David Battistella
Forum Replies Created
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I fail to see what gave anyone the impression that this was a budget issue. I was simply asking what people do for analog functionality out of the KONA 2. I respond to my needs and the needs of my clients. There are some HD projects and their are some projects that are SD, the KONA 2 is capable of both, that is the flexibility and functionality I bought. Is SD now some kind of carnal sin? Am I supposed to tell my clients to go away because I have an HD only system?
All I was looking to do here was to get some idea’s on how people handle analog I/O with the KONA 2. Some people are using SD connects, etc. but I ordered an LA yesterday after asking a few questions here. Then all of a sudden I am being judged for posting a question.
A while back there was this format called BETACAM. Some people still actually use it or they may have a library of betacam footage that they want to integrate into a post workflow. I have a full SD suite that can capture SDI and component betacam, but I bought the I/O as a convenience item, so that I could capture to the same system.
Bob, your “don’t be cheap” post is what I would expect from a reseller. But as Walter points out we are running businesses and are building them at our own individual pace. I am sorry that offends you but it’s a choice I make based on what I need.
Also, the fact that you qualify your post by saying some people get mad at me for doing this, does not give you permission to be rude. If you know a post may offend someone then why would you post it. It’s poor etiquete. period. There are much more civilized ways of posting in a constructive and decent manner.
David
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To me the i/o seems like a better solution than because it gives me the ability to get component betacam sources into a KONA workflow. I can capture via the i/o and then use the KONA for everthing else.
I guess I could just buy a flying cow box and and component to SDI converter and get the beta machine in but the I/o gives a bit of added flexibility with s-video and composite as well.
I would only use the I/o as a capture device and I would use the K-BOx as the component out (most of my outputs are to d-beta).
As far as the SDI monitoring solution the cost of that card is about three times the cost of the I/o. I can use my existing DA to send the componet signal around.
So is it FLying cow and AJA mini converter or I/O la?
Thanks,
David
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Walter,
I am using the analog out as the monitor so it would be nice if the I/O la could take one SDI input (via the KONA) and convert that to the compnent out of the AJA) compnent monitoring is much harder to distribute than composite or SDI. That’s why I was just saying it would be nice if the LA had one sdi in.
Time to build a bigger patch bay!
Thanks,
David
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Is any of this signal being routed through the SD connect?
Are you using the Kona 2 or the SD connect for machine control?
Does it just drop frames or stop capturing?
David
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FWIW
I have tried to capture 23.98source@29.97 with the F500 it is a NOGO, batch captures will start and then fail. I am sure it is due to the TC laydown as you described it. I guess the RP-188 TC is not a solution either as that would not have been the TC on the DVCAM sub masters.
WHEW! This one looks tough.
Maybe a reverse cinematools process could work then?
David
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Marco,
This is the nice thing about the open architecture of FCP. You do not have to get locked down in the hardware. The drive speeds and computers have caught up to the hardware acceleration and look what happens, “cinewave was a great idea but POOF!. The same sort of thing has happened with the Igniter with the 24 frame option. POOF! When Apple stops suporting your hardware or moves in a different driection you find you have paid for a short term investment. With the cost of hardware so afforable it will be interesting to see what is next.
Doesn’t it feel like we have hit a plateau?
David
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Are you using an easy setup?
David
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Andy is right.
You can not play out 23.98 and capture at 29.97 or the capture will loose TC information and dop frames. you have to set up a 29.97 capture preset and then have the JH3 do the reverse pulldown from 23.98 to 29.97. When the KONA 2 sees this matching signal it will capture.
David
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Marco
“unless it was *captured* in Targa-16”So are you saying it had to be captured to a specfic codec to mix and match or could you just bring in DV native via firewire and drop it in. If this is the case then how is it any different than what we have right now in FCP.
David
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Are you sure you are dealing with a layered PSD file. It should import as a sequence.
David