DITools

Overview

DITools bundles the daily workflows of an on-set DIT into one dark-themed interface. Every module keeps its own settings, activity log, and state; the sidebar (or ⌥↑/⌥↓) switches between them without interrupting running work.

Module settings persist automatically and can be exported/imported as JSON from the Settings page for sharing between workstations.

System Requirements

Installation

1. Copy DITools.app to /Applications (or run it from any folder).
2. On first launch, macOS may warn that the app is from an unidentified developer — the beta is ad-hoc signed. Right-click the app, choose Open, then confirm. This applies to a build you downloaded in a browser; a build installed by Check for Updates… opens with a plain double-click.
3. Grant permission prompts as modules need them (Location for FreqCheck Wi-Fi names, Full Disk Access for DiskSpeed Spotlight control).

Checking for Updates

DITools can tell you when a newer build is published on 32thirteen.com, and install it for you.

Choose DITools → Check for Updates… to compare the build you are running against the one the site publishes. The panel shows the installed version, the published version, and when the check last ran. When a newer build exists it offers Download Update.

1. Download Update fetches the published zip with a progress bar. Nothing is downloaded until you click.
2. DITools checks the download before it touches anything: the size and SHA-256 must match the manifest, the manifest's Ed25519 signature must verify against a key built into the app, the unpacked zip must hold exactly one app with the DITools bundle id and the published build number, it must not require a newer macOS than this Mac runs, and codesign --verify --deep --strict must pass. A download that fails any check is discarded and the panel says why.
3. Install and Relaunch replaces the installed app and reopens it. Nothing is installed until you click this second button.

• Check automatically when DITools opens runs the same comparison at launch, at most once a day. It is silent unless a newer build is published — no window, no dialog, and no error if the Mac is offline or behind a captive portal. It never downloads anything on its own. Safe to leave on in a truck with no uplink.
• Skip This Build stops that one build from opening the panel at launch. A newer build still announces itself, and a manual check always reports honestly.
• If the panel says AHEAD, you are running a build the site has not published yet — normal for a development build, or for a ship still in flight.
• If the app you are running is named DITools_bNN.app, the new build is installed beside it as DITools_b<new>.app and the old one is removed; a Dock tile pinned to the old path may need re-adding. Any other name, such as DITools.app, is kept and the contents are swapped in place.
• The installed app carries no quarantine flag, so the first-launch right-click → Open step is not needed after an in-app update.

Projectz

Generate standardized DIT day-folder structures.

Set the job number, job/client name, production company, shoot dates, and output directory, then create ready-to-use day folders with OCN, transcode, audio, and DIT subfolders. A live preview shows exactly what will be created.

• OCN options (ORIGINAL_CAMERA_NEGATIVE_ONLINE, OCN, custom), transcode presets (DNxHD 36, DNxHR LB, ProRes Proxy/LT, three custom slots), and audio (AUDIO, MOS, custom).
• DIT output folders: DOCUMENTS, FRAMING_CHARTS, LOGS, LUTS, RESOLVE_PROJECT, SILVERSTACK_LIBRARY, STILLS, plus two custom subfolders.
• Multi-day naming (DAY01_OF_DAY03), numbered subdirectories, date-as-prefix, and date formats of YYYYMMDD, MMDDYYYY, or DDMMYYYY — with an optional Dashes in dates checkbox for 2026-08-07-style dates. Synq's date-mismatch warning understands both spellings.
• A Starting day offset (typed field + stepper, 1–99) numbers folders from the day you join — offset 5 on a 3-day selection yields DAY05_OF_DAY07.
• The UPPERCASE option (on by default) writes Job Number, Job Name / Client, and Production Co. in UPPERCASE in the generated folder names; the fields keep exactly what you type, so Labelz labels and the Framelinez leader title are unaffected.
• Typed names are made filesystem-safe automatically — whitespace and reserved punctuation (\ / : * ? " < > |) collapse to underscores, invisible format characters are removed, and leading/trailing dots are dropped, in both the preview and the created folders.

Framelinez

Build frame lines and framing-chart leaders for cinema cameras.

