[Jeremy Garchow]

No, not at all. All you need to do is create a new preset as anamorphic and you’re in business. I just did this very thing on the very same gear you have for a project I am in the middle of. I don’t have fcp in front of me at the moment so please take these instructions as a loose guide.

Choose Kona’s dv 50 easy set up (control-q). Go into your audio/video settings under the Final Cut Pro menu and duplicate the sequence preset, check the anamorphic box, and rename it to include anamorphic. Duplicate the capture preset and check the anamorphic box and rename it to include anamorphic, keep the capture device preset the same. Click the summary tab and make sure your new capture and sequence are selected in the drop down menus and click create new easy set up. name it something cool and obvious and you’re up and running, no sweat.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

It’s a radio button allowing you to choose between +18 & +24 dBu in the control tab of the control panel. I don’t think it’s your aja, it sounds like a monitoring & set up issue to me. Bruce has a good start with the mic/line suggestion.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

https://www.sweetwater.com/store/detail/SuperDAC2496/

It’s strictly a D/A and not an A/D like the flying cow, but it does what you need at a good price.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

What exactly do you mean by mix audio?

The analog outputs are rca which you will have to adapt to get to XLR or 1/4″ for a mixer to deal with the levels. I have found this method to be more noisy than getting a d/a (I use a flying cow from M-Audio).

Other people might tell you differently, but this is my experience.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

I’d check the insert/assemble edit capabilities with the SD-93 vs the 930.

It could be like the difference between the HD1200 & HD1700. The 1700 is a true editing deck, while the 1200 is not.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Well…it’s a consideration, but we have no idea what this camera is going to bring yet.

Mr. Garcia is spot on about the ENG style. Better optics, better lens, proven format (dv50) and don’t discount more client impressions (ENGs have the visual presence of professionalism, whatever that does for you).

If we could all afford it, I think we’d all get the best camera we could afford. if Mr. Garcia is in the market I would go for it if I were him. Also at this point the HVX is still vaporware to the general public.

I am curious to find the abilities of the HVX as well, but until then the SDX is a great camera that shoots great SD pictures and uprezzes (up-converts) pretty well into DVCPro HD (through the K2) in the transition from SD to HD.

Good luck to us all,

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Sure it does, but look at your alternatives. You can get a digibeta, Varicam, Sony HD Cam (different varities), or lower end HDV/DV. All of the higher end stuff will probably run close or over 100,000 bucks when you get it all rigged up and this doesn’t include the decks. HDV is pretty new and ‘unproven’ all though I’m sure getting better everyday, and dv is….dv.

The SDX is nice. You won’t be disappointed. It’s when you purchase the Varicam and something better/cheaper comes along that the disappointment starts to set in. The SDX is a very versatile camera and looks great to boot.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Yes. A camera is just that, a camera. The jog/shuttle innards are not made for the constant back and forth that is required of editing.

You will also need a deck for mastering and bringing in footage that has advanced pulldown through firewire.

Earlier this year we up-converted a project shot 24p (Normal) to 720p through the K2 that was shot on SDX900. It looked awesome and ended up being much cheaper than renting a Varicam. The K2 will be good to have for this feature alone.

I am also working on a SD project that was shot on the SDX (16:9 24p normal) and we kept it all SD and it looks fantastic as well. This is my first foray in to using the DV50 codec (a game time decision made because we needed to conserve storage space) and it looks great. Good luck on your endeavors, that camera will get you through the SD to HD transition nicely, and you’ll be able to profit from it as well.

Also remember, buy the deck (with firewire option)

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

All I can say is you made the right decision. The io la will do you well and is a little easier to implement than a host of a/d/d/a converters for video & audio. Plus, the io & K2 play very nice with each other. if you already have a flying cow, I’d hang on to it for the K2, you’ll need it someday.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Yes, you are right about the upper field dominance.

How is the projector hooked up, and what are the specs of the projector? Most likely the projector is doing some scaling and you may be seeing some artifacting due to that.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre