Tool bench / Waveform monitor / video scopes- brightness of display problem

the display in my tool bench, and specifically in the waveform monitor, is too dark to read.
Happily in the upper left corner, jsut below the "Video Scopes" tab, there are two buttons to adjust:
click to set scale brightness
click to set display brightness
But ... everytime i go away and come back to the tool bench, it reverts to the too dark setting and i must reset it. there must be some way to make a new default value to the display brightness that stays. As it is, the default is waaaay low, so it isn't some factory middle value.
Ideas?
thanks
gary

None, sorry. Mine work as they are supposed to which does not help.
Bogiesan

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Video tutorial: The Waveform monitor

Richard Harrington presents this video tutorial about the Waveform monitor. For the tutorial: <a href="http://help.adobe.com/en_US/premierepro/cs/using/WSCE1EF46C-AB40-45f9-BAD8-D790421BD01A.ht ml">this page in Help.</a>

Richard Harrington presents this video tutorial about the Waveform monitor: http://youtu.be/BNKue_8EPzI

Waveform Monitor Levels

I think the Waveform Monitor (WV-150) is a great tool, but I am a bit confused as to how I should set the levels. For example, do I want to keep ALL levels below 100, or is it advisable to allow less important elements of the picture to exceed 100 in the interest getting a brighter picture in the more important areas? If so, how far can I push this? (I realize that there may be no easy answer to that second question.) Thank you.

Sorry can't do that test because I'm running PC's here and do not have Apple Color. The previous test sounded like a good way to see how the scopes are behaving when dealing with footage with proper levels.
I haven't sent any episodes shot with the Sony XDCAM EX footage to a duplication house with hardware scopes yet. A couple years ago I sent thirteen episodes shot with DVCAM for broadcast distribution. Those clips had the limiter effect on them in Premiere. My notes from them about one show say that the entire signal was 6 to 8 IRE too hot. Also there was a RGB gamut error at some point. Also they said the pedestal needed to be raised. These notes were just from one show, that was shot outside in the winter with snow by a different cinematographer. I DP'd the rest of the season forward, and probably shot with better levels right out of the can that needed less color correction. My point is, at least with this one episode using DVCAM, and probably CS3 at the time, the master deliverables levels were beyond the limiters settings as well.
Seems to be that the Premiere Pro limiter isn't properly processing the entire clip, and further more, at least with XDCAM EX, parts of the signal expand (using any of the color correction effects) after render. Before maybe we couldn't see these illegal values in the trace, but now with CS5 they are visible after render.
I'll just apply the limiter anyway and color grade using the scopes before rendering. The duplication house will have to run them through a real limiter, and sequentially clip some highlights in a poor manner. Seems like the best we can do for now with PP.

Missing Waveform Monitors - New Install, Most Recent Premiere CC 2014

Hi,
I recently downloaded and installed Premiere Pro CC and related apps with a cloud subscription on a new Mac Pro tower. I connected by working RAIDs and opened a PPro project originated on my previous edit system, an iMac. Right away I noticed some strange behavior and key features missing when I went to color correct my footage.
With the desired timeline active in the "Editing" workspace, I used the keyboard shortcut (I also tried this with the dropdown menu) and switched the workspace to color correction. Rather than the timeline activated in the "editing" workspace, a completely different timeline in the project appeared in the "color correction" space. This occurred multiple times with seemingly every timeline, but the one I desired to correct activating in the "color correction" space.
Also, the waveform monitors are absent from both the reference and program viewer menus. I can't seem to the find them anywhere. This leaves me feeling a bit crazy, as I was operating in the most current PPro CC version on the iMac just yesterday and everything was in its place.
Thoughts on what is going on here?
Here are my system specs:
Mac Pro
Yosemite 10.10.1
Processor: 3.5 GHz 6-COre Intel Xeon E5
Memory: 32 GB 1886 MHz DDR3 ECC
Graphics: AMD FirePro D700 6144 MB
For now I suppose, I'll try uninstalling and re-installing the app. Other ideas? Anyone else experiencing this?
Lindsay

Thank you for all of the feedback. I have tried un-installing and re-installing twice now. Once using the cleaner tool and once without. Neither has remedied the problem. I was sure to check "Remove Preferences" when performing the un-install, but when I opened a new project after the re-installation, PPro opened in the "Color Correction" workspace rather than opening in the standard editing workspace and still no scopes.
Other ideas?
I found this thread, which isn't boosting my confidence in a healthy Premiere / Mac Pro relationship, but I have seen no mention of the missing scopes issue I am experiencing. And really I haven't progressed to the point of attempting an export or render. As you well know, scopes are vital, and there's no point exporting if I can't properly polish a product.
Premiere Pro CC and the New Mac Pro (2014)

Video Scopes will not adjust

I did a search so if you have a link to answer this I'd love it. During capture, I want to use the FCP Video Scopes. I can get the waveform monitor and vectorscope to pop up and they show the info but I cannot adjust them. In clip settings, video, the adjustment sliders are not active, they are grey. Help?

