lcd panel good tranlate brands

The global display market reached a value of US$ 151.5 Billion in 2021. As per the analysis by IMARC Group, the top manufacturers in the display industry are focused on manufacturing advanced display variants in different sizes that are equipped with speakers, built-in cameras, and video calling features. They are also making heavy investments in the advancement of display technologies, such as liquid crystal display (LCD), cathode ray tube (CRT), light-emitting diode (LED), organic LED (OLED), gas plasma, quantum dot, and e-paper. Along with this, the development of smart displays integrated with innovative technologies, such as the Internet of Things (IoT) and artificial intelligence (AI) that assist in real-time monitoring and provide remote access, is offering lucrative opportunities to key players. Furthermore, the leading manufacturers are entering into partnerships and collaborations and focusing on research and development (R&D) activities to launch technologically advanced displays. Apart from this, the introduction of interactive and flexible displays that offer enhanced brightness, flexibility, and low power consumption is creating a positive market outlook. Looking forward, the market value is expected to reach US$ 197.3 Billion by 2027, growing at a CAGR of 4.10% during the forecast period (2022-2027).

DuPont de Nemours Inc. is a global innovation and technology leader, serving the semiconductor, display, circuit board, digital and flexographic printing, healthcare, aerospace, industrial, and transportation industries. The company is a leading supplier of innovative display materials and processes that enable enhancements to advanced flat-panel display (FPD), liquid crystal display (LCD), and organic light-emitting diode (OLED) display technologies. It operates several manufacturing facilities and offices in around 40 countries across the globe, including the United States, China, Taiwan, Singapore, Indonesia, India, Japan, Mexico, Australia, Canada, Korea, France, Germany, United Kingdom, Italy, Spain, Philippines, Thailand, Vietnam, Belgium, and Brazil.

E Ink Holdings Inc. is the originator, pioneer, and leader in ePaper technology. It delivers its advanced display products to the leading brands and manufacturers across the globe, allowing them to install extremely durable, low-power displays in previously impossible or unimaginable applications and environments. It also develops, manufactures, and markets thin-film transistor liquid crystal displays (TFT-LCDs). At present, the company has operations in Taiwan, China, North America, Japan, and Korea.

Innolux Corporation is a global leader in display technology engaged in producing and supplying TFT-LCD, liquid crystal panel modules, and touch modules. It provides advanced display integration solutions with innovative and differentiated technologies, such as 8K4K ultra-high-resolution, active-matrix AM miniLED, AM microLED, LTPS, and touch solutions. The company also covers a range of display application products, including TV panels, desktop monitors and notebook computer panels, small and medium-sized panels, medical panels, and automotive panels.

Leyard Optoelectronic Co., Ltd. is a global leader in audio-visual technology. It operates through four segments, including intelligent display, international business, nightscape lighting, cultural tourism, and VR entertainment. In addition, the company offers a variety of display products, such as small pitch LED, conventional LED, LCD products, creative LED, LED leasing, LED modular, and conference and commercial display products.

Qisda Corporation is an ODM/OEM leader engaged in manufacturing electronic products for consumer, commercial, medical, and industrial applications. It has a diverse product portfolio, consisting of LCD monitors, digital signage and professional displays, projectors, scanners, multifunctional printers, 3G/4G smartphones, medical gateways, medical imaging and telecare, automobile infotainment devices, e-reader, and tablets. Moreover, the company owns and operates manufacturing facilities in China, Mexico, and Taiwan.

Sharp Corporation is a Japanese multinational corporation primarily engaged in the manufacturing and sales of electric and electronic application equipment, electronic components, and telecommunications equipment. The company operates through three segments, including smart life, 8K ecosystem, and ICT. It has a diverse product portfolio, consisting of display modules, LCD TVs, semiconductor lasers, sensor modules, audio equipment, in-vehicle cameras, multi-function printers, information displays, and business projectors.

Sony Corporation is a Japanese multinational conglomerate corporation that manufactures electronic products, semiconductor solutions, and imaging and sensing solutions. It also offers a wide range of professional displays, including LCD, HDR, LED, and OLED display technologies, ideal for digital signage, screen mirroring, and various professional solutions. The company currently has operations across several countries and regions worldwide, including Japan, the United States, Europe, China, India, Australia, Indonesia, Malaysia, New Zealand, Philippines, Singapore, Thailand, and Vietnam.

Top monitors for graphic design do a great job with accurate colors in a wide color space so that you don’t have to speculate as to how a T-shirt will look when it comes back from the printer. Their screens get bright enough so that lighter colors will pop and darker colors will recede into true blacks while lighting up uniformly without flicker. Great monitors for graphic design will also be highly detailed, with resolutions above HD, so that you can’t distinguish individual pixels with the naked eye. Most design monitors are also large, with generous accuracy across viewing angles, and good connectivity.

