DOCSLIB.ORG

Imagine Monitors As Suited to Critical Color Applications As You Are

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

imagine monitors as suited to critical color applications as you are. Samsung XL Series SyncMaster XL20/XL24/XL30 Professional-Grade LCD Monitors with LED Backlighting Samsung XL20/XL24/XL30 Professional-Grade LCD Monitors with LED Backlighting for Critical Color Applications imagine monitors capable of reproducing color exactly the way you see it. Samsung XL-series professional-grade monitors employ an LED backlight unit (BLU) to deliver critically accurate color. They’re monitors for those who, like us, require nothing less than perfection from the equipment that their careers and reputations depend on. With the Samsung XL20, XL24 and XL30, it’s not hard to imagine. The Samsung LCD LED backlight unit. You have a critical eye for color. And now, you have a critical monitor for color. Samsung’s LED BLU (Backlight Unit) goes beyond CRT phosphor and LCD CCFL (Cold Cathode Fluorescent Lamp) technologies. The Samsung LED BLU uses LEDs instead of fluorescent lamps to backlight our XL-series monitors. The color wavelengths of LEDs have a higher purity level than fluorescent lamps. The result is purer whites, a wider range of reds and greens, and the widest range of color reproduction yet. Intensity Intensity Intensity Intensity Blue Green Red Blue LED GreenLED Red LED Blue Green Red Blue LED GreenLED Red LED Wavelength Wavelength Wavelength Wavelength Samsung LED BLU Monitor Cold Cathode Fluorescent Lamp Monitor Up to 123% NTSC color gamut. Traditional CCFL LCD displays reproduce just 82% of the NTSC RGB color gamut. The latest CCFL technology is able to reproduce 102%. The Samsung XL20, on the other hand, reproduces 114% of the NTSC color gamut, while the XL24 and XL30 reproduce a full 123%. With Samsung, all NTSC colors can be displayed, as well as colors that have previously been impossible to reproduce. You no longer have to compromise. Your color can be exactly the way you want it. Samsung XL Series with up to 123% 0.8 of the NTSC RGB color gamut XL30 0.6 Samsung Enhanced CCFL with up to 102% of the NTSC RGB color gamut 0.4 275T+ 0.2 Traditional LCD Monitors with up to 82% of the NTSC RGB color gamut 0 0.4 0.6 0.2 0.8 740N Capable of reproducing Adobe RGB color profiles. Conventional CCFL LCD monitors express colors within the sRGB color space, which is good. The Samsung XL24 and XL30 monitors go one better, though, and reproduce colors within the Adobe RGB color space. Adobe RGB color space Adobe RGB is the standard color profile for digital cameras and printers. It covers a wider gamut of colors than sRGB, and if you’re working on a monitor that won’t reproduce Adobe sRGB color space RGB colors, it will automatically convert your colors to sRGB. Color correction becomes inaccurate, and differences in color become even more pronounced when printing. The XL24 and XL30 have a wide enough color gamut to reproduce sRGB, Adobe RGB and CMYK profiles. The color you see is exactly the color you get. Superior color management. You need more than a superior monitor for accurate color representation. You also need a superior CMS (color management system). Original Monitor Calibration Printer Calibration Monitor / Printer Matching Same Color Samsung Natural Color Expert calibration software works in conjunction with Huey probe (XL20) and Eyeone Display 2 (XL24/XL30) calibrators, to deliver precision color. The Samsung CMS measures the output characteristics of the XL display and creates a unique profile. That profile is mapped with ICC-established independent color spaces to provide a universal, accurate color representation. The accuracy of the Samsung CMS provides critically correct color throughout the lifetime of the monitor, even as it ages. Up to 14-bit LUT processing. Using an 8-bit LUT (look-up table) input, the XL20 produces 10-bit LUT output, while 10 bit LUT the XL24 and XL30 produce 14-bit LUT output. The image values are mapped to 8 bit LUT grayscale, with the top of the LUT initialized to white and the bottom to black. Grayscale 14 bit LUT is distributed between. The result is smoother, more accurate grayscale reproduction. The BLU is green. XL-series professional-grade monitors are environmentally friendly. The LED backlight contains none of the mercury or halogen that CCFL backlights do. And more. Samsung XL series monitors feature a And the use of the Samsung LED BLU professional hood that’s actually part of the instead of fluorescent lamps results in longer color system, as it blocks ambient light and life of up to 100,000 hours. ensures accurate color viewing. Samsung LED BLU An ultra-thin bezel design keeps the focus on the image, where it belongs. Fluorescent Lamps Specifications XL20 XL24 XL30 Panel Type Super PVA Super PVA Super PVA Viewable Size 20.1" 24.0" 30.0" Brightness (Typical) 250 cd/m2 250 cd/m2 200 cd/m2 Contrast Ratio (Typical) 600:1 1000:1 1000:1 Response Time (Typical) 8 ms (G to G) 8 ms (G to G) 6 ms (G to G) Viewing Angle (H/V) 178°/178° 178°/178° 178°/178° Native Resolution 1600 x 1200 1920 x 1200 2560 x 1600 Aspect Ratio 5:4 16:10 16:10 Maximum Colors 16.7M 16.7M 16.7M Color Gamut NTSC 114% NTSC 123% NTSC 123% Color Support sRGB sRGB, Adobe RGB sRGB, Adobe RGB Processing 10-bit LUT 14-bit LUT 14-bit LUT Color Management Software Natural Color Expert Natural Color Expert Natural Color Expert Color Management Hardware Huey Probe Eyeone Display 2 Calibrator Eyeone Display 2 Calibrator Interface Analog/Digital Analog/Digital Digital Input Video Signal Analog RGB, DVI Analog RGB, DVI Analog RGB, DVI Sync Type Separate H/V, Composite Separate H/V, Composite Separate H/V Input Connectors DVI-I, DVI-D DVI-I, DVI-D DVI-I, DVI-D Power Consumption 85 watts (max.), <2 watts (DPMS mode) 100 watts (max.), <2 watts (DPMS mode) 85 watts (max.), <2 watts (DPMS mode) Wall Mount Interface VESA 100 mm VESA 200 x 100 mm VESA 200 x 100 mm Regulation TCO ’99 TCO ’03 TCO ’99 Color Black Black Black Magic Technologies MagicRotation™, MagicColor™, MagicStand™ MagicRotation™, MagicSpectrum™, MagicStand™ MagicRotation™, MagicSpectrum™ Lifetime 100,000 Hours 100,000 Hours 100,000 Hours Other Features Professional Hood, Slim Bezel, Height Adjustable Professional Hood, Slim Bezel, Height Adjustable Professional Hood, Slim Bezel, Height Adjustable Pivot Stand Pivot Stand Pivot Stand Dimensions (W x H x D) 17.6" x 15.4" x 8.7" 22.2" x 18.2" x 9.9" 27.3" x 20.2" x 11.0" (without stand: 17.6" x 14.1" x 3.5") (without stand: 22.2" x 15.1" x 3.7") (without stand: 27.3" x 18.4" x 3.8") Net Weight 16.7 lbs. 22.0 lbs. 30.5 lbs. Warranty (Parts/Labor) 3/3 3/3 3/3 XL20 Dimensions XL24 Dimensions XL30 Dimensions 27.3" 17.6" 22.2" 20.2" 15.4" 18.2" Product Information: 1-866-542-7214 Product Support: 1-800-SAMSUNG www.samsungforbusiness.com ©2007 Samsung Electronics America, Inc. Samsung is a registered trademark of Samsung Electronics Corp., Ltd. Specifications and design are subject to change without notice. See www.samsung.com for detailed information. Printed in USA. XLSeries12/07R1.
Recommended publications
  • COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING

    COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING

    COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position.
  • NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC MultiSync® PA311D Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 31” MultiSync PA311D is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut LED backlight provides 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA311D delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut LED LCD backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • True 4K resolution (4096 x 2160) offers a high pixel density • Up to 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3 • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive,
  • Accurately Reproducing Pantone Colors on Digital Presses

    Accurately Reproducing Pantone Colors on Digital Presses

    Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings.
  • Iec 61966-2-4

    Iec 61966-2-4

    This is a preview - click here to buy the full publication IEC 61966-2-4 Edition 1.0 2006-01 INTERNATIONAL STANDARD Multimedia systems and equipment – Colour measurement and management – Part 2-4: Colour management – Extended-gamut YCC colour space for video applications – xvYCC INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE R ICS 33.160.40 ISBN 2-8318-8426-8 This is a preview - click here to buy the full publication – 2 – 61966-2-4 IEC:2006(E) CONTENTS FOREWORD...........................................................................................................................3 INTRODUCTION.....................................................................................................................5 1 Scope...............................................................................................................................6 2 Normative references .......................................................................................................6 3 Terms and definitions.........................................................................................................6 4 Colorimetric parameters and related characteristics .........................................................7 4.1 Primary colours and reference white........................................................................7 4.2 Opto-electronic transfer characteristics ...................................................................7 4.3 YCC (luma-chroma-chroma) encoding methods.......................................................8
  • 246E9QSB/00 Philips LCD Monitor with Ultra Wide-Color

