high even after adjusting to D65 and the brightness beyond usability
(for matching to either Epson 5000 or 9000 inkjets or Kodak Approvals,
3M Matchprints or the final press products, despite being much easier
on the eye in general.
I'm just starting to shop, and I'm glad I just found this discussion
group. I will try not to reveal the depth of my ignorance too often,
but could use an answer or two here before I let you guys go back to
speaking geek.
And I thought, after 15 years, I had a handle on color management. Huh.
And I guess my rods and cones have been looking into the sun for too
long, even if I can still see red/blue shifts out their in galaxy land
on my scope. If I dim my GTI, it looks a tad warmer, not cooler. Oh
well. Maybe I should take up house remodeling or something. I've always
been pretty good with my hands.
Thanks for the differing white-point-per-eye reassurance, by the way!
Gary Barnett
Message: 17
Date: Sat, 7 May 2005 11:21:55 -0700
From: Roger Howard <email@hidden>
Subject: Re: CG220 Profile
To: Roger Breton <email@hidden>
Cc: ColorSync <email@hidden>, David Harradine
<email@hidden>
Message-ID: <email@hidden>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
On May 5, 2005, at 10:51 AM, Roger Breton wrote:
I recently downloaded a G2.2 and 1.8 CG220 profile from the Eizo
web site
and loaded it up in color think to have a look. The G2.2 profile
appears to
be 100% exactly the same as adobe 98, is this right ?
Yes, it's amazing.
Can someone please send me a CG220 profile they have made
themselves so I
can have a look at it, a LaCie 321 would be cool as well.
I've got a CG220 at the office right now, but I won't be back for a
week. I profiled it myself with a Spyder Pro Studio - frankly not
sure if I made it better or worse, or if the Spyder process is even
appropriate. It's a spectacular display, though, however even for the
museum work we do it's not entirely clear how many, if any, we'll
purchase. We're dumping our Barco's, though, for FlexScans also from
Eizo for the majority of our critical color workstations, and Apple
Cinemas for the design and layout stations.
I'll send our Spyder-generated CG220 profile next Friday if you're
still interested.
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