Paul Provost
Forum Replies Created
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are you downconverting by just rendering out in an fcp timeline, or are you downconverting an hd timeline using the Kona card output to a deck?
Paul Provost
http://www.postandbeam.tv -
we just picked up a TH-50PF10UK 50″ last week and it is SWEET (fed by Kona3) it also now comes with the HDMI and component cards already installed. SD is not too bad on it either. one thing about the PH series is they are not full 1920 x 1080 like the PFs.
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hey that would be great for me. if i could get away with buying a $20k deck to output hd masters to i would be in heaven. only we have not yet seen dvcprohd in a deliverables list.
why on earth networks need hdcamsr for broadcast is beyond me. the cable hd signal i get at home is dismal. they might as well be playing back hdv.
maybe sony and panasonic sold them all their top end decks and that’s the only thing they can playback tapes on. so we get stuck buying the same decks to be able to deliver for broadcast… -
oh, and by new at nab i meant NEW
like sea change new
like 4k 4444 on tape or something weird like thatand yes i think i will wait till 2009 to buy more storage now that you mention it
maybe i’ll wait for the 4TB iphone and record to that -
i just read the deliverable lists they send us mr z
(most often d5 and srw)“can’t we all just get along?”
(quote from somebody somewhere at some point) -
hey Bob welcome back
the jh3 will pay for itself very quickly
i’m just saying for our first one it would have been nice to have a mastering deck (i don’t consider hdcam (non SR) mastering and certainly not dvcprohd)
if the d5/444 would have been at this price ($60k) 3 months ago, likely it would have been the first big hd deck we bought. but the 3/31 end date for the sale seems suspiciously like it might be EOL and a week later at NAB something new?
also there is a catch 22 with renting/ the job needs to be big enough to warrant it, but if you have the deck in house there are many smaller quick turnaround jobs you can take and be more flexible in pricing. -
well we had to buy something to get into thehd game, because we were beginning to turn away jobs. problem was, we were getting requests for hdcam, hdcamsr and d5. we decided on the jh3 as a starter deck and add to that. rent d5 and sr.
but you can charge more for d5 because of its cost. we just couldn’t spring for the 100k right away. also a lot of decisions of tape format are based on the deck that is available. if we had a d5, we would obviously be offering d5 layoff.
point is, to be able to get hd mastering AND 444 is pretty amazing for 60k. puts in a much more accessible price point. here in LA you kind of need to offer all 3 formats, but that’s a pretty steep investment for a small house. -
you have tri sync running to both K3 and D5?
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have you tried just recording anyway and then monitor playback out of the deck? just to make sure it isn’t an issue with the little monitor on the deck? Like Bob said, the menus on these decks are unbelievably complex and unless every single one is set correctly for the particular job you are trying to do you are screwed. every input, output, framerate, sync, etc has to be right. btw this isn’t a sync gen problem is it? all the settings on the K3 has to match as well…
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thanks!
I’ll check it out!