[Mark Spano]

I would check if your card is outputting on component AND if your deck is set to component input. The deck may have an external switch to go between composite, dub, and component.

[Mark Spano]

You’re absolutely right. I should clarify: I’m not crazy for finding these things out. In all other regards, however, yes.

[Mark Spano]

Those are the options, it appears. My tests have been confirmed by AJA support. Here’s what Rudy had to say:

Hi Mark,

You’re findings are correct.
Basically there is a 1-frame delay for video only when the Kona 3 is
configured for up down or cross conversion.
The reason is the conversion is processed in the Kona 3 hardware.
The workaround is to delay the audio by 1-frame in the sequence.

Cross converting from 720p to 1080i interlaced is approximately one field
because the frame rate was originally 59.94 and changed to 29.97 (59.94
field rate).

Downconversion through the SR deck (in E-E) is not something I’ve tried yet, but I suppose it could come in handy. I know that if you’re playing an SR tape that the conversion output is frame accurate. I’m just glad right now that I’m not crazy and that my tests have been verified by AJA. I suppose it’s also good to have this documented here as well. Thanks for all your help.

[Mark Spano]

Hence the thanks… 🙂

[Mark Spano]

Jeremy, I appreciate the link, but unless you have an obvious audio sync point at that spot, that is not quite an accurate subframe edit. If I know audio in my sequence starts at 01:00:00:00 and I want to shift whatever audio is there back to exactly 00:59:59:29.5, it’s not possible to be that accurate in that audio editor. I can guess at it, but if there’s no obvious audio start (for example in cases where there’s a fade up, silent start, etc.) then I can’t be exact exact. Which, as an audio guy coming from 48000 samples, I want… 🙂

[Mark Spano]

Good point – I’ll make sure always to edit on first frame of picture to a zero frame number. I think also (now that I think about it) that I can jog through fields on the Digi so when I output, I’ll report here how the pulldown is working…

[Mark Spano]

Thanks Doug. I agree with the crossconversion options. However, since my ultimate goal in this was to have a downconverted master (NTSC DigiBeta), I wanted to get it downconverted in hardware and the KONA (according to its usage in the manual) wouldn’t allow anything but that 1080sf23.976 in the conversions list. I did what Chris’s advice was, which was to set my video output in FCP to 720p59.94. This fed the KONA’s frame buffer at 720p59.94, where I then was able to choose 525i29.97 as a secondary output for downconversion. I still am not 100% on that being the way it should be done, and can’t quite tell with my audio-guy eyes if the 2:3:2:3 pulldown being added is really that. Which brings up another question: if I recapture the 525i29.97 from tape, how can I step through fields to verify the correct pulldown? FCP is only letting me see frames…

[Mark Spano]

Did some extensive searching here on the forum and found a small but informative tidbit from Chris Lundy in response to a similar query back in ’07:

Put your 23.98 QT into a matching sequence – DVCPro HD 720p 23.98. Set the Final Cut video playback to 720p 59.94 8-bit. The card will now add the necessary pulldown to your 23.98 material. Lastly, in the Kona control panel, right-click the SDI 1 output and choose 525 29.97 so the card downconverts your 720p 59.94 signal. All done.

Good luck.

Chris Lundy
PostWorks New York
https://www.pwny.com

When I get back to the office, I’ll have to try that. Seems odd that in order to get the options to light up in the secondary output dropdown menu, I’d have to change video output in FCP first. I would think FCP video output would remain at the sequence native (720p23.976) to fill the KONA’s frame buffer. If the above really does work, then AJA ought to put that kind of info in the manual as that method is (at least upon my perusal) nowhere to be found. Still wondering as well if there is any list of supported/non-supported conversions that each of the KONA cards can handle…

[Mark Spano]

[Jim Kinsey] “Will the KONA card help me as far as render times go? Or help me on the output for file based as a better image?”

Most likely, your best option will be to output as above, using Kona’s adding pulldown to 720/59.94P, then recapture as such. Kona’s hardware solution for adding pulldown is reportedly better than most software options.

However, you might be able to use Compressor to make your file from the 720/23.976P file. Using Frame Controls, setting ON, then resize=fast, output fields=Progressive, deinterlacing=fast, rate conversion=fast (nearest frame). And making sure your video output is set to 59.94fps. It may be worth a shot, but I still think it’ll be less of a headache to output and recapture.

I wouldn’t use a 60P FCP sequence as I believe the added pulldown is jittery. I don’t know if this has been addressed, but you might easily see it if you drop a small clip in and render.

[Mark Spano]

I remember something simple that used to make this happen. Is the tape rewound all the way to the head, where there is clear leader? Sometimes the sensors mistake this for “no tape” or a jam and just stop. Pop the tape out and manually advance some of the tape onto the takeup reel so that there’s actual video tape and try popping it in again. Not saying it’s that, but might as well try the dead simple thing first…