9:00 am - Color Management
9:00 am - Color Management
1. 9:00 am - Color Management
9:00 am - Color Management48:13 2
Skype Call: Joe Brady, XRite Equipment Specialist45:52 3
Lightroom and Photoshop Color Setups1:11:17 4
Color Management Continued31:32 5
1:45 - Skype Call: Randy Hufford, Ink Jet Printing Specialist30:55 6
Color Management Q&A09:44 7
Color Correction and Q&A47:41
9:00 am - Color Management
Today, we're going to look at the great spectral of what color management is all about looking at color spaces talk about the importance of calibration, how you might need to be involved in that we're going to talk about creating profiles. What is a profile? Yesterday we looked at the and two days ago we looked at the creating a profile for camera that was to characterize the camera itself, but today we'll look at the profile of color management, howie manage color from one entity to another and that's basically using I see see profiles or something called clear space homes that ring like out in just a second. I have some awesome friends that are going to join us today and call out joe brady, who is an expert in color management and equipment with the x right company and mac group is going to join us here and not too long from now and also a close friend. Randy hefford, who is, as you clay specialist and fine art reproduction specialist, is going to join us and take us to a different l...
evel and take a look at perhaps some new ways to stretch campus if you want to do your own type of finishing in that respect, but let's start out right now talking about a color space home let's go to the color management tab and then something called color space homes and by the way and just a little bit we will talk about preference setups for color management where you might want to do that or have to do that are where you don't have to worry about it and primarily color management is actually seated in today where you can use it without having to know much about it, which is a wonderful thing, but there are several things that you need to do to put it in place so it does work seamlessly for you, so we're going to address those two areas look a little more user if you want to create your own color management schematics and if you simply just want to take advantage of what's there to use let's, take a look at color space homes and listen there's no space like home and what and what I'm referring to is your digital files need a home to reside in and what your standard choices are that were mostly familiar with her these adobe rgb nineteen ninety eight color match pro photo and srg be so what I thought I'd do is this talk a little bit about what these color spaces are what they're for and of course adobe rgb is the most popular cutter space among photographers it's great for inkjet printing it's also good for digital pretty press and some professional labs I like to use w r g b it is indeed the most popular and in photoshopped when you set up your color management schematic it is the default setting north america pre press two setting but what we'll look at that in just a few minutes color match rgb is a very interesting color space. It was designed for digital pre press only so if you're preparing your rgb images to become cm like a for printing press color match, rgb is the closest approximately if you will, to that conversion process so color match argue be is only available and photo shop it is not available in light room. However, if all you do is prepare images that are going to go on a printing press color match, rgb is an excellent choice as a working color space for your initial workups and then there's, the mother of all color pro photo rgb, the largest color space that has been defined large gamut color space that we used today and it's almost a overkill of a color space. But it is a partner to sixteen bit files because when you have a sixteen bit file you have an enormous amount of new minutes data are brightness data and the pro photo rgb color space has an enormous amount of space of color with today's technology with the printing devices, for instance in the processing the color gamut of output days growing and growing and growing bigger and bigger and bigger what used to be the norm of adobe rgb is now expanded beyond that and pro photo rgb is actually the cutter space that we utilize to take advantage of some of some of the printing devices today that have a wider gamma capability and by the way, most all of your inkjet printers have that capability and then there's srg b s rgb was developed by microsoft and that literally stands for standard r g b and es rgb is the only color space you want to use if you send your images to the internet period it's also designed for a closed loop profile are closed loop workflow most professional labs where you send your images were request that you bring in s rgb to their work flow because they start out in this rgb it's easier for them to manage to their printing devices and it's also the default setting an adobe photoshopped so s rgb is one of the two color spaces that weaken set in a camera in your camera you can shoot srg b r adobe rgb s r g b has been known to be called satan rgb I call it because it's such a small color space compared to the other colors spaces but I call it safe rgb because it's very safe so the concept with this in my personal workflow what you'll see that I work in his pro foot or gb because initially I'm taken advantage of the most prominence reach of color I possibly can but anything that leaves my computer and it's sent out to a lab to a friend are especially to the internet is an s rgb so if you've ever sent an image online put an image online that was an adobe rgb and you look