[Doug Beal]

I have no Idea why someone would want to use that cadence. It’s the 24PA cadence
perhaps to export to someone wanting that but why?? No idea

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You won’t necessarily be able to monitor HD on an SD monitor unless it’s a CRT Sony L series version2 (serial number starts with 200) and you’ll need to monitor component for that or if it’s HD compliant and supports 24P.
As for the downconvert to BetaSP you’ll want 2:3:2:3 and that will need to be component unless you have a D75

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Critical to a number of decks is powering down the deck prior to connecting firewire. It is very easy to fry the ports on these decks.
One way to check if the deck is being seen is “about this mac” >more info> firewire
If the OS can see the deck there’s a setting issue or pref issue with FCP.
If the OS does not see the deck it’s cabling or blown ports on the device.
zapping Pram can reset the Mac FW ports

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You will waant to match frame rates so if you’re shooting 24 on the 5D (actual 23.98 rounded) then you’ll want 23.98 (rounded) on the Sound devices unit. in most dual system applications you’d want the same sync feeding both devices but that’s not possible with the canon it has no sync input nor TC.
always smart to record scratch audio on the camera (ideal is output from the sound devices box)

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It has nothing to do with the accuracy of the interface, it has to do with the deck not being capable of performing those edits via a 422 controller. you can do the simple stuff like play and batch digitize but the electronic brains are not there to control a host of conversations between the controller and the deck all the chatter that occurs in arming channels color framing sync etc are not present on that deck. You have to by a more expensive deck to have editing features available to you.
one thing 422 control for capture will give you, is timecode while using “capture now”

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

you don’t need any adapters for the Kona2 422 it’s onboard the card.
it’s possible and likely your deck is not an “editing” deck in that it cannot assemble or insert over 422.
FW only and assemble only.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You might look at a KVM switch to have a monitor connected when FCP boots then switch monitor to whatever station after the task is assigned. I’m assuming you are driving the headless station with share screen?
without a monitor connected to the DVI port FCP assumes is no GFX card installed.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

FCP defaults to 0 vu dbm = -12 dbfs
Sony machines default to 0 vu dbm = -20 dbfs
Not sure what capture/output card you are using but on our systems we set tone to -20. This corresponds to 0 vu dbm on the Sony machines BSP, dBeta and HDCam.
Most broadcast facilities/Networks will kick back anything over -10 dbfs on tape

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

color can export DPX and AJA makes a qt to dpx translator. the AJA converter expects 10 bit RGB or dual link quicktime to convert, it may argue with you but will export. Targa sequence should also work. The way we usually do this is via automatic duck export out of the FCP timeline then import that to AE again via the duck, then send the AE project and media (QT) to the PC based house. Also use NTFS for mac from paragon to write to a NTFS formatted FW/Esata Graid for the AE house

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It seems to me that opacity changes and exporting still frame and possibly other manipulations occur as YUV effects not RGB even if you’re set up RGB.
If I paste 10bit RGB footage into a 10bit uncompressed sequence and render I don’t have luma/color issues in playback and the resulting darkening when stopped or parked on a frame.
Even though I set up a 10 bit uncompressed timeline I still render in RGB.
when I import the footage (file based DPX to RGB quicktime AJA xlater) I have the Gamma set to 2.2 for RGB images. after all’s put together I copy the RGB sequence and paste to a 10bit uncompressed sequence and render.
Life becomes beautiful

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN