KONA 3 vs. KONA LHi

[Jeremy Garchow]

[walter biscardi] “Thanks for clarifying guys. 1080/60p is still sweet for $1,500. “

Oh, no doubt. The LHi is totally sweet. I just wanted to make sure that everyone know it was not beyond the 1920×1080 geometry since Pat said he was going 2K. Up, down, cross, analog, digital, HDMI 1.3a, 3Gb SDI, LTC in and out for $1495? Man. Couldn’t really ask for much more.

Jeremy

[Gary Bettan]

Gary,

Got it. no more links back to the website.

Gary

[Pat Mcgowan]

We’ll go with the LHi solution for now as I smell a new product launch for 2K workflow from AJA……I will feel much better about it than if i went ahead and ordered 3 KONA 3s……

[Pat Mcgowan]

Why not allow folks to post their websites here? I checked the pricing for the LHi and FCP Studio bundle on the Videoguys site and I’m really glad I did.

[Gary Adcock]

[Pat McGowan] “Why not allow folks to post their websites here? I checked the pricing for the LHi and FCP Studio bundle on the Videoguys site and I’m really glad I did. “

Pat

the Cow receives its revenue from ad sales, if vendors are going to sell their products here they need to maintain those within the status quo,
ie: Ad’s from resellers and vendors are not to be posted as responses in forum messages.

I know I do not really want to wade thru dozens of sales pitches when I am looking for technical assistance, do you? That is why promotion like that is not allowed in the context of the forums and their replies.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Pat Mcgowan]

Hmmm, I was not aware that this is purely a technical assistance community. I see it just as much of a networking site. I have made many valuable contacts for production support, equipment sourcing etc. here over the years. Personally I don’t have a problem with Gary posting his contact info in his signature, it is his corporate identity, I certainly did not think there was any pitching or salemanship going on.

My 2 cents.

Pat McGowan
https://www.inmotion.ca
patm@inmotion.ca

[Joe Murray]

Does this mean the LHi would be inappropriate for Red camera project? Or only if you want to export 2K signals to a monitor? For example, could you work in a 2K timeline, but output 720 or 1080 to a monitor realtime with the LHi, or would this require a Kona 2?

Joe Murray
Edit at Joe’s
Charlotte, NC

[Jeremy Garchow]

[Joe Murray] “For example, could you work in a 2K timeline, but output 720 or 1080 to a monitor realtime with the LHi, or would this require a Kona 2?
“

It would rewuire a Kona 3 if you are working in geometries that are over 1920×1080. Depending in your RED workflow, you could transcode the RAW files to 1920×1080 and then you would edit, finish and color correct those files @ 1080 essentially. If you want a more tradiitonal 2K workflow and eventually color the 2 or 4K RAW, you’d need a Kona 3.

Jeremy

[Pat Mcgowan]

Exactly, we are predominantly a DVCPRO HD and soon to be XDCAM environment and we intend to migrate to 2K and 4K as things evolve. So, even if we do shoot using a RED we’ll finish at 1920 X 1080 for now. Next year’s product cycle should bring really interesting advances in 2K aquisition and also hardware options for post production. Therefore we’ll use the KONA LHi’s. Now going with 4 of these.

[Chris Borjis]

[Jeremy Garchow] “If you are doing 2K beyond 1920×1080, then you will need to go Kona 3.”

suppose you have the Kona-Lhi and the Red Rocket.

then you can do 4k output if you want without the kona3 that can’t yet do 4k.

RED is the only time I’ll be doing 2k or beyond if I’m going to be doing it so
why not couple an LHi with a Rocket (buy the rocket with the money saved)

this makes perfect sense to the workflow here where I work. We’re doing more
RED with lots more in the future when Scarlet debut’s