[Doug Beal]

If you shot 2:1 you will have a slight letterbox top and bottom as you are fitting the width of the shot into a 16:9 frame, if you edge crop to fit the height of the 16×9 frame you will cut off some of the sides but will be full 16:9 frame.
You can deliver with the 2:1 fit width to 16:9 to a network if they take HDCam or appropriate files.
typical SD downconverts letterbox have a larger letterbox than normal full 16:9. It’s almost a hallmark of the shot on red music video stuff.
we finish in Scratch and are able to manipulate framing so that whatever is required (desired) can occur but most of it is 2:1 acquisition fit width to 16:9 frame and thus the narrow letterbox in HD.
curiously anyone shooting 4.5 K at 2.4:1 and fitting width all the way through to SD end up with the equivalent of a strip of gaff tape with active picture in a huge black field.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

In my world that’s an 8 hour day to make video legal and make audio levels legal plus lay it out to tape and tape stock. That would be the outside high end.
If your video levels are legal and the audio levels are fine (nothing over -10 dbfs) It could be done for half that easily, possibly less than half. ask for an hourly rate and provide stock if you can. Make sure it’s Sony stock. How long is the feature?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Put your Kona on freerun
tell the HDCam to look at input video for ref
try to lay it out now.
If this works start saving the $390 for a Gen10.
It’s entirely possible the 422 from the HDCam in telling the kona frames are being dropped due to lack of sync between the two devices. It may be “standalone” but both devices are “playing” together and somebody’s got to drive.
It’s like a music thing. The drummer set’s time. He would be reference. Now everybody knows where the 1 is.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

2224 puldown? Is there a reason for this cadence?

Re dropping frames. Have you got the same ref running to both the HDCam machine and your Kona card?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

… But, I’m a novice to the process and captured all my footage Pro Res.

You did this correctly. HDV is a pain to edit and a bigger pain to conform. Pro res is a good choice here, you’re in a frame based codec.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

What if you do the easy setup on the G5 go into the capture tool, modify the clip settings to shut off the extra tracks then exit out. If you go back in the capture tool and the clip settings are still showing 16 tracks, it’s possible that permissions are not being updated.
Just a thought. I’ve seen this when unbeknownst to me someone has trashed the prefs and not said anything about it, nor restored them via pref manager. worth trying.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I’d use the SR deck every time. Fast, accurate, no doubt.
FCP is an editor with add on packages to tweak stuff in. It does well at what it is and has extremely useful tools, some of which take a lot of time to get right through test/fail test again till it’s right, by God I hope I left breadcrumbs to follow how I did that.
HDCam SR is perhaps the best Video/DATA storage device available.
Go with what works.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If it won’t play back in the camera there is something wrong with the file. did you format the card in the camera?
If the camera can’t write to the card it’s either a bad card or the camera is hosed. If the camera can format the card or zero it out then the ability to write to the card is known. If it will write a still image then that is known. If it will now write a movie it can play back then that is known. if it won’t write a movie the camera can play back, but can format and write a still image there might be an issue with the speed of the card.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Are you trying to view it over the web? or did you download it and there was a deterioration from uploading and then downloading?
If up/down there’s an issue it’s something they are doing
if trying to view over the web DV/DVCpro NTSC is to high a data rate to be played over the web and will look hammered as the player tries to compensate for incomplete data

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

In FCP modify TC
In Scratch we treat this as an offline online situation coming back to scratch for final output to uncompressed v210, from an FCP EDL
that being said, in the output from scratch in “Guides” turn on source TC/TC. Place this in the letterbox area of picture. If you shot Red 2:1 you’ll have a narrow band at the top & bottom of picture if you do a “fit width” in the framing controls.
The clip name and source code as well as Scratch Construct TC is now burned in to the picture and can be cropped in FCP to show nothing.
If you come back to scratch for finishing (Shot repos / framing blemish fixes Etc are incredible in scratch) make sure your ref Movie has the BITC. makes conform a snap if any EDL hink occurs. You can immediately see what shot you need.
be aware that any speed ramps in FCP work by using a frame count. If you do any of this the entire shot needs to be output from scratch in order to do the finish in FCP from a final grade out of scratch.
These are best approached in their own constructs in scratch since it does not do speed ramps to match FCP ramps. Straight up speed changes are fine in scratch but not ramps.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN