[David Battistella]

I am by no means suggesting that nobody uses your workflow.

I will say this.

HD and SD operate in different color spaces. If your program is for a D beta finish then you have to to be color correcting the HD footage while watching SD output and SD scopes. The resulting Color Correction may not be suitable for an HD master. You would then have to recalibrate your Monitors for HD Color Correction and use the HD scopes for that Color correction pass.

As Jeremy states the Broadcast Safe “feature” was removed (presumable because it was being misinterpreted).

FCP’s broadcast safe filter is not the greatest option as you can tend to see visual pixilation, especially in the highlights. Programs like Color FInesse or Final Touch (when it was working) have much better (rounder) clamping mechanisms.

David

Peace and Love 🙂

[David Battistella]

Where did you get this wrong information?

The Kona does not magically make all HD footage perfect in the SD color space. Each color space requires its own specific treatment.

David

Peace and Love 🙂

[David Battistella]

Exporting, not from sequence, but from Browser, Photo-JPEG, 100%: 63MB
Exporting same clip from sequence, Photo-JPEG, 100%: 53MB

Is there a difference in Frame Rate between these two files?

Exporting same clip from sequence and browser, DVCPro HD(720/60): 12.3MB

DVCRPHD is a very efficient codec and it is a 4:2;2 codec as is the PHOTO jpeg. Most apple machines have the DVCPROHD codec installed.

The Photo-JPEG looks much richer, is that the best quality file?

How so?

I understand this is the most versatile file?

For what application?

Why the different size exporting from browser or sequence?

FRAME RATES?

David

Peace and Love 🙂

[David Battistella]

PLease inform people when you are cross posting.

This is being answered in the Shake forum.

David

read!

https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=154&page=https://www.creativecow.net/articles/battistella_david/good_grazing/index.html

david

Peace and Love 🙂

[David Battistella]

Please remember that the most important factors in determining how much RT you get with FCP are:

1. COMPUTER SPEED
2. HARD DRIVE SPEED
3. RAM

The Kona card does some on board processing but it is specific to what Walter mentioned. The cards are great I/O pipelines but they do nothing to enhance the “speed” of FCP or the Real Time Engine. Since the RT extreme engine was introduced card manufacturers basically dropped teh idea of daughter card processing.

David

Peace and Love 🙂

[David Battistella]

I have found that all the Kona Products are a good investment for my business. If you are running Final Cut Pro, you can be assured that the products work well and are constantly being improved. Their support is excellent.

If you need it today buy it today. If you can wait a month, wait a month. It all depends on what you actually need at this moment.

I see these posts every year before NAB. I have noticed that most of the time the announcement made at NAD area about a year or more away. (that might not be the case with this NAB and the FCP release)

But I’d say buy the Kona 3 it’s a better investment in the transition to HD. But then again. Base your decisions on your needs and budget.

David

Peace and Love 🙂

[David Battistella]

Mac gave everyone the opportunity to PURCHASE a universal binary version of legal copies of FInal Cut Pro up until about November of 2006. It was a 49$ upgrade in which you had to send your install disks to Apple and have the new disks returned within a few weeks.

THis ave Legacy users of Final Cut the opportunity to upgrade to a version that will work on INTEL based macs (the only macs they make now).

FCE will work well on the laptop. Buy external firewire drives for your media.

David

Peace and Love 🙂

[David Battistella]

The HD color space operates without a setup. The downcovert most likely has setup added.

Remind your customers that HD and SD operate in different color spaces and the Kona, while converting from HD to SD does not ensure proper levels for SD outputs.

There should be two color correction passes done. One for each color space. The HD sequence can be duplicated and the Color correction can be tweaked for SD downcoversion while monitoring the SD downconvert. Also ensure that the monitor has been set up for the SD color space instead of the HD color space. If you do a proper monitor calibration in HD this does not mean the bars are correct in SD. The monitor needs to be re calibrated for the color space you are working in. This will affect HUE and Luminance vales.

David

Peace and Love 🙂

[David Battistella]

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=8&postid=916348

david

Peace and Love 🙂

[David Battistella]

I think what gary is suggesting is to perhaps do a 29.97 easy setup and just playback the 23.98 sequence (the Kona will play it out correctly).
The K2 and K3 will do this and so should the LH.

David

Peace and Love 🙂