Hands-On Monitor Profiling
As we’ve seen already, calibrating and pro ling a monitor is
an absolute necessity for sound color management. Although
calibrating and pro ling can be done visually, it is much more
accurate and consistent to use a hardware-measuring device
with the appropriate software.
Although we’ve covered it in general in
Chapter 4, let’s go through the speci c
steps for calibrating a monitor with a
monitor-pro ling package. There are
numerous monitor-pro ling software
packages and measuring instruments
available to accomplish this task. Some,
such as the Eye-One Display from
GretagMacbeth and the Monaco Optix
XR from X-Rite, come as a bundle. Others,
such as basICCcolor Display, are just
software and require you to purchase
your own instrument. In this section, we
are going to look at the Spyder 2 Pro from
Colorvision solution using their hardware
and software. Again, as with the other
calibration and pro ling sections in this
part of the book, don’t get bogged down
with the speci c interface of this software.
Instead, it is important to understand the
general concepts.
As discussed in Chapter 4, before you
calibrate the monitor, you need to make
sure that it has been on for a least an hour
to stabilize. Ideally, you also want to have
the monitor in a room without outside
light or overhead light. A monitor hood
will help keep stray light o the monitor.
The cost of some monitor-profiling
packages is now under $100.
The cost of some monitor-profiling
packages is now under $100.
The cost of some monitor-profiling
packages is now under $100.
ETCM_book.indb 121 10/6/06 5:06:37 PM
CHAPTER 5: Technically Speaking
With these conditions met, let’s begin
the actual process. After launching
the software, start by setting your
preferences. Pick the sensor you are
going to use and how often you wish to
recalibrate the monitor. In this example,
we are going to calibrate and pro le
an Apple Cinema Display, which is a
LCD monitor, and we are going to have
the software automatically remind us
to recalibrate after a month (which we
would never forget, of course).
Now let’s pick the type of monitor we
wish to calibrate—LCD, in this case.
Moving forward, we need to select the
white point and gamma, which is done in
one step with this software. You’ll notice
that I picked 2.2 gamma and a native
white point. It has been my experience
that using the native white point usually
results in a better monitor pro le for a
LCD than picking 6500K does. Still, it’s a
personal preference.
In addition to picking the white point
and gamma, it is important to set the
monitor to the proper luminance or
brightness level, especially if you wish to
set multiple monitors to match each other
as closely as possible. This software allows
us to set the luminance either Visually or
Measured, and I recommend setting it
as Measured to achieve more consistent
results. My recommendation for LCD
monitors is to set the White Luminance to
120, and for CRT monitors to 100. Because
we have no control over contrast with the
Apple Cinema Display, we are going to
leave the Black Luminance blank.
This next window is a summary of the
settings so far. Check and make sure
everything is set correctly.
ETCM_book.indb 122 10/6/06 5:06:48 PM

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