Framelinez is the standalone CineFrameline app hosted inside DITools, behavior unchanged. Pick a Sony (VENICE/BURANO, FX9/FX6/FR7, FX5/FX3/FX30/FX2), ARRI (incl. AMIRA, ALEXA SXT / SXT W), RED, Panavision (Millennium DXL2), Blackmagic (URSA Cine 12K LF/17K 65, PYXIS 12K/6K, URSA Mini Pro 12K/4.6K G2, Cinema Camera 6K, Pocket Cinema Camera 4K/6K/6K G2/6K Pro), Canon (EOS C400, C80, C50, C300 Mark III, C500 Mark II, C70, R5 C), FUJIFILM GFX ETERNA 55, DJI (Ronin 4D-6K/8K, Inspire 3, legacy Zenmuse X7/X5S/X5R/X5), Nikon (ZR), Panasonic (VariCam PURE/35/LT, AU-EVA1), GoPro (MISSION 1 series, HERO13 Black), iPhone (Blackmagic Camera for iOS), Vision Research Phantom, or PixBoom sensor mode — or a user-defined Custom canvas — add up to three frame line sets with per-line aspect ratio, scale, offsets, opacity, and styling, and watch the preview update live over a framing-chart leader.

• Frame lines fit the sensor or nest ARRI-style inside another line (Fit Inside), with locked aspect ratios that cascade when the container changes. Scaling accepts two decimals.
• Sensor Info reads out the Maximum Capture Rate for the exact camera, sensor mode, recording format, and codec selected (with license/media/mode qualifiers where the manufacturer states them); unpublished combinations say "Not published" and legacy combined Phantom entries say "Varies by model". Phantom cameras are now listed per body (Flex4K, VEO4K 990/590, Flex 2.5K, VEO 640).
• The Compare preview tab draws sensors — and standards-based film formats from Regular 8 through Super 35, 65mm 5-perf, IMAX 15-perf, VistaVision, and the 70mm print aperture — to true physical scale with color-keyed references and a legend of dimensions and horizontal lens multipliers; film rows carry role badges (camera capture vs telecine/projection), cited SMPTE/ISO/ARRI/BKSTS authorities, procedural film-strip rendering, and optional extraction overlays. Export Image writes the chart.
• Frame leader elements drag freely with right-click justification and Center Horizontally/Vertically; the Title can fill from the Projectz module, Director/DoP rows offer DIR:/DoP: prefixes and a cinematography-society suffix dropdown, and the camera-info caption can split into one detail per line.
• Exports camera-ready frame line files per manufacturer, framing-chart leader images (PNG/JPEG/TIFF or true-vector SVG with outlined text, named layers, and real millimetre document size), ASC FDL (validated by the official ASC reference core), and transparent ColorBox overlay PNGs scaled into 4K DCI / UHD / 2K / HD containers (frame lines and center marks only).
• Separate iPhone 18 Pro and Pro Max profiles include their four physical cameras and standard UHD/HD modes (Blackmagic Camera 3.5+). Main-camera Apple RAW references use Open Gate 4224 x 3024 and native “17:9” 4224 x 2240, documented for Final Cut Camera. Confirm RAW availability and orientation in your recording app; iPhone 17 portrait verification is not inherited. Physical sensor dimensions remain unpublished.
• iPhone Duo has its own profile: 26mm main and 13mm ultra wide rear cameras, outer 12MP Center Stage front camera (4K/1080p), and inner under-display front camera (1080p only). Modes offer HEVC/H.264, without assuming ProRes, RAW, Apple Log, open gate, or upright portrait rasters. Folding the displays does not change the recording canvas.
• Apple’s native “17:9” recording raster is 1.885714:1. The literal 17:9 frameline fits to 4224 x 2236 (2 pixels above and below) at 100% and 1x squeeze. For a native outline use Aspect Ratio None and enter 4224 x 2240. Open Gate RAW is 1.396825:1, rather than exact 4:3.
• iPhone 17 Pro/Pro Max offer Open Gate Internal (1920 x 1440) and Open Gate External · ProRes RAW (4224 x 3024 to an external USB-C drive).
• Setup share links use the legacy veniceflt:// scheme, so links made in standalone CineFrameline still paste in.
• Choose Custom to name a virtual camera: optional fields beside Manufacturer, Camera, Sensor Mode, Recording Codec, and Recording Resolution replace the default labels on the framing leader and image exports. Blank fields keep the defaults. Labels persist with projects, autosave, and share links; canvas dimensions and lens squeeze still control geometry.
• The 17:9 (1.8889) and 1.90:1 frameline presets are distinct exact ratios. Camera mode names can be nominal: VENICE 2 5.8K 17:9 uses a 5792 × 3056 raster, about 1.895288:1. To outline the native image area exactly, choose Aspect Ratio None and enter its active raster width and height.
• Format Comparison labels the selected camera and sensor mode as Base. Lens H is reference active width ÷ base active width: multiply the base lens focal length by it to match horizontal framing at the same viewpoint and lens squeeze. Wider formats read above 1.00; a VENICE 35.90mm base and RIALTO 65 53.75mm reference give ×1.50 (50mm → about 75mm). Different gate aspects do not also match vertical framing. Sensor outlines and image circles retain their physical scale; an unknown base geometry shows — instead of a fabricated multiplier.
• Projects autosave to the same Application Support location as the standalone app — existing work carries over automatically.

