Laptops, iMacs, wide gamut displays of all sorts, IPS vs TN panels, 4k, 5k, 8k and on & on. After much serious research, we settled on NEC PA302W-BK SpectraView ll monitors for our colour critical image evaluation and editing work. We had not looked back, until recently. These monitors have provided excellent accuracy, consistency, flexibility and reliability. They have proven to be worth every penny.
But, recently, the time arrived for a new addition to our monitor line up. Only this time, we were interested in the 4k offerings. Having had only excellent experience with our NEC 30” displays, we were hard pressed to consider other players such as Ben-Q, LG, Samsung, Dell or even EIZO. But, to be thorough, we persisted.
The Apple Cinema Display (LG) which is the same display as the iMac was not considered because while the monitor is apparently acceptable for video work, it falls far short of the requirements for critical image work due to its gloss glass and P3 colour space at approximately 84% coverage of Adobe RGB not to mention the absence of the valuable calibration tools available with some of these monitors. It’s virtually a large size version of a Mac laptop display.
Our primary requirements for the new monitor included: 30” to 32” IPS panel, 10 bit display, high resolution, matte surface screen, critical colour accuracy, excellent uniformity, full coverage of Adobe RGB gamut, full coverage of sRGB, 14 bit on board calibration with wide range of adjustments of all display aspects in addition to a wide range of profiling tools and options, large native gamut, low native black point, adjustable height, portrait and landscape display positioning, at least 4 year warranty, monitor hood, display port connectivity, established manufacturer history and excellent reputation and customer service. Price was a concern, of course. But it was secondary to image quality, monitor functionality and the majority of features mentioned above.
The selection of the best monitor cannot be made by comparisons of specifications alone. Many have similar specifications. As a result, one may be tempted instead to look only at price. So, we decided to test several and after looking closely at the monitors mentioned, none except the EIZO and again the NEC measured up to our requirements. Every other monitor had one or more failed or missing requirements on the list. So, at the end of the process, only two monitors remained for serious consideration – the 31.5” NEC PA322UHD-BK-2-SV 4k with SpectraView ll and the 31.1” EIZO CG319-x 4k with ColorNavigator.
The EIZO monitor was of interest first because it satisfied every important requirement on our list and also because of a long-standing solid reputation with respect to high quality, colour critical monitors and excellent customer service. But the intensity of our curiosity was primarily due to the huge price differential between the EIZO and the NEC. What could this monitor possibly offer over the NEC to make it worth the significant difference in price?
At first, this was a difficult comparison. The specification lists are very similar with the EIZO surpassing several items by various degrees. For example, the warranty is 5 years versus 4 for the NEC. Its turns out that EIZO is intensely discriminating regarding the quality of the panels they select for their monitors. The displays are also manufactured completely in house – as opposed to compiling various parts gathered from here, there and everywhere. This greatly improves quality assurance.
Nevertheless, the answer was not found in all of this alone nor in the very positive testimonials of which there are many nor in information presented in EIZO literature. It was found by testing the monitor itself. “The proof of the pudding is in the eating,” as they say.
Almost immediately after turning on the new EIZO CG319x display its advantages and superiority started to become crystal clear. Every subtle nuance of tonality and image detail is visible from L* 1 to 99. The black point is far below the NEC or any other monitor we’ve seen. There is no IPS glow whatsoever and overall uniformity is spectacular. At 4096 x 2160, the resolution is true 4k. The NEC is 3840 x 2160. The on-board monitor calibration is established via ColorNavigator software in combination with a built-in sensor plus the option to use an external colorimeter or spectrophotometer for certain functions. For the NEC it’s SpectraView ll with an external colorimeter only. With the ColorNavigator, we can quickly make as many profile targets as we like to accommodate various printing substrates and conditions, calibrate and profile each one and then switch between them with roughly only a two second delay. Switching between calibrations on the NEC takes at least 35 seconds for each change and the creation and calibration of each target takes over twice as long as it does in ColorNavigator.
Now, on to some really impressive functionality: The built-in sensor on the EIZO automatically calibrates the system on a timed basis which we set. It performs the monitor calibration while you work. You never need to stop & wait for 10 minutes as you do with the NEC. Within ColorNavigator we have the ability to optimize specific colour ranges for each profile in terms of Hue, Saturation and Lightness via sliders for Red, Green, Blue, Cyan, Magenta and Yellow. This is similar to the selective colour correction sliders in PhotoShop or Lightroom. When an optimized colour set is achieved, a profile is quickly created via the on-board sensor and you can flip back & forth between the new profile and the previous or any other profile in your collection within a second or two. This valuable functionality is not available on the NEC nor any other monitor of which I am aware.
Also, we have a GTI Graphiclight SoftView booth beside the EIZO monitor. We can hang a sheet of any print paper in the booth, from fine art to glossy RC, adjust the lighting to the desired level for critical evaluation, then attach an external colorimeter or spectrophotometer to the EIZO and have it read the actual white point of the paper in the GTI booth. ColorNavigator then sets the white point of the monitor to match the paper at that brightness level. What results from this in combination with the colour correction and optimization is astonishing colour accuracy and display to print match. The calibration is then correlated to the internal sensor which takes over future adjustments to keep the calibration on target, always. It is fascinating to see this in action.
You don’t actually need a viewing booth for this. A standard desk lamp with balanced viewing illumination (Solux 5000k bulb in a den lamp, for example) or whatever illumination under which you choose to review your prints is all that is required to accomplish the same display to paper correlation and calibration. This system takes soft-proofing to a level of accuracy that is simply not possible with other displays. It is well beyond that which is achievable in Photoshop or Lightroom alone. It’s amazing.
At the end of the day, we’re talking about the cream of the crop with these colour critical monitor technologies. The EIZO CG319-X-4K-BK monitor is indeed the highest level of colour critical display technology on the planet. In life, the old adage “you get what you pay for” sometimes doesn’t apply. But, with respect to these monitors it most certainly does apply and we are very certainly pleased.