    246E9QSB/00 Philips LCD Monitor with Ultra Wide-Color

    Philips LCD monitor with Ultra Wide-Color E Line 24 (23.8" / 60.5 cm diag.) Full HD (1920 x 1080) 246E9QSB Stunning color, stylish design The Philips E line monitor features stylish design with extraordinary picture performance. A narrow border Full HD display with Ultra Wide-Color brings you to real true-to-life visuals. Enjoy superior viewing in a stylish design. Superb Picture Quality • Ultra Wide-Color wider range of colors for a vivid picture • IPS LED wide view technology for image and color accuracy • 16:9 Full HD display for crisp detailed images Features designed for you • Narrow border display for a seamless appearance • Less eye fatigue with Flicker-free technology • LowBlue Mode for easy on-the-eyes productivity • EasyRead mode for a paper-like reading experience Greener everyday • Eco-friendly materials meet major international standards • Low power consumption saves energy bills LCD monitor with Ultra Wide-Color 246E9QSB/00 E Line 24 (23.8" / 60.5 cm diag.), Full HD (1920 x 1080) Highlights Ultra Wide-Color Technology 16:9 Full HD display a new solution to regulate brightness and reduce flicker for more comfortable viewing. LowBlue Mode Ultra Wide-Color Technology delivers a wider Picture quality matters. Regular displays deliver spectrum of colors for a more brilliant picture. quality, but you expect more. This display Ultra Wide-Color wider "color gamut" features enhanced Full HD 1920 x 1080 produces more natural-looking greens, vivid resolution. With Full HD for crisp detail paired Studies have shown that just as ultra-violet rays reds and deeper blues.
  • Xilinx PG014 Logicore IP Ycrcb to RGB Color-Space Converter V6.00.A, Product Guide

    Xilinx PG014 Logicore IP Ycrcb to RGB Color-Space Converter V6.00.A, Product Guide

    LogiCORE IP YCrCb to RGB Color-Space Converter v6.00.a Product Guide PG014 July 25, 2012 Table of Contents SECTION I: SUMMARY IP Facts Chapter 1: Overview Feature Summary. 8 Applications . 9 Licensing and Ordering Information. 9 Chapter 2: Product Specification Standards Compliance . 10 Performance. 10 Resource Utilization. 11 Core Interfaces and Register Space . 13 Chapter 3: Designing with the Core General Design Guidelines . 27 Color-Space Conversion Background . 28 Clock, Enable, and Reset Considerations . 34 System Considerations . 36 Chapter 4: C Model Reference Installation and Directory Structure . 38 Using the C-Model . 40 Input and Output Video Structures . 42 Initializing the Input Video Structure . 43 Compiling with the YCrCb to RGB C-Model . 46 YCrCb to RGB Color-Space Converter v6.00.a www.xilinx.com 2 PG014 July 25, 2012 SECTION II: VIVADO DESIGN SUITE Chapter 5: Customizing and Generating the Core Graphical User Interface . 49 Output Generation. 53 Chapter 6: Constraining the Core Required Constraints . 54 Device, Package, and Speed Grade Selections. 54 Clock Frequencies . 54 Clock Management . 54 Clock Placement. 54 Banking . 55 Transceiver Placement . 55 I/O Standard and Placement. 55 SECTION III: ISE DESIGN SUITE Chapter 7: Customizing and Generating the Core Graphical User Interface . 57 Parameter Values in the XCO File . 61 Output Generation. 62 Chapter 8: Constraining the Core Required Constraints . 63 Device, Package, and Speed Grade Selections. 63 Clock Frequencies . 63 Clock Management . 63 Clock Placement. 63 Banking . 64 Transceiver Placement . 64 I/O Standard and Placement. 64 Chapter 9: Detailed Example Design Demonstration Test Bench . 65 Test Bench Structure .
  • Specification of Srgb

