Re: Colorsync-users Digest, Vol 6, Issue 163
Re: Colorsync-users Digest, Vol 6, Issue 163
- Subject: Re: Colorsync-users Digest, Vol 6, Issue 163
- From: David Remington <email@hidden>
- Date: Sat, 18 Jul 2009 17:35:06 -0400
Interesting. My experience is just the opposite. We moved to Eizo 21 --
> 210 --> 211 from Artisans (big improvement). We observed some minor
uniformity issues with the 21 and 210s (which are still working) 211s
were much improved. We have seven 211s in use now. Six are great. One
has a bit of a cast on one side. To save a few bucks I purchased a few
NECs for our camera workstations (2190 UXi with Spectraview). I
noticed right away that uniformity was inferior to the Eizos and they
were more susceptible to head position invoked color shift. They also
look "glassy". My crew of photographers agreed. I've since purchased a
couple 2490s and find them much better. I do like Spectraview. Luck of
the draw? Personal preference? Environment? Some combination maybe.
--David
FYI: We are using 120 cdm2 5800-6000k in a darkish room with 40-50%
GTI EVS booths.
--David
On Jul 17, 2009, at 3:03 PM, email@hidden
wrote:
Message: 8
Date: Fri, 17 Jul 2009 10:39:46 -0400
From: Richard Booth <email@hidden>
Subject: Re: Monitor brightness setting
To: <email@hidden>
Message-ID: <C6860572.64F9%email@hidden>
Content-Type: text/plain; charset="ISO-8859-1"
So why do Eizo recommend 80, and say that use over 120 invalidates
their warranty?
Bob Frost.
When we had to find replacements for our Sony Artisans a few years
back, we
tried an Eizo. Finding it so lacking in uniformity (grey balance
visibly
out of tolerance) we turned to the NEC Spectraview and have used them
exclusively ever since. They¹re uniform, stable and long lasting.
Some are
3+ years old and still running without dimming or other problems.
Back to
the topic brightness setting. I have color editing rooms with
dimmed,
controlled lighting and Soft-Views next to each monitor (to view the
contract proofs) and others with office light and Soft-Views. The
reflective
light in the Soft-View is set at any where from 50% to 100%
depending on
what room you¹re in. Before I even start the calibration software
(in our
case Monaco Optix) I view a 32 step grey wedge in Photoshop and a
hard copy
proof with subtle breaks in the highlight and shadow ends and then
visually
evaluate and adjust the Spectaview¹s Brightness, Contrast and Black
levels.
Rather than just picking an cd/m2 based on recommendations, I let the
conditions that are unique to the combination of room, viewing booth
and
hard proof help determine the setting.
--
Richard Booth
The Taunton Press
email@hidden
David Remington
Manager, Digital Imaging and Photography Services
Digital Imaging and Photography Services
D-70 Widener Library
Cambridge, MA 02138
p 617-495-4701
f 617-495-0403
w http://imaging.harvard.edu
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