Plan It
Define the show, onboard the client. Add surfaces in BUILD IT, configure them in ENGINEER IT.
🎨 Branding
Upload your company logo. It brands the pre-pro questionnaire, PDF exports, and deliverables.
PNG, JPG, or SVG — resized to 400px max
🛠 Your Info (Technician)
Your details as the video engineer. Populates questionnaire emails, PDF exports, content spec guides, and cable schedules. Persists across shows.
👤 Client Details
📋 Pre-Production Questionnaire NOT SENT
Generate a branded web form for your client. They fill out show details, screen requirements, and upload room diagrams. You get an email notification when they respond.
🎪 Show Details
Name, Dates & Venue▼
Environment & Room Dimensions▼
📎 Room Diagrams & References
Upload room layouts, stage plots, or floor plans. PDF, PNG, or JPG. Max 2MB per file, up to 5 files.
Drop files here or click to browse
💾 Show File Management
Drop a .nitwit file here to load
Build It
Add every display surface for the show. LED walls, projection screens, monitors, scenic. Configure each in ENGINEER IT.
➕ Add a Surface
Physical Dimensions (optional)▼
No surfaces yet. Add your first display surface above.
Engineer It
Configure each surface. LED zones, grid, wiring. Projection throw, brightness, blending. Monitor specs. All per-surface.
📦 Tile Library YOUR PANELS
Enter tile specs once from the data sheet. Your library persists across shows.
➕ Add Tile to Library▼
No tiles in your library yet. Add your first panel above.
No surfaces yet. Add surfaces in BUILD IT first, then configure them here.
📐 Quick Projection Calculators STANDALONE
These work independently of surfaces — quick calcs for any throw, brightness, or blend scenario.
Throw Ratio Calculator (3-way solve)▼
Brightness Estimator (foot-lamberts)▼
Multi-Projector Edge Blending▼
Lens Selector▼
📖 Projection Reference
Screen Gain Guide▼
1.0 — Matte white (standard, wide viewing angle)
1.3 — Moderate gain (brighter center, slight hot-spotting)
1.5–1.8 — High gain (ambient rejection, narrower sweet spot)
2.0–3.0 — Angular-reflective / ALR (ambient light rejecting)
3.0–5.0+ — Retro-reflective (specialty, very narrow viewing cone)
Higher gain = brighter center but narrower viewing angle and potential hot spots.
1.3 — Moderate gain (brighter center, slight hot-spotting)
1.5–1.8 — High gain (ambient rejection, narrower sweet spot)
2.0–3.0 — Angular-reflective / ALR (ambient light rejecting)
3.0–5.0+ — Retro-reflective (specialty, very narrow viewing cone)
Higher gain = brighter center but narrower viewing angle and potential hot spots.
AVIXA PISCR Minimums▼
Passive Viewing: 7:1 contrast ratio
Basic Decision Making (BDM): 15:1
Analytical Decision Making (ADM): 50:1
Full-Motion Video: 80:1
Measured as (screen brightness + ambient) / ambient. More ambient = worse ratio.
Basic Decision Making (BDM): 15:1
Analytical Decision Making (ADM): 50:1
Full-Motion Video: 80:1
Measured as (screen brightness + ambient) / ambient. More ambient = worse ratio.
Double-Stacking Notes▼
Theoretical: 2x brightness
Realistic: 1.75–1.85x (optical loss, alignment)
NitWit uses: 1.8x (industry standard estimate)
Requirements: Identical projectors, pixel-perfect alignment, polarization management for 3D. Edge blend before stacking.
Realistic: 1.75–1.85x (optical loss, alignment)
NitWit uses: 1.8x (industry standard estimate)
Requirements: Identical projectors, pixel-perfect alignment, polarization management for 3D. Edge blend before stacking.
Cable It
Map your signal chain from source to screen. Bandwidth validation, cable scheduling, and redundancy tracking.
📡 Device Inventory
0 DEVICES
🗺 Signal Flow Diagram
Add devices above, then drag from output ports to input ports to create connections.
Alt+drag to pan • scroll to zoom • Delete key removes selection
Alt+drag to pan • scroll to zoom • Delete key removes selection
⚡ Connections & Bandwidth
0 CONNECTIONS
No connections yet. Drag from an output port to an input port in the diagram, or click the button below.
🛡 Redundancy & Backup Paths
Mark devices and connections as "backup" to track redundancy per destination.