Color accuracy is the central issue in a good monitor for graphic design. Mastery of any art form requires strong intuition phrased against precise sensitivity and, much as a chef with a bad thermometer could undercook the roast duck, a digital designer that’s using a monitor with bad color accuracy will get imprecise prints. Color accuracy is affected by lots of variables, including consistency, gamut, and bit depth. But one of the first metrics to find when assessing a screen is its Delta E metric (ΔE

Bit depth measures the millions or billions of possible colors displayed on a monitor. The standards you’ll want to look for are 8-Bit and 10-Bit monitors, which cover all of the colors usually available in SDR—or more (in the case of 10-Bit). For most of us, 8-Bit is good enough, but 10-Bit can be worth it in the right application.

Consistency measures how well the whole screen keeps colors accurate. Generally, monitors using IPS (In-Plane Switching) displays do a good job with consistency across the whole screen, while other options, like TN (Twisted Nematic) models, might display colors differently in the bottom and top of the screen.

This is a monitor that excels for designers working in the digital space. It offers authoritative 100% coverage of the sRGB color space used in web media, with a Delta-E score of below 2. That means that the difference between digital color on this monitor and standardized digital color is imperceptibly different to all but the color-scientist expert (and maybe even them). It has a 4K resolution that’s extremely crisp and bright, with excellent contrast, and limited HDR, with 10-Bit color. With its proprietary “flicker-free” IPS panel, it’s also noticeably consistent in brightness and color across the whole panel.

The ProArt PA279CV is a great 4K panel for anyone designing for the digital space; what it’s missing is great authority for print and film design. The panel’s color gamut falls short in the DCI-P3 color space and the AdobeRGB color space. Still, its impressive accuracy in sRGB actually outshines some more expensive monitors for those specializing in web design, where those additional color gamuts could confuse the process. With adaptive sync features that will also appeal to gamers, the moderately priced ProArt is an authoritative choice for web designers that doesn’t try to be too much.

Dazzling is the word when it comes to the Apple 32-inch Pro Display XDR. This true professional-grade monitor doesn’t shy away from extraordinary. With a price tag that puts it out of most people’s reach, it’s still a great choice for design studios that want an authoritative display that will do a good job with pretty much anything you throw at it. (I mean, if you’re already dropping thousands on Apple’s new Mac Studio desktop for creatives, what’s a few thousand more?)

Looking at the Pro Display XDR, you’ll immediately notice the monitor’s jaw-dropping vibrance and detail. With a 6K screen, this monitor is incredibly pixel rich, sporting a resolution that would have sounded like fiction a few years ago. That resolution is put to good use, with exceptional brightness and precise local dimming, for one of the highest contrast HDR experiences around (Apple likes to call it XDR). This gorgeous contrast supplements a deep propensity for color. The display clocks nearly 99% coverage of the DCI-P3 color space and nearly 97% of AdobeRGB. Its Delta-E score is below 1, meaning that this vast color book is also authoritatively accurate.

With this monitor, GIGABYTE has done an amazing job of blending good things. Its extra-wide color gamut hits about 95% of AdobeRGB, while its 350 nit brightness and 8-Bit color handle HDR-level contrast with some confidence, even if it doesn’t have perks like local darkening. Simultaneously its IPS panel revs to the tune of 170Hz with AMD FreeSync Premium, delivering a blistering screen refresh time that will outpace anything else on this list in terms of frames per second.

Why it made the cut:With a gamut that covers 99% of AdobeRGB and 98% of DCI-P3, a generous 31-inch 4K IPS panel, true deep blacks, and a few pro features, this is an exceptional reference monitor that excels for all types of graphic design.

There’s no doubt that this monitor is an impressively good buy for most users. It totes a 4K screen, with close to 400 nits of brightness, and sports a 10-Bit color palette that does an especially good job for a Twisted Nematic (TN) screen, even if it doesn’t beat out a good IPS. That TN panel also means this monitor gets the free-throw every time gaming, with a free-sync enabled 60Hz screen and a better-than-average pixel response. But that TN panel also creates some issues: It has limited viewing angles and suffers from imprecise color at different points on the screen.

All in all, the U28E590D is a strong choice for anyone who works in digital design but wants a strong monitor for watching movies and playing games. While its color space is somewhat inaccurate compared to others on this list, especially as it renders on different parts of the screen, it does a decent job with sRGB, even if it doesn’t offer much more. Its crossover potential is huge, though; with FreeSync and good pixel response, it takes advantage of its 60Hz refresh rate, while its vibrant and detailed screen will be appreciated in any task.

