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I cannot edit, a typo:
Your screenshot is usually useless because it needs to be viewed in non color managed enviroment, dpi plays a role in visual effect (unless you blur your vision) and native primaties or secondaries SPD may cause those CMY ramps to be observer dependent, while grey ramp no (lagom LCD test): you can see different white than another person, but grey scale will have SAME color.
Fixed
I think we misunderstood each other. Of course, I’m not saying that the Eizo are bad, they are wonderful monitors with the best control. I agree with your other posts. Large BenQ models do not make sense, because the price with Eizo is similar. I’ve written this before. On the other hand, in the 24″ models, the SW240 seems to me to be a good alternative. Eizo in the 24″ segment and only 1920×1200 resolution is simply too expensive …
The test image must be displayed without color management, preferably in Photoshop, in full screen. Cheap laptops and office monitors display it with green and magenta inks. While on better monitors it should be as gray as possible. Of course, the minimized window will show colored stripes
By the way, see in the attachment what info I got from BenQ, it’s tempting:
I think we misunderstood each other. Of course, I’m not saying that the Eizo are bad, they are wonderful monitors with the best control. I agree with your other posts. Large BenQ models do not make sense, because the price with Eizo is similar. I’ve written this before. On the other hand, in the 24″ models, the SW240 seems to me to be a good alternative. Eizo in the 24″ segment and only 1920×1200 resolution is simply too expensive …
Old model CS2420 WLED PFS was about 600-650 euro, 1000:1 UC OFF 800:1 UC ON , D65. OLder model CS2420 GB-LED had very low contrast but have been years since it was replaced. Old model CS240 had the same prince in 2015, 1000:1 UC OFF 800:1 UC ON , D65, perfect dC uniformity even UC OFF.
Not so expensive, but YMMV.New model CS2400S-LE is WLED PFS but >1300:1, 600 euro on some computer stores.
“Expected to be” 1300:1 UC OFF 1000:1 UC ON , D65, perfect dC uniformity even UC OFF.So…Is perfect color unifority, 1300:1 and realiable software worth 150 euro? YMMV but I’d say yes. I’ll get an CS2400-LE over an SW240.
Let’s hope that those 1300:1 panels get soon to CS 27″ line.
The test image must be displayed without color management, preferably in Photoshop, in full screen. Cheap laptops and office monitors display it with green and magenta inks. While on better monitors it should be as gray as possible. Of course, the minimized window will show colored stripes
A 13″ Full HD laptop with reasonable almost full sRGB coverage will perform better… beacuse it’s easier to eyes to bend without closing your eyes to blur.
These visual tests are highly unreliable because there are other factors.
OTOH Lagom gradient test wont have them, since there are no dpi lines to bend. Just a gradient to visually test grey range. Of course not useful to appraise gamma value.
By the way, see in the attachment what info I got from BenQ, it’s tempting:
Yes, it’s like ColorNavigator7 sub menus once you enter each CALx. It seems that they’re going in the right direction in software.
I also say that Eizo is the best. But the thing about my SW was that I needed an AdobeRGB monitor quickly. As cheap as possible so I thought I’d take a chance, if it’s bad I’ll sell it. And in time I will buy something better. After that, I didn’t have much free time to delve into its quality. There was a compatibility of the SW240 color with a professional Epson printer, so for some time I did not explore this topic. Then I started reading the DisplayCal forum a lot (much respect to you) and I started to educate myself. Now I heard from you that at least my model is ok, so I know that I will stay with this monitor for longer. I must also point out that I bought it before the price increases, which is slightly over €400. I think if it’s ok then I’ll use it as long as it works. I can’t buy anything better for this price. I used to swear at this monitor for only one reason before – PME shit. When it got updates to the PMU, I think this model goes a few classes higher.
Vincent, I wanted to sincerely thank you again for your help. I learned a lot of interesting things. If I ever have any more questions, I know I will get professional help.
There was a compatibility of the SW240 color with a professional Epson printer, so for some time I did not explore this topic.
All printers are compatible will all monitors, they just need accurate profiles.
Epson Print Layout software is color managed and will work on any monitor.
Benq “Paper Color Sync” (if it is what you meant) is mostly a useless pice of sh*t because when you try to simulate paper white in LUT3D it will do whatever it is written in profile and if it was created with M1 conditions but your light source is not D50 (UV included), it won’t match.
Also displayprofile needs to store actual black level, so if PME/PMU used some kind of BPC like in your sample and display has very low contrast like a lot of SW27/SW32, black may be liftted when simulating very high Dmax glossy papers.
If you have several CALx or you can recall past calibrations for a CALx, like these new feature you posted in an screenshot it’s way easier to rely in software softproof + fine tune white till visual match.A post calibration fine tune of whitepoint may be a good feature for PMU if it does not have it. SV2/CN7 have it, since they are listening to customer requests you should ask for it.
Let’s put an example. Let’s say its october 2023 and all these new features are now on PMU
CAL1: generic white gamut D65
CAL2: generic sRGB/Rec709 g2.4
CAL3: generic softproof, native gamut and a common white of your choice, D50, D55… whatever. If you have one of those very low contrast dusplays like SW-C like, save actual black level on profileOpen PS, open image, softproof. Chose a printed copy an put it under your light spurce (suposed to be normalized or high quality lamp)
White paper does not match for paper A, fine tune white, save as A under CAL3
White paper does not match for paper B, fine tune white, save as B under CAL3Now you have your system ready.
