Re: Barco vs Eizo
Re: Barco vs Eizo
- Subject: Re: Barco vs Eizo
- From: Roger Breton <email@hidden>
- Date: Sat, 10 Sep 2005 11:55:51 -0400
> The answer is *no* IMHO.
OK.
> In the UK you can get 3 Apple Cinema Displays (larger than the Eizo) and a
> calibration device for the same cost as a single CG220.
I understand.
> The CG220 looks pretty ugly and I still can't believe that such an expensive
> device has only one USB socket!
What do you mean by 'ugly': the enclosure, the color itself, what?
> I also question the usefulness of the effort that has gone in to matching
> Adobe1998? What relevance does it have outside of Photoshop?
Well, one relevance I see -- potentially -- is for proofing typical printing
cyan and yellow inks, at least. Last time I checked, no monitors I know
could physically display such saturated colors. Without having dug deep into
the calculations it's always been my "impression" that this was the case,
that those two colors were too much to ask of a typical display technology.
(there was talk at some point of CRTs with two greens but that vanished) My
impression is based on tireless comparisons of press gamuts and RGB spaces.
If I recall correctly, only spaces as big as AdobeRGB or eciRGB (I'm
forgetting the others) could enclosed the whole spaces of a printing press.
A quick trip to a 3D viewer like ColorThink would confirm this. But I
remember the working space argument, here, always hinges on the merits of
spaceA vs spaceB as being *big enough* to contain *all* press space, so to
afford conversions without clipping. In those discussions, cyan invariably
came up as THE color that is the most difficult color to render as no
monitors are able to fully enclose it. (hey don't get me wrong, I don't mean
to say that the color *have* to be displayed correctly in order to *convert*
correctly)
This being said, I could be wrong, but that is one value I find with a
monitor of the "size" of the CG220. Come to think of it, I actuall have some
real CG220 profiles lying around here that some generous list members sent
me a while ago in reply to CG220 discussion. Maybe it would be a good thing
to throw those in ColorThink or Monaco GamutWorks to have a look at in
comparison to a typical sheetfed profile? And see, in comparison, how is my
CG21 profile faring? Maybe that will cool my enthusiasm towards the 220?
> That said, the gamut and the image quality *is* everything that they claim
> and it made our 23" Cinema Displays look very lacklustre by comparison.
Ah ha!
> But, when you've clicked the *ink black* and *paper white* checkboxes, I'd
> rather have 3 Cinema Displays and an i1 for pre-press work!
What about the saturated colors?
> You still can't trust your eyes when working in CMYK - and the Eizo still
> can't show you the difference between 97% and 100% of the process colours
> etc.
Oh?
> What's the point of spending more than 3x the price of a similar (and
> larger) monitor when you spend most of your time watching the colour values?
True. But those color values may not mean much when the press actual
behavior is taken into consideration, IMO. Some presses conditions are not
like US WebCoated SWOP v2 at all, some grades of paper are not like the old
Champion TexWeb#5 at all -- heck, SWOP can't even get their certified press
run going with the new Tembec Monterrey #5 (can't buy a certified SWOP press
sheet these days). So who is to say what 35%C + 100%Y look like, with any
certainty?
> However, if you're a photographer who wants the closest you can get to
> WYSIWYG in Adobe1998 - it's most probably worth every penny.
Right. I think some photographers always go for the best of the best, no
matter what. I can just think of how expensive all the old Hasselblade 500CM
and 500ELM were, and everyone in the industry had to have. Yes, they had
good value, were solid and all, the CarlZeiss optics was great. But I was
getting by with my Bronica SQ no problem. (Anyone see digital camera backs
for an SQ?)
> Martin Orpen
Roger Breton | Laval, Canada | email@hidden
http://pages.infinit.net/graxx
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