I can get the waveform monitor and vectorscope to pop up and they show the info but I cannot adjust them. In clip settings, video, the adjustment sliders are not active, they are grey. Help? < </div>
The availability of these adjustment sliders is clearly explained in the manual. They are not active on digital transfers because DV files are merely being copied from one place to another, they are not processed.
Reading down the thread to where you finally get around to supplying the information we need to help you, your BetaSP has a built-in time base corrector that should have a remote panel on it for controlling the proc amp functions. If it does not, you got ripped off. If you do not know how to operate the proc amp, you will need the Sony's manual.
Unless your BetaSP is really a digiBeta, you will need conventional waveform and vector displays between the deck's analog output and your capture system to accurately portray the effects of any adjustments you make to phase, pedestal, luma, and chroma.
bogiesan

FCP Video Scopes

I've been doing a lot of reading on the internet, and in Final Cut Pro manuals about how to read the video scopes, but there are still a few questions I need answered.
1. When you keep the waveform monitor reading between 0 and 100 IRE, does that mean nothing can go outside of that range if you want properly exposed footage? What constitutes proper lighting? I have a few clips shot with a Sony VX-2100 that are a bit dark and grainy that peak out at 90%. What exactly are you looking for when reading this scope? What does a perfect video look like on the scopes?
2. The line on the vectorscope that measures proper skin tones: What happens when you have a small cluster or two separate lines that don't run along that skin tone line? What should you be looking at when adjusting for skin tones.
3. How do you want your zebra stripes to look on the setting of 70 when your shooting?
Any thourough explanation would be greatly appreciated.

http://discussions.info.apple.com/webx?[email protected]@.ee6bc80
I stand corrected. Nothing in the terms about in depth workflow and teaching how to do something.
My humblest apologies.
I guess I assumed that this being the Apple Final Cut Pro site, and the agreement stating:
"Unless otherwise noted, your Submission should either be a technical support question or a technical support answer. Feedback about new feature requests or product enhancements are welcome too. Don't post non-constructive complaints, polls, or petitions."
I thought that the post should be geared toward the product being supported on the site. And not one of your questions was about Final Cut Pro in the slightest...all about how to read scopes and how to light properly and how to set up zebras. Not one of those things is something done in Final Cut Pro....well, OK, there are scopes in FCP...I'll give you that.
I'll just keep to myself now.
Shane
"There's no need to fear, UNDERDOG is here!"

Video Message - brightness issue which needs resol...

Hello
I am currently running Skype 6.5.0.158 and using a Microsoft LifeCam Studio webcam. When using my webcam for normal calls, or even checking the Tools -> Options -> Video Settings, then I can see my picture perfectly fine - colours are vibrant etc.
However when I use the Video Message feature I see a very dark picture. It's like the brightness has been turned down. My room has all the lights on and there is a fair bit of light coming through the window. I've tested this with a Logitech webcam (not sure of the model) which appears to work without error.
Please see attached document with examples. And yes, I know it's a Shrek soft toy and that my webcam is in mirrored mode at certain points.
I look forward to hearing from you.
Thank-you.
James
Attachments:
EXAMPLES.jpg ‏364 KB

I don't have that problem, but using the model before that one, I can tell you the camera settings can easily cause the issue. Microsoft Lifecams tend to have a "truecolor" option and several other "auto" settings. The best thing to try is to go into the "Video settings" - "Webcam Settings" in Skype and try toggling the settings and moving the sliders to a point where the video appears bright enough to you. See attachment.
I do know that the overlay software that comes with the camera does not work. You could also try 3rd party virtual camera software like "Manycam" (Manycam.com). I have used that software and selected the Manycam Virtual Camera dropdown in Skype to be able to use the overlay software and the Manycam software to add even more overlays successfully. You may also have better luck controlling the brightness in Manycam, if it doesn't seem to appear properly without it. Be aware when Manycam is running, the normal Lifecam drop-down will not work, until Manycam is closed.
Attachments:
Webcam_Settings.jpg ‏74 KB

Using a calibration target with a waveform monitor to get the right contrast?

I was wondering if I am using this target correctly with the waveform monitor to achieve the right amount of contrast.

