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Proc Amp
My company has been planning a transistion to FCP. We are seriously considering one of three configurations:
1) An Io connected via Firewire
2) A Kona LS card
3) An Io connected to a Kona 2As we imagine our workflow, one issue we are trying to resolve is how we will “proc amp” our analog signals as we ingest clips. We are trying to find the most efficient workflow. On our existing workstations (Avid Media Composer and DPS Velocity), we enjoy prety good integration of the “proc amp” in the log and capture process. Working with formats such as Betacam SP, we find that adjusting input video levels is a fairly frequent task and we want to be sure we don’t slow down on this step.
What is everyone else doing to adjust the levels of analog video on capture.
Chris
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3 Replies
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I’m capturing footage from SP all the time. I use the proc amp on the beta machine to set it up first though. Color correction is all real time on a fast dual G5 so if you still need to correct it’s pretty easy/fast…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Thanks for the info… it’s sort of what I was afraid of.
How are you getting your analog signals into the machine? Are you using an A/D and going through the Kona 2?
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I’m using one of AJA’s mini converters I’ve had since pre IO days. If I were to do it again though, I’d buy an Io LA for the job… perfect combo and works great. With the breakout box it’s all you’s need for anything.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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