[Doug Beal]

and depending how you have TC settings could be generating Drop frame code from NDF source which can be a very bad thing in offline / online scenarios

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You should consider making this box dual boot. Boot into Avid or boot into FCP.
There is a time when all will be well with the same QT and OS then there won’t.
FCP usually will accept updates before Avid, though in some cases updates will break it as well.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

notice the timecode on grinder converted footage as well
does it not convert all the transcode footage to start at a preference setting in grinder?
to retranscode and re connect FCP wants reel # and TC and name to match. compare the cost of retranscoding to a couple bare drives and a reader, I think the backup of the transcodes win.
this is something I’ve been using lately. works quite well no need to re-sled a drive and quite affortable.
https://eshop.macsales.com/shop/NewerTech/Voyager/Hard_Drive_Dock

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

where are you shooting ? and are you using any lighting other than available? That would be the first determining factor. Regarding progressive vs interlaced, film is progressive and has had a reasonable run as a format from which world markets have been served.
Being I work in a fractional framerate part of the world I regard 23.98 Psf as the “God” format from which to generate all others.
Here is a discussion regarding shutter and frame rates you might find helpful
https://reduser.net/forum/archive/index.php/t-32073.html

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

we could not live without them. We are also very grateful for their local Nashville store!!!

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Yes the disadvantage of no preroll. I seem to remember driving an old Accom hard disk with a dbeta. not the WSD but the big rackmount unit, whatever that was called.
If you knew the playback delay of the device and monitored the SMPTE word of the controlling machine and fed the output of the recording deck to the input of the KiPro for sync one would hope for sync.
Thanks for your insight John

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

There is no output to the kona using looks while you are prepping (building) a look. If you have an approximate idea of the difference between your computer display and HD/SD SDI monitor some cool looks can be achieved. as soon as the look is applied it is available on the Kona because now you’re back in the FCP environment. It is a trick to fine tweak. I use it as a plugin in FCP

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

The beauty of a firmware update with AJA is the little checkbox, after the fact, to “revert” firmware.
AJA has this stuff together.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Thanks for your reply Chuck. I think what you are talking about is getting 232 or 33pin parallel remotes to behave in the 422 control world and I believe Addenda was (is) the manufacturer. They still manufacture great products.
https://www.addenda.com/addenda-elect/app_list.php
This is a little different. I’m hoping AJA further implements the existing 422 control to emulate Sony protocol to enable the KiPro to be used as a source in machine to machine (deck to deck) editing.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

3G is Dual link 1.5 is Single Link HDSDI.
unless you are coming off an SR deck or some other dual link source/destination single link is the normal operating standard

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN