Surprised at lack of features

[Ed Dooley]

The Clip Settings tab in Log and Capture is active for 3rd party video cards. For our Beta digitizing, we have a Sony UVR-60 Remote Control unit attached to the deck to tweak the signal while digitizing.
Ed

[Tim Allison]

Ed,

Those clip setings are not active with a Kona LS card. At least I haven’t discovered how to turn them on, yet. And tech support from AJA didn’t think you could turn them on either. The card does have a built in TBC, so we can adjust levels with a remote. But the problem with using a remote is that levels settings are NOT memorized with the clip. If we ever need to re-digitize, we have to manually adjust every clip again.

I’m probably just spoiled. We switched to FCP from Media 100, and this is a feature that M-100 did offer. One of the few features where M-100 is superior to FCP? Right now, I would say so.

[Ed Dooley]

Yeah, the feature isn’t activated with the IO either (not really a card anyway). You’re right about the settings memory. It’s a clip-by-clip process. Luckily we put bars on every tape, so for most stuff it’s one setting per tape, *but* we do run into hot shots every so often. Does the AJA Kona Control Panel have proc-amp features?
Ed

[Tim Allison]

The AJA folks told me that the control panal for the Io does have proc-amp controls, but the Kona LS card does not. I wish I would have known this when we purchased a couple of months ago. Our decision process had the Io vs the Kona LS as “6 of one, half a dozen of another.” The Io offered portability, which wasn’t very important to us, but it was also just a little more expensive. So we went with the LS card instead.

[Walter Biscardi]

[Tim Allison] “We have FCP 5 with a Kona LS card, and work with BetaSP. We are very surprised that this package gives us no ability to set video levels when we digitize our Beta video into the FCP system.”

i’m pretty sure that the signals are processed as a digital signal once they pass through the Kona, thus they cannot be tweaked in the FCP Capture Window. Any digital signal cannot be processed by the FCP Capture Window. Analog signals can be adjusted there, but not digital.

You can also see this if you connected any DV deck and set to capture via Firewire, all video controls will be greyed out. It’s the same with the Io box because that comes in via Firewire.

I used to be the same way with a proc amp setting colors and levels on the way in when I first left Media 100. Now I use the FCP Color Correctors, Levels and Proc Amp filters post capture to do all my tweaking. For one thing I can make much better decisions using the filters. The filters are applied to the clip anytime I recapture in the future and I can save the filter settings for future projects with similar material.

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

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[Bouncing Account needs new email address]

[Tim Allison] “One of the few features where M-100 is superior to FCP? Right now, I would say so.”

FCP does have this “feature” if you buy the right analog capture hardware.
(As you noted below.)

Basic FCP captures “digitally-direct” from DV (just transfers the DV “files” onto the HD) which does not require a “proc amp” adjustment.

I don’t need it on my system at one location, but I do at another.
I only needed to invest in the analog capture gear for one bay.

[Dan Riley]

I’m with Walter on this one.
I used to adjust playback levels too, with the AVID or whatever.
Now I just capture all the clips and then either as I lay a clip
into the sequence or at the end of the offline I just drop
the 3 way CC filter on the clip and it’s easy as pie.
I’ve got a separate waveform monitor and vectorscope
conected to my composite out of my Aurora Pipe Studio
while at the same time I have active SDI and component
outputs for monitoring and going out to digibeta.

Plus once you set your CC filter for one camera or scene, you can
easily copy the filter attributes to any other time you use
that same camera or scene somewhere else.
And as Walter said, these settings from your offline sequence
follow quite nicely into your uprez when you go to
digitbeta or whatever.

Dan

[Marc Rolph]

Oh Tim, suck it up …. 🙂

Just kidding. I’m glad ya’ll took the plunge before we did, I’m learning alot from your issues. I need to come over one day after I get my suite hooked up (if ever) so I can get a list of issues that I’m going to run into coming from Media 100.

Marc Rolph
Producer/Director
Mississippi State University