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Kona 2 – HDSDI to HDV ?
I have a client who needs to capture 10180i from his HDW-F500 HDCAM deck (via HDSDI) to an HDV file using his Kona 2 card. I don’t have a Kona system here right now to make sure it’s possible. Is anyone sucessfully using this workflow to offline with ?
Bart
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Bart Harrison
MPA – The HD SuiteAmerica’s VAR
TurnKey Editing Systems, Storage Area Networks
HD Consulting, Production & Post, Exhibition & Distribution
http://www.hdsuite.com
954-894-1221 -
31 Replies
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Whoops I meant 1080i !
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Bart Harrison
MPA – The HD SuiteAmerica’s VAR
TurnKey Editing Systems, Storage Area Networks
HD Consulting, Production & Post, Exhibition & Distribution
http://www.hdsuite.com
954-894-1221 -
[Bart Harrison] “I have a client who needs to capture 10180i from his HDW-F500 HDCAM deck (via HDSDI) to an HDV file using his Kona 2 card.”
I don’t think this is possible with the Kona cards. They play back HDV, but only record to DVCPro HD. I just looked at the Easy Setup and there’s nothing to record to HDV from another source.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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[walter biscardi] “They play back HDV, but only record to DVCPro HD.”
I should add at least as far as compressed HD. Of course with FCP 6 next month, they will also be able to record to the Apple ProRes 422 codec. But as far as transcoding video to HDV, does not appear to be possible with the Konas.
Why not just use DVCPro HD? It’s a much better and cleaner codec than HDV and you can edit with just about anything using that codec.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Walter, did you get a good feel for the Pro422 versus DVCProHD’s quality at NAB?
KW
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I could not compare Pro Res 422 to DVCProHD, but Pro Res 422 looks fantastic (it’s the same res as AVID’s DNxHD codec’s), and these (on the AVID) have been the same to me as FCP’s DVCProHD, for over a year now.
Unless you are in the feature film business, DVCProHD and Pro Res 422HQ are ABSOLUTELY enough for any broadcast job. You must remember that every AVID Adrenaline does NOT do uncompressed video, but DNxHD, and CBS Network Unity ISIS system can only handle DNxHD145, which is the same data rate as Apple Pro Res 422 (not 422 HQ, which is better), so for those doing NON film work, that say “Pro Res 422 is not broadcast quality” – I respond – EAT ME !
Bob Zelin
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Bob, we’ve used DVCProHD for a while now and are MORE than happy with it. How do the file sizes compare? This would be the reason we would switch IF the quality was the same: file size, render size, etc.
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[Kevin Wild] “This would be the reason we would switch”
Not because it’s 10bit? I am wondering if it’s going to hold up to the current 10 bit uncompressed codec.
ProRes HQ is based on 220 Mbps stream, Pro Res is a 145Mbps stream, as opposed to DVCPro HD’s 100Mbps. SO it’s going to be a bit bigger that DVCPro HD, but still no where near as inflated as uncompressed. And don’t forget it’s 10 bit and also full raster. I can’t wait to see this codec, hope it’s good. There’s no mention of alpha channel support 🙁
Jeremy
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Most people like me saw this at NAB2007 in Vegas. As you know, there are no “bad products” at NAB – everything looks great. You can’t tell anything until you get it home, and play with it. I have seen DV footage and old 3/4″ footage that look great. You get the right footage (girls on a sunny day at the beach), and there are no bad codecs, no bad cameras, and no bad monitors. Shoot a sales video with no light against a dark red background – everything changes.
If Pro Res HD was never invented, DVCProHD would be “good enough” for 95% of the market for the next 10 years. (I will regret saying this when 2 years from now everyone says “what – you are not shooting in 4K”).
Bob Zelin
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[Bob Zelin] “(I will regret saying this when 2 years from now everyone says “what – you are not shooting in 4K”). “
Yeah, I’d have to agree to disagree with you that the DVCPro HD codec is going to be good enough for the next 10 years.
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[Bob Zelin] “(I will regret saying this when 2 years from now everyone says “what – you are not shooting in 4K”).”
Bob,
That’s gonna be more like two months from now…
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles
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