Labelz

Author and print label sets for drive deliverables.

Labelz reads the active Project's identity and builds drive, box, and warning labels. Add drives, assign copy roles (MASTER, CLONE, VFX, SHUTTLE — with configurable house-style display terms), set per-drive audio and dailies codec, or import drives from a completed Sync job.

• Mounted-volume autofill attaches serial and capacity via DiskArbitration.
• Drive X of Y numbers the complete deliverable set across roles; box labels list contents with a CONTAINS N DRIVES count and degrade gracefully on narrow media.
• Save Set / Load Set writes a reprintable JSON spec that reproduces byte-identical rasters later. The logo is embedded in the spec; fonts are saved by name, and a font missing on another Mac falls back to the system font with a warning in the log.

Synq

Mirror camera media from a source to up to eight destinations per slot, twice over.

Two independent sync slots each take one source and one to eight destinations, run simultaneously or sequentially, with live per-destination progress (current file, %, speed, ETA, byte and file counts).

• Bundled GNU rsync 3.4.1 with fast or thorough modes; native cp fallback with honest no-progress state.
• Verify picker — three tiers, described in the callout below.
• Destination preflight checks permissions and capacity: each run measures the source once (by stat, nothing is read) and a destination that cannot hold it fails before any bytes move. What that destination already holds is discounted first, so topping up a finished offload is never blocked by its own data. A pre-run source check blocks stale unmounted paths.
• Date Mismatch Warning flags destinations whose 8-digit date tokens disagree — the classic wrong-day client-drive mistake — before anything copies.
• Per-destination temporary disable (eye toggle) skips a drive without clearing its path; disabled drives are logged, never silently dropped.
• Optional global sync log plus per-destination rsync_log.txt; optional auto-eject of the Sync 1 source after success.
• ASC MHL seal after copy (off by default; always on for the Inline tier): each destination gets a chain-of-custody generation written after its copy succeeds, in the ASC reference tool's exact format. The sealed folder follows rsync's own trailing-slash rule — a source without a trailing slash seals the copied card folder, a source with one seals the destination itself. Re-syncing creates the next generation with existing hashes re-verified. A slot isn't complete (and Sync 1 won't auto-eject) until its seals are written.
• A destination whose seal records hash failures is not a success. Those files differ from what the source's own history says they should be, so the destination reads Copied · N hash FAILURES in red rather than Completed, the slot pill shows Verify FAILED, the log says the destination is not verified and not to wipe the source, a watch batch reports the run as failed, and auto-eject cannot fire. The generation is still written — documenting damage is the ASC-correct outcome, and the log names the manifest holding the evidence.
• Sealing refuses rather than damaging a history it cannot read. If an ascmhl folder exists but a manifest under it will not parse, the seal aborts and says why instead of restarting the history at generation 1 and overwriting the chain file.
• Hold auto-sync while media apps busy (off by default): while DaVinci Resolve is transcoding or Silverstack is offloading, a watch-triggered sync would fight them for the same drives and throttle both. With this on, DITools samples those apps' actual disk I/O every 5 seconds (per-process, so Time Machine or Spotlight can never trigger it); sustained traffic over 20 MB/s holds watch-triggered syncs — the slot shows an amber "Auto-sync held" note, files stay queued — and about 30 seconds after the app goes quiet, held batches resume within a couple of seconds. An app that is merely open never holds anything: only its measured I/O does. Manual Run and HTTP-triggered runs are never held (you get one heads-up log line), and a copy already in flight is never interrupted. The app list and threshold live in the settings JSON (io_hold_apps, io_hold_threshold_mbps); the default list covers the Resolve and Silverstack families.
• Watch source & auto-sync (per slot, off by default): the slot watches its own source folder and runs itself when new files land and finish copying — only deltas transfer. Auto-runs never show dialogs: a busy slot or a date mismatch holds the run (files stay queued, one log line explains why) and retries once the condition clears; three consecutive failed runs park the batch until the files change or the watch restarts, and cancelling a run stops its batch from re-triggering. Dropped-in folders are detected, per-slot processed histories keep same-folder slots independent, and the watch refuses configurations whose output would land inside the watched tree. With auto-eject on Sync 1, a successful auto-sync ejects the watched source and stops the watch.

FileCompare

Compare mounted drives or directories against a reference.