📋 Cable Schedule / Pull List
Fix It
Enter Sekonic readings, analyze gamma, calculate corrections with processor-specific guidance.
📏 Measurement Entry SEKONIC DATA
No surfaces yet. Add surfaces in BUILD IT first.
📈 Gamma Analysis
Compares white and grey lux readings to calculate actual display gamma. Enter both white and grey lux values in Measurement Entry above.
🎯 Correction Calculator
No screens with readings yet. Enter Sekonic data in Measurement Entry above.
Match It
Select two screens to compare. Data auto-populates from your readings.
🎬 Scenario
LED + Projection
LED + LED
Rear + Front Proj
Scenic + LED
Scenic + Projection
Custom / Mixed
📏 Select Surfaces
Add at least 2 surfaces in BUILD IT.
Wash It
Factor in the LD's stage wash to avoid orange talent on blue backgrounds.
💡 Stage Lighting
Why this matters
If the LD runs 3200K wash and your displays are at 6504K, talent looks orange on blue-white on IMAG.📖 Common Wash Temps
● Tungsten: 3200K ● Warm LED: 3200-4000K ● Neutral: 4500-5000K
● Daylight LED: 5600K ● Cool/HMI: 5600-6500K ● D65: 6504K
● Daylight LED: 5600K ● Cool/HMI: 5600-6500K ● D65: 6504K
Paint It
Camera science, moiré risk, shader/CCU guidance. The bridge between your surfaces, stage lighting, and the camera.
🎥 Camera Science / Moiré Calculator
Will the LED wall moiré on camera? Enter your specs and find out. Connects exposure, DOF, pixel pitch, and brightness ratio into one risk assessment.
LED Wall
Camera
🎥 Shader / CCU Guide
📖 Shader Reference
White Balance Strategy▼
General rule: White balance to the stage wash — that's what lights the talent's face. Then adjust displays to match.
If wash is 3200K and wall is 6500K: Camera balanced for 3200K makes the wall blue. Warm the wall toward 5000K as compromise, or accept the cool background.
If wash matches wall (~5600K): Sweet spot. Balance to 5600K — everything cohesive.
If wash is 3200K and wall is 6500K: Camera balanced for 3200K makes the wall blue. Warm the wall toward 5000K as compromise, or accept the cool background.
If wash matches wall (~5600K): Sweet spot. Balance to 5600K — everything cohesive.
CCU / RCP Adjustments▼
R/B Gain: Primary correction. R Gain = red in highlights. B Gain = blue. Orange talent → bump B Gain.
R/B Pedestal: Same but for shadows. Color cast in dark LED areas → fix here.
Matrix: Nuclear option. Adjusts how camera maps colors. Don't touch unless you know exactly what you're doing.
Golden rule: Fix at the source (processor, projector) BEFORE touching CCU.
R/B Pedestal: Same but for shadows. Color cast in dark LED areas → fix here.
Matrix: Nuclear option. Adjusts how camera maps colors. Don't touch unless you know exactly what you're doing.
Golden rule: Fix at the source (processor, projector) BEFORE touching CCU.
IMAG ↔ Room Matching▼
Skin tones are king. Natural faces on IMAG = nobody complains. Wrong skin tones = immediately obvious.
Saturation trap: LED more saturated than projection. LED IMAG looks "punchier" next to projection. Reduce saturation on LED to match.
Viewing conditions: Audience in lit room adapts differently than camera sensor. Trust eyes alongside instruments.
Saturation trap: LED more saturated than projection. LED IMAG looks "punchier" next to projection. Reduce saturation on LED to match.
Viewing conditions: Audience in lit room adapts differently than camera sensor. Trust eyes alongside instruments.
📺 Scope & Monitor Tools HOW TO READ THEM
Why scopes matter
Sekonic tells you what the light IS. Scopes tell you what the CAMERA SEES. Sekonic measures physics. Scopes measure the signal after WB, gain, gamma, matrix. You need both.Waveform Monitor — Luminance▼
Shows: Brightness of every pixel, left-to-right. Bottom=black (0%), top=white (100%).
Read it: Whites at 90-100 IRE, blacks above 0%. Squished middle = flat. Hitting top = clipping.
LED walls: White pattern → waveform should be flat line at 90-95%. Left side higher than right = wall uniformity issue — fix at processor, not CCU.
