Perhaps that's another area that Red Giant could pursue with their Magic Bullet suite.
#SCOPEBOX REQUIRED HARDWARE PRO#
It makes using a color correction plug-in like Colorista far less scientific, and I've always wondering why AE doesn't include the native monitoring palettes that Premiere Pro does. Why the need for such scopes in post? While Final Cut Pro and Premiere Pro ship with their own parade of test scopes, After Effects does not. Scopebox is designed as an on-set monitoring and recording aide, as opposed to, say, Synthetic Aperture's Test Gear, which is a set of similar monitoring options for After Effects. My question is, can you use Scopebox as a post-production monitoring solution?Īpparently the only way to take advantage of Scopebox's waveform/vectorscope options during post-production is to utilize a second computer's video hardware.
#SCOPEBOX REQUIRED HARDWARE SOFTWARE#
Video is no longer available: Version 3.0 of the software should be out later this year. Here's a presentation on Scopebox from 's coverage of NAB: Waveforms, vectorscopes, and RGB parades were handy on-set aides, and though similar to Adobe OnLocation (now bundled as part of Premiere Pro), the fact that the forthcoming version 3.0 of the software will drop the price from $700 to $99 makes it a new ball game. When Divergent Media's Scopebox was released a few years ago, it was a $700 piece of software that was fairly unique at the time: a way to turn any Mac laptop into, well.
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