Jeremy Garchow
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Cool, thanks for the updates, Harley. You can most definitely capture in AJAs v210 (or 10 bit RGB for that matter). But you have to make your own easy setup to do so. When making the capture preset simply choose the 10-2vuy or 10-rgb codecs. Make sure to set up your timeline to that codec as well.
Were you able to cut the 2vuy stuff in with the other Apple 10 bit sequence without rendering?
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Huh? Are you saying that the Kona 2 won’t add pulldown? Challenge.
I have not worked with Sony’s 23.98psf, but have worked with other 24p hd and sd material with Kona 2 and have run simultaneous HD and SD Masters straight out the Kona2, with the K2 adding pulldown all of the time.
Graham, how have you tried downconverting? You need to set up your FCP project for 1080, then download and install the Kona2 control panel. You then have to set up your secondary output, which in your case would be 525 29.97. Send this secondary output through the analog component or any of the two SDI outputs to your SD deck and monitor. Of course, the SD signal your are monitoring will have the pulldown added while watching in full motion.
Jeremy (preparing for the wrath of Bob)
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G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre -
What have you tried that doesn’t work? Have you downloaded the kona control panel? Set your downconverts there.
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Yeah, they fixed in the input, but not the output. I think it’s some sort of limitation with Core Audio and not really aja’s doing. It’s buried in the OS somewhere. I could be wrong about this, but it’s what I seem to recollect.
Jeremy
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Hey Martin. Read this and you’ll see it has been documented on aja.com.
https://www.aja.com/pdfs/KONA2_Audio_FAQ.pdf
Jeremy
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To follow up Lee’s post, it does support motion.
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Flip the switch on your deck from local to remote.
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G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2
ATTO 42XS <> Huge Systems 4105 Fibre -
the material I worked with was shot on an SDX 900 and has a native frame size of 720×480, so I scaled down the y value to 75% (leaving the x value at 100%).
Also, with that codec, I think all of your material has to be captured in FCP in that codec before taking it out to AE. I have yet to try this workflow, but I’m curious about it and will use it in another week when a similar project comes through the door just like we are talking about now. Let me know how it works out for you.
I also did my titles after the AE render as the aspect ratio is now changed. SInce you have created them in an anamorphic setting, they might look funky squeezing them down to a non anamorphic setting, but that probably depends on how you set up your titles.
ANother advantage is that your whole program will be coming out of After Effects so your whole program will be effected with the gamma shift, which is good because your whole program will now be in the same color space so the 2vuy codec might not be necessary, but I’d like to know if this works anyway.
Hope all of this helps
Jeremy
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After Effects will give you a nice, clean scale. It’s what I usually do if I need to do what you are doing, but it’ll mess up your gamma settings between the round trip between FCP to AE and back due the translation of YUV to RGB back to YUV.
I have also liked the results in FCP5 making sure that your sequence render settings are set to best.
What’s going on with your titles?
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do not update, as fcp 4.5 is not backwards compatible with fcp 5. Convince your boss to upgrade or install fcp 4.5 at home…or, you can export xmls or edls and try it that way.