Michael Craven
Forum Replies Created
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Yea, I guess that might work. I was just curious if it could be done straight out of the Kona. One SDI feeds the HDCAM and the other the Digibeta.
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Do you have your FCP output settings correct? AJA Kona 525i29.97 8 Bit?
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[jeff cronenberg] “While I know that there is no rack mount available currently, has anyone out there built a set-up with multiple units?”
I’ve not seen these in person, but they might work for you.
https://www.markertek.com/Racks-Cases/Equipment-Rackmounts/Connectronics/CTX-KIPRO-RM.xhtml?CTX-KIPRO-RM -
No, I understand that part. I’m talking about an actual number, like 234GB (for instance), of actual recording space on a 250GB drive. Until I know the actual number I’m just going to use 200GB in my calculations. That should keep me more than safe.
Thanks,
Mike -
[Jeremy Garchow] “Or just knock 10% off the posted available space”
Yea, that was my question. Where is that posted? I don’t own a KiPro so I can’t pop in a drive and check it. I’ve never recorded long enough to encounter the 10% limit, but for future reference I’d like to know the correct amount of usable space so I can calculate my record time properly. That would be one devastating “gotcha” in a live event situation.
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[Jeremy Garchow] “I would simply buy another $250 dollar 250GB drive.”
Copy that, but either way I’d like to know what the actual recording capacity of the drive is with the 10% buffer. I guess I could just figure it at 200GB to be safe.
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[gary adcock] “it will auto shut down when there is less than 10% of the active volume left”
That seems to make sense. Is the actual, usable drive space listed anywhere for the AJA 250GB drive? This would come in handy for future reference when I only have 1 250GB cartridge and I’m using AJA’s data rate calc to figure out how much record time I have. I wouldn’t want to overshoot.
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You could try VER (https://www.verrents.com) but I doubt there would be much price difference.
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[gary adcock] “Explain to them that it may cost them upwards of 2x-3x the amount of time in post”
Yea, you’d think that would make sense, but they aren’t so bright most of the time. You’d think that after making them look good for 3 major productions for Showtime and then successful DVD releases after that they would learn. Unfortunately (depending on perspective), I’m posting it and have had to save them every time because of them skimping on the production budget. They are slowly “getting it”, but they have to get burned before it sinks in.
This is a 6 camera shoot that should run about 2 hours or so. Since we’re using KiPros there won’t be any tape changes. In the event that the TC doesn’t work out as planned, syncing shouldn’t be too terribly time consuming if I end up having to do it by hand. Nevertheless, I’d rather have it right to begin with but it is what it is.
Thanks again to you and Jeremy for your help!
Mike -
[gary adcock] “Why would you work this way and not in the more traditional manner of running Clock-it boxes or having your audio guy generate master TC?”
Believe me, it’s not by choice. If it were up to me, they would have a dedicated master clock. They have been informed that what they are proposing is a less than ideal setup. However, budget cuts seem to be the norm lately and they skimp and take chances they shouldn’t. I’m just the guy who has to make it work with what I’m given and a day rate is a day rate.