Scopes and proc amp are accessed through the Display Control panel with either one-channel or four-channel view options. The top row offers 4 groups of four channels each. The bottom row offers individual views of the channels in the four-channel group selected on the top row or a quad view of that entire group.
Right of the Display Control panel is the Scopes option. Click this on and the view changes to a Waveform Monitor and Vectorscope in the top half, with a quad view of the 4-channel group at bottom left, and the channel that is selected and showing on scopes at the right.
To select another channel to view on the scopes, click on that channel in the quad view. Between the scopes are more controls. At top is the button to open the Proc Amp panel, which we will get to in a moment. Below that is the label “Trace” and under that are controls that let you set the color of the signal trace on the Waveform Monitor and Vectorscope. The available choices are Color (uses the range of colors present in the video image), White, Orange, Blue, and Green.
The Vectorscope operates well with any of the modes, including Color. The Waveform Monitor operates well with any of the monochrome modes; black levels in the image will not have sufficient contrast in Color mode to be clearly visible. For all purposes with video content, staying with the monochrome modes is recommended. An occasion for using Color Mode with the Vectorscope (but not a necessity even then) would be when viewing color bars coming from a source you wish to calibrate, such as a camera.
Click on the Proc Amp button to open the Proc Amp panel, which provides both basic luminance and color controls and advanced color controls for adjusting the video image characteristics. This allows the operator to address any quality issues with the incoming video and to ensure that the characteristics of the incoming video sources are properly matched, so they can be used together in future projects and edits from one to another source will not have jarring differences in light and color values or video quality.
IsoCorder records all channels being recorded simultaneously with the matched embedded timecode. With this matched timecode many editing systems can do synchronized playback for easier production. By default, the time from the system clock will be written to the recordings as the embedded timecode. However, IsoCorder Pro also supports Linear TimeCode (LTC), taken from one of the video sources. To engage that, click the master configuration gear by the system name at top center of the IsoCorder Pro UI. Then, use the Source pulldown menu to select the source from which you want to use the LTC. Then, click on the checkbox to toggle on LTC. The Timecode Readout on the top bar will change from white (system clock) to blue (LTC).
With its wide range of recording capabilities and these supporting tools, NewTek IsoCorder Pro can provide a great live content ingest and archiving workflow for any IP-enabled video production suite, regardless of the make of the equipment involved.
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