• Add paths manually or pull every drive from /Volumes; set any drive as the reference, or let Auto Reference pick one matching _1/_01-style names (with Settings filters for camera rolls, the startup volume, and an excluded directory).
• Attribute comparison for size, modification date, and creation date; optional rsync -avn --delete dry-run comparison.
• Filters for hidden items, .mhl, GoodSync _gsdata_, .DS_Store, and custom extensions.
• Cancellable runs discard partial results — a cancelled comparison can never report real files as missing.

RenderCheck

Verify every camera original has a matching transcode.

Two independent check slots each compare a Camera Originals folder against a Transcodes folder and flag anything missing.

• Source formats: .mov, .mxf, .r3d, .cine, .mp4, .ari, .arx, .dng, .braw, .krw, .crm; transcode matching against .mov and .mxf with optional suffix stripping (e.g. _LT).
• RED R3D span and DJI DNG sequence handling; Avid audio-companion (_A1.mxf) skipping.
• Camera-original gap detection for RED/BMD/Canon _Cnnn, ARRI/Venice Cnnn, and iPhone-style trailing numbers.

TreeGen

Produce text inventories of one or more directories.

• Recursive tree output with standard connectors, per-file and recursive directory sizes, and optional skip-hidden.
• Auto Detect Drives adds mounted externals from /Volumes using the shared Auto Reference filters.
• Output writes INDEX_OF_<directory>_<timestamp>.txt inside the scanned directory; the target is validated as writable before the walk starts.
• Cancellable — a partial file is kept and ends with a [CANCELLED — TREE INCOMPLETE] marker.

Housekeeping

Clean render artifacts: trash DRX and CDL files, fix RED proxy names.

FreqCheck

Multi-band RF coordinator and analyzer: 2.4 GHz lens control, 900 MHz camera control, 5/6 GHz wireless video, and custom sweeps.

2.4 GHz Lens Control (default)

• Channel maps for Preston G4/BD (30 ch, 2 MHz), ARRI WCU-4/HI-5 (14 ch, 5 MHz), and Cmotion CPRO (14 ch, 5 MHz), with multiple units per manufacturer.
• Exact and near-conflict detection with a configurable 1–20 MHz proximity threshold, drawn on a 2400–2480 MHz spectrum display.
• Optional HackRF live receive-only sweep (bundled libhackrf/libusb) with auto-scan interval, LNA/VGA gain, and sweep count controls; Wi-Fi-only fallback via CoreWLAN; mock scan mode for testing without hardware.

Analyzer profiles

• 900 MHz Camera Control — 902–928 MHz stitched sweep with BitBox NA / SPUDNIK reference-range overlays (reference only — energy is never attributed to a product), an editable region-dependent 868 MHz sub-preset, user markers, and quiet-candidate ranking at 1/2/4/8 MHz widths. Automatic-frequency-selection products may change channels during observation.
• 5 GHz Video — 5150–5850 MHz with U-NII sub-band and DFS reference boundaries, 20/40 MHz candidate ranking matching Teradek Bolt 4K channel modes, a toggleable Bolt 4K reference overlay (Bolt 4K hops frequencies by default unless fixed-frequency mode is set; DFS frequencies need a 1-minute scan before use), and CoreWLAN 5 GHz network names shown separately as metadata (never as spectrum). A quiet region is not automatically legal to use.
• 6 GHz Video — Teradek Bolt 6 U-NII-5 context (5925–6425 MHz). With a classic HackRF/H4M+ the receiver measures only up to 6.000 GHz: the unmeasured remainder is hatched, excluded from rankings, and flagged with a persistent PARTIAL COVERAGE warning. A detected HackRF Pro (tunable to 7.1 GHz) measures the full span; 6.0–7.1 GHz is flagged as above the Pro's operating specification.
• Custom — user start/stop/candidate width with validation against the receiver's 1 MHz–6 GHz range, optional reference marker, and savable presets.
• Trace / Waterfall / Split display with a bounded-history waterfall (pause, clear, adjustable depth, auto or manual levels, hover readout) and a Clear/Caution/Busy/Stale/Partial/Unmeasured candidate table.

ExpoDelta

Compare two camera exposures in stops, and solve LED-wall EI.

Compare tab

Side-by-side inputs for base FPS, shooting/off-speed FPS, ND, shutter (angle or speed, bidirectionally converted), T-stop, and EI. The stop breakdown itemizes frame rate, shutter, T-stop, ND, and EI deltas; ND uses true optical-density math (ND 3.0 = 9.97 stops). Camera presets cover Venice 1/2, Alexa 35, Mini LF, V-RAPTOR, and Phantom.

