The changing of the CM preview from yellow to normal viewed on the Sony after clicking over to the Sony screen is a normal behavior on dual display Mac systems. This was confirmed to me a while back by Andrew Rodney in Adobe forums. He also confirmed that clicking back to the main display retains the correct CM preview which shows that the video system is using both profiles correctly associated to their respective display. It just takes clicking to the other display to update it.
In Lightroom, all you need to do is drag greater than 75% of the application over to the other monitor, and then you see the application correct colors for the new monitor. I.E., when I drag from my MacBook LCD to my Sony Trinitron, initially (for a fraction of a second) the a sunset image looks intensely yellow... a fraction of a second later, when Lightroom recognizes and uses the Sony Trinitron monitor profile, oranges are re-established and yellows subdued (again, here is where the compensation via oversaturation of yellows for the MacBook LCD is apparent).
I'm wondering if some type of update by clicking is involved with calibrators because I don't know how the software is suppose to know which associated profile/vLUT it needs to clear before measuring the response of one display while the other is attached to the same video card. Is there a section in the software that allows choosing?
This is a very good question. I wondered it myself. All I did was drag the application over to the Sony Trinitron. But, tomorrow, I will try a 'better' method. That is, I will put the MacBook Pro to 'sleep', then connect the Sony Trinitron along with a keyboard/mouse. This wakes up the MacBook Pro *without* turning on the built-in LCD, and uses the external monitor ONLY. Let's see if profiling using Eye-One this way produces a different profile. I will post again with my results.
Also, when you say a color/document is "IN" a particular color space it helps to know whether you converted to or assigned the profile.
I always meant 'converted to', except where I created a new 200x200 pixel image 'in' a particular color space (i.e. PS allows you to select the color space of a newly created image).
When it comes to purities there usually isn't that much of a change except maybe in luminance when you assign different working space profiles.
Yes, which is why when I 'convert to' between sRGB and Adobe RGB and Apple RGB (all permutations & combinations), I don't get much change (i.e. maybe it'll go from 0,0,255 to 0,0,250). However, anytime I 'convert to' a wide-gamut color space, raw RGB values change quite a bit. I believe this has something to do with the fact that wide-gamut spaces, such as ProPhoto RGB, actually encompass 'imaginary' colors. Perhaps 0,0,255 in ProPhoto RGB is 'imaginary', so 0,0,255 in sRGB gets mapped to 94,0,255 in ProPhoto RGB... and 94,0,255 is the pure primary blue.
Another concern I have that didn't get addressed in this thread is Andrew's calibrating the MacBook to a luminance of 85cd/m2. That's too dark for the majority of LCD's calibrated. It's recommended to calibrate between 100-120cd/m2. This darker calibration may reduce the gamut of the MacBook causing problems with the calibrator in how it writes the profile.
I used a luminance of 120 cd/m2.
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