![]() The custom image well containing a storyboard image. The interface is a little awkward for Mac users and, for studio use, you can't drag the windows around to other monitors. However it is well set up for a single screen laptop which would be most commonly used by location filmmakers. With that format in mind, it works pretty well. ![]() You can open all sorts of things in Scopebox 2.0 including a waveform, vectorscope, rgb parade, yuv parade, vu meters, luma and rgb histograms and timecode. There is a nifty solo palette that enlarges the top palette to fill it's area of the screen, another click of the same keys gets rid of it. Each different palette also has several choices for mode, sampling, colorspace and intensity. It's great fun to point a video camera around and watch the picture change on the scopes, even if you don't know what they all do you can figure out most of it by watching the changes. I like to use the vectorscope with the mode set to color as it gives little colored pixels that show you what you are getting. Of course, you can also set the mode to weighted and mono. Mono makes it a vibrant green color but it takes the mind an extra step to associate this image with the boxes for red blue, yellow, green, cyan magenta and then translate that to the colors that are being affected. ![]() The custom still image of the storyboard overlaying the live video.Īll of the scopes have different options. You can also have multiple sources including more than one camera and Quicktime movies. A series of various palettes can be switched to your different sources. With that said, there is one caveat: the way you tell which palette goes with which source is a little bit on the subtle side. Each palette has little circles that open for each source and the color of the window of the sources and the palettes switch to show you which one is which. ![]() On my older monitor, the colors were very subtle and it took me awhile to figure out what was going on. In the long run, this might be better since the muted colors reduce eyestrain. Once you figure it out, it's obvious anyway.Divergent Media ( ) today announced it has launched a new version of its EditReady digital media prep, monitor and delivery software for DITs and editors. With this new version, EditReady now integrates Divergent Media’s ScopeBox software, providing filmmakers and editors with a single workflow to quickly and easily get footage from the camera to the editor, regardless of camera or file format. With support for all industry popular camera formats, and editing formats, EditReady converts media for immediate preview and playback, lets users apply LUTs for color correction, view and edit metadata, easily convert between DNxHD and ProRes and run simultaneous batches, allowing them to generate proxy media or convert footage from different cameras. And now with ScopeBox integration, filmmakers and editors have dedicated, full time scopes without the need for external hardware, taking advantage of ScopeLink to connect EditReady directly to ScopeBox. “EditReady with ScopeBox integration is a pretty big deal for filmmakers and editors because of its camera format and file format flexibility, it’s a solution that fits quite neatly between the camera and the editor,” said Mike Woodworth, founder of Divergent Media.
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