Screen NITs tab

Solves EI = K·N² / (t·L) for an LED-volume wall from its measured patch nits (100% white or 18% gray), snaps to the nearest standard third-stop EI, and recommends cine ND toward a target EI. The shutter readout shows the exact reciprocal (23.976 at 180° reads 1/47.952 s, not 1/48).

FlickerFree

Find flicker-free shutter angles for any frame rate.

• Frame rates 1–120 FPS including fractional NTSC rates; flicker source of 50 or 60 Hz mains (treated as a 100/120 Hz source) or a custom frequency, with an offline country picker.
• Lists every safe angle up to 360° with equivalent shutter speed and exposure delta vs 180°; the angle closest to 180° is flagged as the recommended start.
• Phase-locked rates (e.g. 24/30/60 FPS at 60 Hz) are detected and reported as "all shutter angles are safe"; impossible pairs get a higher-frequency suggestion.

DataQ

Plan footage, cards and offload for a multi-camera show.

Project

Set the project frame rate (default 23.976), a headroom margin (default 10%), offload speed in MB/s with an optional verify pass, and one row per show with its own run time in minutes or h:mm.

Cameras

Each row picks a Sony, ARRI, RED, Panavision, Blackmagic, DJI, Canon, Nikon or Panasonic body, a recording format (the sensor mode and recorded resolution — ARRI, RED, DJI, Canon, Nikon and Panasonic rates depend on the mode, not just the resolution), codec and quality (RED: HQ / MQ / LQ / ELQ, or a compression ratio on DSMC2 and older bodies) — only combinations the maker publishes a rate for are offered — with an optional per-row frame rate and a roll % for cameras that don't roll the whole show. Grouped shows one row per setup with a quantity; Per camera gives every camera its own row and letter (A…Z, then AA, BB…). Switching expands groups into single cameras or merges identical cameras back.

Naming (Auto / 01 / A / 01/A, as in MultiPing) names cameras that don't have a name of their own, from their card letter: 01/A (the default) gives CAM 01/A, CAM 02/B …, 01 gives CAM 01, A gives CAM A, and Auto shows the letter only. The generated name shows in the Name field and goes into the CSV and PDF; a name you type or import from a sheet always wins, and card names (A101, A102 …) don't change. Saved shows keep their naming.

Add from Framelinez adds the camera, imager mode, recorded raster and codec currently set up in Framelinez. Camera and mode names come from Framelinez's catalog (the FX3 and FX3A share one entry). If DataQ has no rate for that exact codec it keeps the camera and format and says what it substituted; cameras DataQ has no rates for yet (Blackmagic, Apple, GoPro…) are reported rather than added.

Import cameras from a spreadsheet

Import cameras… (or drop an .xlsx or CSV file on the Cameras section) reads a production camera breakdown — one row per camera with a camera ID and a camera type, such as a CAMERA BREAKDOWN tab. DataQ picks the sheet and the header row (skipping title rows above it) and guesses the Camera ID and Camera type columns; change any of them in the Source bar. Also group by splits one camera type by a second column — for example by LENS #1, when the VENICE format depends on the lens.

Each distinct camera type is listed once with how many rows use it. DataQ suggests a camera from the text (“FG SONY VENICE II (8K)” → VENICE 2 8K, “SONY FR7 (S)” → FR7) with its default format and card; pick the format, codec and card once per type, or Skip it. Types DataQ can't place (a GoPro, say) say needs a camera and aren't imported until you pick one. Rows whose type is blank or N/A are skipped. Every mapping is remembered, so the next sheet from the same rental house comes in already set (remembered).

The preview lists every camera in sheet order with its card letter; untick any to leave them out. Each camera keeps the sheet's ID as its name (shown in Per camera view, the CSV and the PDF's card names) and gets the next free letter, A…Z then AA, BB…, so card names stay A101-style. Replace swaps out the camera list; Add appends, continuing the letters. In Grouped view identical setups merge into one row.

Show Projects

The folder menu in the page head holds the open show's name (• when it has unsaved changes). Save keeps the project inputs, shows and cameras in DataQ's Projects library; Save As, Rename, Duplicate and Delete manage it, and saved shows are listed most recent first. New Show starts empty. Switching shows with unsaved changes asks to save first. Save to File writes a .dataq file for the job folder or another Mac; Open File opens one and adds it to the library. Remembered camera-type mappings are shared by every show.