For next uses, switch to CAL3 generic and open PS when doing that king of job. PS will ask OS for display profile, it will return native gamut, your generic TRC and black level (relartive) in TRC.
Choose softproof profile A, then open PMU and reload A preset in CAL3. Since primaries are the same, TRC is the same and black level is more or less the same generic CAL3 profile read by PS is a good description of display. Also rendering intents from image to display are whitepoint relative, so PS won’t care about your custom white A not matching CAL3 generic/base profile.
I mean you d not need to restart PS to notice CALx profile change.In CN7 you do the same. Saves time. Just open your vendor HW cal app, reload a saved preset/cal. Thsi way you can get a match for every lightsource you’re using for printed copy comparisons. Just a few clicks, no need to restart PS.
Of course primaries, and nominal TRC must be the same for all these CAL3 calibrations and black & brightness must be close to base value.
I mean… this works because you only change whitepoint ( which PS ignores) while keeping the same primaries in PCS, TRC and relative black level to that TRC (which is the data in a display matrix profile taht Photoshop will use for color management).Easier, faster and more accurate than Paper Color Sync.
Thanks for the advice, I’ll use it.
A post calibration fine tune of whitepoint may be a good feature for PMU if it does not have it. SV2/CN7 have it, since they are listening to customer requests you should ask for it.
Yes, I also really like it in SVII and CN7. Although PMU has an extra tab on the start screen called Advance Color Adjust, I don’t think you can change the white point. I can’t check right now – I don’t have access to the monitor at the moment…
Whatever it is, I’m still happy with this new software. Finally, you can calibrate your monitor normally. If they add a few more features that would be great. I still can’t believe that the ICCSync feature has been added. Eizo and NEC are laughing at me HEHE (of course it’s a joke but there is some truth in it)
Thanks for the advice, I’ll use it.
A post calibration fine tune of whitepoint may be a good feature for PMU if it does not have it. SV2/CN7 have it, since they are listening to customer requests you should ask for it.
Yes, I also really like it in SVII and CN7. Although PMU has an extra tab on the start screen called Advance Color Adjust, I don’t think you can change the white point. I can’t check right now – I don’t have access to the monitor at the moment…
An alt way is to use DisplayCAL visual whitepoint, then close DisplayCAL visual whitepoint window and get xy coords. Move them to PMU as target white.
Even if you need several custom WP for a few paper types, you do the setup once, then recalibrate to that saved presets (4, 5, 6… ). But you need PMU to recall past calibrations into CAL3 to be functional, bo be able to use those 4, 5 or 6 paper white presets
Okay, that’s also valuable advice. Generally my presets look like this:
Cal1: Native, 120, 2.2, D65.
Cal2: sRGB, 120, 2.2, D65.
Cal3: Native, 100, 2.2, D53.
In total, these settings provide me with smooth work in photography, but I would prefer to have these 10 places like in Eizo. Then I would also like to calibrate the monitor to the P3 gamut, for occasional film work. After doing such a program is already one good step, then I seriously believe in BenQ that they will add options for more calibrations. After all, it only takes a few moments to add something like this to the software.
Support says it will be added, so I’m positive.
There’s no need to limit the gamut to only sRGB or P3.
Color-managed software knows how to display a narrower color space within a wider one. If you choose an sRGB color profile, the app will show only sRGB colors. The same is true for Adobe RGB, P3 and any other color space.
Kuba, yes, of course. I am also talking about changing other settings such as luminance and gamma. 3 slots for calibration is simply not enough…
There’s no need to limit the gamut to only sRGB or P3.
Color-managed software knows how to display a narrower color space within a wider one. If you choose an sRGB color profile, the app will show only sRGB colors. The same is true for Adobe RGB, P3 and any other color space.
Games, including dev & testing. CAD/CAM & other non color managed software. That is why you may want sRGB simulation.
Rec709 g2.4 if contrast is high enough is usefukl if you plug that HW cal display to a non computer source, like a video player (HW)
Update: ICC profiles generated with Palette Master Ultimate contain some bug! Causing deterioration of animation smoothness on macOS. I know it sounds like a joke, but it’s true. All other profiles do not degrade the appearance of the animation. PME doesn’t even have such an error. When I have a profile, let’s say Adobe RGB, then when we maximize applications to full screen, for example Safari, we can see a beautiful animation that fills the screen. The ICC PMU profile causes image clipping during such animations. The problem occurs on MacBook Intel and Mac Mini M2. Hands down…
Update: ICC profiles generated with Palette Master Ultimate contain some bug! Causing deterioration of animation smoothness on macOS. I know it sounds like a joke, but it’s true. All other profiles do not degrade the appearance of the animation. PME doesn’t even have such an error. When I have a profile, let’s say Adobe RGB, then when we maximize applications to full screen, for example Safari, we can see a beautiful animation that fills the screen. The ICC PMU profile causes image clipping during such animations. The problem occurs on MacBook Intel and Mac Mini M2. Hands down…
ICC profile inspector:
https://www.color.org/profileinspector.xalter
and look for unexpected tags or content. Profile should be matrix type, fake infinite contrast, 3 equal TRC… and may be white PCS with no CHAD, PCS with CHAD or actual whitepoint.
Compare that to PME ones.
Thanks, I’ll check it as soon as I can and then let you know. There is a video attached now. There is a screen tearing effect when zooming in. It’s even worse during more complex animations…