    Specification of Srgb

    How to interpret the sRGB color space (specified in IEC 61966-2-1) for ICC profiles A. Key sRGB color space specifications (see IEC 61966-2-1 https://webstore.iec.ch/publication/6168 for more information). 1. Chromaticity co-ordinates of primaries: R: x = 0.64, y = 0.33, z = 0.03; G: x = 0.30, y = 0.60, z = 0.10; B: x = 0.15, y = 0.06, z = 0.79. Note: These are defined in ITU-R BT.709 (the television standard for HDTV capture). 2. Reference display‘Gamma’: Approximately 2.2 (see precise specification of color component transfer function below). 3. Reference display white point chromaticity: x = 0.3127, y = 0.3290, z = 0.3583 (equivalent to the chromaticity of CIE Illuminant D65). 4. Reference display white point luminance: 80 cd/m2 (includes veiling glare). Note: The reference display white point tristimulus values are: Xabs = 76.04, Yabs = 80, Zabs = 87.12. 5. Reference veiling glare luminance: 0.2 cd/m2 (this is the reference viewer-observed black point luminance). Note: The reference viewer-observed black point tristimulus values are assumed to be: Xabs = 0.1901, Yabs = 0.2, Zabs = 0.2178. These values are not specified in IEC 61966-2-1, and are an additional interpretation provided in this document. 6. Tristimulus value normalization: The CIE 1931 XYZ values are scaled from 0.0 to 1.0. Note: The following scaling equations can be used. These equations are not provided in IEC 61966-2-1, and are an additional interpretation provided in this document. 76.04 X abs 0.1901 XN = = 0.0125313 (Xabs – 0.1901) 80 76.04 0.1901 Yabs 0.2 YN = = 0.0125313 (Yabs – 0.2) 80 0.2 87.12 Zabs 0.2178 ZN = = 0.0125313 (Zabs – 0.2178) 80 87.12 0.2178 7.
  • Computational RYB Color Model and Its Applications

    Computational RYB Color Model and Its Applications

    IIEEJ Transactions on Image Electronics and Visual Computing Vol.5 No.2 （2017） -- Special Issue on Application-Based Image Processing Technologies -- Computational RYB Color Model and its Applications Junichi SUGITA† (Member), Tokiichiro TAKAHASHI†† (Member) †Tokyo Healthcare University, ††Tokyo Denki University/UEI Research <Summary> The red-yellow-blue (RYB) color model is a subtractive model based on pigment color mixing and is widely used in art education. In the RYB color model, red, yellow, and blue are defined as the primary colors. In this study, we apply this model to computers by formulating a conversion between the red-green-blue (RGB) and RYB color spaces. In addition, we present a class of compositing methods in the RYB color space. Moreover, we prescribe the appropriate uses of these compo- siting methods in different situations. By using RYB color compositing, paint-like compositing can be easily achieved. We also verified the effectiveness of our proposed method by using several experiments and demonstrated its application on the basis of RYB color compositing. Keywords: RYB, RGB, CMY(K), color model, color space, color compositing man perception system and computer displays, most com- 1. Introduction puter applications use the red-green-blue (RGB) color mod- Most people have had the experience of creating an arbi- el3); however, this model is not comprehensible for many trary color by mixing different color pigments on a palette or people who not trained in the RGB color model because of a canvas. The red-yellow-blue (RYB) color model proposed its use of additive color mixing. As shown in Fig.
  • Spectral Primary Decomposition for Rendering with RGB Reflectance

    Spectral Primary Decomposition for Rendering with RGB Reflectance

    Eurographics Symposium on Rendering (DL-only Track) (2019) T. Boubekeur and P. Sen (Editors) Spectral Primary Decomposition for Rendering with sRGB Reflectance Ian Mallett1 and Cem Yuksel1 1University of Utah Ground Truth Our Method Meng et al. 2015 D65 Environment 35 Error (Noise & Imprecision) Error (Color Distortion) E D CIE76 0:0 Lambertian Plane Figure 1: Spectral rendering of a texture containing the entire sRGB gamut as the Lambertian albedo for a plane under a D65 environment. In this configuration, ideally, rendered sRGB pixels should match the texture’s values. Prior work by Meng et al. [MSHD15] produces noticeable color distortion, whereas our method produces no error beyond numerical precision and Monte Carlo sampling noise (the magnitude of the DE induced by this noise varies with the image because sRGB is perceptually nonlinear). Contemporary work [JH19] is also nearly able to achieve this, but at a significant implementation and memory cost. Abstract Spectral renderers, as-compared to RGB renderers, are able to simulate light transport that is closer to reality, capturing light behavior that is impossible to simulate with any three-primary decomposition. However, spectral rendering requires spectral scene data (e.g. textures and material properties), which is not widely available, severely limiting the practicality of spectral rendering. Unfortunately, producing a physically valid reflectance spectrum from a given sRGB triple has been a challenging problem, and indeed until very recently constructing a spectrum without colorimetric round-trip error was thought to be impos- sible. In this paper, we introduce a new procedure for efficiently generating a reflectance spectrum from any given sRGB input data.
  • Measuring Perceived Color Difference Using YIQ Color Space