at it it's like wait a minute my sky was blue it's not purple or some color problem chances are it was not in s rgb so that's generally a problem and listen when it comes to setting at preferences for your color workflow and photography today we're going to look a light room and photo shop and I just want you to know that light room is automatically set up for youto work in pro photo rgb in sixteen bit data with your raw files and it's easy to export out put into srg be so my work flow is all done in pro photo rgb and its output and s rgb with exceptions and that exception would be if somebody requested adobe or even pro photo then I'll furnish that the other exception would be converting to see him like hey going to a printing press and that's a little bit different of an animal and we might touch on that a little bit today but for the most part we're here to look at what color management is how it's used under the hood and we might open the hood and we will and look at how we actually created and and work in that respect you know, most of most people are familiar with these perhaps color match was the one color space most people are not familiar with, and there are other clear spaces, but these air your standard choices and when you are working in photoshopped, these are your four standard choices of color spaces that you khun established as a working space are that you could easily convert to for energy be workflow I definitely do want to spend some time here because this is always a hot topic, so go for a christian. I do have one that maybe we can touch on and then if you are going to touch on that later, let me know memories by eliza says if cameras shoot in srg on f r g and you switched to pro photo rgb, do you actually get all of the colors since they weren't there in the first place? Well, that's a brilliant question, and if you're shooting j peg, the answer is no. If you're shooting raw, the answer is yes, because when you're shooting j peg, you're asking the camera to process the image for you with a series of different settings such as contrast, color space just a siri's of matrix set up so j peg shooting the camera says, well, I'm going to process this camera into srg b, and that locks it in if you even have it set up, but you're shooting raw, there is no color space embedded at the time you're shooting, the only time that color space becomes important it's when you export out of light room or you bring into photo shop, so if you're shooting raw, there is no color space yet. If you're shooting j peg, the camera puts it in this rgb and the only reason to convert to they're sick, there's no real benefit to governing than to provide or giambi, great question. So sort of go ahead, joe, I remember I'm brand new. It is printing business. And so when oh, when? If I send my file for printing toe a plan so love? Yes, what kind of files it is sensitive sanda aurore j p o should always send it j peg to europe lab a j peg in srg b is the best way to send images to your land. So your job is to work on your foul and they're all dead and sixteen dead. And then you convert it to a pit and srg bay and you do that on the fly you let light room do that for you or do that in a photo shop and that's the file that you send to your land it's always sin j peg file and srg be unless your lab has asked you to do different good question another question from our very own c l e in here in seattle who's upstairs good question in real world application of print production is there really any discernible difference between adobe rgb and pro photo rgb? And he say if my eyes can't discern the difference in colors, is there a reason to use pro photo rgb or that's? Another brilliant question and our eyes are sometimes there is a slight difference today when it comes to output, when you look at the concept of color management there's three zones we work with and put process and output and when we're thinking about the process, that only means we have to communicate with this crew ominous in luminous data, if you will is our display, our monitor and we have to understand that our displays for the most part have a limitations what they can show us so it comes down to the the output device what its capabilities are actually and in that respect and output device can yell because the larger color space and extra hughes and say the blue and the green values and sometimes we don't see those necessarily on our limited display device. So when you think about the larger color spaces today, there's two reasons to take advantage of the larger color space one is to make sure that you're reaching the best possible color data you possibly can and also minimized the event of what might be banding and secondly, to take advantage of the technology that's being developed today and what are they coming out with tomorrow? Who knows? But it's going to be a water color game and I have a feeling so today using the larger color space assures us two things we'll save that file in the larger color space for tomorrow's technology but will take advantage of the minimum amount of expanse that we see today. So another one from summer dream from toronto if print, if the printing lab accepts only srg be, will it yield a lower quality output than then adobe rgb that's another great question and the answer is absolutely no, because when you're working in adobe rgb, which is a larger color space and you're calling your information together when you convert that s rgb as you'll see in a little bit, that conversion process mandates how that image is going to look so nine out of ten times you're not going to see a difference from one color space to another unless the color gamut is way saturated and way