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Advantages of Kona 3 vs LHe when using RED
Guys, I’ve had a RED for a few months and have done testing every which way. I’m excited about this new FCP/Color support…I can finally see the light as to how this will work. Hopefully with some tweaks, this will be an easy way to play, edit, color correct files.
I’m about to add a 4th edit suite to our place and want to really make it great for RED footage. In our other 3 suites, we have Kona LHe’s, which I’m a big fan of due to it’s analog ins/outs. I was thinking I would get another one of these, but are their substantial benefits to getting a Kona 3 specifically for RED footage? (I don’t care about the upconvert capability.) Is it’s support of 2k worth anything if we’re only outputting to a 1080p LCD, anyways?
Just wondering if you guys have thoughts on this.
We’ve mostly been shooting 4K, 16×9, RC28, 29.97 for most of our corporate stuff. We are now using L&T to wrap the files quickly…then spitting out to Color to cc, then back to FCP in a ProRez High Quality 1080 codec.
Any other opinions on our workflow would be welcome. There is a lot to figure out with all this stuff…
Thanks!
Kevin
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1 Reply
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When you bring in your files using Log and Transfer, they come in at 2k instead of 1080P. The Kona 3 will output the 2048 in realtime without needing to use your CPU for processing like you would have to do with the Kona LHe.
Also, check out the Kona 3/RED whitepaper.
https://www.aja.com/pdf/support/AJA_whitepaper_Red_workflow.pdf
-Russ
Russell Lasson
Ridgeline Digital Cinema Mastering
Universal Post
Salt Lake City, UT
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