Monitor Calibration Eizo EV2736W

Hi

Do exactly what D Fosse suggested - word for word.

Forget V4 ICC profiles. There never was a V3, just select V2. 

V4 do have extra features but many of those have not been adopted by software makers, so using them seems to confer no advantages, just add potential issues. 

IF you can get a 'certified proof' then it's OK to match that white paper on your screen using it's RGB controls, if not, then match your printer's paper white.

Try to illuminate that paper or proof with natural daylight, try to avoid all lighting in your room other than filtered (I mean reduced) daylight. 

Is there a reddish wall or lightsource near your screen, a coloured wall or lightsource can totally throw off your perception of neutral grey / white?

I hope this helps

neil barstow, colourmanagement.net :: adobe forum volunteer

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The standard way to do it is to set the monitor white point to be a visual match to paper white. This should be done with the monitor's on-screen menus, to avoid eating out of the limited bit depth in the video card pipeline. If you use calibration tables to reduce brightness from 240 down to 120, that's one full bit right there, and you're left with a 7 bit video signal to the panel. That's the reasoning behind this.

The same principle applies to white point temperature (color). It should not be done in the calibration tables if it can be avoided. The calibration tables should do as little as possible. Do it in the monitor itself if at all possible.

Then leave the software to "native" white point. It has already been adjusted elsewhere.

All this is much simpler in high-end monitors with fully integrated calibration software, such as Eizo ColorEdge or NEC Spectraview. There, any setting you make in the software is performed in the monitor's internal processor, in high bit depth, not in the video card. That makes a huge difference. But when genuine hardware calibration is not available, like here, then you have to take some precautions.

Ambient light controls in calibration software is generally regarded as very dangerous and not recommended.

I would suggest two things at this point:

• leave DisplayCal out of it for now. Close it and forget it. It's advanced and complex software with a lot of options that will only confuse you now.
• also close down i1Profiler and delete all profiles. Start from scratch. Set a white point in the monitor that looks neutral to you. Use the on-screen menus in the monitor. Nevermind what the settings and numbers end up as, just get it to look right.

Next, start the pre-calibration function in i1Profiler where you set luminance while the software monitors the level. You still adjust it with the monitor's on-screen controls, but the software measures and reports as you go. Again, a good starting point is 120 cd/m².

When this is finished, the monitor itself should be set up correctly. Now the calibration and profiling can start, while using the white point already set in the monitor.

The white point then needs to be set to "native" in the software, both for luminance and color (temperature).

I can't find a solution. From 5000k to 6000k the white is too yellow, from 6500k to 7500k is too green. The only way to have the white point white is to set the white point to Native, but I don't think is correct. I tryed with DisplayCal, also with i1Profiler but at the end the white is never correct even if I try to calibrate the RGB manually to match the color temperature.

It is more than 12 hours 😞

I agree with D. Fosse,

Try a white luminance target level around 120 Cdm2 - your room light should be subdued which would make that acceptable.

The "whitepoint" if targeted to the native white colour of the screen may be too cool (blueish) - if you see that when allowing native whitepoint (as you appear to have done which seems to have given you a result of 7061 K) then I suggest testing 6000 K as a whitepoint target, just as a  starting point..

With 'whitepoint' higher numbers are colder / bluer - lower are warmer - more yellow / orange (that’s a subtle tint of course) .

You may need to tweak and iterate the calibration to find a white that matches that of your printed images.

The generally usable range for whitepoint is between 5000K and 6500K so stay between those parameters unless you have a very good reason to stray outside that range.

5000K is close to D50

6500K is close to D65

definitely try a V2 profile rather than V4 

I hope this helps

neil barstow, colourmanagement.net :: adobe forum volunteer

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Hello Everyone!

The i1 Display Pro has been delivered and, after different tests, I'm here to update you and ask for new advices if you've time.

I would like to have your opinion on these two different tests I did with two different softwares:

You are going down a road that requires you to learn some basics or your monitor calibration will not work.  

Example: Leave Color settings alone... Assuming any old color settings will make your monitor match a proof, then that's actually great advice...but unless you do have the correct printer profile, all of the calibration your doing will not help if you are using CMYK images.  

So doing a little bit of extra "work" to find out and use the correct printer profile is a valuable thing to do. 

In the example of RGB workflows, where files are converted to CMYK somewhere in a rip, and you will never be expected to use your calibrated monitor as a color reference, then no worries on getting the printer profile correct. 

If I had a dollar for every sheetfed offset job I received with Web offset profiles used because those were the Adobe Default settings, I'd be a rich man.  This is a common mistake and unfortunately, it seems like there's a lot of bad advice that says it's ok to do.   

Getting the RGB profile correct is essential as well.  Yes everyone can use Adobe's defaults, and send bad files to their printers because all RGB images end up in the smallest sRGB profile instead of something more flexible like Adobe1998 RGB.  

So be careful when applying generic settings that may or may not fit your workflow.  Easier to explain your workflow here and get recommendations then just winging it and hoping for the best.  

Leave all color settings at defaults! Don't touch them unless you know what you're doing.

The most critical item in the settings is Color Management Policies. This should always be set to "Preserve Embedded Profiles". That's the default, don't change it. The other policies are legacy options that most likely wouldn't even be there if Photoshop was written today.

Photoshop 'color settings' are specific to your type of work,

in any case the settings for workingspace RGB and CMYK are only defaults for newly created documents.

Not for images you open. The color management policies need to be set right though.

Screenshot the current settings you are using post that here

and tell us what kind of work you do, where the images you use are from etc. 

Is your work going out to clients, if so for what use?

I hope this helps

neil barstow, colourmanagement.net :: adobe forum volunteer

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