out of color gamut and that actually mostly happens on a digital pre press but in just a few minutes when joe ready comes up he has a superb description of what happens when we convert from wind color space to another with those colors and why they may or may not show up just right. Well, I do. We have so many questions flooding in but I have a feeling that you're going to be covering a lot of them so I think we can move on. Okay let's do that and let's talk about what's really important today. Oh, well, this is really important. So this is just a concept of our visual space and what our monitor khun see and this would represent a pro photo rgb color space how it relates to for their monitors show is showing us this would be a dhobi rgb color space and this one would be srg be color space so you see there's kind of a difference and this is a description I dripped written out is probably a little less scientifically correct but it is the concept of the different color spaces from our visual color space to what we see on our monitor and the green line here is an output color space so when we output to a device it could have literally a smaller color space and I believe that one is representative of a monitor are the internet if you will so it's important to have a smaller color space for certain devices thanks see pro photo rgb is an enormous color space but I would rather have pro photo rgb be my color space so when I go to this color space and by the way that was not a monitor that was just some printing profile that I had read but you can see where the line goes outside of our visual color space it totally outside of srg be but it is captured encapsulated within the pro photo rgb so this allows me at least to process that information another output color space this would be closer to the monitor so this would represent um our internet if you will this would represent more of what an internet color space might feel and the two together and this is actually a kind of a three dimensional view of colors to color spaces srg b and pro photo rgb so you can see the physical difference and there's three bits of data and every single pixel there's three bits of numeric data one is for luminescence and tour fork ruminants if you will so one is for brightness and two bits of data are for the color and the saturation of that color so when you see all the second one luminous and prominent luminant incompetence that from its bc bc when I teach with stephen frequent underwater classes you know be cesaire very important but we start to talk about this and it comes down to two things that we really work with we only work with two entities when it comes to pixels in color management basically and that's brightness and color which are also known as lou eminence and chrome in its so I'm using those big words to sound you know important but I can use brightness and color but we think about luminosity and chrome ethnicity and color management so there it's all the same thing color brightness if you will this model is really cool any that's on the three d model yes it is a wonderful description of the different comparisons of the color spaces so if you look at that at the very bottom is black at the very top is white and in between are the different color hues in families so when you become a pixel when you are exposed in the camera you are a sign those three different aspects a brightness level and a color family in a color hugh all right so what's important about your involvement let me get two back to color management and let's talk about the event of calibration I created this one day and put it in here and sometimes it scares me because I forget but what's important today is calibration and let's talk about what it is we calibrate calibrate cameras, the calibrate scanners we calibrate monitors projectors and of course printers for all of my friends out there as you may know, I'm an explorer of light with cannon so my graphics are cannon products but we're talking about imaging so whether you're nikon or sony or any manufacturer, none of this is leading to just that it's all about color management so my question to you is how do we calibrate a camera? How do you calibrate a camera that's my question any answers from the audience here? This is a trick question in the way we calibrate a camera is too white balance it it's a simple matter of white balancing white balancing a camera is the means to calibrate the camera further certain lighting condition there other parameters involved in calibrating a camera if you will and that would be kind of a matrix set up how you're contrast that sharpness saturation even a color space if you're shooting j peg are even if you're shooting raw that kind of centers everything to a certain degree so calibrating a camera is the means of white balancing them for that being said, how do we calibrate a scanner? We this is, you know, a ninety four dollars question, but the way we calibrate a scanner is this we turn it on and it calibrates itself and what do you think when the scanner sensors one across the bed? What is it doing? It's doing a white balance? So basically scanners calibrate themselves, and now we get to a rather important aspect of a calibration, and that is your monitor. And if you think about the day in the life of a digital file, it's b born in the camera is processed on your computer and its output to a variety of devices in the only communication that we have with that data is our display, and if it's not properly calibrated and there's a agitate for you properly, if it's not properly calibrated, we're looking at erroneous data, and if you were to make adjustments in color tonal values, you could be doing some serious