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Kona 3 upconvert quality?
Trying to decide on a Kona 3 or LHe for an FCP system…It would be nice to be able to ingest/output 4:4:4 HD, but how often we would I’m not sure. The LHe’s analogue flexibility is more of a ‘must’ though, for unusual formats, etc.
One thing that could be useful is the upconvert capability of the Kona 3…is it a better quality upscale than say doing it from within FCP in the DVE?
I’m currently thinking LHe is the way to go for now and upgrade to K3 if it’s features are needed later on. The LHe could always then get passed on to another suite.
I’m not bothered about the keying stuff on the K3, but are there any other advantages it has over the LHe I should know about?
Thanks.
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1 Reply
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[Jimmy Brunger] “One thing that could be useful is the upconvert capability of the Kona 3…is it a better quality upscale than say doing it from within FCP in the DVE?”
Yes. Of course this depends on the quality of the original footage.
DV will not upconvert as nicely as BetaSP or DigiBeta material will. DV gets a bit jaggy unless you run it through a Terranex box. We use the upconversion feature quite a bit for mixing DV, BetaSP, BetaSX and DigiBeta material into HD projects.
[Jimmy Brunger] “I’m not bothered about the keying stuff on the K3, but are there any other advantages it has over the LHe I should know about?”
Cross Conversion. This is huge for our workflow now that FCP finally supports 720/Drop Frame editing. When a client brings us footage shot in 720p for broadcast, it has to be delivered in 1080i. But I like to stay in 720 for the edit both for smaller file sizes and for staying in progressive for the master edit.
Then when the edit is completed, I switch the Kona 3 output to 1080i/29.97 and create the broadcast master directly from my 720p/59.94 timeline. Then I keep a 720p stack master in the shop for use in the future.
I absolutely LOVE the cross-convert feature of the Kona 3.
Walter Biscardi, Jr.
Biscardi Creative Media
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