Re: profiling monitor range
Re: profiling monitor range
- Subject: Re: profiling monitor range
- From: Roger Breton <email@hidden>
- Date: Tue, 13 Jun 2006 22:32:53 -0400
> I purchased a LaCie 119 simply because of its dynamic range which far
> exceeds normal scene brightness.
7 stop?
> I wanted to see if a larger dynamic range
> would reduce the amount of compression necessary to display the full range
> of light values and therefore produce a better simulation of the tonal
> response of ink and paper on the screen.
In principles, the monitor would have a higher dynamic range capability than
that of the the best printing or proofing paper. Even very glossy substrate.
So, to me, a profile to profile transform should be able to coerce the
monitor dynamic range into closely resembling that of a good proof. But keep
in mind that it's hard to compare the two "viewing" systems in absolute
terms. Meaning, by the time my eye jumps from the monitor to the print, a
lot of adaptation has gone on, I'd say too fast for my brain to be aware of
in absolute terms. BTW, the best simulations of a press profile in Photoshop
are done using AbsCol in ProofSetup and using a dimmable booth. Simulate
Paper White is even better, IMO. It's still not perfect but it is mighty
good.
> I've just used Mabeth EyeOne Match 3 to create a display profile for this
> monitor. According to Colorthink this profile believes that my monitor's
> range is L*0 to L*100.
To my knowledge, all ICC monitor profiles are "encoded" that way.
> Am I using cheap profiling software?
No. But I share your surprise.
> I noticed this
> was a matrix-based display profile, is this standard?
I think it is a function of choosing the size of profile in Preferences. The
large size will afford you a 3D LUT profile whereas the normal size will
default to a matrix-based display profile.
> Could this problem be
> linked to an incompatibility with the LED technology of this monitor ?
LED? You mean this LaCie 119 uses LED backlight technology like the NEC
Spectraview?
> This profile passes Bruce Fraser's black point check on page 216 with flying
> colours and does reasonably well with the gradient check, but the perplexing
> question is, what is it really showing me when it thinks its displaying
> L*1?
Something close to RGB = 0,0,0 like 1,1,1 or 2,2,2 or 3,3,3. In that low
number range. The physically measured black point of your monitor (around
0,30 cd/m2, which some people question the validity of) has to be translated
into Lightness units in order to "plug" into the ICC model. By the time the
physical Luminance units become Lightness units, all notion of an absolute
scale disappears.
> I am not sure how Black Point Compensation could be at play if the
> profile's black point is set to L*0.
I don't see Black Point Compensation coming into play in the context of the
monitor profile in any system. Conversions between a document assigned
profile and its display, to me, is outside the realms of Photoshop, unless
you kick in those 'desaturate monitors by X values' in ColorSettings >
Conversion options. The way the color are send to the display depends on
many things like the version of the monitor profile and whether there is a
chromatic adaption matrix included in the transformation path or not. But,
to my knowledge, BPC is not in the picture at all in managing the display.
> How can I determine what the real shadow limit of my monitor is so that I
> can know whenever it might be higher than the output profile that I'm
> looking at and BPC is messing up the curve?
It is hard to pin down an absolute 'shadow limit' value that tells whether a
given monitor is able to encompass or not the whole physical dynamic range
of a proof. Depends of the absolute Luminance level of the white point, to
begin with. You may want to experiment with 100 or 140 or more white point
calibrated Luminance (Y) until you get a match that satisfies you.
> Any help would be greatly appreciated
>
> Eugene Appert
Regards,
Roger Breton | Laval, Canada | email@hidden
http://pages.infinit.net/graxx
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