Broadcast: Whites ≤100 IRE, blacks ≥0 IRE. LED playback not going to broadcast has more headroom.
Read it: Whites at 90-100 IRE, blacks above 0%. Squished middle = flat. Hitting top = clipping.
LED walls: White pattern → waveform should be flat line at 90-95%. Left side higher than right = wall uniformity issue — fix at processor, not CCU.
Broadcast: Whites ≤100 IRE, blacks ≥0 IRE. LED playback not going to broadcast has more headroom.
RGB Parade — See the Color Cast▼
Shows: R, G, B as three separate waveforms side-by-side.
Read it: All three same height = neutral white. Red high = warm. Blue high = cool. R high + G low = magenta tint (Δuv visible through camera).
Workflow: 1) Correct wall to target. 2) WB camera to wash. 3) Point at white wall. 4) All three parade traces even = correct. 5) If not, adjust at processor first, CCU last.
Rule: If cranking CCU gains ±10-15%, something upstream is wrong.
Read it: All three same height = neutral white. Red high = warm. Blue high = cool. R high + G low = magenta tint (Δuv visible through camera).
Workflow: 1) Correct wall to target. 2) WB camera to wash. 3) Point at white wall. 4) All three parade traces even = correct. 5) If not, adjust at processor first, CCU last.
Rule: If cranking CCU gains ±10-15%, something upstream is wrong.
Vectorscope — Hue & Skin Tone Line▼
Shows: Circular display — hue (angle), saturation (distance from center). Color targets around edge.
Skin tone line (I-line): Between Yellow and Red (~10-11 o'clock). ALL skin tones fall on this line regardless of ethnicity. Saturation varies, angle doesn't.
Use it: Frame talent under wash. Trace clusters on I-line = correct. Rotated clockwise = too warm. Counter-clockwise = too cool / magenta contamination.
Matching: LED IMAG trace extends further from center than projection = higher saturation. Reduce at processor.
Skin tone line (I-line): Between Yellow and Red (~10-11 o'clock). ALL skin tones fall on this line regardless of ethnicity. Saturation varies, angle doesn't.
Use it: Frame talent under wash. Trace clusters on I-line = correct. Rotated clockwise = too warm. Counter-clockwise = too cool / magenta contamination.
Matching: LED IMAG trace extends further from center than projection = higher saturation. Reduce at processor.
False Color — Exposure Check▼
Shows: Color overlay mapping brightness. Red=clipping, yellow=hot, green=proper skin exposure, blue=under, purple=crushed.
Skin tones: 55-70 IRE range (green). Yellow/red = overexposed. Dark blue = under.
Uniformity: Two LED surfaces same content should show same overlay. Different colors = brightness mismatch.
Key: Get exposure right FIRST. Underexposed = more saturated, harder to correct. Overexposed = clipped, can't fix.
Skin tones: 55-70 IRE range (green). Yellow/red = overexposed. Dark blue = under.
Uniformity: Two LED surfaces same content should show same overlay. Different colors = brightness mismatch.
Key: Get exposure right FIRST. Underexposed = more saturated, harder to correct. Overexposed = clipped, can't fix.
Diamond Display — Broadcast Gamut▼
Shows: Diamond combining luminance + chrominance legality. Outside diamond = illegal for broadcast.
Matters when: Content going to broadcast/stream. Illegal signals get clipped downstream — unpredictable shifts.
LED walls: Can display outside broadcast gamut (fine for in-room). Through camera to broadcast = must be legal. May need different color management per output.
Ignore when: Purely in-room, no broadcast. Use waveform/parade/vectorscope instead.
Matters when: Content going to broadcast/stream. Illegal signals get clipped downstream — unpredictable shifts.
LED walls: Can display outside broadcast gamut (fine for in-room). Through camera to broadcast = must be legal. May need different color management per output.
Ignore when: Purely in-room, no broadcast. Use waveform/parade/vectorscope instead.
Scope Workflow — The Order▼
1 — Color Bars: Through entire path. Vectorscope: colors on targets. Waveform: white 100%, black 0%. Wrong = signal path broken. Stop.
2 — White Pattern: Full white on wall. RGB parade: three channels even. If not → processor correction.
3 — Exposure: Talent + wall. False color: skin in green. Adjust iris/gain. Don't confuse exposure with color.
4 — WB Check: Parade on white shirt or wall: R/G/B even. Fine-tune WB or R/B Gain. Small moves.
