Buy Design Pocket Ultrascope Monitoring For Mac

After reviewing all the requirements for USB 3.0 and the Pocket Ultrascope, I bit the bullet an bought the Pocket Ultrascope. Since BMD has an HP Envy15 laptop on their list, I was sure an HP Elitebook 8740w would work.

Well, for the price, it can't be beat. But it is missing some critical features, which I hope appear in future models. There is only one looping HD-SDI input on the monitor. So if you have to monitor the output of your editing system, and then go to a 'B input' to check your VTR output -- well, there is no 'B input'. The controls that are accessed via software are currently very limited -- there are adjustments for brightness, contrast, and color.

Read my blog. An email we got from Blackmagic support last week: ------------------- Hi Paulo We have recently removed the HP Envy 15” notebook from our recommendations, as the model that we tested and certified is now end of life and no longer available.

So here's my questions: 1. How correct is color and contrast on SV? Can it be calibrated (since everything is software based) and if so, how can I calibrate it? I'm asking this cause I have a really bad expirience with HD monitoring. On my old job they used to have Panasonic HD monitor (not sure which one) and JVC SD monitor connected. The problem was that picture on HD monitor looked really bad!

I know that you don't want to hear this, but I assume that if you put an HD signal into the BNC's on the back, you get a video image - correct? The software for the SmartView and SmartScope are the same, and the casing for the two products looks the same. I think you unfortunately have the SmartView Duo monitor there, and NOT the Smart Scope.

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Rich is a popular speaker on the digital video circuit and has served as program manager for conferences hosted by the National Association of Broadcasters (NAB). He has also written several books for the video industry, including An Editor's Guide to Adobe Premiere Pro, From Still to Motion, and Photoshop for Video. To explore more resources for media professionals and to watch Rich's many podcasts, visit. By: Eduardo Angel course • 46m 22s • 5,947 viewers • Course Transcript I've invited a guest expert on set.

We did that for one event (we do live sports) and the resolution of our 32' tv just didn't cut it for us. Our switcher couldn't really make judgements on exposure from his monitor.

Ultrascopes are going to provide us a lot more analysis options. We're going to be able to see the signal in a lot of different ways including things like and a histogram and viewing our audio levels. We also even get a preview of the shot in black and white so we can help, you know, see our overall exposure and check things like focus and stuff. So it's a very full featured tool. I just want to make one thing clear Rich. Is that, this set, this version of UltraScopes does require, that you have a camera.

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And if you try to beg, and reason with the facility owners, they simply cannot understand why they need scopes because 1) they cost too much money for a Tektronx, Leader, Hamlet, etc., and 2) their 27 year old editor/color grading person has no idea of what to even do with a scope. Now if you have the luxury of working with 40 + year old people that have background and training and are in a hi end facility, or perhaps TV station, then you are truly fortunate. I have see the disappearance of scopes in edit rooms from the day that FCP 7 was originally released (and AJA and Blackmagic started making IO cards for them. And that problem has gotten worse, as the years went on - NO SCOPES (how come everything looks so red?).

Blackmagic cameras are some of the hottest cameras on the market now, offering the ability to shoot both raw video and high-quality production codecs. But they offer lots of options; this course will help you find a camera that fits your budget and your needs. Get to know the features of the popular Blackmagic Cinema Camera and the (4K-capable!) Production Camera, and decide if a Blackmagic is right for you.

If you clip the blacks and whites, you lose all detail later in post production when you try to adjust blacks up or whites down. Histogram view lets you see where the pixels are in your video, and how they are distributed from black to white. You can see if video is clipping, making it easy to adjust the camera to keep all black and white detail in the image. Later in post production you then have the full contrast range of video for easy color correction that lets you keep all details no matter how extreme the color grade is. Audio View for Monitoring Levels Keep track of your audio levels at all times with 8 channels of audio metering, plus a stereo phase meter.