[Gary Adcock]

[Fred Connors Jr.] “As far as 1080p goes, I have not seen it on a KONA. 1080i yes not 1080p.”

Not so fred,

the 1080 24psf is supported on the Kona, but remember that HDCam produces this via a progressive segmented frame -or the marriage of 2 fields back into one frame.

the 1080P format for 4:4:4 Dual link content is a true progressive frame but data at that size is over 200megs per second and could NOT be sent over a single USB2 connection. Dual Link HD requires 2 HDSDI feeds to support it.

Lastly – there is not spec for 1080 content for the real steam product. 1540 x990 is not any format in any compressions that is accepted by ATSC or SMPTE.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Chris Poisson] “ot saying nay, but why would that matter? I’ve never percieved a problem from this. “

gee chris
when you are working on Network or Cable programming you cannot be a “couple of frames off” on timing. it’s like being a “little bit pregnant” — they will reject your tape for broadcast.

For professionals that use FCP’s slugs or text for filler are consistently having timing issues when laying back to tape.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Jeff Surgeon] “I try to log and capture my video sdi and my audio analog.
I make those setting in the IO Control panel, call up log and capture, and I get no audio.”

the Io control panel does not control capture in FCP the easy setups do that.
what settings are you using in what version of the software.

you may need to do a custom set up FCP to override the easy setup in for the audio/

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

Jack

I am not seeing this either, and I have been working in FT since April, if you are trying to match the FT display to the Kona2 you better have calibrated both displays to each other as well as.
Note too that if you are trying to match an LCD rather than the recommended CRT yes you may see differences.

send your config also, especially the AGP card.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Walter Biscardi] “That’s the maximum length for a still image in FCP. If you need it to be longer, simply apply another slug or slugs until you have it the length you need.”

Remember!!
that the items that FCP generates (Bars, slugs text) may not necessarily match the timebase of your timeline – FCP does not like to generate Drop Frame content, only Non Drop when working with interlaced footage.

( Nay sayers — drop default bars and tone into a DV or HDV timeline and look at the result it will be too long.)

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[mladen] “But AJA support guy stopped responding his email when I asked can I do 1080i/50…. funny and everyone here is raving about their support…”

I think you just misunderstand.
you are shooting HDV 1080i50 correct?
PAL is a 25 frame video stream correct?

1080i50 is the same thing –just giving you the field numbering instead of frame numbering.
It is the same as 1080i60 is really only 29.97 fps.

I have done this a number of times -you set the capture to the easy setup called Kona 2 1080i 25 DVCPROHD and you get the HDV content in a decompressed state.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Harley Michailuck] “[mladen] “Can anybody on this forum answer this straight question: 1080i/50 yes or no??”
The list of available capture presets and video playback on my Kona 2 system does not show 1080i 50…
however it does show 1080i 25 if that helps.”

1080/50 is the PAL – HDV native format for FCP –the Kona 2 supports all NTSC and PAL frame rates- This HDV PAL content can be captured in HDV native over Firewire and then played back to any type of display, in realtime, using your Kona2 Card.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[tony salgado] “3200K is the standard for setting up the camera especially if you are adjusting the presets white balance settings. Use tungsen lighting although some engineers use kinoflos with tungsen bulbs.”

that is not the case with the varicam Tony,
to quote Robert Goodman – writer of the definitive manual on the varicam, posted this on another list for HD filmmakers just yesterday.

“Every HD camera does not use 3200K as its base color temp. Some are switchable from 3200K to 5600K so you can
white balance for tungsten or daylight with a clear filter in the path. To suggest that because Sony does it one
way only is the only way to do it is short-sighted. There are a dozen ways to skin a cat.”

Robert Goodman
Author/Photographer

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Chris Bell] “I believe Avid does offer the ability to edit natitve DVCPRO HD at 24p.”

Correct
HD Avids can handle the DV100 codec natively at 60p (59.94 us), 30p (29.97 us) and 24p (23.98 us)
The Hardware FRC is needed to extract footage shot at any other frame rate. (hence the PAL problems)

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[2000lux] “but I would like to move up to working in HD and the Varicam. Is there any where near Boston where I can get some training on it? “

Actually the “Varicamps” are finest way to learn about the varicam and all of it’s intricacies
https://hdexpo.net/workshops/varicampHome.html

Not in Boston proper but they do do camps all around the country.

gary adcock
Studio37
HD and Film Consultation