[Gary Adcock]

[Klaas Byl] “it’s a bit strange because STP allows me to playback ProRes 1080P, the same Quicktime. “

but those are not video output formats.
[Klaas Byl] “My Quicktime is 2,35 so it’s 1920×820 or something like that.
When dropping into my 1080p timeline, FCP asks me to adjust the timeline to the same dimensions of the quicktime file “

I warned you about non standard video frame sizes- your Kona card will only play video out standard video frames –

next time DO NOT allow fcp to change your timeline- place your file in a 1920×1080 project setup.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Göran Thorén] “What I really need is a way to get the monitor output from a RED camera as a live feed into my mac laptop. I don’t need to record anything just be able to get a feed from RED so I can compare and match a still frame from an earlier shot.”

you need a real monitoring solution for this I use a Cine-tal Cinemage display, so that I can feed a live HDSDI stream into one side of the monitor and then using either Iridas Speedgrade or PhotoShop via DVI into the other side of the display allows for quick and easy side by side viewing on a color corrected display.

This method allows the live camera to be corrected with the match frame in a controlled manner- Jeremy’s method requires you to capture then look at the color matching- while cost effective, is sometime too slow for a fast moving shoot.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Simon Green] “I have been going up the wall thinking it was the Kona box! Out of curiosity, why is this there and why is it defaulted to 4 frames offset? “

I believe that was a default set by the app in the early FW days and has stayed unchanged in the underlying code within FCP since.

Its been at 4 frames since something like FCP 1.2 or so?

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Noah Kadner] “Well it’s a 1:1 digital clone so I’d make the argument that if you make a hard drive transfer with verification it’s in fact more ‘original’ than any analog tape dub could be.”

This is a sticky one, because in some states the custody only allows for “Pristine” copies to be used as evidence.

in Illinois an LTO tape backup of the original P2 Cards (or any tapeless media) is considered as an “archive” master if the LTO tape was sealed and then handled under the chain of custody procedures.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Ron Craig] “I’d be interested in hearing what experience others have had using Blackmagic AVIs without having Blackmagic hardware/software installed. “

Sorry Ron
but your Kona Card will not run correctly with the BMD codecs installed.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Tom Case] “I’ve now reinstalled IO HD driver v6.0.3. The same problematic sync issue is there. “

did you make sure that you re-flashed the firmware on the IoHD back to the 6.03 version?

the IoHD was designed to use Apple ProRes, DVCProHD playback with the IoHD really requires a desktop to handle the conversion to ProRes in real time.

“5-Imported stand alone ProRes QT file I created earlier from eSata drive. Dropped in timeline sequence. Noticed the field dominance native in this file is NONE. Playout through AJA IO has sync issues. Canvas window at 100% no issue. “

DUH – it cannot properly play the file as interlace if you set the field order to NONE.

Where are you getting these ideas from? it looks as if you are adding problem on to problem and that is not helping you-

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[jason macdonald] “My mac monitor is fine. It’s the monitor that I’m viewing that goes darker, so it’s something to do with the Kona 3 I’m guessing? “

Your problem is your workflow, not your Kona card.

That apple computer monitor has a gamma of 1.8- while professional video has a gamma of 2.2- so yes it will look darker on a real video monitor.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Rafael Amador] “Absolutely true, but we are talking about BlackMagic.
For me that company have the same credibility than AJA, Matrox or Apple.
I’ve never heard of nobody in the COW claiming being ripped off by this company.”

Rafael,

In my post I did not mention any manufacturer specifically and you are not allowed to claim false words or statements were made by me when in fact you are quoting another individual’s post.

At NO TIME have I ever said anything to that effect, and I am greatly offended that you would attach that claim to my name as a quote. I have the highest respect for the people I know at BMD, they have always treated me with courtesy and respect.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Duke Bishop] “I am using the easy setup for 1080psf 23.98 Dual Link Uncompressed 10-bit RGB. In the capture setup, in the “Advanced” button, I have the Range set to SMPTE. “

you do not mention which capture card nor which version of FCP or QT-
this is not in FCP without a card installed and the rendering intent is different depending on FCP /OS combo.

[Duke Bishop] “Now when I use any dissolve in Final Cut, the levels jump. Even the Bars and slug aren’t legal when I edit to tape. I have to use Bars & black captured from tape.”

is your rendering intent set to super white? (no)
is your timeline set to render in RGB or high Precision YUV (RGB)
in FCP7/ Snow- you may need to trash the QT7 prefs- to release the gamma issue.

and once again, contrary to the info from the other poster who (by his own admission) does not work in Dual Link, FCP can and does render RGB at 10 bits, however it requires specific setup and handling and the hardware to support it, I will say the process is vastly simpler in FCP7

and for the record- using the “SMPTE Range” setting is correct to allow for headroom in processing.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Gary Adcock]

[Atticus Culver-Rease] ” I know the AJA IO doesn’t support HDCP, “

Got that backwards- ALL Aja products DO support HDCP digital rights management over HDMI.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php