Διαβαζα ενα ενδιαφερον thread στο Avsforum το οποιο με προβληματισε εντονα σχετικα με το αν τελικα ειναι απαραιτητο να γινεται η χρωματικη/greyscale/gamma ρυθμιση στον χωρο μας ή αν είναι δυνατο να στειλουμε τον προβολεα/πηγη μας στον ειδικο να το ρυθμισει σε περιβαλλον εργαστηριου.
Όταν αρχισα να το διαβάζω, αυθορμητα ειπα “ναι καλα, πως είναι δυνατον!Τι θα γινουν οι ανακλασεις από τους τοιχους, το ταβανι, τι επιδραση θα εχει η οθονη, οι κουρτινες,» τα κλασικά δηλαδη..
Όμως, με προβλημάτισε το γεγονος ότι ο ανθρωπος που το συνιστουσε αυτό, δεν ηταν άλλος από τον William Phelps, έναν από τους κορυφαιους calibrators παγκοσμιως o οποιος εχει μαλιστα αναπτυξει ειδικο software για την ρυθμιση του greyscale των LCOS/DiLA/SXRD προβολεων.
Μαλιστα, ειπε ότι είναι προτιμότερο να του στειλει ο πελατης τον προβολεα προς ρυθμιση διοτι στο studio του εχει δημιουργησει συνθήκες εργαστήριου για την ρυθμιση προβολικών με χρηση του software του και πανακριβων εργαστηριακών εργαλειων μεταξυ των οποιων και μιας CCDcamera για την οποια και μονο, αν εκανε ρυθμιση σε σπιτι, θα επρεπε να την σοτάρει αρκετες ωρες προκειμενου να αποδώσει με άκριβεια! !
(«In this case Optimization involves far more than simple adjustments. The Shading Tool uses an astronomical CCD camera to image the projector's output with 16 bit precision. To do an onsite calibration means I have to first calibrate the camera for a new environment, a process that takes several hours. If time and my schedule permit, I can do an onsite calibration, but it would triple the price. Far better to ship it to my lab, which is fully light controlled and fine tuned for the process»).
Στην ευνόητη ερώτηση μέλους «τότε όλοι οι calibratorsπου επιμένουν για ρύθμιση στο σπίτι μας, λένε μπούρδες?» τον παρέπεμψε σε reviews της δουλειας του οπου κατα τα λεγόμενα επαγγελματιες calibrators, όταν πηγαν να τσεκαρουν τον ηδη ρυθμισμένο προβολεα στον χώρο που προοριζόταν δεν αλλαξαν τιποτε παρα μονο ένα-δυο κλικ στο brightness ! (“One said, paraphrasing, "I could not find anything to adjust to improve the picture, other than one or two clicks in brightness, and that changes with each DVD". A very well respected calibration expert was asked by a customer to come and calibrate a projector I had Optimized. He arrived, spent a couple of hours, and finally reported to the customer that he could find nothing that needed adjusting”).
Την αποψη αυτή του WilliamPhelps ασπαζεται και ενας άλλος γνωστός calibrator ο KRASMuzik ο οποιος χαρακτηριστικά αναφερει:
“I am in agreement with wm on this. Most calibrators have created a traveling biz because nobody wants to freight their ### RPTV CRT beasts back and forth that really cannot be deinstalled. But a ## small projector is inexpensive and quick to ship and remount (though a Ruby gets a bit spendy on size/weight/price). If you are a traveling calibrator - you cannot afford to be home - you have to be on the road with the group tours in a certain area - it is bad business to suggest someone mail it in. I have started doing mail-in calibrations of digital projectors - much like guitarman has been doing recently. ISFers are very successful in convincing of the need for in-home service - but I can see no technical reasons for this - only biz reasons.
While my instruments are not lab grade like wm's - I get very leary about going out in the rain with them. Humidity and moisture is death to these instruments. I post here because I in no way compete with wm - he specializes in LCOS shading/gamma - I won't touch it (OK I will - but greyscale only)- and I usually do DLP FP. But someone failing to calibrate because of the hassle of a mail-in or fears of miscalibrations in a remote lab are doing themselves a disservice.
What is being calibrated for in your room besides the basic video adjustments with your source?Sure if you need someone to run the THX or AVIA basic setup or recommend wall paints - then hire somebody in. Otherwise greyscale, shading and gamma are a function of the optics and panel drivers - and have nothing to do with your sources (except for archaic VGA and RGBHV voltage variances). Some projectors even have video decoder adjustments - but this is rarely found on sources. But send in your DVD player as well with the caveat that different sources need different basic video adjustments. Last I checked 2' screen samples are easy to get - the screen companies give them away!
It is entirely possible for manufacturers to do this and deliver you a digital FP that is calibrated - and they could amortize the cost across all their displays. Infocus ScreenPlay/PlayBig does this to the point I have nothing to do until the lamp is well faded - even my 10% market of videophiles wanting that last % has vanished because they get it right out of the box.
Of course you can get the whole system and room tuned with an in-home visit - and it certainly should cost more for that. But since marketing is reponsible for screwing up engineering of these digital panels - there is a lot that can be fixed in the lab.”
Αληθεια, ποια είναι η γνωμη σας?