5 — Skin Tones: Vectorscope. I-line. Rotated = hue shift from wash or wall.
6 — Gamut: (Broadcast only) Diamond. Everything inside. Outside = fix it or the truck will.
2 — White Pattern: Full white on wall. RGB parade: three channels even. If not → processor correction.
3 — Exposure: Talent + wall. False color: skin in green. Adjust iris/gain. Don't confuse exposure with color.
4 — WB Check: Parade on white shirt or wall: R/G/B even. Fine-tune WB or R/B Gain. Small moves.
5 — Skin Tones: Vectorscope. I-line. Rotated = hue shift from wash or wall.
6 — Gamut: (Broadcast only) Diamond. Everything inside. Outside = fix it or the truck will.
📖 Camera Science Reference
Sensor Sizes & Circle of Confusion▼
1/3" (PTZ): CoC 0.007mm
2/3" (Broadcast): CoC 0.013mm
1" (Sony FX6 crop): CoC 0.016mm
Super 35 (Cinema): CoC 0.019mm
Full Frame: CoC 0.030mm
Larger sensor = shallower DOF at same aperture = harder to get wall out of focus.
2/3" (Broadcast): CoC 0.013mm
1" (Sony FX6 crop): CoC 0.016mm
Super 35 (Cinema): CoC 0.019mm
Full Frame: CoC 0.030mm
Larger sensor = shallower DOF at same aperture = harder to get wall out of focus.
F-Stop Sequence▼
f/1 → f/1.4 → f/2 → f/2.8 → f/4 → f/5.6 → f/8 → f/11 → f/16 → f/22
Each stop = ×2 light or ÷2 light. Higher number = smaller opening = deeper DOF.
Live events: f/2.8–f/5.6 typical. Dim wash = wide open = shallow DOF = moiré.
Each stop = ×2 light or ÷2 light. Higher number = smaller opening = deeper DOF.
Live events: f/2.8–f/5.6 typical. Dim wash = wide open = shallow DOF = moiré.
Brightness Ratio Guidelines▼
1:1 (0 stops) — Flat look, low contrast
2:1 (1 stop) — Subtle, good for corporate IMAG
4:1 (2 stops) — Standard live event
8:1 (3 stops) — Scenic emphasis, strong wash needed
16:1+ (4+ stops) — Wall overpowering, talent underexposed
2:1 (1 stop) — Subtle, good for corporate IMAG
4:1 (2 stops) — Standard live event
8:1 (3 stops) — Scenic emphasis, strong wash needed
16:1+ (4+ stops) — Wall overpowering, talent underexposed
Lux ↔ Foot-candles▼
1 foot-candle = 10.764 lux
1 lux = 0.0929 foot-candles
Common wash levels:
50 fc (538 lux) — Dim corporate, interview
75 fc (807 lux) — Standard corporate
100 fc (1076 lux) — Bright stage, concert
150+ fc (1614+ lux) — Broadcast studio, outdoor fill
1 lux = 0.0929 foot-candles
Common wash levels:
50 fc (538 lux) — Dim corporate, interview
75 fc (807 lux) — Standard corporate
100 fc (1076 lux) — Bright stage, concert
150+ fc (1614+ lux) — Broadcast studio, outdoor fill
Test It
Industry-standard patterns at native resolution. Fullscreen display or PNG export for your media server.
📐 Output Resolution 1920 x 1080
🎨 Select Pattern
👁 Preview
Fullscreen: Click or press ESC to exit. Best on the display device, not your phone.
PNG Export: Renders at exact native resolution — ready to load into your media server.
PNG is 8-bit RGB. For HDR workflows, generate in DaVinci Resolve.
PNG Export: Renders at exact native resolution — ready to load into your media server.
PNG is 8-bit RGB. For HDR workflows, generate in DaVinci Resolve.
📖 Pattern Reference
SMPTE Color Bars▼
75% bars (standard):
White(191,191,191) Yellow(191,191,0) Cyan(0,191,191) Green(0,191,0)
Magenta(191,0,191) Red(191,0,0) Blue(0,0,191)
100% bars: Same order, 255 instead of 191.
Use 75% for broadcast calibration. 100% for full-range display testing.
White(191,191,191) Yellow(191,191,0) Cyan(0,191,191) Green(0,191,0)
Magenta(191,0,191) Red(191,0,0) Blue(0,0,191)
100% bars: Same order, 255 instead of 191.
