• AJA Video Systems

  KONA 2 WORKFLOW…

  Posted by Daniel Elder on February 1, 2006 at 4:25 pm

  I work with DVCPRO 50 footage, at the moment I can only, unfortunately bring it in with a firewire, we need to pony up some dough to get outputs from our VTR. But I still have a KONA 2 card, would be maximizing the image by going through the KONA 2 compressions in the sequence? If so, which should I use? What would be the best workflow for me in this situation, using firewire? Then what would be the best workflow for me using KONA 2 to capture? Thanks

  Daniel Elder
  Associate Producer
  http://www.luminair.com

  Jeremy Garchow replied 20 years, 6 months ago 3 Members · 2 Replies
• 2 Replies

• 

  Walter Biscardi

  February 4, 2006 at 2:16 am

  [djelder] “I work with DVCPRO 50 footage, at the moment I can only, unfortunately bring it in with a firewire, “

  Are you simply editing from and outputting back to DVCPro 50? If so, then Firewire is the workflow you should continue to use. I edit DVCPro HD via Firewire all the time and what the Kona 2 gives me is realtime Component HD output and some extra performance when editing.

  Walter Biscardi, Jr.
  https://www.biscardicreative.com

  Director, “The Rough Cut”
  https://www.theroughcutmovie.com

  Now Posting “Good Eats” in HD for the Food Network

  “I reject your reality and substitute my own!” – Adam Savage, Mythbusters
• 

  Jeremy Garchow

  February 5, 2006 at 11:01 pm

  It depends on your workflow, and really it depends on your graphics and how much graphic work you do. We just recently acquired a DV50 system (SDX900 & SD93). We love it. I consistently offline at dv50, but I then conform to 8 and sometimes 10 bit uncompressed, it depends on which machine I’m editing at that day. For that process we go out SDI in through the K2 (or io, we have two stations). We currently do a lot of graphic work out of After Effects. The DV50 footage holds up a lot better in 8 or 10 bit uncompressed than it does in DV50. In my experience, the DV50 footage gets pretty beat up once you have affected it (scaled, cc, crop, time remap, etc) when rendering out of AE. If you get the cards for your DV50 deck, get the SDI. You won’t be disappointed. Of course, your drives have to be able to sustain 8 or 10 bit uncompressed as well so consider that before dumping more money into the system. If at all possible, rent or borrow a DV50 deck with SDI. As an experiment, reconform your project to uncompressed and see what you think.

  Jeremy

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