American Cinematographer - May 2016 - 88

Compact batteries
offer two D-Taps
and a USB power
output. One of the
D-Taps features a
DC-in pin; this "DTap Advanced"
socket permits the
battery to be charged from a low-cost and
lightweight travel charger. Quality is assured
through the partnership with Panasonic
Sanyo, who work closely with IDX in the
design of the battery-protection circuitry
and supply the Lithium-Ion cells suited for
demanding broadcast, video and digitalcinema applications. The Duo Compact
batteries are designed to meet stringent
PSE safety regulations, which demand that
individual Lithium-Ion cells are isolated from
each other within the battery in a honeycomb-like structure.
For additional information, visit
www.idx.tv.
Leader Instruments Adds
Multi-Format Waveform
Leader Instruments has introduced
the LV 5480 SD/HD/3G SDI 4K-upgradeable
multi-format waveform monitor. Based on
the LV 5490, the LV 5480 provides the
features that filmmakers, post houses and
broadcast engineers need.
The LV 5480 is designed for use in
an array of test and measurement roles. Its
standard feature-set includes waveform,
vector and picture monitoring, an ancillary
data viewer, data dump, and four-channel
timing display. An SDI status display looks
for cyclic-redundancy-check, TRS, ancillary
data and embedded-audio errors.
Leader's CineLite II toolset - which
comprises CineLite and CineZone - also
comes as a standard feature, allowing easy
assessment of relative exposure and overall
luminance during production. A focus-

88

assist option allows highly accurate on-set
adjustment of camera focus to match the 4K
format's ability to handle very precise image
detail.
Waveform, vector and picture display
can all be viewed at the same time on the LV
5480's 9" monitor display, which is a full
1920x1080 high-definition LED-backlit XGA
screen that offers in-plane switching. If the
9" display is not large enough for the operator, the LV 5480 also comes with a
1920x1080 HD DVI and HD-SDI rasterized
output for display on a larger monitor.
Simultaneous viewing of up to four
SDI inputs is possible, including overlays. The
size and location of individual channels can
be adjusted on the display using a USB
mouse so the user is not limited to fixed-size
quadrants. The LV 5480 can also be
controlled remotely using standard KVM
tools. Additional features include video
frame capture, instrumentation screen
capture, time-code display and ID display.
The LV 5480 can be upgraded at any
time to a full-featured 4K monitor with
compliance for digital cinema (4096x2160)
or broadcast UHD (3840x2160) based on 3G
dual link, 3G quad link and HD quad link.
In addition to the LV 5480's video test
and measurement capabilities, a versatile
selection of audio monitoring and analysis
tools are available with the digital-audio
option. Other available options include eye
pattern with jitter measurements and Dolby
decoding, plus a CIE 1931/1976 color-space
chart, which can display BT.709, DCI (P2)
and BT.2020 (the 4K standard's full ITUrecommended color space). A 4K/HD
pattern generator is also available as an
option, producing 75- and 100-percent color
bars, luma ramp and crosshatch patterns
along with 16 channels of embedded audio.
For additional information, visit
www.leaderamerica.com.


http://www.idx.tv http://www.leaderamerica.com http://www.filmo-usa.com

Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
American Cinematographer - May 2016 - 10
American Cinematographer - May 2016 - 11
American Cinematographer - May 2016 - 12
American Cinematographer - May 2016 - 13
American Cinematographer - May 2016 - 14
American Cinematographer - May 2016 - 15
American Cinematographer - May 2016 - 16
American Cinematographer - May 2016 - 17
American Cinematographer - May 2016 - 18
American Cinematographer - May 2016 - 19
American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
American Cinematographer - May 2016 - 22
American Cinematographer - May 2016 - 23
American Cinematographer - May 2016 - 24
American Cinematographer - May 2016 - 25
American Cinematographer - May 2016 - 26
American Cinematographer - May 2016 - 27
American Cinematographer - May 2016 - 28
American Cinematographer - May 2016 - 29
American Cinematographer - May 2016 - 30
American Cinematographer - May 2016 - 31
American Cinematographer - May 2016 - 32
American Cinematographer - May 2016 - 33
American Cinematographer - May 2016 - 34
American Cinematographer - May 2016 - 35
American Cinematographer - May 2016 - 36
American Cinematographer - May 2016 - 37
American Cinematographer - May 2016 - 38
American Cinematographer - May 2016 - 39
American Cinematographer - May 2016 - 40
American Cinematographer - May 2016 - 41
American Cinematographer - May 2016 - 42
American Cinematographer - May 2016 - 43
American Cinematographer - May 2016 - 44
American Cinematographer - May 2016 - 45
American Cinematographer - May 2016 - 46
American Cinematographer - May 2016 - 47
American Cinematographer - May 2016 - 48
American Cinematographer - May 2016 - 49
American Cinematographer - May 2016 - 50
American Cinematographer - May 2016 - 51
American Cinematographer - May 2016 - 52
American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
American Cinematographer - May 2016 - 56
American Cinematographer - May 2016 - 57
American Cinematographer - May 2016 - 58
American Cinematographer - May 2016 - 59
American Cinematographer - May 2016 - 60
American Cinematographer - May 2016 - 61
American Cinematographer - May 2016 - 62
American Cinematographer - May 2016 - 63
American Cinematographer - May 2016 - 64
American Cinematographer - May 2016 - 65
American Cinematographer - May 2016 - 66
American Cinematographer - May 2016 - 67
American Cinematographer - May 2016 - 68
American Cinematographer - May 2016 - 69
American Cinematographer - May 2016 - 70
American Cinematographer - May 2016 - 71
American Cinematographer - May 2016 - 72
American Cinematographer - May 2016 - 73
American Cinematographer - May 2016 - 74
American Cinematographer - May 2016 - 75
American Cinematographer - May 2016 - 76
American Cinematographer - May 2016 - 77
American Cinematographer - May 2016 - 78
American Cinematographer - May 2016 - 79
American Cinematographer - May 2016 - 80
American Cinematographer - May 2016 - 81
American Cinematographer - May 2016 - 82
American Cinematographer - May 2016 - 83
American Cinematographer - May 2016 - 84
American Cinematographer - May 2016 - 85
American Cinematographer - May 2016 - 86
American Cinematographer - May 2016 - 87
American Cinematographer - May 2016 - 88
American Cinematographer - May 2016 - 89
American Cinematographer - May 2016 - 90
American Cinematographer - May 2016 - 91
American Cinematographer - May 2016 - 92
American Cinematographer - May 2016 - 93
American Cinematographer - May 2016 - 94
American Cinematographer - May 2016 - 95
American Cinematographer - May 2016 - 96
American Cinematographer - May 2016 - Cover3
American Cinematographer - May 2016 - Cover4
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