Use 75% for broadcast calibration. 100% for full-range display testing.
PLUGE Guide▼
Purpose: Set monitor black level correctly.
How: Adjust brightness until super black and black reference are indistinguishable, but near black (+4%) is barely visible.
Full range (0–255): Super black=0, Black=0, Near black=10
Video range (16–235): Super black=0, Black=16, Near black=29
LED processors and media servers typically use full range. Broadcast monitors use video range.
How: Adjust brightness until super black and black reference are indistinguishable, but near black (+4%) is barely visible.
Full range (0–255): Super black=0, Black=0, Near black=10
Video range (16–235): Super black=0, Black=16, Near black=29
LED processors and media servers typically use full range. Broadcast monitors use video range.
Skin Tone I-Line▼
Vectorscope position: I-line at ~123° (between Yellow and Red targets).
RGB at 75%: R=191, G=140, B=107
All human skin tones cluster on this line regardless of ethnicity. Saturation varies (distance from center), angle does not.
Use this as a reference when checking skin tones on the vectorscope during shader time.
RGB at 75%: R=191, G=140, B=107
All human skin tones cluster on this line regardless of ethnicity. Saturation varies (distance from center), angle does not.
Use this as a reference when checking skin tones on the vectorscope during shader time.
Crosshatch / Grid▼
Purpose: Projector alignment, keystoning, center verification.
3x3 grid with center crosshair and corner marks. 10% tick marks on edges.
Use white lines for dark environments, amber for better visibility against warm scenic.
3x3 grid with center crosshair and corner marks. 10% tick marks on edges.
Use white lines for dark environments, amber for better visibility against warm scenic.
Lut It
Step-by-step guide for creating show-specific LUTs.
🎯 LUT Destination
📋 LUT Creation Checklist
- Lock nits/brightness. Color readings change with brightness.
- White test pattern (255,255,255) full surface.
- Correct surface to target using FIX IT. LUT handles camera-to-display, not display color.
- Display color checker (X-Rite or gradient ramp).
- White balance camera to stage lighting.
- Record 10-15 seconds of checker through camera. Highest quality / LOG.
- Import into DaVinci Resolve. Color Match tool or manual grade. Export .cube (33-point 3D LUT).
- Load .cube into processor. See instructions below.
📖 Processor LUT / Correction Import
Brompton Tessera — 3D LUT (.cube)▼
Req: Firmware v3.2+. SX40/S8.
Format: .cube, 12-bit, tetrahedral interpolation.
1. Tessera Software → Processing → ChromaTune
2. Select "3D LUT"
3. Import .cube
4. Strength slider (start 100%)
5. LUT applies AFTER ChromaTune corrections
Tip: Save project after loading. Pomfort Livegrade pushes LUTs over network in near-real-time.
Format: .cube, 12-bit, tetrahedral interpolation.
1. Tessera Software → Processing → ChromaTune
2. Select "3D LUT"
3. Import .cube
4. Strength slider (start 100%)
5. LUT applies AFTER ChromaTune corrections
Tip: Save project after loading. Pomfort Livegrade pushes LUTs over network in near-real-time.
Megapixel Helios — 3D LUT + CDL▼
3D LUT: .cube via ColourSpace integration (Alpha firmware only). Network → Helios.
ASC CDL via Pomfort Livegrade:
1. Connect Livegrade Studio to Helios via network
2. Livegrade controls ASC CDL in real-time: Slope (gain), Offset, Power (gamma), Saturation
3. Two modes: Interactive (live adjustment) or Manual Upload
4. CDL is NOT a LUT — simpler math transform (multiply, add, power). Useful for on-set VP color matching without full 3D LUT generation.
ASC CDL via Pomfort Livegrade:
1. Connect Livegrade Studio to Helios via network
2. Livegrade controls ASC CDL in real-time: Slope (gain), Offset, Power (gamma), Saturation
3. Two modes: Interactive (live adjustment) or Manual Upload
4. CDL is NOT a LUT — simpler math transform (multiply, add, power). Useful for on-set VP color matching without full 3D LUT generation.
Analogway LivePremier — 3 LUT Types (.cube)▼
3 separate LUT slots — don't confuse them:
1. Color LUTs: .cube format, applied to inputs — color space conversion, creative looks
2. HDR Conversion LUTs: Dedicated HDR↔SDR transform — separate from creative LUTs
3. User LUTs: Custom .cube files for specific workflows
Upload via LivePremier UI. All three can stack.
