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The OSD had a large array of calibration and convenience options certain to appeal to gamers and graphics pros alike. #HOW TO CALIBRATE MAC MONITOR FOR PHOTO EDITING PLUS#Calibrate Monitor For Photo Editing Plus A Custom.Looking at Thomas's images, I am not sure if it is worth the effort or expense for the device unless he starts doing colour-critical work, as the factory calibration should be pretty close for Alamy and general stock purposes. You can mess safely with the factory presets as you can create a copy of any of the presets and mess with that. ![]() I'd argue it's best not to mess with the calibration, especially not until after X-Rite have updated their matrices. I'd argue it's best not to mess with the calibration, especially not before X-Rite have updated their matrices. In addition, the factory calibration process enables sophisticated built-in algorithms to accurately reproduce a variety of color spaces used by media workflows today, including sRGB, BT.601, BT.709, and even P3-ST.2084 (HDR). #HOW TO CALIBRATE MAC MONITOR FOR PHOTO EDITING PRO#Isn't there a flaw in using the same device to profile and then check the dE values after applying the new profile because X-Rite haven't yet produced the necessary matrix data for these new displays? To my mind this even calls into question using the i1 to set the white point just yet. I know when using X-Rite i1 Display Pro before I've been concerned that the white point can shift significantly depending on which display technology is selected, so IMHO it's pretty critical that the matrix selected and its content is correct.Įvery MacBook Pro with Liquid Retina XDR display undergoes a state-of-the-art factory display calibration process on the assembly line to ensure the accuracy of the P3 wide color panel and the individual backlight LEDs. It is different for video and these new MacBook Pro screens can go really bright for HDR video (Apple call it XDR - extreme dynamic range). I have an older X-Rite version of this card - I wasn't aware until now that X-Rite and Calibrite are now the same company. Shooting a good uniform and neutral grey card in the scene can be a great way to get white balance in post (remembering that colour of the light itself is very important). The raw histogram is a very useful tool if using LR or ACR. Your images on Alamy look fine to me on my calibrated monitor - good contrast and colours look to be in the right ballpark. If the screen is set too bright then images will look too dark on other monitors. Most monitors are set way too bright for photography. It might be the theory but in practice it doesn't work. The ambient lighting alone will affect how things look and different monitors will look different even when calibrated with the same device, using the same colour space and viewed in the same light (mystery of the universe no 95).įrom my experience and similar to the man in the video, for stills photography I like to set the brightness around 90Cd/m² as this gives good matching for my printer. In my experience, you can't have any firm idea at all of what your images are going to look like on someone else's device even if they are using a calibrated monitor. The other video is longer and goes into more detail about the theory but is practically the same. It's not for any specific purpose other than to make sure I'm looking at the actual colours of my photos when editing so that I have a reasonable idea of what they'll look like elsewhere. ![]() I've watched an earlier video by the same guy – but not the one you suggested. ![]()
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