[Jeff Coleman]

I don’t know what the general error message means either.
The following are just some random thoughts to double check your work:

You’ve restarted the deck and the computer no doubt and have had one turned on before the other?
You’ve loaded your output sequence into the viewer before you launched ETT, yes?
Your output sequence has the correct codec, framerate, etc.?
Have you been able to create even a five second sequence from scratch that can output to the 1400?
Your output video settings have a different output set for ETT?
Can you make a quicktime movie from your sequence?
Can you put that movie in a fresh new project and timeline and output that to tape?
Can the Kona output that movie to tape? (I think they can do this with some utility they have?)
Your sequence is viewable in FCP’s browser window–not inside a folder?
You’ve had coffee today?
Fire all you have at it, surely something will hit.
Call AJA, they’re better at this than me.

[Jeff Coleman]

Walter the pictures on your blog always show the TV Logic looking redder than the other three. I assume this is an accurate reproduction of the monitor’s display? Yes?

[Jeff Coleman]

Thanks for the replies.

Blackmagic codecs. I guess I can download them from their website and transcode from my Apple 10bit?

Flash deinterlace. That makes sense. I’ll check with them to make sure they don’t have any other edit needs before they finish in Flash. I’ll try deinterlacing in FCP. But I don’t see how that’s going to help with those jaggy edges. If it’s field order, then to try and force Compressor to pick a field order it also wants to deinterlace which was unworkably long. A five second clip was going to take 2 hours on a clustered MacIntel! I’ve got four five-minute clips to process.

PhotoJPEG – can a PC read that?

Rafael, they’ve asked for 1280×720 compressed. Not SD. And they’ve asked for it in a codec that a PC can read via After Effects. I don’t think DVCPro50 and standard def meet those requirements. I’d give them a flash file, but they’ve come to me as a service bureau to give them a file they can work with. I just can’t figure out what kind of file would work. I’m wondering if their is something wrong with the compression or is this just state of the art?

Look at some screen grabs of the original and the resultant H.264 (the animation codec has the same jaggies on the edges. Look at the edge of the car and their clothes, etc.)

https://www.countdownvideoproductions.com/jaggies.html

Graeme where are you?

[Jeff Coleman]

The Panny’s are a bit green in the mids and especially noticeable when side by side with other monitors. This has been noted often elsewhere.
The JVC had good color but you had to be right on axis to appreciate it and I felt uncomfortable using it for any application beyond a solo viewer.
I don’t know anything about the TV Logic monitors.
Do they display 24p (unlike the old Sony CRT which if you buy one of the last series produced kinda mimic it with a 48Hz display that looks, well, rather odd)?

[Jeff Coleman]

What Michael said.

Love,
Jeff

Final Cut Studio 5.1, G5 2GHz Dual Processr, 2.5Gb RAM, AJA IO

[Jeff Coleman]

We use the PreSonus Central Station with the handy remote. Works great to hear VTR, Mac, Capture Card and to monitor by two different speakers to check mixes. It’s not a surround sound device by any means if you’re heading in that direction with STP or FCP.

[Jeff Coleman]

Jeremy is right. The hardware upconverter is an extremely time-saving benefit of the Kona 3. If money were no option, the Kona LHe and the AJA FS-1 would be sweet. No matter how many rooms you had going you could always bring in the FS-1 to do the cross or upconversion or even use to do some dubs (get quite a few calls for that) in another room while you’re cranking away in the edit bay.
Let us know how it works out for you.

Love,
Jeff

Final Cut Studio 5.1, G5 2GHz Dual Processr, 2.5Gb RAM, AJA IO

[Jeff Coleman]

I think I’d email AJA. They’re pretty good communicators.

A full IO would provide all the ins and outs you need, but I think it would be problematic to manage that complexity as mentioned above.

You’d probably want stand alone converters (Analog A&V-to-SDI and SDI-to-Analog A&V) and parked at the inputs and outputs to your analog machine(s) so that the analogness is transparent to your Kona 3. Or you could give up a few features, keep a lot of money and go for the Kona LHe.

[Jeff Coleman]

ditto that backup plan if you’re planning on being in business more than a week.

POWER: Make sure you have a 20amp circuit and UPS to handle the new Intel Mac (PS rated at 12Amps) and it’s displays. Then another 15A and UPS to handle your storage, vtrs (and that expresso machine).

ENVIRONMENT: Please don’t forget about cooling your storage solution in a dust-free environment/enclosure/room. I haven’t used it but after using another box to store our xRAID I wish I had tried an AcoustiLock cabinet instead.

Oh, RELIABILITY. Does Motion work with Leopard yet???
Each system should have an extra drive for daily backups of critical documents/files on your internal harddrive and firewire clones a key intervals (like OS upgrade). We use a Leader HD waveform (model# escapes me). Pricey, but you can’t rely on the scopes in FCP. Oh, you might want to have an external Pioneer DVD burning drive handy by looks of this thread:
https://forums.creativecow.net/thread/155/868099.

STORAGE: With that many rooms running you ought to have at least some kind of shared solution even if only gig ethernet.
We’ve had an xRAID for 3+ years–relatively expensive, old technology, not at all reliable and not very good support either (unusual from what I’ve read though). By year’s end we’ll have a new Studio Network Solutions SAN in place, but will withhold comment until thoroughly evaluated. Firewire drives are a way of keeping your costs down but create unwanted reliability and management headaches for general media storage.

CAPTURE CARDS: We use the Kona LHe and LH. The analog inputs are handy for those BetaSP, HDV or HVX component output from camera only sources or just to make a quick daily to your DVD burner. Kona 3 does the cross conversions and we could’ve used that a time or two. The IO HD can’t do the HD uncompressed so if (& when?) QRes becomes a problem or you want more traffic on your native firewire bus then your a bit stuck. With more than one suite, I’d be tempted to do a Kona 3 and a Kona LHe, or perhaps two Kona LHes and a utility FS-1 (https://www.aja.com/html/products_rackmount_FS1.html).

Let us know how you make out.

[Jeff Coleman]

RATS!
This shouldn’t be.
Are you trying to solve that particular problem or are you looking for a workaround?
What about exporting as a quicktime movie, self-contained, then either reimporting that movie or opening it in QT or Compressor and exporting it as H.264?

Love,
Jeff

Final Cut Studio 5.1, G5 2GHz Dual Processr, 2.5Gb RAM, AJA IO