As with most technology that is purpose-built for a specific niche task, the best monitors for graphic design get expensive quickly. While you shop, it’s important to consider your budget alongside the specs you want. While a leading design studio that works in color-critical animated type for Hollywood will need a true best-in-class reference monitor, a designer working with web-based icons won’t need a monitor with a veritable V10 engine. It’s a good idea to set a budget goal before you wade into the market.

Most great monitors for graphic design aren’t also purpose-built for gaming. Yet most of them will still do a decent job with it. Most good gaming monitors have a quick screen refresh rate above 60Hz (Hertz)—a common screen refresh rate for the IPS monitors that excel at color accuracy. If games are for you, look for a monitor with at least 60Hz, but probably more. Some monitors also have nice features like adaptive sync, which syncs your screen refresh rate to your graphics card, to reduce tearing and stutters.

Windows comes with a calibration tool which can be found in the control panel under display. However, for best results, you’ll want to pick up a monitor calibration tool, such as the Datacolor SpyderX Pro, which senses the color on your monitor through a lens and helps you properly calibrate it. Some high-end reference monitors have color calibration sensors built in.

The ideal size monitor is the one that feels right to you, but we recommend 28-inch monitors as a good base. This size is roomy enough to feel impressive if you’re moving over from a laptop screen and will allow you to keep multiple windows open at once, yet won’t feel too big for most desks.

A good monitor is the window through which you can control your digital world. If you’re someone who takes digital design seriously, whether a professional, a hobbyist, or somewhere in between, you’ll want the truest color and richest screen there is. The best monitors for graphic design are tools that are precise enough to rely on—whether you’re designing for a digital brand’s stylebook, branding printed packaging for groceries, or working on the title sequence for a movie.

The BenQ SW321C PhotoVue might be a little on the pricey side, but it"s so very easy to justify it due to its top-notch performance and impressive features. It boasts a nice 32-inch panel and a sharp 4K resolution, as well as 99% AdobeRGB, 95% P3, and 100% sRGB colour gamut, and Delta E ≤ 2 colour accuracy that lets you see your work the way it’s supposed to be seen.

Of course, its 21:9 aspect ratio is a key factor as well. Not that 1440p resolution is obsolete, but 4K has now become a standard for video editing, one of the reasons being that it offers more screen real estate. To make up for not offering that, the PD3420Q gives you an ultrawide panel so you can spread out and make all your tools handy during editing sessions.

That sweet 4K resolution on a 27-inch panel spot means it’s the perfect combination of screen real estate, smaller footprint, and perfectly-sized visuals. Meanwhile, the 400 nits of brightness, 99% sRGB and 90% DCI-P3 colour gamuts, and Delta-E accuracy of less than 1 make it an excellent tool for content creators. In addition, we found its colour space coverage claims to be spot-on and its colour and brightness uniformity good, if not exactly exceptional. And, naturally, we appreciate the inclusion of the shading hood.

Making it all the more worth your money is its Delta E < 1 colour difference and extensive colour space – apart from its 100%sRGB and 99.5% Adobe RGB, it also boasts 98% DCI-P3 and 85% Rec.2020 gamuts. The panel itself utilises smaller LEDs that offer 1152 local dimming zones for higher contrast and deep blacks. There’s plenty of input ports on hand as well, allowing you to spread out and really immerse yourself in your creative process. And, naturally, that 4K resolution takes care of displaying impeccable details.

It comes with one Thunderbolt 3 port (meaning it can go at the end of a Thunderbolt chain, but can"t be a Thunderbolt hub), plus three USB-C ports for connecting accessories. The downside to all this is that it"s extremely expensive, and the price our widgets are pulling in here are just for the display… the official stand costs a further $999 / £949 / AU$1,699. You can also get a VESA mount adapter, if you prefer. If you"re interested in having an Apple monitor, you might also want to check out Apple"s latest display – see our Apple Studio Display review for more details.Is a 4K monitor good for video editing?Resolution isn’t everything when it comes to choosing the right monitor for video editing. But, if you’re hoping to produce content in UHD, you’ll need to be able to see your work in its native resolution. So, having a monitor capable of 4K resolution isn’t just good. For most video editors, it’s necessary. Just keep in mind that you’ll need a computer powerful enough to be able to deliver that high resolution content to a 4K monitor.Are curved monitors good for video editing?It’s not necessary to have a curved monitor to do great work on your video editing projects. But, curved monitors do offer a few advantages. Since they make the whole screen equidistant from your eyes, they’re easy to work with since you won’t have to strain as much to see the corners of your screen. And, many curved monitors come in a wider 21:9 aspect ratio, meaning you’ll have more screen real estate and can work on projects in their native resolution while still having instant access to your editing tools. However, you do have more limited viewing angles compared to flat displays. If you need to show your work to colleagues, they might not see an accurate representation of your project.Is Hz important for video editing?While refresh rate is crucial for video editing, just about every contemporary monitor comes with at least a 60Hz refresh rate. And, considering that most video is shot at 30 or 60 fps, having a faster refresh rate won’t make much of a difference. Of course, if you’re also doing animation or are hoping to game on that same display, having a speedier refresh rate becomes a bit more of a priority.

AD boards is to connect a LCD panel and it is a main board of a display/monitor. It makes a LCD panel work properly with input signal – VGA, HDMI, DVI or DP (Display Port).

Our AD board is working with industrial grade well-known LCD panels. We provide AD board with cable sets based on your demand LCD panel and custom a firmware for you to make your LCD panel works.

Resolution: Support up to 1920*1200 (Custom firmware by different panels – 640*480, 800*600, 1024*768, 1280*1024, 1440*900, 1600*1200, 1920*1080, 1920*1200)

If you want a useful step up in specifications from our old monitor and the reassurance of a well-known brand, you"ve found it. The Dell UltraSharp U2419H isn"t the cheapest 24-inch monitor you can buy, but there is such a thing as a false economy, and this Dell does give photographers a good combination of performance and value.

Monitors with dependable image quality and respectable color space coverage used to cost a fortune, but this bargain HP display proves those days are long gone. Boasting 99% sRGB color space coverage and the kind of color and contrast consistency that only IPS LCD screen tech can offer, the HP M24fw gives you premium display quality at a rock-bottom price.

Its multimedia features make it an ideal primary display for most creatives, while true and consistent color and brightness across the entire panel mean in some ways the Studio Display is on a par with that Apple"s Pro Display XDR. It’s a little frustrating that the ability to raise or lower the display comes at an additional cost and that the built-in camera isn’t quite so ground-breaking. But as a companion to any recent Mac, the Studio Display is hard to beat.

Dell produces several excellent monitors for photo editing, but the U3223QE offers the best value of them all. This 31.5-inch panel can display 100% of the sRGB color space, and is capable of 100% Rec. 709 coverage and 98% DCI-P3 coverage - the latter being exceptional. Adobe RGB color support isn"t advertised though, and is the only question mark over this otherwise superbly-specced screen.

An attractively-priced panel compared to equivalent screens from the likes of Eizo and NEC, the Dell UltraSharp U2720Q still packs full 4K UHD resolution, 10-bit color depth and some neat extras, all inside a smart case with an ‘InfinityEdge’ ultra-thin bezel. There’s no preset Adobe RGB mode, but the standard viewing mode is accompanied by game, movie, custom color and several additional presets, which include an HDR mode.

Around the back, there are Display Port, Mini DP and dual HDMI inputs, as well as the practically ubiquitous USB 3.0 hub. The 350cd/m2 maximum brightness rating is typical for an LED-backlit panel, while 5ms response time (grey-to-grey) and 178-degree horizontal and vertical viewing angles are respectable.

Image quality looks a little dull when using the sRGB preset, which locks out any brightness adjustment. Colour accuracy is good but gamut is a little lacking for the Adobe RGB colour space and brightness uniformity could be better.

The color accuracy of our review sample was pretty much spot-on, straight out of the box. The Eizo ColorEdge also delivers an excellent gamut for both sRGB and Adobe RGB, with presets available for both color spaces, direct from the menu system. Uniformity across the screen is particularly good, and there’s very little backlight bleed.

Bigger is better, but a 27-inch screen is about as far as we"d go. It"s a good compromise between screen space and a comfortable working distance, but a 24-inch display is fine if you work quite close to the screen, or even the 21.5-inch display of a smaller iMac model.

IPS screen technology: IPS (in-plane switching) screens have much better colour and contrast consistency than older, cheaper, older TN (twisted nematic) panels. All the screens in our premium list use IPS technology.

The following table shows an overview of the most important features and measured values of the 50 best displays (rated "Very Good" >88%) used in laptops and convertibles reviewed by Notebookcheck in the last 12 months (or still available). Due to the only recently introduced measurements on the part of PWM and Response Times, these values are not available for older models. The value "0" in the PWM measurement means that we could not determine any PWM. The table can be limited via the search function, for example "Acer" or "OLED". The list is updated automatically every day.

LCD Monitor Course II, which kicks off this session, will address certain points one must know to choose the LCD monitor best-suited to one"s needs from the various models available. Part 1 will focus on color gamut. While wide color gamuts are the latest trend in LCD monitors, color gamut is a term that lends itself to misunderstanding. Our hope is that this session will help users better understand the color gamut of LCD monitors and better select, use, and adjust the products.

Note: Below is the translation from the Japanese of the ITmedia article "IT Media LCD Monitor Course II, Part 1" published on November 11, 2008. Copyright 2011 ITmedia Inc. All Rights Reserved.

Various standards govern color gamuts. The three standards frequently cited in relation to personal computers are sRGB, Adobe RGB, and NTSC. The color gamut defined by each standard is depicted as a triangle on the xy chromaticity diagram. These triangles show the peak RGB coordinates connected by straight lines. A larger area inside a triangle is regarded to represent a standard capable of displaying more colors. For LCD monitors, this means that a product compatible with a color gamut associated with a larger triangle can reproduce a wider range of colors on screen.

This is a CIE XYZ color system xy chromaticity diagram. The areas enclosed in dotted lines represent the range of colors human beings can see with the naked eye. The ranges corresponding to the sRGB, Adobe RGB, and NTSC standards defining color gamuts appear as triangles connecting their RGB peak coordinates. The color gamut of an LCD monitor"s hardware can be indicated using similar triangles. An LCD monitor is not capable of reproduction (display) of colors outside its color gamut.

The standard color gamut for personal computers is the international sRGB standard prepared in 1998 by the International Electrotechnical Commission (IEC). sRGB has established a firm position as the standard in Windows environments. In most cases, products like LCD monitors, printers, digital cameras, and various applications are configured to reproduce the sRGB color gamut as accurately as possible. By ensuring that the devices and applications used in the input and output of image data are sRGB compatible, we can reduce discrepancies in color between input and output.

Adobe RGB was defined in 1998 by Adobe Systems, maker of the well-known Photoshop series of photo-retouching software products. While not an international standard like sRGB, it has become— backed by the high market share of Adobe"s graphics applications—the de facto standard in professional color imaging environments and in the print and publishing industries. Growing numbers of LCD monitors can reproduce most of the Adobe RGB color gamut.

NTSC, the color-gamut standard for analog television, is a color gamut developed by the National Television Standards Committee of the United States. While the range of colors that can be depicted under the NTSC standard is close to that of Adobe RGB, its R and B values differ slightly. The sRGB color gamut covers about 72% of the NTSC gamut. While monitors capable of reproducing the NTSC color gamut are required in places like video production sites, this is less important for individual users or for applications involving still images. sRGB compatibility and the capacity to reproduce the Adobe RGB color gamut are key points of LCD monitors that handle still images.

In general, the LCD monitors currently available for use with PCs have color gamuts capable of displaying nearly the entire sRGB gamut, thanks to the specifications for their LCD panels (and panel controls). However, given the rising demand mentioned above for reproducing color gamuts broader than sRGB, recent models have expanded the color gamuts of LCD monitors, with Adobe RGB serving as one target. But how is such expansion of LCD monitor color gamuts taking place?

Improvements in backlights account for a significant proportion of the technologies expanding the color gamuts of LCD monitors. There are two major approaches to doing this: one involves expanding the color gamut of cold cathodes, the mainstream backlight technology; the other involves RGB LED backlights.

On the subject of color-gamut expansion using cold cathodes, while strengthening the LCD panel"s color filter is a quick fix, this also lowers screen luminance by decreasing light transmissivity. Increasing the luminance of the cold cathode to counter this effect tends to shorten the life of the device and often results in lighting irregularities. Efforts to date have overcome these drawbacks to a large extent; many LCD monitors feature cold cathodes with wide color gamuts resulting from modification of their phosphors. This generates cost benefits as well, since it makes it possible to expand the color gamut without major changes in the existing structure.

Use of RGB LED backlights has increased relatively recently. These backlights make it possible to achieve higher levels of luminance and purity of color than cold cathodes. Despite certain disadvantages, including lower color stability (i.e., radiant-heat problems) than a cold cathode and difficulty in attaining a uniform white color across the entire screen, since it involves a mixture of RGB LEDs, these weaknesses have been resolved for the most part. RGB LED backlights cost more than cold-cathode backlights and are currently used in a fairly small proportion of LCD monitors. However, based on their efficacy in expanding color gamuts, the number of LCD monitors incorporating the technology will likely increase. This is also true for LCD televisions.

In passing, many LCD monitors that extol wide color gamuts promote the area ratios of specific color gamuts (i.e., triangles on the xy chromaticity diagram). Many of us have probably have seen indications of attributes such as Adobe RGB rates and NTSC rates in product catalogs.

However, these are only area ratios. Very few products include the entire Adobe RGB and NTSC color gamuts. Even if a monitor featured a 120% Adobe RGB ratio, it would remain impossible to determine the extent of the difference in RGB values between the LCD monitor"s color gamut and the Adobe RGB color gamut. Since such statements lend themselves to misinterpretation, it is important to avoid being confused by product specifications.

To eliminate problems involving labeled specifications, some manufacturers use the expression "coverage" in place of "area." Clearly, for example, an LCD monitor labeled as having Adobe RGB coverage of 95% can reproduce 95% of the Adobe RGB color gamut.

From the user"s perspective, coverage is a more user-friendly, easier-to-understand type of labeling than surface ratio. While switching all labeling to coverage presents difficulties, showing in xy chromaticity diagrams the color gamuts of LCD monitors to be used in color management will certainly make it easier for users to form their own judgments.

With regard to the difference between area labeling and coverage labeling as gauges of an LCD monitor"s color gamut, to use Adobe RGB as an example, in many cases, even a monitor with an Adobe RGB ratio of 100% in terms of area will feature coverage of less than 100 percent. Since coverage impacts practical use, one must avoid the mistake of seeing a higher figure as automatically better.

When we check the color gamut of an LCD monitor, it"s also important to remember that a wide color gamut is not necessarily equivalent to high image quality. This point may generate misunderstanding among many people.

Color gamut is one spec used to measure the image quality of an LCD monitor, but color gamut alone does not determine image quality. The quality of the controls used to realize the full capabilities of an LCD panel having a wide color gamut is crucial. In essence, the capacity to generate accurate colors suited to one"s own purposes outweighs a wide color gamut.

When considering an LCD monitor with a wide color gamut, we need to determine if it has a color-gamut conversion function. Such functions control the LCD monitor"s color gamut based on the target color gamut, such as Adobe RGB or sRGB. For example, by selecting sRGB mode from a menu option, we can adjust even an LCD monitor with a wide color gamut and high Adobe RGB coverage so that the colors displayed on screen fall within the sRGB color gamut.

Few current LCD monitors offer color-gamut conversion functions (i.e., feature compatibility with both Adobe RGB and sRGB color gamuts). However, a color-gamut conversion function is essential for applications demanding accurate color generation in the Adobe RGB and sRGB color gamuts, such as photo retouching and Web production.

For purposes requiring accurate color generation, an LCD color monitor lacking any color-gamut conversion function but having a wide color gamut can actually be a disadvantage in some cases. These LCD monitors display each RGB color mapped to the color gamut inherent to the LCD panel in eight bits at full color. As a result, the colors generated are often too vivid for displaying images in the sRGB color gamut (i.e., the sRGB color gamut cannot be reproduced accurately).

Shown here are examples of an sRGB color gamut photograph displayed on an sRGB-compatible LCD monitor (photo at left) and on an LCD monitor with a wide color gamut but incompatible with sRGB and with no color-gamut conversion function (photo at right). While the photograph at right appears vivid, saturation is unnaturally high in parts of the photo. We also see a significant departure from the colors envisioned by the photographer, as well as so-called memory colors.

In more than a few cases, as expanding LCD monitor color gamuts result in the capacity to reproduce a wider range of colors and more opportunities to check colors or adjusting images on monitor screens, problems such as breakdowns in tonal gradations, variations in chromaticity caused by narrow viewing angles, and screen display irregularities, less conspicuous at color gamuts in the sRGB range, have become more pronounced. As mentioned earlier, the mere fact of incorporating an LCD panel with a wide color gamut does not ensure that an LCD monitor offers high image quality. On this subject, let"s take a close look at various technologies for putting a wide color gamut to use.

First we look at technologies to increase gradation. Key here is the internal gamma-correction function for multi-level gradation. This function displays eight-bit input signals on screen in each RGB color from the PC side after first subjecting them to multi-level gradation to 10 or more bits in each RGB color inside the LCD monitor, then assigning these to each RGB eight-bit color deemed optimal. This improves tonal gradations and gaps in hue by improving the gamma curve.

On the subject of the viewing angle of an LCD panel, while larger screen sizes generally make it easier to see differences, particularly with products with wide color gamuts, variations in chromaticity can be an issue. For the most part, chromaticity variation due to viewing angle is determined by the technology of the LCD panel, with superior ones showing no variation in color even when viewed from a moderate angle. Setting aside the various particulars of LCD panel technologies, these generally include in-plane switching (IPS), vertical alignment (VA), and twisted nematic (TN) panels, listed from smaller to larger chromaticity variation. While TN technology has advanced to the point at which viewing angle characteristics are much improved from several years back, a significant gap remains between this technology and VA and IPS technologies. If color performance and chromaticity variation are important, VA or IPS technology remains the better choice.

A uniformity-correction function is a technology for reducing display irregularities. The uniformity referred to here refers to colors and brightness (luminance) on screen. An LCD monitor with superior uniformity has low levels of screen luminance irregularities or color irregularities. High-performance LCD monitors feature systems that measure luminance and chromaticity at each position on screen and correct them internally.

This is a comparison of monitors with and without uniformity correction. An LCD monitor with uniformity correction (photo at left) has more uniform luminance and color on screen than one lacking uniformity correction (photo at right). The two photographs above have been adjusted to equalize levels to emphasize display irregularities. Actual irregularities would be less conspicuous.

To make full use of an LCD monitor with a wide color gamut and to display colors as the user intended, one needs to consider adopting a calibration environment. LCD monitor calibration is a system for measuring colors on screen using a special-purpose calibrator and reflecting the characteristics of the colors in the ICC profile (a file defining device color characteristics) used by the operating system. Going through an ICC profile ensures uniformity between the color information handled by graphics software or other software and the colors generated by the LCD monitor to a high degree of precision.

Software calibration refers to following the instructions of specialized calibration software to adjust parameters such as luminance, contrast, and color temperature (RGB balance) using the LCD monitor"s adjustment menu, approaching the intended color through manual adjustments. Graphics driver colors are manipulated in some cases in place of the LCD monitor"s adjustment menu. Software calibration features low cost and can be used to calibrate any LCD monitor.

In contrast, hardware calibration is clearly more precise than software calibration. It also requires less effort, although it can be used only with compatible LCD monitors and entails certain setup costs. In general, it involves the following steps: calibration software controls the calibrator; matching color characteristics on screen with target color characteristics and directly adjusting the LCD monitor"s luminance, contrast, and gamma-correction table (look-up table) at the hardware level. Another aspect of hardware calibration that cannot be overlooked is its ease of use. All tasks through the preparation of an ICC profile for the results of adjustment and registering this to the OS are done automatically.

The EIZO LCD monitors currently compatible with hardware calibration include models in the ColorEdge series. The FlexScan series uses software calibration. (Note: As of January 2011, FlexScan monitors compatible with EasyPIX ver. 2 offer hardware calibration functionality.)

In the next session, we will examine LCD monitor interfaces and a number of video interfaces for LCD monitors, including the latest generation of interfaces such as HDMI and DisplayPort.

Dell offers a Premium Panel Exchange that ensures zero bright pixel defects on Dell Consumer, Professional, UltraSharp, and Gaming including Alienware monitors.

Unyielding commitment to quality and customer satisfaction has driven Dell to offer a Premium Panel Exchange as part of the standard limited hardware warranty. Even if one bright pixel is found, a free monitor exchange is supported during the limited hardware warranty period.

Premium Panel Exchange is available for Dell Consumer, Professional, UltraSharp, and Gaming (including Alienware) monitors that are sold with computers or as stand-alone units, with a standard 1-year or 3-year limited hardware warranty. Customers who purchase an extended warranty can benefit from this coverage during the limited hardware warranty period.

Gaming monitors are designed to make the output of your graphics card and CPU look as good as possible while gaming. They"re responsible for displaying the final result of all of your computer"s image rendering and processing, yet they can vary widely in their representation of color, motion, and image sharpness. When considering what to look for in a gaming monitor, it"s worth taking the time to understand everything a gaming monitor can do, so you can translate gaming monitor specs and marketing into real-world performance.

You might already know that a screen with 4K display resolution doesn"t magically make everything it displays look 4K. If you play a 1080p video stream on it, that content usually won"t look as good a 4K Blu-ray. However, it may still look closer to 4K than it used to, thanks to a process called upscaling.

It"s also worth considering your own eyesight and desktop setup. If you have 20/20 vision and your eyes are around 20” from your screen, a 27” 4K panel will provide an immediate visual upgrade. However, if you know your eyesight is worse than 20/20, or you prefer to sit more than 24” away, a 1440p panel may look just as good to you.

Use caution when LCDs advertise very high “dynamic contrast ratios”, which are achieved by changing the behavior of the backlight. For gaming or everyday use, the standard “static” contrast ratio discussed above is a better marker of the monitor"s quality.