degrading to that fire. Are you with me on this? So when it comes to calibration, calibrating your display is the most important aspect of color. Muniz mint today for all of us, and if you only did one thing in color management and that was it, let it be this because this is our only means to see our livelihood or what we're doing. The art were created, so what happens when you're calibrating a display are basically two things you're establishing guess what a white balance our white point in the standard is sixty five calvin d sixty five known as daylight sixty five and the only reason you might want to change that is if you are in america and you have a printing press that's more like d fifty but the standard photographers d sixty five in these air, all default settings and then there's a contrast race, ratite radio are brightness level. So what are we talking about here? We're talking about prominence and luminous brightness color, same difference. So when you're calibrating a display, the varying factor between this display in the bigger display and this display, and that displaying the different manufacturers happens to be a contrast ratio. So when you look at my images on my display here, and when you look at my images on my large display in my office, the biggest difference you see is the detail in the shadow in the highlight region, because this this play is limited in its contrast ratio compared to this one, even though it's the same file that's something that we want to become familiar with because our objective is to get predictable results, and in order to do that, we have to take kind of a study and understanding of the characteristics of what we're working with there's a lot of explanation for calibrating a monitor, but hopefully I got the point across there. So what happens when you're calibrating a monitor literally it goes through a series of color patches that shows the sensor that sitting on your screen and for instance, the sensor says I see the red I see the green I see the blue and I know what it's supposed to be yielding in those three bits of data brightness, prominence and saturation and now that I see what it's your screen showing you, I'm going to create a profile and put that into your system so you're now looking at the closest proximity of what you're supposed to be seeing in that data do that kind of make sense what I just said hopefully we can repeat it yeah sounds important doesn't hurt? Well, it almost have to see the graphic start over now we have to do that when you're calibrating a monitor it's looking at the different color patches just like this and the sensor inside the reader is saying, well, I know what those colors are supposed to be and now I see what you're what it's yelling from your display and I'm going to create a profile and save it into the system of your computer that knows the difference between those color patches, what it's supposed to be and what I what I've seen, so I'm going to create a profile so you're seeing a closer proximity of what it's supposed to be and that profile is then saved into the system of your computer it's not saved in photo shop or light room or aperture our dpp or anything like that it's in your system as a matter of fact, it becomes known as your system profile, and that is the catalyst of managing color with certain aspect. So now when you open up a program such as photo shop photoshopped digs down there uses your system profile as a viewing filter, if you will. So you're now looking at accurate color, according to the file that you've created are creating and the capabilities of your display to display those colors. Hopefully that was more simple than it felt like it sounded same thing with a projector when you calibrated projector, you're not calibrating projector at all by the way, you're calibrating a screen that an image is reflecting off of. So the center is actually looking at the screen it's looking at the reflected color and it's calibrating the device in that respect, and it also creates a system profile. So when your computers hooked up to a projector, it's actually doing just at it, it's reading the reflectivity of the the screen itself, going on tour, doing twenty different city tour with the same projector you set it up, you projected, calibrated and it's surprising how difference the calibration is from one location to another even with the same screen and then there's printers. And how how do you calibrate printers today? Well, you really don't have to most calibrated most printers most all the printers today are self calibrating and the way they do that, of course is a print head alignment and nozzle cleaning and most the printers on the market today will do that. Those two things automatically I know when I get home in my office, I'll go in and I've got several printers in my office. I'll hear them wake up and kind of put think through the system a little bit to keep the lines clean um and then they'll go back to sleep, so they're keeping head their heads clean and it's. For that reason, I recommend this very controversial, um, element well, the print had alignment nozzle cleaning are the two means to calibrate a jet printing device and here's the controversial recommendation that I have for you and that is to keep your printer turned on because when you have it turned on there's little electrical dialogues that kind of go through the ink every now and then, keeping that eat live and clean and keeping those nozzles active if the printers turned off the heat and start to dry up and when you turn your printer on, it could take ten twenty minutes for it to clean itself out and find blocked nozzles and try to find new ones until it gets ready and that uses almost too much eq just to get it ready to print again so some printers turned themselves off which I think is a little bit of a shame I have one that does that myself but most of my printer's I keep on as I mentioned when I get to my office I hear them kind of going through that two minute cycle where they're cleaning the head you didn't go back to sleep all right? So calibration is very, very important monitor calibration to me is like the ultimate level of that ok and do we have questions and how are we doing on time here we have about well I'm not I'm not sure exactly what time we'll find out forty five when time is jail coming on okay so we have twenty minutes till joe and we have a ton of questions that I would love to ask you about that last segment let's go with the hot topics all right so I would love to go back and start with camera calibration just go back in each through a camera calibration monitor calibration that thing so fashion tv on camera calibration will what will affect the accuracy of the process does the choice of lens like a cheap lands versus in el syria's lens and cannon affect calibration what about the presence of a cheap filter reverses a black and white filter over the lens so if and maybe even you could talk us through again with that white balance exactly how what's the process of calibrating that well and means of calibration is a means of white balancing if you think about when they calibrate these video cameras there some means of white balancing so quite balancing is basically the bottom line of calibration when it comes to using various lenses and ellen's compared to a non ellen's you're looking at at that point you're looking at the quality of the lens resolution how much data and sharpness is going to be acquired inside of a pixel so that has little or nothing to do so much with color management is it does have to do with the quality of the sharpness and data that's in the pixel because of the resolution of the lends itself that not having to do so much with calibration has do it lin's resolution quality of the image itself quite balancing for mitt a camera comes in three different forms we have auto white balancing which worked extremely well today we have preset white balancing which could be daylight shade tungsten um inside outdoors kelvin presets worked great and then we have custom white balancing where we photograph a great card are white card and a sign that images the white balancing source that's custom white bouncing which always works best in most cases, but when you think about the concept of the work flow today, consistency is the key, and if we're using out of white balance which works by the way extremely well and we shoot this direction, this direction in this direction, this is probably going to be right on target. Your yellow blouse is going to affect the color balance here is your red vows will affect the color this way, so just slightly the color is still going to look great, but there's inconsistent here and in the process, and we have to change these two images just slightly to make things look more consistent, so white balancing becomes too catalyst to keep us in a consistent formation. Thank you. Okay, another question about involving monitors but gave me a little giggle, actually, but I think it's a good question, natalie b says, I know I'm jumping the gun, but one thing that is driving me nuts is the shiny apple computer displays she's asking, how does he adjust for that? Does that effect? You're calibrations really good question and I have a shiny apple and right here myself they're brighter and a little more saturated, and that is an anomaly that we have to understand and know that's going to be in place so the best teacher when it comes to all of this, it has experience but what we're looking for is consistency let's put that in line because when we have consistent see if we're consistently too dark if we're consistently to light for consistently to read then we can go back and find the culprit to that and find out what's going on there in most cases once you've established your monitor calibration you're going to be consistently on color and that should be good what might change is the movements or brightness part of the earth that might be inconsistent we just need to find out what that inconsistency is and where to target it because consistency is the thing. So going back to the film days when we shot film we had one speed in a film unless we pushed process it but let's not talk about that we had wants me to work with and we had one temperature could be thirty two hundred kelvin which would be indoors are daylight balance five thousand fifty five hundred calvin film for outdoor so with that we at least had consistency and for those of us that shot four by five film we would shoot the color target, get a test, print our image look at this transparencies and then you see see filters color correction filters over the lens to make it consistent for all that entire batch of film with digital cameras we have c c built into the camera we have such a variety of being able to change something men dating ourselves to get our cameras in consistent form is a big challenge for us today all right? We have some or a lot of monitor questions wonder calibration how often should you calibrate your monitor memories by elisa great question manufacturers recommend at least once a month some twice a month and that was certainly the case when we had the c r t displays the c r t big monitors most of those would calibrate that looked great and that start to drift and guess what our eyes would drift with them we really wouldn't notice that we're gone too ten units science are a little bit darker so by recalibrating once every two weeks would ensure that they're calibrated I have friends photographers who calibrate their displays every single day we're not going to make any mistakes about that I calibrate mind at least once every six weeks because the party's today don't drift like this excuse me the lcds don't drift like the c r t is used to so I calibrate occasionally and my calibration software wakes up he says it's time to calibrate it gives you a warning and give me a friendly reminder so doesn't make our in which situations would it make sense to calibrate more frequently well before does it don't tell your friends I don't think it matters with today's technology that you calibrate more frequently job brady might I have a better answer for that, but I think some of the friends on thinking of they are just they're sold on the effect of calibration it doesn't take what you calibrate the first time it only takes five minutes to calibrate the second time and their work is so important to them the calibration is so important to them to do it on a daily braces bases means they don't have to think about it. Okay, all right, two questions how accurate are calibrations that come, say, with the imac, the system in there versus doing it with the device that you showed us and then secondly, does the light level of the room when your calibrating matter who good I want to know the answer to that, too? Okay, first of all, the luminous level in the room does in fact have a great deal of influence on how we see the display. The display doesn't necessarily is not influence on the ambient light, but how we see that ambient light certainly does matter. So having a hood around your displays a great idea if you're working environment where you have a lot of light around the worst thing you can do sure this is going to hit home with a lot of people is to have your display facing a window because if you think about the window in the morning, we're about uh, sixty five kelvin temperature in the evening we're getting down toa you know, four thousand calvin temperature, if you will are something like that. Don't quote me on the actual temperatures, but all day long, the calvin temperature is changing, so if you have a window influencing your display that color temperature's changing all day long, so the best thing you can do is cover your windows with black. Okay, uh, paint your walls grey put on a blacks mark and black paint, and I'm just kidding, but thing you do is have consistency and lighting, so when you didn't calibrate, and by the way, the calibration devices are very much capable of reading the ambient light and considering that when you use them to calibrate your displays, so using the software that comes with your computer versus another device, thank you for that. So I'm both windows and the macintosh system. You can go into the system and use the system calibration feature that's there, and both of those in both respects do not work very well and compared to using calibration device for your displays and listen, a device to calibrate your monitor today is the least expensive piece of digital equipment you can possibly get, but with that being said, what the biggest problem with using an internal system to calibrate monitors on either platform is the event of inconsistency because you have to look at the display and said it this way in that way and it's been proven that women see color and tongue better than men that's a proven fact so if you're going to do that, make sure your female e yeah, I can just remember sitting in a dark hallway and trying tio read the do the color calibrations by myself using the native programs and they use that red is that right? It's very it's. Yeah, well, just so you know, you're talking a few years ago too, aren't you? Yeah, yeah, so so any we have about eight minutes before our phone call we have so many questions, so I'm just not sure how much she wanted to get through before we're in very good shape. Okay, so stay for so let's keep going. So again, with that, like my example of being in a dark room just to clarify for people american blond eso can we calibrate at night in a dark room and then do our work throughout the day in different lighting and it still be accurate? And what I'm hearing you say is that it's all like, should you be doing your calibration in the situation that you will be color correcting? The manufacturers recommend calibrating your device and you're working environment I personally would concur with this person because I'd like to calibrate my display can get the fox furs just right colors just right and then and that's basically what I do mostly I will calibrate in the evening when it's darker in my office but I have very little light influencing my work area the two windows that air in my office or way over there were shaded and my displaced facing this way with lamps that face straight down some the ambient light in my work environment is minimal if you're working in an area where you in office we have straight down lighting from fluorescent lights you definitely want you definitely want to get a monitor hood just build one by one to put over your display so that ambient light minimizes the effect and remember it's not only the the calibrated display if you calibrate your display that's going to kind of stay there it's how we see that calibrated display that's influenced by our ambient changes so another question from me in here in seattle I think he's upstairs you know you have great questions so he's talking about scanners and he says speaking of scanners calibration what do you think of scanning software from the scanners manufacturers versus third party party software developers