David Battistella
Forum Replies Created
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the only analog outs are the two RCA’s on the K-box.
David
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I would export the Movies at the DV50 Codec (it will save a ot of space and the movies will get to him witht eh right field cadence etc,.
Make sure her tells AE that th footage is anamorphic (by using the interpret footage command.
He can render everything back to you in annimation codec (which you willhave to render in FCP or he can use DV50 (and you will not have to render in FCP.
If you do go annimation codec I/O then make sure you select teh same frame size and field order and frame rate as the source material.
Yes. I know annimation is a lossless 4:4:4 codec and I understand why you want to use it.
David
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There is a way to manualy move marker positions in FCP.
Moving a Marker
You can move a marker within a clip by repositioning the playhead or by entering a
different starting timecode value. Using the playhead, you can only move a marker
forward, not backward. If you want to move a marker backward or move a marker in a
sequence, you must enter a new starting timecode value in the Edit Marker dialog.1 In the Viewer or Timeline, move the playhead to the location where you want to move
the marker.
2 Do one of the following: -
Allesandro,
If you want to do an edit to tape back o the HDV deck then just switch to an HDV easy setup and output the timeline via the firewire stream. If you are editing to tape using any other format, HDCAM, DIGIBETA (downconverted) or other tape based formats like BETA SP, youcan do this via the KONA using rs-422 deck control as walter sttaes.
I do not think that there is a HDV deck that takes HD-SDI I/O yet so the best way to get it back to HDV tape is to go via the firewire stream bypassing the KONA 2. In your workflow the KONA 2 is meant for monitoring, the INPUT and OTPUT happen via firewire.
Ciao Italia!
David
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Jim,
The only thinkg I will add to Bob’s post is that if you buy the i?o la you solve all of the problems except the one of high quality analog monitoring out of the KONA 2 card becasue teh only analog out of the K-box are a couple of rca connectors. I use a spectral to convert the AES audio to analog for high qulality monitoring. Many people use the flying cow box.
David
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Bob,
FYI. I just did some tests with the SONY HDV deck using the firewire as the deck control and it recaptures frame accurately. I hope to have an article out about these tests soon.
David
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I use a SPECTRAL digital audio converter witht he K-Box. Even though it is 16 bit it is a very high quality ad/da converter (yes I know the flying cow is 24bit, but it’s the cheapest 24bit converter on the market, anyone looked inside one of those?)
I certainly can not reccomend a purchase here but I can tell you that I use the AJA I/O la to get the analog into my edit station, then I monitor and edit all of that throught the KONA 2. at 1000 bucks it takes care of analog audio and video I/O. I went this way instead of buying a one way 700 dollar stand alone component to SDI converter.
You may want to think about tis before ivesting in an older 888 audio converter and a stand alone converter. I can not guarentee that it will work and I have not heard of anyone going this route. I am not even sure that it will guarentee sync (which is not a problem with FCP and the KONA 2 anyway.
I can only give you let you in on what I did and hopefully that can help you make good choices for you.
David
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How long does a DVD last compared to a DV master series tape?
What is teh idea storage conditions for this media?
How would it compare to A.) Film B.) Metal particle tape C.) hard drive storage?
The archive issue is an issue with this camera, for lower quality you can write the P2 information to DV (which is aquality hit) but to really save what you have shot it seems like a lot of work, even with the time savinf of not digitizing? You still will be copying and backing up media. There is no easy way around this except to ignore archiving, which we can’t. Just look at teh issue of repurposing media? On the other hand this will be great because it will already be digital, very handy.
I think about my I phot library. I have it in about three different places and I never erase media of the card until I have too. That will be the kind of approach I will have to take with P2.
David
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Althouhg the Glass is alwas a better way to go. it is perhaps better suited to a more controlled type of photograhy. I have used the Squeeze mode on many productions and it is a very clean alternative. I would avoid shooting anything 4×3 and trying to “blw up” to mix into a 16X9 timeline. For the style of shooting you are doing the solution may be to shoot in squeeze mode, the avid will recognize this footage as anamorphic and it will intergrate nicely into your workflow if you go this way.
If you want to e-mail me “off-list” for more thouhgts, just go here
https://forums.creativecow.net/cgi-bin/new_view_posts.cgi?forumid=83
and click on my head.
I do almost exclusively doc shooting with this camera so I think I can give you some great advice.
David Battistella
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Jim,
I assume you are talking about an avid sytle slave lock that is an otboard box that slaves picture to audio. The clocking is all done by the Mac in Core audio and the driver. You could theoretically slave lock the mac to a nansync via the spdif port if you wanted a house reference time signla, but the AV clocking is done in core audio by the OS.
So the FLyig cow, being an outboard Device, does not need to lock to some master once that signal goes to the KONA it is locked to the internal clockin gof the MAC. Many people here have captured two hour clips and they are right in sync.
David