Re: Colorsync-users Digest, Vol 6, Issue 163

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, colorsync-users-request@xxxxxxxxxxxxxxx  
wrote:

> Message: 8
> Date: Fri, 17 Jul 2009 10:39:46 -0400
> From: Richard Booth <RBooth@xxxxxxxxxxx>
> Subject: Re: Monitor brightness setting
> To: <colorsync-users@xxxxxxxxxxxxxxx>
> Message-ID: <C6860572.64F9%RBooth@xxxxxxxxxxx>
> 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
>
> rbooth@xxxxxxxxxxx

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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