    Measuring Perceived Color Difference Using YIQ Color Space

    Programación Matemática y Software (2010) Vol. 2. No 2. ISSN: 2007-3283 Recibido: 17 de Agosto de 2010 Aceptado: 25 de Noviembre de 2010 Publicado en línea: 30 de Diciembre de 2010 Measuring perceived color difference using YIQ NTSC transmission color space in mobile applications Yuriy Kotsarenko, Fernando Ramos TECNOLOGICO DE DE MONTERREY, CAMPUS CUERNAVACA. Resumen: En este trabajo varias fórmulas están introducidas que permiten calcular la medir la diferencia entre colores de forma perceptible, utilizando el espacio de colores YIQ. Las formulas clásicas y sus derivados que utilizan los espacios CIELAB y CIELUV requieren muchas transformaciones aritméticas de valores entrantes definidos comúnmente con los componentes de rojo, verde y azul, y por lo tanto son muy pesadas para su implementación en dispositivos móviles. Las fórmulas alternativas propuestas en este trabajo basadas en espacio de colores YIQ son sencillas y se calculan rápidamente, incluso en tiempo real. La comparación está incluida en este trabajo entre las formulas clásicas y las propuestas utilizando dos diferentes grupos de experimentos. El primer grupo de experimentos se enfoca en evaluar la diferencia perceptible utilizando diferentes fórmulas, mientras el segundo grupo de experimentos permite determinar el desempeño de cada una de las fórmulas para determinar su velocidad cuando se procesan imágenes. Los resultados experimentales indican que las formulas propuestas en este trabajo son muy cercanas en términos perceptibles a las de CIELAB y CIELUV, pero son significativamente más rápidas, lo que los hace buenos candidatos para la medición de las diferencias de colores en dispositivos móviles y aplicaciones en tiempo real. Abstract: An alternative color difference formulas are presented for measuring the perceived difference between two color samples defined in YIQ color space.
  • NFP Brand Guide At-A-Glance

    NFP Brand Guide At-A-Glance

    NFP Brand Guide At-A-Glance Communication tools to keep your conversations growing. At-A-Glance Brand Guidelines Page 2 Clear Space Always maintain a minimum area of clear space around the NFP logo. This area is equal to the height of the nexus symbol as shown to the right. Do not let anything infringe upon this space. Minimum Size = x 1x Print Minimum Digital Minimum 1x 1x 1x 0.75˝ 90px Signature Color Use NFP Green – PANTONE® 363C (RGB 170/208/149) – whenever possible. When you can’t use NFP Green – on forms and limited color communications – use black. The logo can also be reversed out to white for use on solid and dark backgrounds. The reversed logo should not be used on complex backgrounds or a background without sufficient contrast. Logo Do Nots Changing the NFP logo in any way weakens its impact and our brand strength, and detracts from the consistent image we want to project. The examples below are not exhaustive, but help demonstrate what not to do. Don’t use an older version Don’t redraw any of our Signature. elements. Don’t modify or change Don’t add a stroke. the color. Don’t place on complex Don’t add effects or backgrounds. drop shadows. Don’t create lockups with Don’t use our Signature any other logos. How cares... as a “read through.” Acme Brothers Don’t modify the letter forms or use another Don’t distort the logo. NFP typeface. Don’t use the full- Don’t add graphics color logo on colored or drawings.
  • NEC Multisync® PA271Q Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC Multisync® PA271Q Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC MultiSync® PA271Q Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 27” MultiSync PA271Q is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut W-LED backlight provides 98.5% coverage of the Adobe RGB color space and 81.1% of Rec 2020 color space, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA271Q delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut W-LED backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • QHD resolution (2560 x 1440) offers a high pixel density • Up to 98.5% coverage of the Adobe RGB color space and accurate 100% coverage of sRGB • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive, innovative features can eliminate steps in a color editing workflow, saving time and cabinets to fit every desk and office environment.