like silver fast I don't know what that is but a lot of people out there probably dio is there any real difference so manufacturer versus somebody a third party well, we're talking about scanning, calibrating scanners said, when I hear the best means to calibrate a scanner is by via the manufacturer's recommendation. Now, for instance, with a high resolution film scanner, that manufacturer recommends a master calibration once a year, which takes about an hour to go through that type of process. The normal calibration this when we turn it on the white light beams up on a white target, for instance, we go to use this device. Today we're going to show the sensor in this color spectra for tom attar, this white source to calibrate, too. So every time you use a device that needs to be calibrated, it does white balance are some kind of case, is it uses a black thing to calibrate, too. So the same thing with the scanner, however we're talking about the basics of calibration today, there is another level of calibration that gets to a much higher level that we're not talking about today because we just want to have fun, and we don't want to get into technical aspects that very few of us might use, hopefully, and that was a good answer for you. All right? Another question, from sepp in orange county, california, I noticed that you have there aluminums of one twenty. When we're talking about back to monitors, I've always been told to settle lieutenants of eighty or ninety depending on how many hours you have on your monitor and here she is using the aiso color edge monitor okay, well when you're you're set up to calibrate a device you installed the software it kind of sees what device you're using and it recommends that limits for you when you're calibrating what you saw on my screen was a screenshot have a default it wasn't necessary the recommended level and if we'll point that question to joe brady, he'll probably be able to have a much better answer than that really good question but I left the software handle calibration for me I love calibration but I make it the easy way I do it the easy way and it works so actually just wanted to check with these guys are in studio audience to see if you guys have any questions or there you know have been any light bulbs going on above your heads a lot of info and it's often I'm really speaking out about good ok, I get that question I'm do tow era I don't just like that so I used the this stop so I have a different screen on then I'm due for enough I'm due for an upgrade you are screens have it d am I on the other one can remember so does that make any difference dea its demise against the the other kind of can't remember the other one estimize more of a television screen? I know the technology's there. I don't have a good answer for you on that technology. I'm sorry, I just don't understand it that that much h d m I tv screens are not the same type of resolution we need for image ing, even though I know that there are a few out there that are available on hopefully I want to put a little bit more on joe. Maybe he can help us with that a little bit more of a good question, joe. People are so into this new thing that has so many questions, uh, mask the media says I like my monitor brightness to be as high as possible calibrating results in my monitor being dimmer than I like. How does luminant affect prominence? Oh baby, luminous is it's almost a ying yang you wanted to bright your colors, they're going to beat oversaturated you wanted to dark, your colors are going to be muffled and locked up. Perhaps the brightness on a display is something you need to let the calibration device hand on and let it set that brightness and in some cases is still too bright, especially with today's technology. When we started using lcd screens everything was too bright it's too oversaturated and we had to compensate for that in our work flowing are either our mind are physically take the brightness down I like brightness to but when it comes to excuse me color management I count on my calibration device to set the color temperature in the brightness level contrast and read the movement self for me that's what the luminous went twenty were talking about earlier on eighty or ninety being more standard for professional imaging but those air settings when you go to look at the settings when you're calibrating you have a pull down menu for the limits and you go to native r two I recommended are the one that you want to pre set too I don't know about other people out there but that is definitely an issue for me because I like it to be fully bright looking but I know that in my head that that's not going to work out well so I guess what you're saying is I need to be disciplined and you may think that in this what the average is it is I think I heard at some point it was like sixty or sixty five percent is that true in terms of the same brightness on the spectrum zero to one hundred that you should have it down to about sixty percent rightness or am I making that up well, I wouldn't put it just to sixty. That would make it a bit too dark, but I would definitely go with the recommended, whatever your money right now, with that being said, the brightness thing. I understand that I'm with you on that, because when I first had to get my display in a darker, luminous scales, like what, it looks too dark. But an hour later, I didn't notice it. So you're our eyes become accustomed to properly calibrated display fairly quickly. The worst thing that can happen is to work on a non calibrated display and try to get color like we're going to get today. Just. It just doesn't work, and that's generally, where the biggest problem happens to come from.