[Mark Lyon]

Thanks for the info!

[Mark Lyon]

Thanks! I’ll give that a try.

[Mark Lyon]

Thanks for the help. We’ll hire a good DIT for the shoot. Anybody want to recommend one in San Francisco?

[Mark Lyon]

Hi Randy–

We’re using an SD-Connect device from Convergent Design to give us A-D conversion, allowing to to get analog audio and video in and out of our Kona2. It works great, but may be overkill for your needs.

Best of luck–

Mark Lyon
Mighty Max Films

[Mark Lyon]

Well said, and that’s why I was reluctant to post about specific SD-Connect vs. Kona 2 issues. I merely wanted to find out what to expect from Aja regarding Kona2 support.

The good news (along with the great support from Aja) is the two products appear to work together well, and the SD-Connect appears to be a viable way to bring analog I/O to the Kona2. I say “appears,” because I haven’t tested it completely yet. But if anyone’s interested, I’ll post again after I’ve been able to complete testing.

Cheers,

[Mark Lyon]

Thanks so much for all the response. I did have a great conversation today with Will at Aja, who was knowledgable and helpful. So I’m quite happy about the support over at Aja.

And I’ve got things working better now. I didn’t post in detail because I wasn’t sure if it was a Kona2 or SD-Connect issue, and I was having so many problems that it was hard to articulate what was going on, but now things are stabilizing, I’ve downloaded new software for the SD-Connect, and I’ve been able to successfully capture from and edit to my betacam deck. So while I’m still experiencing some odd behaviour, like periodically my canvas window won’t update, while the component out plays nicely on an external monitor, and then later the component out will freeze, while the canvas plays… Anyway, I’m going to spend the weekend with it, and then post with more specific issues as they arise.

If anyone out there is using an SD-Connect, I’d appreciate hearing how they’re making it work–I have yet to figure out a configuration that works for input and output–I have to switch it back and forth, which isn’t the end of the world.

Thanks for the help, and sorry for the rambling post. It’s Friday!

–Mark Lyon
Mighty Max Films

[Mark Lyon]

Well, I can take a crack at the first part.

Film: Figure on $.35/foot for raw stock, full-retail, from Kodak. (You can get deals, of course, but for the sake of argument…). So, at 36 feet/minute, that’s $12.60/minute of shot film.

Processing: Figure on $.12/foot, or $4.32/minute

Telecine: Plan on $400/hour, and a 4:1 transfer ratio (you can significantly reduce these numbers, but this will get you a good supervised transfer with a competent colorist and good gear). So, a minute of film will take 4 minutes to transfer, and will cost you about $27.

Now you’re ready to do your edit, and you’ve spent about $45/minute. I’m sure someone else will correct any math mistakes I’m making, and hopefully provide you with good info for DI and film out to 35. I shoot a ton of Super 16, but so far it’s all ended up in video.

Best of luck–

Mark Lyon
Mighty Max Films