[David Battistella]

I have the HUGEMEDIA VAULT 4210. Excellent product. Fast. fast. fast.

David

I can’t believe it’s not butter!

[David Battistella]

If you go to the AJA site, This page,

https://www.aja.com/support_kona.html

and download the Footage calculator, you can figure out the math all by yourself.

As for teh 1080 vs 720, I suspect it might be easier and cheaper to make the 720 to 1080 with the 1200a than make the HDCAM 720P.

David

I can’t believe it’s not butter!

[David Battistella]

Walter is right about the cross conversion, so a potential workflow, using teh 1200A deck with HD option would be to tell the 1200A to convert everything to 1080 when it is capturing the footage. So capture everything, Varicam and HDCAM footage to DVCPRO hd 1080 workflow.

One goes up, one comes down 🙂 Evrybody happy in the middle.

David

I can’t believe it’s not butter!

[David Battistella]

If you are shooting with the HVX-200 then you should go with the Panny and upconvert it at the end of the edit. You will have an easier time of matching the looks and

[David Battistella]

Answer to #1

The KONA does not convert the HDCAM to DVCPRO HD, you just select that codec as the preset you want to capture to and it will capture any HD source to that codec (CINEALTA included). SO yes, you can capture HDCAM to DVCPRO HD CODEC.

#2

Yes you can play out the DVCPRO HD to HDCAM for mastering, the KONA will do this.

Free Advice. Do not cut SD at all if you intend on cutting in the DVCpro codec. at 24frames persecond the DVCPRO hd is only 5.5mb/sec vs 3.8mb/sec for DV, you are not saving usin much extra space to capture everything at your final HD resolution.

If you do cut it all DV,

Then I suggest a 10bit uncompressed online and color correct or XML the FCP project to Final Touch and CC it there.

If you do not have the drive speed or capacity to do this then a DVCPRO HD online will look great too.

David

I can’t believe it’s not butter!

[David Battistella]

Jeremy,

It was pulled from the thread below because it was a new topic.

The post was by someone named Drazen down below. Ahhh, the old cut copy paste deal.

🙂

David

I can’t believe it’s not butter!

[David Battistella]

If you select method “a” in your post then it will be a more than slight pain because you will not have cutpoints to do shot for shot color correction. You could do a basic broadcast safe on the whole thing, but it will really limit you in terms of shot for shot color manipulation.

If you use method B then you will have far more control over the image and a more seamless shot for shot approach to the color correction.

You could also consider using FCP’s export XML feature and take the media to FINAL TOUCH HD to do very high end color correction.

Then there is C which is do option A and then recompress the footage to an uncompressed codec and then do the color correction from that point. That might be cleaner than capturing through the not so clean outputs of a prosumer analog deck (not the best electronics in there, So teh firewire stream might be cleanest.

David

Try reading this too:

https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=83&page=https://www.creativecow.net/articles/battistella_david/recapturing_HDV/index.html

and AJA has a white paper on their site about HDV as well.

I can’t believe it’s not butter!

[David Battistella]

Drazen,

You should post this as a new question in a new thread. You are threadjacking by posting all of these questions in someone else’s thread.

I’ll post your answers in a new thread.

David

I can’t believe it’s not butter!

[David Battistella]

What input have you asked STP to “see” as the input?

David

I can’t believe it’s not butter!

[David Battistella]

If that’s all you are doing then just go ahead and sell your KONA card. You are right. You do not need it.

David

I can’t believe it’s not butter!