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Which Kona for me?
I have an 8 Core Mac Pro and 2K scans (which are actually 1868 x 780 DPX – 2perf 35mm) I am using Glue Tools to edit the DPX files in FCP.
All I need is the ability to monitor out to an HD monitor. Do I NEED a Kona 3? All I am going to be doing is grading in Color and I need the ability to monitor out in HD at 1080.
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26 Replies
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[Michael Nichols] “I have an 8 Core Mac Pro and 2K scans (which are actually 1868 x 780 DPX – 2perf 35mm) I am using Glue Tools to edit the DPX files in FCP. “
FYI that is technically not a 2K scan, the 2K moniker has been defined by SMPTE to be a scan that is 2048 or larger and your scans are not even 1920×1080.
However the only GT implementation is only on the Kona 3 Card, so yes you would need the K3 card.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Thanks. I figured the K3 was my only choice.
I know it isn’t 2K, but that is the resolution from the 3k to 2k arriscan for my 2 perf 35mm. 2-perf only uses Academy Aperture width since Full Aperture gives you a 2.66 : 1 aspect ratio. Full Aperture 35mm scans at 2K are 2046 pixels across, whereas using only Academy width are 1828 pixels across
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would you have been happier if you could have chosen the AJA Kona LHe, or Blackmagic Decklink HD Extreme ? You ARE working in 2K with DPX files, right ? You are shooting with an Arri in Film, right ?
Isn’t quality the only thing you are really concerned with ?Bob Zelin
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Yes, but what does one have to do with the other?? By that token, since I shot on 35mm film, did a 2K scan et al, shouldn’t I expect nothing less than Champagne and Caviar? All kidding aside, what does the Kona 3 do for me if i/o isn’t in the cards? All I need is 1080p monitoring capabilities. Unless, and I could very well be mistaken, there is the possibility of monitoring via dual link SDI.
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Like Gary said, GlueTools functionality is only operable on the Kona3. it does not exist on the other Kona cards.
Jeremy
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Unless, and I could very well be mistaken, there is the possibility of monitoring via dual link SDI.
you just said the last and final word – you need the Kona 3. And YES, you SHOULD expect champagne and caviar – as ALL PROFESSIONALS on this list should demand. ONLY champagne and caviar for ALL OF US – no McDonalds EVER ! Very well put. Anyone that even suggests McDonalds – kill them. (Unless McDonalds is the client – and we use their money to get the champagne and caviar).
Bob Zelin
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what’s going on with the HP dreamcolor monitor and that new nvidia (or is it ati) card that outputs 10 bit over dvi? would that be a monitor only solution. haven’t really put the pieces together in my head yet.
“HE’S SUCH A GIRL” HD feature film
grade and finish @ post + beam
http://www.postandbeam.tv -
[Michael Nichols] “Full Aperture 35mm scans at 2K are 2046 pixels across, whereas using only Academy width are 1828 pixels across
“2-perf is just now gaining ground on the shooting side and there are other options for the delivery.
I work on scans larger than 1828 because the client insisted for the FULL 3K scans to get a lager final output then scaled them down in post to 1920 x 1080The current software for the Arriscan allows for multiple res files from 2perf scans, since I was told that your files at the res you are working at were the “offline” version, not the finals.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
I would suggest that all get their hands on the DVI spec and read it carefully before jumping into any monitoring.
Cheers,
Ramona -
Should have added 10bit monitoring.
Cheers,
Ramona
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