Black LevelIn all LCD screens, light from the backlight inevitably leaks through the liquid crystal. This provides the basis for the contrast ratio: For example, if the screen leaks 0.1% of the illumination from the backlight in an area that"s supposed to be black, this establishes a contrast ratio of 1,000:1. An LCD screen with zero light leakage would have an infinite contrast ratio. However, this isn"t possible with current LCD technology.

“Glow” is a particular issue in dark viewing environments, which means that achieving low black levels is a major selling point for LCD monitors. However, an LCD screen can’t reach a black level of 0 nits unless it’s completely turned off.

Some inexpensive LCD panels use 6-bit color along with “dithering” to approximate 8-bit color. In this context, dithering means the insertion of similar, alternating colors next to one another to fool the eye into seeing a different in-between color that the monitor cannot accurately display.

In LCD screens, the backlight and color filters determine the color space. All of the light created by the backlight passes through a color filter with red, green, and blue spots. Narrowing the “band-pass” of this filter restricts the wavelengths of light that can pass through, increasing the purity of the final colors produced. Although this lessens the screen"s efficiency (as the filter now blocks more of the backlight"s output), it creates a wider color gamut.

For LCD displays, a high-end backlight feature called local dimming is critical to HDR quality. Dimming zones for the backlight behind the screen control the brightness of groups of LEDs; more dimming zones means more precise control, less “blooming” (where light areas of the image brighten dark ones), and generally improved contrast.

Full Array Local Dimming (FALD), a more high-end option, uses far more dimming zones (typically hundreds) directly behind the panel rather than just at the edges of the screen. It can give more finite control of the HDR content and dimming of the screen as a result.

Both LCDs and OLEDs "sample and hold", displaying moving objects as a series of static images that are rapidly refreshed. Each sample remains onscreen until it"s replaced with the next refresh. This "persistence" causes motion blur, as the human eye expects to track objects smoothly rather than see them jump to a new position. Even at high refresh rates, which update the image more often, the underlying sample-and-hold technology causes motion blur.

This mimics the operation of older CRT monitors, which worked differently than current LCD technology. CRT screens were illuminated by phosphors that rapidly decayed, providing brief impulses of illumination. This meant that the screen was actually dark for most of the refresh cycle. These quick impulses actually created a smoother impression of motion than sample-and-hold, and motion blur reduction features work to replicate this effect.

Liquid Crystal Display (LCD)In TFT LCDs (thin-film-transistor liquid crystal displays), a backlight shines light through a layer of liquid crystals that can twist, turn, or block it. The liquid crystals do not emit light themselves, which is a key difference between LCDs and OLEDs.

Older LCDs used Cold-Cathode Fluorescent Lamps (CCFLs) as backlights. These large, energy-inefficient tubes were incapable of controlling the brightness of smaller zones of the screen, and were eventually phased out in favor of smaller, energy-efficient light-emitting diodes (LEDs).

LCD panels are available in a range of technologies and can vary widely in color reproduction, response time, and input lag, especially among high-end options. However, the following generalizations about panels usually hold true:

Oldest and most affordable LCD panel type. High refresh rates and response times for high-speed gaming such as first-person shooters or fighting games.

Vertically aligned liquid crystals line up with two polarizers, rather than twisting, as in a TN panel. When in a resting state, the crystals can more effectively block illumination than TN panels.

Often slow response times, particularly on black-to-gray color transitions, often resulting in “black smearing” in motion. Wider viewing angles than TN panels, but often less than IPS panels. Some VA panels suffer significant color shift when viewed off-axis.

Widest viewing angles. Most stable image quality. Deeper blacks and better contrast ratios than TN panels. Most are 6-bit+2, but 8-bit and 8+2 panels exist. Often highly rated premium panels.

Pale glow, known as “IPS glow” visible when viewing screens in dark rooms from off-center angles. Response times usually worse than TN panels, but better than VA panels. Lower contrast ratio than VA panels.

Organic Light-Emitting Diode (OLED)OLED screens are emissive, meaning they create their own light, rather than transmissive screens that require a separate light source (like LCDs). Here, the application of electric current causes a layer of organic molecules to light up on the front of the screen.

Backlights may be imperfectly blocked by the liquid crystals in an LCD, causing black areas of an image to appear gray. Because OLEDs have no backlight, they can achieve “true black” by simply turning off a pixel (or at least 0.0005 nits, the lowest measurable brightness).

OLEDs therefore boast very high contrast ratios and vibrant color. The elimination of the backlight also makes them slimmer than LCDs. Much as LCDs were a thinner, more energy-efficient evolution of CRTs, OLEDs may prove a thinner evolution of LCDs. (They can also be more energy-efficient when displaying dark content, like movies, but less energy-efficient with white screens, such as word processing programs).

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