Blackmagic UltraScope

MSRP: $695.00


Product Highlights

  • 3Gbps SDI and Optical-Fiber SDI Scope
  • Software
  • For Editors & Colorists
  • Broadcast-Quality Accuracy
  • Parade Display
  • Waveform Display
  • Component Vectorscope View
  • Histogram for Location Shoots
  • Audio Level
  • Picture View with VITC Timecode


OverviewSpecificationsKey Features
The world’s first 3 Gb/s SDI and optical fiber SDI scopes designed for editors and colorists, with the technical accuracy broadcast engineers will love.
Connections SDI Video Input:1 x 10 bit SD, HD and 3 Gbps HD switchable

SDI Video Output:

1 x 10 bit loop thru SD, HD and 3 Gbps HD switchable

Optical Fiber Video Input:

1 x 10 bit SD, HD and 3 Gbps HD switchable via LC connector

Optical Fiber Video Output:

1 x 10 bit loop thru SD, HD and 3 Gbps HD switchable via LC connector

Supported Video formats:

525i NTSC, 625i PAL, 720HD and 1080HD

SDI Audio Input:

8 channel embedded in SD and HD

SDI Audio Output:

8 channel embedded in SD and HD

Optical Fiber Audio Input:

8 channel embedded in SD and HD

Optical Fiber Audio Output:

8 channel embedded in SD and HD

Multiple Rate support:

Standard definition SDI, high definition SDI and 3 Gbps high definition SDI


Firmware for cards built into software driver

Loaded at system start or via updater software

Standards HD Format Support:1080p 23.98/24/50/59.94, 1080i50, 1080i59.94, 720p50 and 720p59.94

SD Format Support:

625/25 PAL and 525/29.97 NTSC

SDI Compliance:

SMPTE 424M, 259M and 292/296M

Video Sampling:


Color Precision:

4:2:2 10-bit

Color Space:

4:2:2 YUV

SDI Metadata Support:

VITC and RP-188 timecode

Audio Sampling:

Television rate of 48kHz at 24 bit

Card Type:

PCI Express 1 lane, compatible with 1, 4, 8 and 16 PCIe slots

Signal Processing Hardware-based, real-time, colorspace conversion
Dimensions (HxWxD) PCI-Express 4-lane card type
Weight Not specified by manufacturer

Elegant and Engineering Accurate

If you’re tired of hard to use and ugly waveform monitoring, then you’ll love Blackmagic UltraScope. We have included all the features you need when editing or color correcting, and then, combined it with an elegant user interface that looks great when added to your studio! Simply plug into any compatible Windows™ computer with a 24 inch monitor, and Blackmagic UltraScope will display 6 live scope views simultaneously! UltraScope is engineering accurate and includes 3 Gb/s SDI plus 3 Gb/s optical fiber SDI. UltraScope auto detects SD, HD and 3 Gb/s SDI inputs

Parade Display for Colorists

When color correcting video, nothing beats the real time RGB parade waveform view. You can see the color balance in blacks, mids and whites, so it’s easy to balance colors and get your images looking perfect. RGB Parade is also perfect for checking for illegal colors because any video that drops below the black line, or above the 100% line is an illegal RGB color. Parade can also be switched to component so you can align equipment and decks.

Waveform Display for Alignments

When adjusting video levels or matching black background levels when keying, the waveform display is ideal for this task! Waveform view has a setting that’s luminance only, or composite. Composite video is synthesized from the SDI input, and is a much better view for aligning traditional equipment such as decks. Thousands of editors know and understand composite waveform monitors, so even though UltraScope is all digital, the synthesized composite waveform makes like a lot easier!

Component Vectorscope View

A vectorscope is the only way to see what color you have. When color correcting video sometimes you need to know color has been removed or nulled out for accurate white balance, and vectorscope view is perfect. Sometimes when color correcting you also need to apply a tint, and vectorscope lets you see exactly how much tint you’re adding, and what color it is. Sometimes monitors cannot be trusted, but a vectorscope always shows the colors you have! Of course aligning hue on decks is always easy with vectorscope view!

Histogram for Location Shoots

Almost all video need to be color corrected at some point in the post production process, and so you never want to clip video whites or blacks when on a live shoot. If you clip the blacks and whites, you loose all detail later in post production when you try and adjust blacks up, or whites down. Histogram view lets you see where the pixels are in your video, and how they are distributed from black to white. You can see if video is clipping, and then it’s easy to adjust the camera to keep all black and white detail in the image. Later in post production you then have the full contrast range of video for easy color correction that lets you keep all details no matter how extreme the color grade is!

Audio view for Monitoring Levels

Keep track of your audio levels at all times with 8 channels of audio metering, plus a stereo phase meter. The stereo phase meter plots left and right audio, as an XY scope display so you know exactly what your audio is at all times. Audio scope lets you see mono audio, as you see a 45 degree forward angled straight line, or when you have stereo audio you will see the scope puff out in all directions! Audio problems are easily seen such as clipping, and out of phase audio can be seen as a 45 degree back leaning display. If you don’t get a perfect 45 degree forward leaning waveform, then you know you audio channel balance is out! No audio problem can hide from audio scopes!

Picture View with VITC Timecode

The picture view lets you keep track of the video input so you always know what’s going on and what video input is connected into your Blackmagic UltraScope. Input video is selected automatically from either the optical fiber SDI or regular SDI inputs, and video standard is automatically detected and displayed above the video image. VITC timecode is also detected and read into a timecode counter on the top right of the video image.

High end post production and television engineers have known for decades the benefit of using waveform monitoring not just for engineering, but operationally in color correction and editing workflow. From color correction to matching black levels when keying and overlaying video, only waveform monitoring lets you keep track of what’s going on, and helps you eliminate illegal colors, and other problems that could cause your work to be rejected by broadcasters.

Of course, waveform monitoring is the best way to impress your clients, and let them know that your keeping on top of quality in your work!

Additional information

Weight 1 lbs
Dimensions 5.3 x 5.3 x 1.1 in


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