Card plans

• Single — records to slot A only.
• Relay A→B — fills A, rolls to B, and the full card is swapped while the other records (A101 in slot A, A102 in slot B, A103 in slot A…). Slot B may hold a different card, e.g. 1 TB in A and 512 GB in B.
• Simultaneous — both slots record the same footage; both copies count toward offload.

Card names are camera letter + show number + two-digit roll: show 1 is A101, A102…, show 2 is A201….

Results and checks

Each row shows GB per minute, footage per show, record time per card and cards needed; Totals add nominal and headroom footage, offload hours and a card pull list (per show, spares, total). Checks flag setups Sony doesn't offer at that frame rate, cameras with no card, cards on the wrong media for the codec (VENICE 1 records ProRes and XAVC to SxS and X-OCN to AXS), cards slower than the codec's bitrate, rates that are derived rather than Sony's published figure for that exact setting (with the reason — frame-rate scaling, borrowed from a sibling body, or a disputed Sony source), rates that are card-time figures, and cards whose usable capacity is estimated. The green all-clear only appears when none of these apply. The CSV carries each row's rate basis (verified, derived or gross).

Exports

CSV writes one row per camera per show — rate, footage, cards, card names and record time per card — then per-show totals and the card pull list, with plain numbers ready for a spreadsheet. PDF is a one-page-first production report headed with the Projectz job number, job name, production company and dates: summary figures, the camera setups, per-show totals, the card pull list, every card name per show, and any checks. Files are named DataQ_<job>_<date>, or after the saved show when Projectz has no job.

DiskSpeed

Measure sustained read/write throughput on target directories.

• Single Large 8K File mode (1–64 GB presets or custom) and 8K Image Sequence mode with per-frame flush — reported speeds are true sustained rates, never buffer-fill spikes.
• Simultaneous or sequential multi-directory testing with live current/peak speeds, cycle counts, and comparison cards; targets persist across launches.
• Optional Spotlight disable on target drives via mdutil (needs Full Disk Access), verified after every change and restored automatically when a target is removed.
• Mounted Volumes lists every external drive (as in Labelz). HFS+ and APFS volumes have an Add button; FAT32, exFAT and other formats are shown dimmed as not tested, and the startup, internal, network, disk-image and Time Machine volumes are never offered. Automatically add external HFS+ / APFS volumes adds each eligible drive as a target when it mounts (after the current run, if one is going); a drive you remove stays out until it's unmounted.
• Optional per-drive text report, combined project log, and CSV speed log for graphing.
• Low-level POSIX I/O with F_NOCACHE and F_FULLFSYNC; safe cleanup removes only the DITools_DiskSpeed_Test folder it created.

MultiPing

Live ping monitor for cameras and on-set network devices.

• Load NAME:IP lists (also comma- or space-separated) or .csv files (optional name,host header; columns are matched by name), or add devices manually — even while monitoring runs. An exported status report (TXT or CSV) can be loaded back as a list; only its NAME and HOST columns are used.
• Bulk Add IP Range: tick the checkbox, enter a base name plus the first and last IPv4 address, and Add creates every address in between. A name ending in a number counts up from it, keeping its zero-padding (CAM 01 → CAM 01, CAM 02, …); a name without one gets NAME 1, NAME 2, … (duplicates are skipped; 1024-address limit). The Naming picker beside it chooses the style: Auto (as above), 01 (CAM 01, CAM 02 … CAM 100), A (CAM A … CAM Z, then CAM AA, CAM AB) or 01/A (CAM 01/A, CAM 02/B … CAM 26/Z, then CAM 27/AA); the last three use NAME as the prefix and always start at 01 / A. Sorting by NAME follows the same order, so CAM AA comes after CAM Z.
• Load List and Manage Presets → Import also accept Excel .xlsx camera plots: pick the worksheet, the header row, and the NAME and HOST columns (guessed for you and remembered for the next plot), plus an optional second address column that adds a NAME Color device per row. Rows marked N/A or without a valid address are listed but unchecked. A .csv with more than two columns and no recognised header opens the same mapper. Legacy .xls and Numbers files must be saved as .xlsx first.
• Scan Network sweeps the local subnet — or an edited From/To range — and lists live hosts with hostname, MAC, and latency. Tick the rows you want and Import them; with a non-empty list you choose Replace or Append.
• UP / DOWN / WAITING / ERROR states with latency, packet loss, and last-seen tracking; configurable refresh interval, timeout, ping count, offline threshold, and max pings in flight (DITools raises its own open-file limit at launch so even large lists refresh in one round; hosts that don't answer hold a slot for the full timeout). An optional MAC column (Settings → Columns) shows each on-link host's hardware address from the ARP table, refreshed every cycle while shown.
• Preset manager (save/load/duplicate/rename/delete, TXT/CSV/JSON import-export), CSV/TXT status reports, and launch restore.
• Floating detached monitor window with Keep-on-Top that sizes itself to the visible columns and rows and stays on its screen; when the rows don't fit (a shorter external display, or a smaller window), they scroll under a pinned header; a Table | Tiles switch in its title bar shows each device instead as a NAME-over-IP tile, coloured by status (green UP, red DOWN, amber ERROR, dim WAITING; hover a tile for its status in words), laid out left to right and scaled so every device fits as you resize the window; the Dark checkbox beside it draws the tiles near-black with the name, IP and outline in the status colour instead, for a dark set; a device that misses a ping but hasn't yet reached the Offline threshold shows MISS (dimmed green, in tiles and the table) instead of looking unchecked, so a single dropped packet doesn't blank a tile; two Latency alerts in Settings (e.g. slower than 10 ms in pink, slower than 200 ms in purple) each have their own on/off, ms value, colour picker and Blink — an UP device answering slower than a threshold takes its colour in the STATUS and LATENCY columns and the tiles (the higher exceeded threshold wins; DOWN, ERROR, MISS and WAITING are unaffected); Terminal Style green-on-dark theme on by default.

