![]() ![]() Save some extra cash - fix it instead of throwing away. We are ready to help you even though the scanner is not bought from us or its warranty has expired. We have experienced that no matter how much rubber or other hardly breakable material secures the "brain" of the diagnostic testers, they sometimes brake down. Repair and maintenance of any diagnostic devices Note! We provide updates even though the scan tool is not bought from us. Instead of buying a new scanner every year, why not update / upgrade it? Save money with us when upgrading your diagnostic equipment. If you need to work with the newest cars on the market, the repair shops have to use the latest diagnostic tools. Our goal is to make you ready to work with the scan tools as soon as you receive them. Furthermore, we provide training by explaining how to use the diagnostic equipment. To help our customers to make the best decision we offer professional customer service and advice in choosing the right diagnostic equipment. We provide high quality and time-tested scanners from various multinational brands: LAUNCH, Autel, Magneti Marelli, Ross Tech and others. ![]() ScopeBox Setups is a new series of blog posts where we ask ScopeBox users to send in a photo of their suite and answer a few questions about how they’ve setup their workspace.If you are either auto enthusiast or own a repair shop, here you will find a huge selection of car diagnostic tools, OBD scanners, code readers for both passenger cars and heavy duty vehicles. Please feel free to join in on the conversation. You can follow Cinetic Studios on Twitter, Facebook, & online at You can also follow me personally on Twitter I also host a live twitter chat on Wednesdays at 5:00pm PST about color and related topics called #ColorChat. Thanks Jason! Where can people find you online? I think many colorists were afraid HDR would do exactly that, but as the technology develops, it seems it won’t be that big of a problem. I would expect to see an increase in the range of color & brightness palettes used over the next 5 years, but nothing extraordinary as we we can easily be overstimulated to the point of discomfort. I’m excited to see HDR and similar technologies become more mainstream and widely accepted. What challenges do you see coming up more in the future / how do you think scopes and color correction will change in the next 5 years? I use the HML Balance to do a black balance pass on almost every program for consistency sake. Balancing a very colorful scene is when I use scopes frequently as our eyes can easily trick our brain. ![]() I also use scopes to ensure the image is clearly within any technical standard I’m delivering for, as I don’t like to make assumptions. I use scopes often during color correction (as opposed to grading), as I always like to confirm what I’m seeing using something measurable. How do you like to use scopes in coloring? What problems do you find yourself turning to your scopes for most? I use that specific layout as it allows me to quickly identify any problems with the image and confirm using a variety of tools. The Source Bar If you’ve previously used ScopeBox, one of the biggest changes you’ll notice in ScopeBox 2.0 is the ability to use multiple sources simultaneously. These are (a) the source bar at the top, (b) the palette region, (c) the sidebar, and (d) the recorder and clip list. I use a custom layout that consists of an RGB Parade, a Y-Only Waveform, two channels plots, a vectorscope set to Hue Vectors, and the awesome HML Balance. The main ScopeBox window can be broken into 4 distinct regions. What is your default ScopeBox palette layout and why? Scopebox is the primary reason why we still have Macs in the studio, aside from ProRes transcoding. We run Scopebox on either MacBook Pros or Mac Minis, relying on a variety of Blackmagic TB I/O cards to capture the signal from our PC workstations. How are you running ScopeBox? How are you getting the signal into the software? We use Lightspace for our calibration needs. For software, we primarily use Blackmagic DaVinci Resolve Studio but also the Adobe CC suite of tools. We currently use Eizo reference displays, powered by Blackmagic Decklink 4K cards. We use full Tangent Element control panels for precision and speed. We use our Macs to power our video scopes and for network transcoding. All media is stored on several RAID arrays built on Hitachi helium-filled 8TB HDDs and Samsung 850 Pro SSDs. ![]() Our main color workstations are Windows-based Xeon machines with Dual Nvidia Titan X GPUs. We use a hybrid of Mac and PC systems in our studio, for both application and compatibility reasons. They provide post production consultation and services ranging from color grading, texture management, visual effects, and finishing. He started the post production facility, Cinetic Studios, which focuses on end-to-end color & finishing for feature film, television, and web video. Today we get a tour of the finishing suite of Jason Bowdach, a colorist and finishing artist based in Los Angeles, CA. ![]()
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