timeinpixels’ software-based suite of video-metering tools OmniScope that has been around since 2019 has just gotten bumped to Version 1.8.0. A good time to have a closer look at the application.
I don’t need a monitor, just give me a waveform and a parade and I can color correct.
I am paraphrasing here, but above quote is roughly that what a famous colorist once said to me when I was sitting in on a telecine session of stuff I shot.
While he might have been exaggerating a bit, it is true that looking at, and understanding different types of scopes is crucial. Regardless whether you are color correcting or grading creatively. Relying on a monitor and your eyes alone can get you in trouble really fast.
What are OmniScope Software Scopes?
Cameras, field monitors and recorders feature some kind of scopes to gauge the quality of the image recorded. But in post production these readouts are even more important. Most NLEs have decent software scopes built-in, but there are benefits to using external scopes like:
- The color grading workstation does not have to constantly compute the scopes and saves resources this way.
- By monitoring off a video I/O device you can be confident you are measuring exactly what you signal is like – unaffected by processing power or graphics card settings.
- External scopes have more features than built-in ones.
While dedicated hardware scopes exist, OmniScope is a software application. It runs on macOS and Windows.
How does it work?
There are tons of ways to feed a video signal into OmniScope: NDI, SDI and HDMI via AJA and Blackmagic Design hardware, video files, image files, screen captures and more. However, if OmniScope runs on the same computer it can also display scopes for DaVinci Resolve, Premiere Pro, and After Effects via plugins.
The scope of OmniScope
All in all there are 14 scope types including the usual suspects like, but not limited to: RGBParade, YRGBParade, RGBWaveform, Luma Waveform, Vectorscope and Audio Meters. More exotic scopes like False Colors and 3D Color Cube offer a fresh way at judging color and exposure.
All the scopes can be arranged freely in the workspace. Layouts can be saved and recalled depending on the work you are doing. Scopes can be “soloed”, essentially making them full-screen temporarily, to see what you are doing in more detail.
A nice feature is the ability to qualify hue ranges in the histogram view. This makes it easy to isolate for example skin-tones.
Many functions of OmniScope can be controlled with Elgato’s StreamDeck controller.
In the recent 1.8.0 update, developer timeinpixels have added:
- New source type: Direct GPU transfers using Syphon platform,
- GPU based screen capture on macOS – super low latency and low CPU performance impact,
- Ability to refresh the license details and manually postpone the scheduled online check,
- Configurable global targets – overlay color and graticule thickness.
To read all the patch notes, go here.
Pricing and availability
OmniScope comes in two versions: The Photo Version costs €84.- and supports only Image files and screen capture as sources and is limited to five scopes at a time.
The Pro version sells for €340.- and features all the bells and whistles. A single license can be activated on three machines at a time.
In addition, a third version, the Video Version, is planned. It sits between the “Photo” and the “Pro” version. As far as I could tell — it only differs from the “Pro” version by not supporting RGB 4:4:4 12 Bit via DeckLink or UltraStudio hardware. No price for the Video Version has been communicated yet.
What do you guys think about OmniScope? Have you used it before and/or do you use other software- or hardware based scopes? Let us know in the comments below!