[Keith Davies]

Thanks, I didn’t barrel anything together and i didn’t break anything.

That was a kind of shorthand response to the reply suggesting a LHi with 3G over a single cable, which is still confusing me a bit if 4.4.4 is by design a dual link technology. I presume via the multiplexor the data comes in via 2 and is reordered into a single stream?

I am fully aware of the cost of an HDSR. I have normally had to occasionally hook it up to the Kona 4.2.2. This had always in the night and the back of the deck backs into the TK suite so it’s always a nightmare trying to get the 4.2.2. hooked up with remote via flying leads through two racks. As we had never run 4.4.4. before this job i really wasn’t aware of how the signal is split. We don’t have a Kona 3 or an LHi, we have a LHe. I can’t do 4.4.4.

Thing is, I had been told that day that I could, and so was sure I was doing something wrong. I appologise if my comment has caused offence to the engineering world but that day I to digitise two other HD jobs on FCP, create ale files with keycode for 3 lab rolls, recreate a submaster of 3 lab rolls due to t/c issues on deliverables. Had a client attend with a paper edit from a film that i had to cut down and create a new HDCAM. Had meetings with two editors. and then there was the D5 transfer and I hadn’t seen one of those since the days when Channel 4 had to be different. It was a busy day, and I have to use numerous systems, and 4.4.4 is new to me.

I am very thankful to all who have contributed, and how nice to be liken to Homer Simpson, so much better than Mo Flanders. I reckon there’s a little of both of them in everyone.

I have had a quote from one company for the Kona3 and breakout. I don’t understand the LHi option enough to suggest it. Raid is next.
The company I asked to quote suggested eSATA as an option but I read that Kona don’t recommend this.

I work on film because I love the stuff, I did synch some of Hurt Locker, a few years back during production, really powerful, even uncut. It made me smile when I saw a clip I had synched on the news.

I started out working at The Mill in London, It was all High end commercial effects in the Henry & Harry days of Quantel. I was absoluely fascinated by what these guys colud do with pictures. I’d studied Fine Art so had been painting and this was like paint that never dried, so had no technical background at that time.

I did work in online at Molinaire for a number of years after this, we did a lot of promo stuff from neg and longform tv series, which was nice, but what drove me away was the awful digital content. Often some dude with a goatee, with two hours of utter garbage for MTV or some cheap channel. It was so nasty to look at, and always as deep as a puddle. Cut it to shreads to disguise the fact that this guy is plain empty. I got a call from the BBC once when dv reared it’s ugly head and they wanted to shoot a documentary. When I enquired about runtime of the rushes I was quoted 100 hours. It was for a 50 minute programme. That is just retarded. who would want to touch that one? That’s another reason I like film. You can’t afford to be that lame. And of course there is the silver & the chemicals which everyone knows is another way of describing magic… ‘It takes a lot to laugh, it takes a train to cry’…. Thanks again. Keith

[Keith Davies]

Hello again, Jeremy & Gary.
You are correct, I have here a Kona LHe and it is never going to do 4:4:4 as you told me.
Thanks very much for all your help.
I can’t imagine how long it would have taken me to work this out solo.
We need to buy a Kona 3 & a new raid by the looks of things here.
Keith.

[Keith Davies]

Hello Gary,
Thanks for the advice. It was one of your other posts regarding 4:4:4 deliverables that lead me to join this group. So I am glad to hear from you. I have created a little sequence from what I think I should do , & then asked myself all the questions I am not sure about. I think I am going to grab a Zip car and pop in tomorrow to try it out. I think my future employment is going to hinge on this one.

This is what I will try as I am assuming that I have a Kona3

For 4:4:4 HDSR into FCP Via AJA Kona3.
1. Connect HDSR HD SDI A & B to a 2 to 1 barrel connector.
2. Attach this to SDI input of the Kona3.
3. In FCP select 10bit RGB codec.

I am not sure about the barrel. Should I be loooking for a more sophisticated connector?

What baffles me is if 4:4:4 as a standard requires dual link, how does the Kona3 manage it?

I am assuming that the input data rate & storage needs will double from 4:4:2 data.
This concerns me as I have already encountered drop frames at 4:2:2.
I will find out what raid array I have.

I will let you know how I get on.

[Keith Davies]

Hi Jeremy, That I don’t know. I plug to a rackmount box. Face on, as I recall the inputs to the right are AES audio. From the centre of the right side has one input SD, & 2 SD outs, & then I think there are possiblty YUV i/o’s. Would you know where I would find the model number, as I can call someone to ask?
Can you expand on dual link? The title suggests 2 inputs. Thanks for the response. I wil post again when I know what card is intalled.
Keith.