Dave
You are doing it kind of wrong.
What you should use that Black /Grey White TOOL for is to set an exposure at the camera. (NOT in Post Production..but it does have an application in post)
If your Camera has the Zebras set at 95-100% White...you would point camera at the "TOOL" and adjust exposure so that the zeras display on the white section. You can not do anything about the black. (It will fall into place from the exposure on the white)
Now the above assumes that as a photographer...you actuall want the white level to photograph as white for the particular shot that you are taking.
Exposure is all about tones. Black to white thru grey tone actually. (Forget about color)
Hope this helps but I am happy to expand if you wish.

Continuous output on a waveform monitor

Running an older Black Magic HD Extreme video card on a G5; SDI output to a waveform monitor.
External video set to "all frames." Problem is the output only changes when I pause the video. This is a problem because I want to shoot video of the waveform output changing -- it's for an instructional DVD.
Is the problem that it's running on a G5? Would I do any better running it on my Mac Pro quad? I need to check on this because I would have to buy a new Black Magic card for $1000 to fit the Mac Pro so I don't want to jump into it unless I have to.

Is the problem that it's running on a G5?
No, your Decklink HD equipped G5 is plenty capable. If you are not getting a full motion output then you have some other mismatch. What are your source clip properties, what are your sequence settings, and what video playback preset have you selected?
Cheers
Andy

FCP 6 and 7 - "Tool Bench" greyed out

Wondering what is up with this issue - both Mac Pros are showing this issue - 3,1 has FCP 7 and 1,1 has FCP 6

Please disregard - saw earler both to turn on Vector Scope, etc. - then the Tool Bench selection is possible.

Adding monitor for scopes

I want to add a monitor in addition to the 2 specially for the video scopes for color correcting. I will need an other video card?
Can I redirect the all scopes to an additional 3rd monitor?
Or what would be the best way to install the scopes seperate? Hardware scopes?
Dorian

I'm always an advocate for hardware scopes. There is no other way to really accurately judge the signal from your output device.
Problem, hardware is expensive. I like the new Leader and Tektronix lcd scopes or the new Tektronix rasterizer. Software scopes s@k, Apple's especially.

Software Based Waveform Monitors

I would like to know if anybody out there knows if there is a software based waveform monitor available like the "Serious Magic DV Rack 2" which is sold by Adobe and only PC based. I don't necessarily want to have to be running FCP in order to use it, all I want to do is get a waveform and vectorscope up on the Powerbook I use on location.

I've used Videoscope and it's ok. Though it's not a piece of hardware, either. And it gets confused sometimes when FCP or Quicktime is open. So if you want to use the same computer to capture the video, you have to make your measurements, shut it down, and then open up whatever you're using to capture. I admit to only using it as the free tryout, so maybe this gets fixed when you buy
$30 after the trial.
http://www.versiontracker.com/dyn/moreinfo/macosx/4749

27" ACD as second monitor -- cannot adjust brightness

I've connected a 27" LED ACD to my 27" iMac as a second monitor, but the keyboard commands for adjusting brightness do not affect the cinema display. I understand a common cause for this is that the USB isn't connected, but mine is and I can verify it is working because I have an external HD connected to the USB port of the ACD, and the iMac recognizes that it is connected.
Also, if I go into Display Preferences then I do see the Brightness slider for the second monitor. This is currently the only way I can adjust the brightness of that monitor.

True, Unless there's a shortcut for that, the only way to adjust the brightness of the second monitor is by using the display preferences . same here with a MBP / 27" display.

Hello to all: My iMac has developed a video display problem. It displays everything in cartoon like colors - purple, green, blue. Can this be repaired? Is there a way to output to a different monitor? Thanks in advance! isplays

Hello -
My iMac has developed a video display problem. Everything now appears in a strange, cartoonish way. Purples, greens, blues. Can this be fixed, and if so, any idea how much it might cost? Also, could I output to a seperate monitor? I plan to replace the unit , but cannot right now. Thanks!

Go to System Preferences > Universal Access > Seeing.
In the Display area, reset it to "Black on white" by clicking that checkbox.
You can also reset it by pressing Command-Option-Control-8

Using an external waveform monitor

I have an external waveform monitor (SDI input) and a Black Magic Decklink Extreme which has an SDI output.
I'm trying to get output from Final Cut Pro so I can read the images on the waveform. I've tried "Refresh AV Devices" and enables "All Frames" but it doesn't seem to work.
Ideally, I want to get a continuous output -- not just one frame at a time.
What should I try?

Do you have the correct Decklink setting in the Preference pane?

Tool bench / Waveform monitor / video scopes- brightness of display problem

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