[David Battistella]

WOW!

What a thread!

Here is a simple list:

KONA 2

INPUT SD AND UPCONVERT TO HD ————onthe fly—–YES
INPUT HD AND DOWNCONVERT to SD————onthe fly—-YES
INPUT HD 720 and CROSS CONVERT TO 1080—–onthe fly—-NO
INPUT HD 1080 and CROSS CONVERT 10 720—- onthe fly—-NO

KONA LH

INPUT SD AND UPCONVERT TO HD ————onthe fly—–NO
INPUT HD AND DOWNCONVERT to SD———–onthe fly—-NO
INPUT HD 720 and CROSS CONVERT TO 1080—–onthe fly—-NO
INPUT HD 1080 and CROSS CONVERT 10 720—- -onthe fly—-NO

FINAL CUT PRO (TRANSCODING ONCE CAPUTRED)

INPUT SD AND UPCONVERT TO HD ————onthe fly—–NO——-RENDER UPCONVERT IN FCP TIMELINE——YES
INPUT HD AND DOWNCONVERT to SD————onthe fly—-YES——RENDER DOWNCONVERT IN FCP TIMELINE—-YES
INPUT HD 720 and CROSS CONVERT TO 1080—–onthe fly—-NO——-RENDER IN FCP TIMELINE—-YES
INPUT HD 1080 and CROSS CONVERT 10 720—- onthe fly—-NO——–RENDER IN FCP TIMELINE—-YES

I do not mean to confuse things further by the last section here, but it is possible from within FCP to use a software up-down or cross convert. This does require rendereing and is does not offer these features in real time. This is the great thing about the KONA 2 it does the upand downconvert with built in hardware.

David

[David Battistella]

Is your view menu set to all frames or apuse on still frame?

David

[David Battistella]

In the FCP System settings>playback control tab. set your playback offset to “0”. Final Cut ships at 4 as a default.

If you search this in the archives it has been answered here by AJA support as the recomended setting for uuse with the Kona 2.

David

[David Battistella]

Pete,

I do not think that the KONA will convert SD anamorphic to Leterboxed on the fly. I think that it only does this when it is downconverting. I would capture everything anamorphic and then switch only your output monitor to anamorphic (if it has this capability and then the monitor will be doing the corect aspect.

If you go to tape (d-beta for example) then you will have to cerate a letterboxed sequence by nesting the anamorphic sequence into a 4X3 sequence and doing that render.

You are getting the render bar because you are asking FCP to do this render from anamorphic to 4X3 on the fly. It’s actually pputting the 16×9 footage into a 4X3 frame for you. This is the same as doing a motion effect. If you were to look at the motion tab in the “green bar” footage you will see that it is correcting the aspect for you. The render free way of doing this is to capture 4×3 already letterboxed, I think that the F-500 will do this on the downnconvert for you and you can put thte source TC in the letterbox and mask it when you are outputting.

David

[David Battistella]

Pete,

Why not just switch you monitoring to 16×9 when you are editing.

David

[David Battistella]

I have been happy with the HUGE systems 4210. It’s 4gigabit fiber channel.

Solid.

David

[David Battistella]

No cinema tools needed if capturing directly to 23.98.

David

[David Battistella]

Peter,

The question here is whether you want to cut in HD or not. Gary is right in that the Kona 2 will not cross convert HD 1080 to 720.

Going back to your original posts:

HD OFFLINE
1. So you can easily cut 1080P by capturing the DVCPRO HD codec at 23.98 but the 11MB file size is to big.
2. You can only cut 720P if the footage is transcoded (media managed or compressed) from 1080P to 720P

SD OFFLINE
3. The Kona 2 downconverts to SD onthe fly and you can pick any SD codec to capture to. Anything from 10bit uncompressed to DV.
4. You want to maintain a 23.98 workflow the KONA 2 will do the 3:2 pulldown o nthe fly as well.

My only two questions?
1. Is this a film finish?
2. Will SD downconvert mean having to run the project through Cinematools?

David

[David Battistella]

Pete,

The Kona will do the downcoversion to DVCpro50 on the fly.

David

[David Battistella]

I was suggesting the use of MM to create the new project.

David