Ernie Santella
Forum Replies Created
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OK, So, my old analog NTSC burst gen will work, that’s great. You guys all got me convinced the Kona3 is the way to go.
Walter, did I read somewhere that you can keep and use a AJA IoLA for analog vid/aud outputs for dubbing?
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
One last question. I think I’ll just get the KONA 3 and make this easy. Is it working OK on a 2.66 MacPro? And what do you guys use for ‘Ref In’ to it? I’ve been searching posts and can’t find that.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
Moving it a line didn’t help. Turning off the fields as mentioned before does work and it looks good. But what Edit to tape, any issues with laying to Beta with the fields set to off?
Thanks you guys for your help. I just bought my HDX900 HD camera and this is my first HD project. My next purchase is the KONA 3 card.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
Shot 720P30. I was also trying to lay to BetaSp using AJA Io (No Kona yet) So, I can’t do down convert thru Kona at this time. What’s the procedure to drop the 720P timeline into a Uncomp8?
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
Does anybody else think that there’s a Panasonic deck conspiracy? Why did they discontinue the affordable 1200A deck for the much more expensive 1400? Is it because DVCPROHD has taken over and sales have gone through the roof? Now they can charge us whatever they want to get into the game. Unfair!
I just bought a HDX900 and wanted a deck to digitize from, well, I’m now told the 1200 is no longer available and I cannot afford the 50% more money 1400. Street on the 1200 was affordable, the 1400 isn’t to us small production companies.
Just venting.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
I have a similar setup, only on a Intel Pro, 550P/E4P/Pro 2.66 and not having your problem. The system is fast and dependable so far for me.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
This has been discussed before. Usually, the client owns the Master tape. You own the elements. (The exception is the shoot tapes. My clients can have them if they want. But I usually charge for duplication and keep originals because they will usually lose them)
It is a good idea to save your elements for re-editing. Edit files, audio, tapes for re-digitizing graphic files etc. Just burn ’em to DVD data disks. Because, either now or in the future they will want to revise it. (No project is ever finished in my experience – haha)
So, save your elements, especially discrete audio tracks that can be re-mixed with new v/o later. That happens quite a bit. Plus, this is the way a Pro facility does it. And you look like a hero when they do ask and you can say, sure, no problem, I still have everything, I’m ready. Clients remember little things like this, because so many editors are lazy and don’t do it.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
Is it too heavy to velco on say… the back of a battery?
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
To add to this… I always lay off and library my audio tracks as seperate elements too. I’ve had a number of corporate clients come back later and want a Spanish or French version created. This way it’s a breeze to re-mix the show with a new narrator. And, of course, I charge for all that and always look like the hero.
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com -
Anybody actually using the Firestore with the 900? Pluses/Minuses?
Ernie Santella
Santella Film/Video Productions
http://www.santellaproductions.com