Eizo CG247x calibration

Hey Folks!

Still quite new to all this but finally i got the money to buy the CG274x...my plan is to connect it via mini monitor HDMI cable.
I'm gonna calibrate it with an external device for the hardware calibration and i guess with DisplayCAL for now due its free....

I was wondering...
If i've done the calibration hardware-wise with displaycal. do i still need to calibrate inside resolve and generate a LUT for better results?

What calibration settings do you guys use for web and boradcast and Projection?
What gamma? 2.2 or 2.4? Most of the stuff i do is for web tho... but i am soon starting a documentary which will need a little more...


cheers
Adam

so...i got the monitor and i am testing...
can somebody tell me if its done right like that?

curent setting:

EIZO:
Mode: CUSTOM
Gamma: Adobe RGB
Temp: 6500K
Brightness: 120cd
Gamus: Native

Calibration via. Ultrastudio Mini Monitor / DisplayCAL / Davinci - calibrated with DisplayCAL Preset for Rec.1886 and loaded 3D LUT in Davinci to Video Monitor.
(also did a calibration for the GUI because after the Video Monitor calibration it was WAY off...way...

Result look OK..blacks seem to be lifted a little (maybe i just have to get used to it?)
...but Is it ok to use this setting/workflow also for Web Delivery?

I just tested a clip and sent it to my iphone...looks quite a lot more greenish on the iphone.....magenta/green shift is kind of very bad we know...

another question…in resolve i have to set output colorspace but i just can find the following:
REC709 (scene)
REC709 2.2
REC709 2.4

but no Rec.1886?

REC709 2.4 is actually Rec.1886.
This should be corrected in Resolve as it has been in some apps, but many people don't know that Rec.1886 does exist, so it may cause just a confusion.

You rather want sRGB calibrated screen if you deliver for web.
Rec.1886 is rathe for modern TVs. Most of them are somewhere between 2.2 and 2.4 gamma, but rather closer to 2.2 by default (based on measurements of review websites). It looks like more new TVs tend to getting closer to 2.4.

I'm not calibration expert at all, but I think you need to calibrate display to sRGB/Rec.709.
If anything you should choose preset in monitor setting (closest what you want- sRGB/Rec.709) and than you may do calibration in Resolve, but ideally you want to calibrate monitor itself as Eizo is made for this. I rather trust internal monitor engine than calibration based on external LUT (1st one should be way more accurate by my guess).

hey Andrew!

thanks a lot for your help!

i now first did an sRGB calibration with the preset of color navigatorX. and after that a calibration via resolve and DisplayCAL....

So first the eizo sRGB calibration and on top in resolve the sRGB generated lut.
look quite OK but since i did both calibrations for sRGB there should be no shift when applying the lut right?
but of course there is one...even tho its not a lot..is a shift between green and magenta whats not so good ...

aarrrgh...is so hard to find just the "right" way here....

Ok, makes sense.
If you calibrate your monitor internally to "perfect" eg. sRGB and feed video out of Resolve over BM then there is no need for any Resolve additional preview LUT. It's the cleanest path you can have.
If you see big shift then something is not right. As you said- there should be no shift some crazy small if anything.
I would stay with just with monitor calibration as by my guess this should be more accurate and reliable way.
Maybe people with more real life knowledge can advise you more

i would love to stay with the internally calibration of Colornavigator NX but it seems to be not so close to "perfect" for me...and you said there shouldn't be such a big shift...
i also found people saying that the eizo calibration isn't that good and to use Lighspace or sth...but lightspace is more $ than the monitor argh.

hope somebody with experience will type some help

Are you talking about Eizo built-in probe?

http://www.liftgammagain.com/forum/inde ... 686/page-3

read this. Maybe useful for you. Internal probe looks not that bad at all.

no i left the build in probe out and calibrated with the i1d3. I just meant the internal calibration of the monitor

This should be good then.
How does it compare to built in preset- this should be already fairly decent.

the sRGB preset compared to the one I've made is a little bit less contrasty for what I've seen ....
but i still have to do this in detail....

i spent yesterday and today trying to get a working REC709 BT1886 calibration...i really tried hard!

following your words i ended up using the i1d3 probe with Colornavigator and it seems to work, but i don't have a Regular TV to check............yeeeeah i need more equipment!