Μηπως πρεπει να αρχισουμε να αναθεωρουμε πραγματα τα οποια θεωρουσαμε ως δεδομενα??:nounder:
Ολο το thread εδώ:
http://www.avsforum.com/avs-vb/showthread.php?t=696181&page=1&pp=20
Όταν αρχισα να το διαβάζω, αυθορμητα ειπα “ναι καλα, πως είναι δυνατον!Τι θα γινουν οι ανακλασεις από τους τοιχους, το ταβανι, τι επιδραση θα εχει η οθονη, οι κουρτινες,» τα κλασικά δηλαδη..
Όμως, με προβλημάτισε το γεγονος ότι ο ανθρωπος που το συνιστουσε αυτό, δεν ηταν άλλος από τον William Phelps, έναν από τους κορυφαιους calibrators παγκοσμιως o οποιος εχει μαλιστα αναπτυξει ειδικο software για την ρυθμιση του greyscale των LCOS/DiLA/SXRD προβολεων.
Μαλιστα, ειπε ότι είναι προτιμότερο να του στειλει ο πελατης τον προβολεα προς ρυθμιση διοτι στο studio του εχει δημιουργησει συνθήκες εργαστήριου για την ρυθμιση προβολικών με χρηση του software του και πανακριβων εργαστηριακών εργαλειων μεταξυ των οποιων και μιας CCDcamera για την οποια και μονο, αν εκανε ρυθμιση σε σπιτι, θα επρεπε να την σοτάρει αρκετες ωρες προκειμενου να αποδώσει με άκριβεια! !
(«In this case Optimization involves far more than simple adjustments. The Shading Tool uses an astronomical CCD camera to image the projector's output with 16 bit precision. To do an onsite calibration means I have to first calibrate the camera for a new environment, a process that takes several hours. If time and my schedule permit, I can do an onsite calibration, but it would triple the price. Far better to ship it to my lab, which is fully light controlled and fine tuned for the process»).
Στην ευνόητη ερώτηση μέλους «τότε όλοι οι calibratorsπου επιμένουν για ρύθμιση στο σπίτι μας, λένε μπούρδες?» τον παρέπεμψε σε reviews της δουλειας του οπου κατα τα λεγόμενα επαγγελματιες calibrators, όταν πηγαν να τσεκαρουν τον ηδη ρυθμισμένο προβολεα στον χώρο που προοριζόταν δεν αλλαξαν τιποτε παρα μονο ένα-δυο κλικ στο brightness ! (“One said, paraphrasing, "I could not find anything to adjust to improve the picture, other than one or two clicks in brightness, and that changes with each DVD". A very well respected calibration expert was asked by a customer to come and calibrate a projector I had Optimized. He arrived, spent a couple of hours, and finally reported to the customer that he could find nothing that needed adjusting”).
Την αποψη αυτή του WilliamPhelps ασπαζεται και ενας άλλος γνωστός calibrator ο KRASMuzik ο οποιος χαρακτηριστικά αναφερει:
“I am in agreement with wm on this. Most calibrators have created a traveling biz because nobody wants to freight their ### RPTV CRT beasts back and forth that really cannot be deinstalled. But a ## small projector is inexpensive and quick to ship and remount (though a Ruby gets a bit spendy on size/weight/price). If you are a traveling calibrator - you cannot afford to be home - you have to be on the road with the group tours in a certain area - it is bad business to suggest someone mail it in. I have started doing mail-in calibrations of digital projectors - much like guitarman has been doing recently. ISFers are very successful in convincing of the need for in-home service - but I can see no technical reasons for this - only biz reasons.
While my instruments are not lab grade like wm's - I get very leary about going out in the rain with them. Humidity and moisture is death to these instruments. I post here because I in no way compete with wm - he specializes in LCOS shading/gamma - I won't touch it (OK I will - but greyscale only)- and I usually do DLP FP. But someone failing to calibrate because of the hassle of a mail-in or fears of miscalibrations in a remote lab are doing themselves a disservice.
What is being calibrated for in your room besides the basic video adjustments with your source?Sure if you need someone to run the THX or AVIA basic setup or recommend wall paints - then hire somebody in. Otherwise greyscale, shading and gamma are a function of the optics and panel drivers - and have nothing to do with your sources (except for archaic VGA and RGBHV voltage variances). Some projectors even have video decoder adjustments - but this is rarely found on sources. But send in your DVD player as well with the caveat that different sources need different basic video adjustments. Last I checked 2' screen samples are easy to get - the screen companies give them away!
It is entirely possible for manufacturers to do this and deliver you a digital FP that is calibrated - and they could amortize the cost across all their displays. Infocus ScreenPlay/PlayBig does this to the point I have nothing to do until the lamp is well faded - even my 10% market of videophiles wanting that last % has vanished because they get it right out of the box.
Of course you can get the whole system and room tuned with an in-home visit - and it certainly should cost more for that. But since marketing is reponsible for screwing up engineering of these digital panels - there is a lot that can be fixed in the lab.”
Αληθεια, ποια είναι η γνωμη σας?
Μηπως πρεπει να αρχισουμε να αναθεωρουμε πραγματα τα οποια θεωρουσαμε ως δεδομενα??:nounder:
Ολο το thread εδώ:
http://www.avsforum.com/avs-vb/showthread.php?t=696181&page=1&pp=20
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