[Gary Adcock]

[MPE] “That is an inaccurate statement. You cannot get RT in FCP unless you use one of the optimized codecs – DV25, uncompress, etc. Try dropping an MJPEG A on the timeline and see what happens.”
DV 25/50 /100 are native camera codec’s –anything on older style photojpeg compressions are not as popular anymore do to the re-compression cycles in renders. NO current pro editing software uses a p-jpeg compression that is not proprietary.
[MPE] “Actually – most of the HDV editors I know are using Vegas, Premiere Pro and Edius. So I am unsure if your suspicion is true – at least my part of the woods [NYC].”

Very true –but more pro cut on mac’s (avid and FCP) and do no consider those pro platforms for editing long form or high end content.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Marc Rolph] “Will soon have Kona 2 and IO la on same machine. My question is this. Will the IO la plug it’s firewire cable into the Kona 2’s firewire port, or will it plug into the G5? “

The Kona 2 does not have a FW port, and I do not know where you got that Idea. It is always best to have your Io running off the internal FW port with No other devices on that bus.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Rich Rubasch] “Avid is of the opinion that this is not the best workflow, and with the original Xpress with Mojo, you could mix DV and SD on the same timeline. Now, with the HD version of Xpress Studio they upped the bar by adding HD and HDV resolutions along with realtime up or down convert on the timeline. The HDV implementation of this technology is due out in the Fall, but the system is shipping now.”

since Avid’s only use their own hardware, have poor implementation for third party products, does not support off speed footage from the Varicam, is still promising HDV support, oH and did you mention that you cannot use FW HDcapture or Storage with the Mojo attached? that is not a solution it’s a kluge.

I can play multiple types of content in my FCP timeline on a 2.7 g5 with proper amounts of ram. Rather than selling this person your services why not ask a better question
“Why are you Mixing content? Most clients do not give you a hard drive with content – you get tapes- in a professional environment digitize all of the tapes in the same manner. Mini DV can be captured as 10bit and beta can be captured as DV. Make the content yours there are many products AJA makes that can solve this problem from the IO is SD to the Kona2 for HD. and the work.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[todd sali] “Is there a seq setting in fcp5 that will allow me to play out my animation codec renders through kona2?”

it’s called Kona TV and it will playout animation codec files out to tape via the Kona card w/o render

and on a 2.7 w/ 4 G ram – animation files playout without rendering on my machine

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Linda] “‘ve been looking for a feasible downconverter to use on location that may be used with either a laptop and/or any additional SD monitors. I’ve noticed both onboard and miniature models. What are you using with your Varicam? How have you dealt with audio playback on location?”

I use AJA’s HD10MD3 Mini Downconverter, it has been a standard in my HD kit since the beginning, it solved a number of issues in the early days of HD.
As for audio monitoring that is the sound guys problem

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Tim Maloney] “Any one using this unit in it 60hz mode? That is in PAL land.

Our Local Var is ( they say ) being told by AJA that it wont work in PAL. AJA are reluctant to send one down to Australia for evaluation.”

Tim

I had aja contact me about this statement – AJA has a number of dealers down-under and its Converters and Desktop products are widely available around the world for both PAL and NTSC. Maybe your supplier is not an qualified AJA dealer and therefore cannot get converters from AJA. Contact support@aja.com for more info.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[David Battistella] “The aja has the following realtime acceleration.
It helps DVCPRO HD footage, It does real time up and down conversion. “

the Kona 2 also assisting with the HDV native codec also, offering realtime transitions, monitoring and playback of this compressed format also.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Shane] ” We have decided to use it at normal speed without going through the frame rate conversion process to make it an overcranked shot. The final project will be 24p (23.98), so what is our best option with getting the footage to work?”

Shane
in FCP there is no need for conversion, I do this all the time.
I happen to like the long motion blurs the Varicam creates with content shot at 15 frames or less. I digitize the footage at 59.94 and drop it into my FCP time line and Render. works just fine.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[Terry Flaxton] “is 25 fps regarded as a variable frame rate ?”

Correct.
only 24p, 30p and 60p are native frame rates that do not need conversion.

gary adcock
Studio37
HD and Film Consultation

[Gary Adcock]

[J] “Looking for insight into the ability for Avid Media Composer with Adrenalin HD V 2.1.5 to edit 24p and other frame rates like 12p or 48p. I am working with a post boutique that is just starting their learning curve for HD and they aren’t sure where to begin when it comes to variable frame rates. They are inputting my Varicam footage via a 1200a via firewire.”

You are in for a ride.
Avid Only natively supports 24p and 30p data rates from the 1200a deck via Firewire. So your post house will need to rent the Hardware FRC to convert your off speed footage to a format that the Avid can understand. Currently only Final Cut supports the Variable Frame Rate Capture over FW.

The Hardware Frame Rate Converter will properly convert your 12fps /48fps frame content to 24p for ingest into the Avid.

gary adcock
Studio37
HD and Film Consultation