[Doug Beal]

not sure what you’ve got going on there but if you can ID a frame on tape and id the frame in the capture you can modify TC and set it to be the code you want.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

you will use hardware to print to HDCm from a DV anamorphic sequence, the Kona 3 does this on the fly.
1. Make sure the sequence you want to upconvert is 23.98 fps.
2. set the HDCam deck to 23.98 Psf (if you don’t have a tri level sync generator set to 23.98 and feeding ref to the HDCam machine set ref on the HDCam machine to input.
3.set the easy setup to the same as your timeline setting
4. set the Kona control panel primary 525 23.98, genlock to ref only if you have a trilevel sync gen set to 23.98 and feeding the ref on the kona card otherwise “freerun”
5. set the secondary to 1080sf 23.98 and the up convert dropdown to anamorphic
6. set the outputs feeding your deck and monitoring to “secondary” by clicking on the output icon in the control panel and select the secondary format 1080sf23.98.
7.stripe the tape with enuff black to be able to assemble edit in at the desired code and away you go.
be aware you’ll need and HDSDI monitor, or component in monitor that is capable of displaying 23.98 psf.

if your sequence is 29.97 then HDCam settings will be 59.94 and black can be used for ref. the secondary will be 1080i29.97

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

1) assume you are in a 525 23.98 sequence now? you have removed pulldown?
2) this can be done directly from the timeline to HDCam@23.98Psf
3) Not a good idea to print 29.97 an injest then bump up to 1080i. then attempt reverse telecine. this is the long painful way around
4(a) see 3 above
4(b) anamorphic is perfect no further scaling or zooming involved. set upconvert mode in the Kona control Panel to “anamorphic”
4(c) set primary format to the end result format you want. set the secondary to the format you have.
The primary format is set by your “Easy Setup” in FCP when FCP is the front application.
the secondary should be set in the Kona control panel to match the format you want to convert from.

if you are near a post house with an hdcam deck ask for a rate for prepping a short film for festival presentation. they should be able to take your timeline directly if it’s 23.98 dv and print directly to HDCam via kona 3, 3G or LHi. They should also give you a rate break to help out

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

set easy setup to AJA Kona3 NTSC 8bit to DV

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Z7U’s shooting size it is 1440×1080 non-square pixel
capturing into pro res should rectify the frame size and aspect but natively hdv from this camera should be 1440 x 1080 frame size and 1920 by 1080 display size.
converting to pro res on injest will allow square pixels, and 1920 x 1080 frame and display size

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

agree 100%.. JVC has almost no off angle view, it’s better than not having a monitor, you can at least see what you really have, for a great monitor check out FSI.
We have 1 JVC and 4 FSI. The JVC is on a station that doesn’t do as much editing/ mastering work.
The folks at FSI are really knowledgeable and committed, with a great product and yes we pay full price for ours.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Says “coming Soon” on AJAs site
https://www.aja.com/products/software/

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

did you check the menu settings in Ki Pro for how many audio channels are enabled.
in V2 software I think default was 2 I haven’t seen 4 in v2 software believe you need to enable 8 to get more than 2.
Have not had time to check with V3 software

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If you do not fix frames that have interfield motion (the results of 23.98 edit landing on field2 of a 29.97 conversion it will get kicked back by some companies BitMax for one.
we have a template overlay that can drop on top of a 23.98 edit that shows where edits can occur that will not result in interfield motion once the pulldown is applied.

We print to HDCam at 23.98 and reinjest at 1080i with the HDCam machine generating the pulldown with both A frame 24 and A frame 30 being set to 01:00:00:00. This allows TC to be the same every second on the second and to generate the cadence from 1 hr forward.

Yet another reason to use a broadcast monitor that can show both fields as a frame and a reason to keep the Kona cards set to Pause = full Frame.
The bad edit won’t display on a plasma or in FCP canvas window.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

The reason John suggested converting your audio to 48K is, the associated audio sample rate for video is 48K. CD audio on the other hand is 44.1.
Convert your audio to 48K.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN