When I am setting up the monitors does anyone have any suggestions?
I will go to NEC website and download the latest updated software.
I assume The monitor software will be asking me my preferences but truth is I don't know enough to have any.
Any suggestions?
I'm asking before I even have the gear.
Thanks,
Bill
I would use 6500K, Gamma 2.2.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Bill,
Take a look at this article from Image Science. It gives detailed instructions for installing and using SpectraView:
http://www.imagescience.com.au/kb/qu...SpectraView+II
This article from the same site gives some guidance for setting up your hardware calibration targets in SpectraView:
http://www.imagescience.com.au/kb/qu...ration+Targets
Added: Note that the targets are good staring points. You will likely need to modify them to suit your exact needs
I found both of these to be very helpful when I first started out with SpectraView.
--P
Preston-Columbia CA
"If you want nice fresh oats, you have to pay a fair price. If you can be satisfied with oats that have already been through the horse; that comes a little cheaper."
These are my main settings too.Originally Posted by Peter J. De Smidt
Spectraview lets you create several presets, so you can experiment with a few different color temperatures, or have different setting for different purposes.
Prepress people and professional printers generally use a warmer color temperature, exactly matched to the lights in their viewing booth. This is the most accurate, but I find it hard to get used to. It also creates a setting that's dim and murky looking ... not great for web browsing or watching a movie. If you can adapt to it, though, you'll have the most scientific setup possible.
I much prefer 5000ºK but not all monitors can be set for that without compromises. If you are trying to match prints you may run into discrepancies at 6500º. Remember that your eye adapts to whatever is in front of it. 5000ºK may look warm at first, especially if you are used to one of the godawful blue consumer monitors, but you will soon get used to it and you will be better off in the long run. I haven't set my eyes on the NEC's that you bought Bill, but I would be surprised if you were unable get a good result out of a 5000º setting.
Why?
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
yes 5000K 2.2 gamma is the gold standard "D5000". All print and film viewing devices use this standard. If you want to go all out then you can get 5000k lights for your room and paint it with 18% neutral grey.
On the other hand, Bruce Frasier, a dyed-in-the-wool CMYK print guy, recommended 6500K. If you're printing for a 5000K light booth, then you might prefer using that setting, but otherwise it's a bit dull. But try both ways, and see what you like.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Yes. It's helpful to think of your monitor as a tool that helps you get the best match in a print. This may or may not mean the most absolute accuracy. If your viewing habits and your lighting make it easier for you to get good results with 6500K, then no one can argue. I've chosen 6500K also. I just find it too disruptive to switch back and forth between 5000K/low brightness for printing and a brighter, bluer setting for other work.
I would think that photoshop or what ever program that is being used would read the monitor profile incorporate that information into the color management in a way where both should print the same.
Determining if the print should be calibrated for 5000k or 6500k lights should be a second part of the print calibration process and separate from the monitor process?
I would think that if you are printing for 6500k that having 6500k all around would make it easier on the user as he wouldnt need a moment to adjust to the new color temp.
I do suppose 5000k is more of a standard for those who do print or chrome matching. If your going straight through from chrome to print you might find a perfect match to be a little dull depending on what film you use. This is where photoshop our digital darkroom comes into play.
For the sake of honesty, I do not own my own printer and have not had direct hands on experience with the print side of things. My information is based from theoretical ideas, stuff I've read, and my own limited experiences in the capture side of things.
Posting Permissions
Reply With Quote
Bookmarks