FrameExtract

Crop, resize, and color-stamp stills and frame grabs from any source — originals untouched.

FrameExtract tab

• Aspect-ratio calculator: enter a source size and target ratio (decimals, 16:9, or cinema ratios 1.33–2.76) and read off the exact centered crop, per-side pixel trim, and output size — no manual algebra.
• Five workflow presets: center crop to target aspect (the standard Resolve still cleanup), remove black bars (content-aware, any side — restrict with the Black bars picker), remove bars then crop to aspect, a two-pass pixel crop prefilled with the old Automator flow (1577×1080 → 1577×886), and resize only. A Crop cleaned frame to target aspect option (and the "Remove bars, then crop to aspect" preset) chains an aspect crop after bar removal — bars removed, resulting size analyzed per image, then cropped to the delivery ratio.
• Lock bar crop for the whole batch replaces per-image detection with fixed per-side pixel trims, so a sequence comes out at one consistent size. Detection can be fooled when dark content sits against a bar (night exteriors, fades), which shows up as output widths that drift frame to frame. Click Measure selected on a frame with bright content against the bars to fill the trims at full resolution, correct them by hand if needed, and every still then gets exactly that crop. Locked trims are source pixels, so the locked crop always runs before any resize. While Two-Pass Crop is enabled it takes precedence and black-bar removal is ignored.
• Batch processing with live progress, optional CSV log, configurable naming (Name_FrameExtract_1577x886.ext), and JPEG/PNG/TIFF output. Sources are only ever read.

ColorStamp tab

• Bakes a .cube LUT (3D or 1D) into LiveGrade LOG stills and tags the chosen output colorspace via embedded ICC — Rec.709 (Gamma 2.4), sRGB, P3-D65, Rec.2020, and HDR PQ/HLG variants. Pixels pass to the LUT untouched; the colorspace is assigned, never converted.
• Output colorspace auto-detects from the LUT filename/title with a visible badge; manual choice always wins.
• Watch Folder mode stamps new stills automatically: FSEvents detection, a stability gate for half-written files, interval batching, a per-folder dedupe ledger, and explicit Resume on launch.

PrestonMeta

Convert Preston FI+Z lens-metadata XML to CSV.

Import one or more Preston XML files and export per-frame lens data. Each <data> row's hex values decode to focus, iris, zoom, and aux readings alongside the timecode.

1. Click Import XML… and select one or more .xml files.
2. Choose Imperial (ft) or Metric (m) focus units.
3. Click Export CSV. One file prompts for a save location; multiple files batch-export one CSV each into a chosen directory.

Output CSVs match the standalone Preston XML to CSV Converter byte-for-byte. Filenames ending in a _YYYYMMDD_HHMMSS stamp keep it: Clip_20260101_123456.xml exports as Clip_20260101_123456_Imperial.csv; anything else becomes Name_Imperial.csv / Name_Metric.csv. Malformed rows are skipped, never fatal.

MHLVerify

Verify media against its hash list, compare two drives, and seal new generations.

ASC MHL is the chain-of-custody format written by offload tools such as Silverstack, Hedge, and YoYotta: an ascmhl folder beside the media holds numbered generation manifests plus a chain file sealing the manifests themselves. MHLVerify re-checks all of it without ever writing a generation.