I will post what i've done and see if somebody sees an error in my chain

1. Eizo ColorNavigator Calibration to REC709

- Eizo connected via DVI
- used the REC709 preset and changed 80cd to 100cd
- Gamma: (x)All RGB, 2.4
- Priority: Standard
- Gammut: Manual, Clipping ON

2. Switch signal to HDMI

- select the right calibration i did before
- Set Screen INPUT Range to: FULL
- HDMI settings everything off

3. Inside Davinci

Project settings:

Color: Davnici YRGB CM
Data Levels: FULL
Bit Depth: 10bit

Input: Rec709 2.2
Timeline: Rec709 2.4
Output: Rec709 2.4

for me this look quite good...
when i take a look at the scopes and on the Monitor the blacks seem to be maybe a tiny little bit too black on the screen

Are you suing GUI preview- hmmm, this is "problematic" point with Resolve.

To help our test download Scratch Play and use same DPX etc image to compare. Scratch GUI preview is (at least in my testes) separated from OS color engine. It uses OpenGL surfaces. In Scratch in Monitor setting you just set what your monitors is eg. Rec.709 and (do the same in Config or Shot tab for the actual imported file then Scratch will pass it as is). If you have Quadro or AMD Pro card you can enable OnenGL: Deep Color in Preferences, so then with DP or HDMI you should get 10bit GUI preview.

thanks a lot! i will check that! Especially because of the 10bit but i first wented to get at least a calibration/workflow right and then worry about the 10bit

i haven't meant the GUI Viewer window..so im aware that this is fake because of the OS..
thats why i wanted the eizo. I've connected it via BM Ultrastudio Mini Monitor...

Input: Rec709 2.2
Timeline: Rec709 2.4
Output: Rec709 2.4

this will force every file to be interpreted as Rec709 2.2 as far as I understand. Is this what you want?
I rathe read this set to Bypass and assign correct profile for each file in the bin manually.

Input: Rec709 2.2
Timeline: Rec709 2.4
Output: Rec709 2.4

this will force every file to be interpreted as Rec709 2.2 as far as I understand. Is this what you want?
I rathe read this set to Bypass and assign correct profile for each file in the bin manually.

yes that should be right. i picked that because the setup will be for a documentary wich was shot back in 2011 but never finished... and it was shot on 5D Mark 2 and 7D ..so what i've read the 5D is producing Rec709 2.2?

also tried bypass but seems to be too dark compared to the original footage...

Input: Rec709 2.2
Timeline: Rec709 2.4
Output: Rec709 2.4

this will force every file to be interpreted as Rec709 2.2 as far as I understand. Is this what you want?
I rathe read this set to Bypass and assign correct profile for each file in the bin manually.

yes that should be right. i picked that because the setup will be for a documentary wich was shot back in 2011 but never finished... and it was shot on 5D Mark 2 and 7D ..so what i've read the 5D is producing Rec709 2.2?

also tried bypass but seems to be too dark compared to the original footage...

These files are probably full range, so this maybe your brightness issue. Try changing video levels for them.

These files are probably full range, so this maybe your brightness issue. Try changing video levels for them.

yep...i've set already Monitor and Davinci Project to "Full"...so that should be good.

btw do you know more about the VIDEO/Full Range?

do i always have to set it like the footage is or is it just important to have Monitor and Davinci set the same?

Is there anywhere a list what cameras produce what range? f.e. Fs7/Fs5, Red... full or video levels?

It's setting per clip in right click, Clip Properties. Totally separate from monitoring.

Full range is more of an issue if source is YUV based like h264. Resolve use to not read range flag in h264, but recent version as far as I remember does. For RED or other RAW formats you don't have to worry about it. Biggest issue was with h264 mp4/mov. ProRes/DNxHR is also rather limited range, but in some cases it can be full range (if user force it), so then you have to manually overwrite Resolve detection. Problem is that MOV doesn't have a flag for it, so you have to guess/know if it's full or limited range.
When it comes to cameras you have real mixture (sometimes you have settings), but again this is more related to prosumer cameras. For example a6300 shoots limited range for all profiles except S-Log, which is full range. At least it's properly flagged, so you can check it with eg. mediainfo. Sometimes you have bit strange files like 16-255, so neither one nor other

hey andrew,

didn't know that! aaah man you're the man! so much interesting and important information!
Gonna check this today as i'm getting FS5 and A7s II and Canon Mark 4 footage!

I am thinking of picking this up as a ref monitor.
For calibrating as ref, do I need to use an external option and not the built-in one?
Also, I am used to using an OSEE LCD via SDI will I be fine using HDMI via BMD US4K?