REVIEW: BenQ MK2442 Part 10
The profile created in iColor deviates considerably from the required ideal gradient. The grey level precision is just about acceptable, but all colours demonstrate large deviations, which are rather unusual even for TN panels these days.
Comparison of calibrated colour profile with sRGB standard
In order to gain a first impression of the actual deviations in colour management software, we created suitable test patterns in Adobe Photoshop, provided them with the respective profile of the working colour space – in the case of the BenQ MK2442, the sRGB profile –and carried out measurements. Adobe (ACE) was used as CMM.
Through the calibration, the grey level reproduction was improved considerably. The result for the colours does not look very convincing, with green in particular looking weak. The white point, brightness and black point, on the other hand, are optimal. The gamma drops somewhat too much, especially in the darker grey levels. The contrast has dropped to 760, but this is still a good value for 140 cd/m².
The calibration of the BenQ MK2442 is very difficult overall. Only after a warm-up period of 3 hours did the MK2442 deliver results that were in any reproducible. In the factory settings, the colour temperature rose by 340 Kelvin in this period, the brightness dropped by 9 cd/m² and the black point improved from 0.32 to 0,24 cd/m², which has a positive effect on the static contrast in particular.
After calibration, the deviations from the target value are high. Very large deltaE deviations are visible not only in the dark grey levels, but also in particular in the primary and secondary colours. The time stability also leaves something to be desired: in a brief test after a further 3 hours, the gamma and deltaE values – especially for the darker grey levels – had changed once more, and the colour temperature had also risen. As a result, the MK2442 is not suitable for editing photos.
Representation of the RGB correction curve of the graphics card after sRGB calibration. The closer the three coloured lines lie to the 45° axis, the fewer colours must be discarded by the graphics card for correct calibration and the more intact the colour gradients remain.
As the correction curve, the hue curves must be adjusted to a considerable extent. In practice, this goes hand in hand with the loss of colour gradients. For calibration to the sRGB standard with brightness of 140 cd/m², we had to make considerable corrections to the colour settings in the OSD in order to achieve an acceptable white point. We changed the settings as follows as compared with the factory settings: Brightness 34, Backlight 2, R=50, G=47, B=46.
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