[Doug Beal]

We use that deck. typically set the deck to preset, enter the start TC desired.
dead patch the deck ie if it’s on a patch bay stick a patch cable to the input but don’t patch the other end. if it’s cabled directly undo the input ( and put getting a patch bay on your to do list)
make sure you are at the head of the tape and at the correct frame rate blah blah. engage record.
stop when you’ve past the point you want to go in at.
set the TCG to internal regen, do your patches and assemble your piece.
the Kona isn’t going to send code to the deck, it’s communicating via 422 commands but TC is being generated by the deck itself. Dead patching the deck will result in black being recorded, same is true for dbeta

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Hello Andy
I agree, as Shane said earlier, check with the broadcaster for their specs, however I was responding to her comment/question
” (people look thinner!) Any way you know of to avoid this? Thank you!”

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

the process you want is downconverting not downloading and in order to maintain aspect ratio from the native HD footage you need to “letterbox” the footage or 4:3 “centercut” which preserves your height but cuts off the sides.
what you are getting now is an anamorphic image which is also referred to as “squeeze” This is acceptable for DVD authoring but not for broadcast. they’ll want “letterbox” or “center cut”

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You are behaving very much like an modern engineer. Distilling a 33 page manual down two a single page for someone to get their stuff to work, doin the VAR’s work and not gettin paid for it.
Now in the old days…
I think my favorite Old Engineer trick was the book carefully compiled and hidden that listed all the wire codes used to describe what wire went where, never mentioning the source and destination by name on the wire label so you HAD to have the secret book to determine what was up.
Alway a joy reading your posts!

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It will but may have an issue with some nvidea cards. The selection is available in the Kona control Panel unless you have loaded a NDD (non desktop display) driver.
Download drivers etc from AJA https://www.aja.com

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

My Bad I’m an idiot
I need to do what I tell others
Read what it says
thanks

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Be aware that if you use capture now over 422 with that deck and a Kona (which will do 23.98 on input cause it reads the frame flags) if you capture any of bars at the head of the tape the entire capture will be 59.94. bars are generated by the camera thus have no frame flags.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I built one a while ago with 2 monitors. had to use 2 GFX cards. Color worked much to my surprise. System had a Kona card as well so viewing was not an issue in FCP. It’s a waste of a slot in my opinion, already a precious commodity.
Were I to do this again and any further builds I would go single 30 inch. I also have an ulterior motive.
our new DS suites have a single 30″ monitor. We are looking at having dual purpose rooms so that a DS room could be FCP as well via gefen extenders and KVM, so a single 30 gives us the card slots and the ability to multi purpose gear and rooms.
For anyone else a single 30 allows the expansion for slots in the box. Just be aware it’s DVI-D dual link for a 30″ so distance from the host can be an issue. The dual 23 or 24 ‘s don’t have enuff cable length to have two monitors on one side of the tower without severe cable stretch, which places the tower on the desktop as well. Not well thought out as a design, and the adapters everyone speaks of can not adapt the new monitors to DVI-D only adapts from mini display port to DVI-D …Not the other way around

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

we send either a DVD w BITC or h264 w BITC they send back or post an animation codec of the CC line 21 data. line it up in the timeline, crop so just line 21 is present render and output to tape via Kona 3.
Of course I prefer to dupe my sequence before dropping in the animation file.
Part of the CYOB theory
“Just ’cause you’re paranoid doesn’t mean they’re not out to get you”
Seth and Robin get it done for us

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Free run TC is a royal pain to injest from tape based sources.
We actively discourage anyone from shooting this way. If they want BITC DVD from their footage while we source in to a system it’s double the cost for two passes for each tape let alone the amount of time it takes to stop and start during injest. It means active baby sitting on a DS and prolonged time if not babysat in FCP.
Generally speaking it’s just a bad Idea. Anyone who shoots this way should be made to injest and edit their footage. after that they will use rec run code for the rest of their life.

I suspect the firestore problems with canon products is canon’s implementation of the firewire standard or lack thereof

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN