How to Calibrate your T.V.(Please read the first post) — Page 8

...bong whatnow?

THIS IS GETTING OUT OF HAND...

another calibration company is

x-rite:

======================

http://www.xrite.com/home.aspx

there's 3 main products:

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http://www.xrite.com/product_overview.aspx?ID=1454

http://www.xrite.com/product_overview.aspx?ID=1513

http://www.xrite.com/product_overview.aspx?ID=1912

again, most are used for monitors, but can work 

on tv's connected to computers.

enhanced features include:

• Technologically advanced and ergonomic multi-functional measurement device
• Easy to use software – “Easy” and “Advanced” modes with simple one-click presets or wizard-driven options for more control
• Intelligent Iterative Profiling – an adaptive technology that measures and analyzes the color capabilities of each unique display for increased accuracy of profile
• X-Rite Ambient Light Smart Control - measurement, compensation and ongoing monitoring of ambient lighting conditions
• X-Rite Flare Correct™ - measurement and compensation of display surface glare
• Automatic Display Control (ADC) adjusts your display’s hardware to speed up process and eliminate manual adjustments

later

-1

pat man said:

Natural Red is just like the Crayon/marker color , natural blue is like the crayon/marker color,and natural green is like the crayon/marker color. So take a White Paper and draw 3 separate lines with the Red, Blue, and Green with the crayon/markers. So when you use a calibrate system/disc for your T.V. look at the paper and try to make the colors look as close as possible to the colors on the paper without washing out the colors.    

if you really want to get fancy,

and more professional.

used a test disc/test image.

or match it against pantone colors

with a colorimeter:

===========================

http://www.pantone.com/pages/pantone/color_xref.aspx

http://en.wikipedia.org/wiki/Pantone

however, these are used more for print,

but they are also used in other media.

later

-1

Thanks again -1.

there's good discussion here about colorspaces,

and hardware:

====================================

http://www.dvinfo.net/forum/view-video-display-hardware-software/497333-color-correcting-monitor.html

here's a discussion of some of the color calibration

tools i've mentioned (although it's 2 years old),

it still has a lot of pertinent information in it.

especially the comparisons of the tools:

============================

http://www.drycreekphoto.com/Learn/monitor_calibration_tools.htm

Which product should I purchase?

On high quality monitors, ColorEyes Display gives the best balance of accuracy, smooth tonality, shadow resolution, and calibration flexibility. Using the software effectively takes careful reading of the user's manual. This is made more difficult because the installation program does not copy the help file to your computer. There is also no on-line help except for a few prompts which may or may not have anything to do with what is shown on-screen. ColorEyes offers automatic DDC control over the hardware settings for selected monitors. Once you have mastered its quirks, the calibration and profiling of good quality monitors is simply superb.

Getting the most out of ColorEyes Display requires either using the bundled version with the Monaco XR/X-Rite DTP-94 puck or the GretagMacbeth Eye-One 2. Although the software supports older measurement hardware (e.g. Sequel Squid, Eye-One Display One), the profile quality can not compare.

You can not go wrong with the Monaco Optix XR Pro. It matches well with most monitors, and offers useful data analysis and trending capabilities. If you do not need display matching, performance trending, and other workgroup features, the added cost of the Pro package is significant. Unfortunately, the base version with its reduced feature set is not competitive.

The GretagMacbeth Eye-One Display 2 is a good performer. Overall color performance is excellent. The calibration options are not as extensive as those of the Optix XR or Spyder2. If your monitor is DDC-enabled, the Eye-One Match 3 software performs the necessary monitor adjustments automatically (Mac only for now - Windows capability is "coming soon"). The fast speed, particularly on CRT monitors, makes for quick and painless calibration and profiling.

The ColorVision Spyder2 is a mixed performer. The limitation is in how highlights are handled. If your photography requires excellent shadow response or superb B&W performance, the Spyder2 is ideal. The included software offers the most flexibility of any of the recommended systems. Wedding photographers, or others needing to see delicate highlight details will do better with one of the above systems.

later

-1

by the way..

if you can't hook up or move a computer near

your tv..

borrow a laptop, and use that with the hardware

or software, such as color spyder 2/4, they do

have a product just for TV's

=================================

http://www.manifest-tech.com/ce_photo/calib_colorvision.htm

Spyder TV is targeted to the much broader market, "motivated consumers, enthusiasts" for optimizing their televisions. "It's very simple to use," says Levey, "very affordable." The challenge for ColorVision was not only to simply the calibration process, but also to find a common ground among the variety of controls and options on different displays. The solution was to base the process only on the key display controls found on almost all displays: Brightness, Contrast, Color, Tint, and Color Temperature presets.

"We use the controls built in by the manufacturers," says Levey, "and tell you precisely where to set those settings to get the absolutely best picture that you can. Increase the contrast ratio, give you good shadow detail, to allow you to see the image as close to what the director's intent was when he was standing over the shoulder of his editor looking at a NTSC calibrated monitor."

The Spyder TV product will include the same Spyder 2 colorimeter hardware that is used with other ColorVision products. (So called because the device is reminiscent of a spider hanging over your display, with three arms to position the sensors flat against the surface, and the USB cable running up and over the back of the display with a counterweight to hold it in position.) You position the Spyder near the center of the display, and connect it to a laptop computer to run the calibration software. The product will also include a DVD test disc with test patterns and sample images to review the calibration results.

later

-1

TV's Frink said:

Stop fucking up this thread, man.

  -1 is not messing up this thread, This is why I created this for people to post things for Calibrating T.V.s,  like -1 is. Thanks -1 for doing the right thing, unlike other people.

issues with color spaces in HD vs SD

----------------------------------------------

good article here:

============

http://www.glennchan.info/articles/technical/hd-versus-sd-color-space/hd-versus-sd-color-space.htm

some good points:

=============

There is no single HD or SD color space as they are actually many different HD and SD color spaces. We'll begin by looking at the two most common video standards in use today- ITU-R BT. Rec. 601 and Rec. 709- as the most common HD and SD formats derive from them. The two main differences between the Rec. 601 and Rec. 709 standards are [A] the luma coefficients (and corresponding scale factors) and [B] the primaries.

In practice, the difference is subtle and is usually not noticed. This is partly because:

• We aren't very sensitive to (small) color inaccuracies. This is especially so when there is no side-by-side comparison.
• Real world images tend not to contain highly saturated colors (a random distribution of R'G'B' values would contain much more highly saturated colors). These errors are strongest for highly saturated colors.
• Most film and video material do not contain large patches of color, which make it easier to discriminate between colors.
• In consumer applications, consumer TVs tend to be (wildly) color inaccurate to begin with.

When the NTSC standards were developed, the designers envisioned a wide gamut system where the primaries are much more saturated/pure than what we have now. The more saturated primaries allow a greater range of highly saturated colors to be reproduced. It is theoretically ideal to make the primaries as saturated/pure as possible so that the widest range of colors can be reproduced.

One downside to wide gamut systems is that overall luminance of the display is lower. Luminance can be increased by making the primaries less saturated. For this reason, consumer TV manufacturers ignored the NTSC standard in order to make displays brighter. Early consumer TVs were fairly dim so this might have been a reasonable compromise.

Later on, SMPTE created the "SMPTE C" standard realizing that there needed to be a production standard. These primaries were derived from the Conrac CRT monitors that were commonly used for reference monitoring at the time. Eventually after that, the EBU created their own standard to reflect changes in CRT phosphors. The EBU primaries are the standard for PAL countries and Japan.

================

later

-1

thanks -1

So how is everyone?

How come when I watch the ESB blu-ray, everything is blue-ish ?

Did I calibrate my TV wrong?

It's just the tint of the movie. The Blu-ray has more of a cyan tint than a blue. You do know that Adywan and Puggo found out that most of E.S.B. is mainly blue?  

pat man said:

It's just the tint of the movie. The Blu-ray has more of a cyan tint than a blue. You do know that Adywan and Puggo found out that most of E.S.B. is mainly blue?  

Ummmmm...........that's the joke.

I know that ESB has a blue tint throughout the movie that Lucas didn't fix. My intent was to make it seem as though I calibrated my TV, watched ESB, and was left wondering how I fucked up my calibration soo much.

For future reference, many of my posts/replies contain humor, and Erica & I are can be sarcastic sometimes.

P.S: Mentioning 'Erica' in my posts is a sexy running gag.

Davnes007 said:

pat man said:

It's just the tint of the movie. The Blu-ray has more of a cyan tint than a blue. You do know that Adywan and Puggo found out that most of E.S.B. is mainly blue?  

Ummmmm...........that's the joke.

I know that ESB has a blue tint throughout the movie that Lucas didn't fix. My intent was to make it seem as though I calibrated my TV, watched ESB, and was left wondering how I fucked up my calibration soo much.

For future reference, many of my posts/replies contain humor, and Erica & I are can be sarcastic sometimes.

 

P.S: Mentioning 'Erica' in my posts is a sexy running gag.

  No I meant when they was doing Puggo Strikes Back the found out the movie was blue. But I get your joke.

our version of the esb 35mm doesn't have a blue tint in it.

but that's a color choice we made..

later

-1

pat man said:

Davnes007 said:

pat man said:

It's just the tint of the movie. The Blu-ray has more of a cyan tint than a blue. You do know that Adywan and Puggo found out that most of E.S.B. is mainly blue?  

Ummmmm...........that's the joke.

I know that ESB has a blue tint throughout the movie that Lucas didn't fix. My intent was to make it seem as though I calibrated my TV, watched ESB, and was left wondering how I fucked up my calibration soo much.

For future reference, many of my posts/replies contain humor, and Erica & I are can be sarcastic sometimes.

 

P.S: Mentioning 'Erica' in my posts is a sexy running gag.

  No I meant when they was doing Puggo Strikes Back the found out the movie was blue. But I get your joke.

We all knew ESB turned blue in 2004 when the first DVD's of the OT were released. But, I am glad you get my joke (now, or before).

So.....do I have to re-calibrate my TV, or not?