dual screen computer monitors

[Ken Jones]

This isn’t really practical any more, but many years ago when I was linear editing an associate once advised to “Never have more than one color monitor in the edit suite”. I always hated to hear the client ask “So which one of these monitors should I believe?”

[Matt Campbell]

Although I’ve never tried the X-rite, I suspect you can achieve similar results to mine with that one. Again, it’s just a long process of testing out their presets to see if they hold up when you try to get them close to a broadcast monitor

David, when you say testing, not to be a pain, but how could I do that? Would you want to pump color bars through the monitor in FCP, while using the profile created in OS for the 2 Eizo monitors? Then maybe using the scopes and flesh tone line, bring in a properly color balanced video clip with a person to help visually judge the accuracy of the calibration?

Again, I know i’ll never get exact with computer monitors, but close will be good enough for now.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[David Roth weiss]

[Matt Campbell] “Would you want to pump color bars through the monitor in FCP, while using the profile created in OS for the 2 Eizo monitors? Then maybe using the scopes and flesh tone line, bring in a properly color balanced video clip with a person to help visually judge the accuracy of the calibration? “

That exactly right. However, you may find that some other profile actually holds up better when if you tweak the settings. Try them all so you can see the difference with your own eyes. For me, some went too warm when I lowered the luminance, others went toward the green. I just kept p[lugging away until I eventually found settings that worked the best.

And, they held up… If I forget to turn on my broadcast monitor when doing something really fast, I’m never surprised to find material that’s way out of whack.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

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[Matt Campbell]

David, one question regarding color profiles on the OS. Below is an image of my system prefs. I’ve been doing a ton of reading on this topic and don’t know where to begin. For my computer monitors what profile should I be using for my dual screens. I’ve read about sRGB’s gamut within the CIE color space and how this is used for HD video. I know with a computer monitor it won’t be 100% accurate but will it get me close?

Where is a good place to start with calibration? CIE RGB, NTSC (1953), SMPTE-C, sRGB or Apple RGB? From what I’m reading, it sounds like sRGB or Rec. 709 is the standard for HD video and Rec. 601 for standard def.. I’m getting really confused on this topic. Is this for computer monitors or for calibrating broadcast monitors?

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Lyon]

Hey Matt, I read your post a while back and meant to respond, but it slipped my mind. Better late then never, though!

I’m not a broadcast engineer so I won’t comment too much on colorspace, other than to say that rec 709 and 601 are STANDARDS, which codify HD and SD digital video systems, respectively. Part of these standards deal with color primaries and display gamma. sRGB is also a standard, and it is close to rec 709, but the gamma is slightly different (at least according to wikipedia).

The problem with the presets in the os x display control is that they don’t really relate to anything — just an imaginary monitor that might have existed in a lab somewhere at some time. Sure, you can set your display to D6500 and gamma 2.2, but until you stick a scope on the monitor and actually take readings of the real color temp and gamma curve, you are just guessing.

I would recommend renting or borrowing a display profile device, like a Eye-One. It will make you a custom display profile (aka LUT) based on your specified targets so you can be sure your color temp and gamma are spot on. I made two LUTs for my home machine, one for print work and one for video. I also change the brightness of my monitor when I switch between the two.

But there will always be colors that you’ll see on your computer monitor that will be out of gamut on a broadcast monitor and visa versa. Just like there will be colors on a CRT that won’t reproduce on an LCD.

Matt Lyon
Editor
Toronto

[Matt Campbell]

Hey thanks Matt. Since this post our color guy stopped by the office to calibrate everyones machines for print & design work and my machine was calibrated just for monitor like ness between the 2 displays, since I don’t do print work anymore. We started with gamma to 2.2, candelas to 100 cd, and to 6500k and let the Eye One calibrate the rest. From there we got my displays to match very closely, if not spot on.

What I didn’t now and just learned from another post in another forum is that FCP degrades the color space (or something like that. don’t know the technical terms) in order to help with realtime playback performance. I knew that depending on your RT and playback settings it would change frame rates and resolution but not color. So, I think I’ll finally be able to help myself by moving forward with the Matrox MXO2 purchase. This should help give me a lot better color on my client monitor than my computer displays would. Short of a broadcast monitor, this is the next best thing for me.

Thanks again for your insight.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Lyon]

[Matt wrote:

What I didn’t now and just learned from another post in another forum is that FCP degrades the color space]

Cool, I hadn’t heard that specifically, but it makes sense. I’m glad you’re moving forward with the Matrox purchase! I think you’ll be much happier in the long run.
-Matt

Matt Lyon
Editor
Toronto