Is this what we’ve been waiting for

[Jerry Hofmann]

Interesting product, and is this the first of it’s ilk?

David, do you know how much it costs?

Jerry

[David Battistella]

Gerry,

I have not seen a cost on this product but it would be interesting to see if there is a possibility that it interprets the long GOP HDV format tc the same way every time. This might eliminate the need for dubbing to another format, etc. for offline/online workflows in HDV.

David

[Jerry Hofmann]

Actually, you can get a component to SDI converter from AJA and do this that way (analog outs from HDV camera/deck to this converter)… I’ve seen the results of this and it’s very clean…

Jerry

[Walter Biscardi]

[Jerry Hofmann] “David, do you know how much it costs?”

$2,699.95 (US) at B&H Photo vs. $1,600 for the AJA Component to HD-SDI converter.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

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

[Bob Zelin]

The AJA HD10A will convert your HDV VTR analog HD component out to HD SDI.
The AJA HD10AMA will take the analog outputs of the Sony HDV VTR and embed them into the HD SDI serial stream. The Addenda RS 4/L will convert the LANC deck control to RS422 for the Kona 2. If you are an “AJA guy”, this is the way to go. But Miranda introduced this product at NAB2005 in April, and Convergent Design is about to release the HD Connect, which will also do the same job.

My #1 choice (of course) is with AJA/Addenda, and I am sure there will be nothing wrong with Convergent Design’s product as well. All here are small companies that have great tech support. As for Miranda, this once tiny company has become a giant, and if things don’t work out, I would’nt hold my breath for great tech support – ALTHOUGH I am sure the product works, and Miranda products in general are very good.

bob Zelin

[Marco Solorio]

[Bob Zelin] “As for Miranda, this once tiny company has become a giant, and if things don’t work out, I would’nt hold my breath for great tech support – ALTHOUGH I am sure the product works, and Miranda products in general are very good.”

They’re products have always been WAY over-priced IMO, especially for products that are directly competitive to others out there by different developers. I never understood why people would buy Miranda stuff when specific similar stuff is out there for less money.

But in the end, you can never go wrong with AJA gear.

Marco Solorio  |  OneRiver Media

[David Battistella]

great thread guys,

I agree with Marco. They may make nice products but they are definitely on the price side. AJA has what I need. I have to say that I can not be but amazingly impressed with AJA and their level of service and how well they back their products. Every call I have made to them has been first rate information and serivce. It gives you a great comfirt level.

Who wouldn’t buy from them?

David

[Matt Bishop]

Both products appear to be targeted at different methods of capturing. The Miranda takes the HDV input signal and outputs HD SDI and HD component with T/C while the AJA model justs converts the component video stream into HD-SDI.

I like the AJA version if I take a feed directly from component signal before I lay my image to tape so it can stay uncompressed and not be converted to 4:2:0, this of course would reguire a on-set computer and a large RAID. The miranda seems to make more sense if you have already shot your footage and you are stuck with HDV, then you can capture via HD-SDI and still keep your source time code the same.

We are planning on shooting a studio show with the JVC HD-100 (whenever it comes out) and we want to capture the image before it gets laid to tape so we can keep the 4:2:2 colour sampling and capture directly to a G5 via HD-SDI at a uncompressed resolution. So for us the AJA version makes sense, now we just have to figure out the timecode issue so we can keep a tapeback up on a HDV tape for the Murphy’s Law mishap.

Both look pretty cool, just depends what you need them for.

P.S. Anybody have any advice on our timecode issue, if we use audiotime code (coming from a third party device) and sync our camera and computer together can FCP extract the audio timecode and use this. I have done this with an Avid before, but never tried it with FCP, thoughts?

Cheers

Matt

[David Battistella]

I think that one way to deal with the TC issue is to actualy record a TC signal to one of the audio tracks of the HDV camera. This would then be the master TC. The TC laid down as the long GOP tc would not be used and the timecode from track two could be the master code. This would require a small TC generator and you would loose an available audio track for recording BUT you could then recapture the footage because the audio TC would be the master TC for the tape.

TC is an audible audio signal so recording it to a track doe smake sense, especially in a controlled studio type set up that you are gong for.

You could also split that same signal onto the tape or convert it to RS-422 to be read by deck control as a live time code source.

FCP is a bit behind shen it comes to live time code signals but this is one workaround that would allow you to shoot HDV and eliminate problem of not being ablr to recapture.

I remember seeing these types of setups in the early days of DV when SMPTE TC was not the norm .

David

[Kevin Gardam]

If we’re taking in HDV thro’ firewire and editing using the Kona and
down sampling for a SD version and playing out the HD thro the Kona back to HDV deck, why do we need these products.? Sorry if its obvious.