Legacy MHL v1.x is read too. ShotPut Pro, Silverstack, OffShoot and YoYotta still write a flat .mhl file beside the media by default, with no ascmhl folder at all. Point MHLVerify at a folder and it finds both: v2.0 histories and loose v1.x manifests, verified side by side in one run. All the v1.x manifests in a folder are read as one scope for that folder. The v1.1 checksum spellings are normalised on the way in — xxhash is a decimal XXH32, xxhash64 is the deprecated little-endian form and xxhash64be the big-endian one, and both land on the same value so a manifest from an older tool still compares correctly. A <null> entry (size-only) is reported as NO CHECK, never as verified. v1.x has no chain, no generations and no directory hashes, and the report says so rather than presenting their absence as a fault.

1. Drop a folder or volume onto Target, or click Choose…. Every hash list at or below that folder is discovered — ascmhl histories including nested ones, plus loose MHL v1.x manifests.
2. Click Verify. Each manifest is checked against the chain file, then every recorded file is re-hashed with every format its history recorded — xxHash 64, XXH3 (64/128), MD5, SHA1, and C4 — in a single read pass per file.
3. Read the scope cards (generations, chain state, counts) and the file table, filterable by judgment. Export a text or CSV report for production paperwork.

The chain file is checked from both ends. Every manifest is verified against its chain entry (all recorded formats, not just the first), and the chain is walked for entries whose manifest has gone from the ascmhl folder, for manifests the chain never sealed, and for gaps in the generation numbering. Deleting a generation from the middle of a history is exactly what the chain exists to expose.

A cancelled run is never reported as a verification. Files the run never reached were never checked, so a partial result is labelled CANCELLED — PARTIAL on screen and carries a banner in the exported report. It can never show ALL CLEAN, however clean the files it did reach happened to be.

Directory and root hashes recorded by the sealing tool are recomputed with the ASC reference algorithm and compared — a mismatch means the folder's sealed contents changed even if no individual file failed. Nested sealed folders (a reel folder of separately sealed cards) are verified as their own scopes and never flagged as new files of the parent. Ignore patterns recorded by the sealing tool (.DS_Store and the like) are honored.

Compare — two hash lists, no re-hashing

The Compare section answers "do these two drives carry the same media?" from the manifests alone. Pick Side A and Side B — each may be a folder with a history or a single .mhl file, and the two sides may be different formats, so a ShotPut v1.1 drive can be compared against your own ASC MHL card. Verifying two 2 TB drives means reading 4 TB; comparing their manifests means reading two XML files.

A side whose history contains a failed record is never half of a clean match, even when both sides still agree on the original hash — otherwise a drive that documents its own corruption would compare as identical to a healthy one.

Seal

Seal writes a new generation: pick a hash format (xxHash 64 is the on-set default) and click Seal…. A first seal creates the ascmhl history with every file recorded as original; later seals re-verify all existing hashes, document the outcome (verified, or failed with the damaged bytes' hash), and add new files as originals. The manifest and chain entry match the ASC reference implementation byte for byte — the reference ascmhl tool reads, verifies, and extends histories DITools writes, and vice versa. Sealing refuses to run when recorded files are missing, so damage is surfaced instead of buried — deliberately stricter than the reference ascmhl create, which writes the generation first and only then reports the failure. It also refuses when an existing history cannot be read, rather than restarting it at generation 1 and overwriting the chain. Elements another tool wrote into the chain file are re-emitted verbatim. Media files are only ever read.

Settingz

Import, export, and manage settings for all modules.

• Universal Settings Export/Import writes one JSON covering every module — share setups between workstations or archive per-project configurations.
• Default Settings and Working Configuration paths with auto-load/auto-save toggles, plus Save Current as Working.
• FileCompare Auto Reference filters (skip camera rolls, skip startup volume, excluded directory) — shared with TreeGen's Auto Detect Drives.
• HTTP Control Server configuration and a Test-local-connection action.

All settings persist in UserDefaults under DITools.master, DITools.httpControl, and DITools.module.<module_id> keys.

HTTP Control Server

Trigger Sync from Companion, Stream Deck, or curl.

A localhost-only HTTP server (http://127.0.0.1:32132) lets Bitfocus Companion, an Elgato Stream Deck, or any HTTP client trigger approved commands — designed first for the Synq module. Control surfaces never send paths; DITools stays responsible for selected directories, options, and safety checks.

See Help → HTTP Control Server Help… for endpoint reference, Companion button setup, and troubleshooting.

Files and Configuration

Version and Support

This help describes DITools v__VERSION__ (build __BUILD__).

• Check DITools → About DITools for the exact version of your copy.
• Website: 32Thirteen.com