American Cinematographer - March 2015 - 78

3D LUT capabilities from SpectraCal's
CalMan display-calibration software, allowing users to color-calibrate all video output
from the Scratch software. In previous use,
color calibration for professional monitors
required an expensive pattern generator to
ensure reference-level video output during
the calibration process. The CalMan plug-in
enables significant cost savings and ease of
use by using output directly from within
Scratch itself to generate the necessary
color swatches.
To create a corrective 3D LUT with
the CalMan plug-in, users will need a
supported version of CalMan 5 software
and a supported light-measurement device
or meter. During the calibration process, the
meter reads luminance and chromaticity
values of the pattern swatches generated
from Scratch. These measurements are
then used by the CalMan application to
generate three-dimensional correction data
specific to the monitor's unique output
characteristics. This data is consolidated into
a 3D LUT file that is then uploaded into
Scratch.
The plug-in for Assimilate Scratch
and Scratch Lab is available with several
CalMan 5 software products, including
CalMan Studio Express, CalMan Studio Lite
and CalMan Studio.
For additional information, visit
www.assimilateinc.com and www.spectra
cal.com.

vectorscope or the video
image. Leader's Cinelite II,
Cinelite
Advanced,
histogram, gamma display,
gamut and level error
display functions are
included as standard.
Other features include
cable length, external
timing display and field
frequency
deviation
display.
The LV5333 is compatible with more
than 20 HD-SDI/SD-SDI formats. It can be
set to display YCbCr, YRGB, YGBR, GBR or
RGB luminance waveform, color vector,
five-bar, surround-sound level, status or
video source. Freeze mode allows comparison of different SDI input signals. Thumbnail picture display can be selected with
other multi-display operating modes for
easy source identification. Input format,
colorimetry, black burst or tri-level external
reference input are auto-sensed. Any line of
the video signal can be selected and
displayed in waveform, vector or five-bar
representations.
User-configurable
multi-display
combinations allow easy inspection of
signal parameters. Full-screen displays can
alternatively be selected to allow detailed
review of specific elements. Up to eight
channels of embedded audio can be
displayed using bar level meters. SDIembedded audio can be extracted and two
user-selectable audio channels sent as
AES/EBU to a BNC output; they can also be
monitored via the headphone output.
Additional features include signal
status and protocol checks, user-settable
error monitoring and detection, digital lineselection, and menu control storage of 30
front-panel configurations. Screen shots,
user-specific presets and software updates

Leader Enhances Monitor Range
Leader Instruments has expanded its
range of portable waveform monitors with
the LV5333, a multi-SDI monitor designed
for use in studios, technical areas or
attached to a camera support. The integral
6.5" XGA TFT LCD screen can also be used
to display video-signal waveform,
78

March 2015

American Cinematographer

can be communicated via detachable USB
memory. The instrument can be controlled
from a local or remote PC via Ethernet.
Rear-panel connections include 3G/HD/SD
SDI (A and B) input, external loop-through
reference input, re-clocked SDI signal
output, digital audio output, remote control
of preset selections, DC power input (XLR)
and Ethernet remote control. Additionally,
the LV5333 can be optionally upgraded to
enhance the exposure evaluation and
gamma correction capability for cameras
with S-Log-2 (high/low key functions),
zoom-in and aperture function, and a usercustomizable false-color function.

Leader Instruments has also introduced enhancements to its LV5490
SD/HD/4K picture and signal monitor. These
include two-sample interleave, focus assist,
frequency deviation auto-correction, phase
difference detection, CIE 1931 chart with
4K color space, and user-adjustable
measurement display sizes.
"The LV5490 is a high-precision
broadcast test instrument," says Richard
Heath, Leader's European regional development manager. "It can be used in a very
wide range of roles, including precise
matching of up to four studio or outside
broadcast cameras at a time. It also doubles
as a picture monitor for production crews
working on location. The LV5490's multistandard versatility makes this instrument
ideal for use in standard-definition, highdefinition and 4K ultra-high-definition standards, all in one compact housing."
For additional information, visit
www.leaderamerica.com.
●


http://www.assimilateinc.com http://www.spectracal.com http://www.spectracal.com http://www.leaderamerica.com

American Cinematographer - March 2015

Table of Contents for the Digital Edition of American Cinematographer - March 2015

Contents
American Cinematographer - March 2015 - Cover1
American Cinematographer - March 2015 - Cover2
American Cinematographer - March 2015 - 1
American Cinematographer - March 2015 - 2
American Cinematographer - March 2015 - Contents
American Cinematographer - March 2015 - 4
American Cinematographer - March 2015 - 5
American Cinematographer - March 2015 - 6
American Cinematographer - March 2015 - 7
American Cinematographer - March 2015 - 8
American Cinematographer - March 2015 - 9
American Cinematographer - March 2015 - 10
American Cinematographer - March 2015 - 11
American Cinematographer - March 2015 - 12
American Cinematographer - March 2015 - 13
American Cinematographer - March 2015 - 14
American Cinematographer - March 2015 - 15
American Cinematographer - March 2015 - 16
American Cinematographer - March 2015 - 17
American Cinematographer - March 2015 - 18
American Cinematographer - March 2015 - 19
American Cinematographer - March 2015 - 20
American Cinematographer - March 2015 - 21
American Cinematographer - March 2015 - 22
American Cinematographer - March 2015 - 23
American Cinematographer - March 2015 - 24
American Cinematographer - March 2015 - 25
American Cinematographer - March 2015 - 26
American Cinematographer - March 2015 - 27
American Cinematographer - March 2015 - 28
American Cinematographer - March 2015 - 29
American Cinematographer - March 2015 - 30
American Cinematographer - March 2015 - 31
American Cinematographer - March 2015 - 32
American Cinematographer - March 2015 - 33
American Cinematographer - March 2015 - 34
American Cinematographer - March 2015 - 35
American Cinematographer - March 2015 - 36
American Cinematographer - March 2015 - 37
American Cinematographer - March 2015 - 38
American Cinematographer - March 2015 - 39
American Cinematographer - March 2015 - 40
American Cinematographer - March 2015 - 41
American Cinematographer - March 2015 - 42
American Cinematographer - March 2015 - 43
American Cinematographer - March 2015 - 44
American Cinematographer - March 2015 - 45
American Cinematographer - March 2015 - 46
American Cinematographer - March 2015 - 47
American Cinematographer - March 2015 - 48
American Cinematographer - March 2015 - 49
American Cinematographer - March 2015 - 50
American Cinematographer - March 2015 - 51
American Cinematographer - March 2015 - 52
American Cinematographer - March 2015 - 53
American Cinematographer - March 2015 - 54
American Cinematographer - March 2015 - 55
American Cinematographer - March 2015 - 56
American Cinematographer - March 2015 - 57
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American Cinematographer - March 2015 - 60
American Cinematographer - March 2015 - 61
American Cinematographer - March 2015 - 62
American Cinematographer - March 2015 - 63
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American Cinematographer - March 2015 - 71
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American Cinematographer - March 2015 - 73
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American Cinematographer - March 2015 - 76
American Cinematographer - March 2015 - 77
American Cinematographer - March 2015 - 78
American Cinematographer - March 2015 - 79
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American Cinematographer - March 2015 - Cover3
American Cinematographer - March 2015 - Cover4
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