Extremely basic question!

[Arnie Schlissel]

You use the Kona to monitor and to connect to tape decks.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[John Fishback]

You can also use it to up, cross and down-convert in real time. Checkout the LHi on AJA’s site.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.2, Motion 4.0.2, Comp 3.5.2, DVDSP 4.2.2, Color 1.5.2)

Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[Arnie Schlissel]

[John Fishback] “You can also use it to up, cross and down-convert in real time.”

Just to be clear, this requires that you’re either coming in from or going out to an external video connection of some kind. A deck, a monitor, another mac with a Kona, etc.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[Paul Provost]

if you are already doing jobs without the kona, i assume you are monitoring program on your computer display and exporting QT files for broadcast. if this works, then fine – the deliverable requirements bar has been lowered to the ground for some markets (cable tv).
but the kona can allow you to connect to a broadcast monitor, external scopes, and record decks for more demanding delivery requirements.
it will also let you use the kona’s hardware down/cross converts which are WAY better than rendering out FCP sequences in different formats.

HE’S SUCH A GIRL – Independent Feature Film
https://hessuchagirl.com/
GIRLS ON THE WALL – PBS documentary
https://www.girlsonthewallmovie.com

grade and finish @ post + beam
https://www.postandbeam.tv

[Adam Keyes]

Thanks guys for the responses….

Paul, you’re right in your assumption as to my current workflow. And since I am just getting into TV broadcast editing/exporting, I don’t know all the ins and outs.

I’m exporting standard def QT movs, then the stations transcode them for air. The QT movs look stinkin good on my computer (no, no external monitor, i know i need one…), but then when i see them on air, they look awful. The color is all gone, it’s really pale looking, desaturated, etc….

I’ve wondered if using the Kona to downconvert my HD footage for SD export/broadcast would help the final picture look better.

If so, is the Kona used on initial capturing of the footage from P2 to hard drive? or from hard drive to project timeline? or from timeline to final export?

If that makes sense, and if you have time, let me know your thoughts. If it doesn’t make sense, just forget it. I just need to go read a book on this!! 🙂

Thanks,

Adam

[Paul Provost]

the kona is a video capture and output device. generally you connect a videotape deck to it and capture video, edit it and then lay back to tape through the kona. it also allows you to output the signal of a video editing program like FCP to a broadcast monitor for proper viewing of program (computer monitors are not designed to view video and cannot be properly calibrated to do so).
the card on its own will not allow you to downconvert program on just the computer it is installed in.
if you are not using videotape machines, all it will really allow you to do is view your program on an external monitor, which will at least give you a better idea of what you’re delivering to the broadcast stations.

HE’S SUCH A GIRL – Independent Feature Film
https://hessuchagirl.com/
GIRLS ON THE WALL – PBS documentary
https://www.girlsonthewallmovie.com

grade and finish @ post + beam
https://www.postandbeam.tv

[Adam Keyes]

Thanks again Paul.

Since we’re using P2, and since our local TV markets have pretty much all gone digital/tapeless. It sounds like you’re saying that our only use for the Kona is for viewing on an external proper monitor. Correct?

If so, seems like a sh*#load of money just to have that as an option. 🙂

ps – I watched the trailers for he’s such a girl and girls on the wall. really awesome. i noticed a few actors (begley, etc) who i know from chris guest’s (my favorite, of course) films…made me enjoy the trailer even more. 🙂

Thanks again.

[Richard Cooper]

Hi Adam,
Even if you have no need for laying your program to tape or capturing video from tape, the need for accurate color and broadcast monitoring for delivery is still *critical* This is where your Kona LHi comes in!

The Kona LHi will allow you accurate monitoring and even HD/SDI or HDMI ins and outs should the need arise in the future. The Lhi will do everything you need BUT you will need a good calibrated HD monitor for color grading so you can see truly what you are sending to the network. Bare minimum get a 1080p Panasonic Plasma ($1000) and have it professionally calibrated. about $200- $300 and worth every penny. Better yet get an FSI monitor https://www.shopfsi.com/
This investment will be the best money you ever spend if you want to do accurate broadcast delivery.

Hope this helps

Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com

[Adam Keyes]

Thanks Richard, very helpful indeed.

We’ll get a monitor for sure…

Question: Once everything is plugged in and working, will the Kona and external monitor run in real time? or do you have to export something, then play it on the monitor by itself, then go back and make color corrections, then export, etc, etc…or does it just show on the external monitor as you’re editing/color correcting, which would obviously be helpful. ??

[Richard Cooper]

Everything real time all the time!

Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com