Sobre un monitor de alta calidad para el procesado de fotos

[Xhariel5FA9]

Recurrentemente se ha hablado en el foro de cual monitor era más recomendable para el procesado de las fotos, pero ahora ya hace un tiempo de la última vez que se habló sobre ello. Animo a los que más se conozcan este tema que nos digan que monitor es el más recomendable a día de hoy.

Cuando realmente tomo una decisión, quiero saber cuál es la diferencia entre sRGB, Adobe RGB y DCI-P3 en el monitor?

[Peru Bob]

@davescm 

@R Neil Haugen 

[davescm]

Can I clarify if you are intending using this for Photos (e.g. Photoshop) or video as the requirements are slightly different.

My main use is still images using Photoshop and 3D software and in a monitor I look for the following:

1. Uniformity across the panel - this is usually ignored in manufacturers specs but is very important when adjusting images.

2. A sweetspot of around 100-130ppi. When adjusting images you want to see the effect of noise and not have it hidden in too high a resolution on too small a panel.

3. Internal LUTs for calibration - using LUTs in the monitor rather than the video card means that you are not using precious bit depth between the GPU card and the monitor to correct the monitor calibration.

4. 10 bits per channel - particularly when looking at smooth gradients such as skies.

I recently replaced my monitors with two Eizo CS2731s which I highly recommend.

The uniformity across the panel is excellent.

They have 2560 x 1440 pixel size, which sounds low in the current trend to 4K monitors, but at 27 inches a 4K monitor would not allow me to see that image noise that I need when ajusting at 100%.
The work at 10 bits /channel and have internal LUTs for calibration.
They come with Eizo's own colour navigator software for calibration and profiling, which works well with an i1Display Pro. The more expensive CG panels also have built in sensors for calibration and profiling.

For Photoshop use, I calibrate and profile the monitors to their own native colours but with 2.2 gamma and my preferred 100cdm2. That produces a profile that is used by Photoshop and other colour managed software that maximises the use of the panel's ability to display colours. That way I am not restricting the monitor to a standard colour space.

However, for use when using software that expects a "standard" monitor (e.g. some 3D packages that I use) I also calibrate the monitors to Rec709, sRGB and ARGB. In fact the monitors each have 10 calibration slots so custom calibrations are no problem (e.g to match specific print papers) and the colour navigator software allows easy switching between monitor settings and automatically loads the appropriate monitor profile into the operating system when switching.

I am sure Neil will advise if your primary use will be video.

Dave

[Xhariel5FA9]

Primero responda su pregunta sobre el monitor Gamas de Color, puede consultar la explicación aquí.
Como de Alta tiene que ser esa calidad? porque si no hay límite de presupuesto ...... lo que pidas.

[Xhariel5FA9]

Lo siento, parece haber un problema con mi cuenta. Quiero decir, quiero que el precio sea lo más barato posible. ¿Qué me recomendarías?
De los Eizo siempre se habla muy bien, sobretodo el tema colores. Yo la idea que tengo en la mollera es comprarme una de segunda mano, que quizás sea lo más recomendable. No creo que queden tan obsoletos estos trastos.

[davescm]

Hi

Once again I answer for still images not for video - I've tagged @R Neil Haugen who can better help you for video.

The link you provided describes different colour spaces. These are defined by their primary colours, their white and black points and their transfer functions (sometimes called gamma).  When using colour managed applications for still images the monitor does not have to match the image colour space. Of course it helps if the monitor colour gamut is as big as , or bigger than, the colour space of the image as that way no colours are clipped. The conversion between the colour values in the image and those sent to the monitor is all handled in the background by the colour management system provided  monitor ICC profile correctly describes the monitor and the document ICC profile correctly describes the document colour space.

So for still images, using Photoshop, which is colour managed, my Eizo is set up at 100cdm a gamma of 2.2, a black as dark as it will show and the individual colours at the Eizo's natural display.  The monitor profile produced by the calibration & profiling software describes that behaviour. It does not matter what colour space the image document is using, the colour management system correctly converts those image document colours to my monitor color space in the background so my documents display correctly.

The only time I set the monitor to a smaller color space (e.g. sRGB or REC709 which are similar but with different transfer functions) is when I use them with software applications that expect the monitor to be calibrated that way and ignore the monitor ICC profile. That includes some of the  3D software that I use.

Video works differently to the ICC colour management systems used in still images and expects the monitor to be calibrated to a specific standard. For the small amount of video work I do, I calibrate my monitor to REC709 but if I was a colorist I would need a separate external monitor set up to the broadcast specifications (including the video definitions of black and white).

Hopefully Neil will step in and advise you further if video is your main use.

Dave