Also supports: BT.709 / BT.2020 gamut selection per input or output.
1. Color LUTs: .cube format, applied to inputs — color space conversion, creative looks
2. HDR Conversion LUTs: Dedicated HDR↔SDR transform — separate from creative LUTs
3. User LUTs: Custom .cube files for specific workflows
Upload via LivePremier UI. All three can stack.
Also supports: BT.709 / BT.2020 gamut selection per input or output.
NovaStar MCTRL4K — Per-Channel Curves (No .cube)▼
No .cube LUT import. NovaStar uses per-channel R/G/B gamma curves in NovaLCT (desktop software).
1. NovaLCT → Screen → Brightness & Color
2. Drag control points on individual R/G/B curves
3. Color temperature slider for global shift
4. Cabinet-level R/G/B gain/gamma for per-cabinet matching
Workflow: Instead of importing a LUT, manually shape curves to match your target. More hands-on than .cube import.
1. NovaLCT → Screen → Brightness & Color
2. Drag control points on individual R/G/B curves
3. Color temperature slider for global shift
4. Cabinet-level R/G/B gain/gamma for per-cabinet matching
Workflow: Instead of importing a LUT, manually shape curves to match your target. More hands-on than .cube import.
Barco Event Master — No LUT Support▼
Event Master (E2/S3-4K/EX) does not support LUT import.
Use ProcAmp adjustments instead: Brightness (±100), Contrast (±100), Saturation (±100), Hue (±180°). Available per source, per layer, or per SuperSource.
Tip: Use FIX IT tab for slider-based correction guidance for Barco E2.
Use ProcAmp adjustments instead: Brightness (±100), Contrast (±100), Saturation (±100), Hue (±180°). Available per source, per layer, or per SuperSource.
Tip: Use FIX IT tab for slider-based correction guidance for Barco E2.
Pixelhue — No LUT Support▼
Pixelhue (P80/P20/P10/Q8) does not support LUT import.
Use the 4-level color correction stack instead: Screen Color → Layer Color → Input Color → Output Color (availability varies by model).
P80: All 4 levels P20: Screen/Layer/Input P10/Q8: Screen/Layer only
Tip: Use FIX IT tab for slider-based correction guidance for Pixelhue.
Use the 4-level color correction stack instead: Screen Color → Layer Color → Input Color → Output Color (availability varies by model).
P80: All 4 levels P20: Screen/Layer/Input P10/Q8: Screen/Layer only
Tip: Use FIX IT tab for slider-based correction guidance for Pixelhue.
Free LUT Tools▼
DaVinci Resolve (Free): Full suite. Color Checker match, scopes, .cube export. Industry standard.
Color.io: Browser-based LUT creation/conversion. No install. Works from phone.
LUT Generator (IWLTBAP): Desktop. HALD PNG → grade → convert to .cube.
Online LUT Creator: Browser HALD workflow (onlinelutcreator.com).
Steve Seguin's LUT-Maker (GitHub): Automatic via color reference cards.
Color.io: Browser-based LUT creation/conversion. No install. Works from phone.
LUT Generator (IWLTBAP): Desktop. HALD PNG → grade → convert to .cube.
Online LUT Creator: Browser HALD workflow (onlinelutcreator.com).
Steve Seguin's LUT-Maker (GitHub): Automatic via color reference cards.
Deliver It
Build a branded Content Specification Guide PDF. One click, every surface, every codec, every file naming rule. Plus AVIXA viewing distance and pre-pro output.
📏 AVIXA Viewing Distance
DISCAS (V202.01:2016) and 4/6/8 rule. NitWit calculates both — DISCAS for spec sheets, 4/6/8 for conversations with TDs.
📄 Pre-Production Output
Generate a "best case scenario" document for pre-pro meetings. Run the Moiré Calculator in PAINT IT first — results feed directly into this output.
📋 Show Info
Your Info (persists across shows)
📺 Display Surfaces
Add each display surface for your show. LED, projection, LCD, confidence monitors — one card per surface.
No surfaces yet. Add your first display surface above.
⚙ System & Playback
🎬 Media Specifications
Video
Still Images
Audio
📁 File Management
Naming Convention
Opening_S01_v1.mov
Delivery Methods
📄 Generate PDF
Generates a branded 3-page PDF: cover, surface overview table, and content delivery specifications. Downloads directly to your device.
Run It
Multi-day cue sheets, preset matrices, DSM config, crew contacts. Push to Google Sheets for live collaboration.
📊 Production Workbook
No show days yet. Click + Add Day above to start building your run of show.
🎯 Preset Matrix▼
Define what content goes to each surface for each preset number. Surface columns auto-generated from BUILD IT.
🖵 DSM Configuration▼
Downstream monitor routing presets. Monitor surfaces auto-populated from BUILD IT.
👥 Crew Contacts▼
Production crew directory. Included in Google Sheets export.
Learn It
Field guide to every Sekonic C-800-U reading.
📖 Sekonic Field Guide TAP TO EXPAND
CCT — Color Temperature▼
What: Kelvin of a blackbody matching perceived color. Lower=warmer, higher=cooler.
Target: D65 = 6504K (or your custom target).
Good: ±200K = solid. ±500K = workable. Beyond = visible on camera.
LED: Ship 6000-7500K. Factory cal but panels age. Projectors: User-adjustable CCT.
Target: D65 = 6504K (or your custom target).
Good: ±200K = solid. ±500K = workable. Beyond = visible on camera.
LED: Ship 6000-7500K. Factory cal but panels age. Projectors: User-adjustable CCT.
Δuv — Green/Magenta Axis▼
What: Distance from Planckian curve. + = green. − = magenta.
Why: THE measurement explaining pink walls. LEDs lean negative (magenta) due to phosphors.
Good: |Δuv| < 0.002 = excellent. < 0.005 = acceptable. Beyond = visible.
Why: THE measurement explaining pink walls. LEDs lean negative (magenta) due to phosphors.
Good: |Δuv| < 0.002 = excellent. < 0.005 = acceptable. Beyond = visible.
CIE x, y — Chromaticity▼
What: Exact position in 2D color space. D65 = (0.3127, 0.3290).
When: When precision matters. Brompton ChromaTune accepts direct xy input.
When: When precision matters. Brompton ChromaTune accepts direct xy input.
CRI (Ra)▼
What: 0-100 color faithfulness score. Average of R1-R8.
Lighting: Ra > 90 = good. > 95 = excellent.
LED walls: Less critical — TLCI more relevant for cameras.
Watch R9: Saturated red, not in average. LEDs often terrible. Affects skin tones.
Lighting: Ra > 90 = good. > 95 = excellent.
LED walls: Less critical — TLCI more relevant for cameras.
Watch R9: Saturated red, not in average. LEDs often terrible. Affects skin tones.
TLCI▼
What: EBU camera evaluation. Virtual camera model, not human eye.
Good: >90 excellent. 85-90 minor correction. <85 visible. <75 significant.
Action: Measure wash. Poor TLCI = conversation with LD BEFORE shader fights it.
Good: >90 excellent. 85-90 minor correction. <85 visible. <75 significant.
Action: Measure wash. Poor TLCI = conversation with LD BEFORE shader fights it.
TM-30 (Rf, Rg)▼
Rf: Fidelity — 99 test colors vs CRI's 8.
Rg: >100 = oversaturating. <100 = desaturating. Directly relates to MATCH IT saturation matching.
Good: Rf > 90, Rg 97-103.
Rg: >100 = oversaturating. <100 = desaturating. Directly relates to MATCH IT saturation matching.
Good: Rf > 90, Rg 97-103.
SSI — Spectral Similarity▼
What: Academy standard comparing full spectral distribution to reference.
When: Matching LED wall to stage lighting for camera. High SSI = predictable through any camera.
When: Matching LED wall to stage lighting for camera. High SSI = predictable through any camera.
📏 Measurement Distance▼
Sweet spot: 2-3 feet (60-90cm) perpendicular.
Too close: Individual LED clusters, not blended output.
Too far (6+ft): Ambient contamination.
CRITICAL: Kill all other light sources. Cup hand or use black shroud if ambient unavoidable.
Projection: Measure from audience side at viewing angle, especially high-gain screens.
Too close: Individual LED clusters, not blended output.
Too far (6+ft): Ambient contamination.
CRITICAL: Kill all other light sources. Cup hand or use black shroud if ambient unavoidable.
Projection: Measure from audience side at viewing angle, especially high-gain screens.