Rob Tobin
Forum Replies Created
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Sorry, old school term…(short for high contrast as in use in a linear key)
How about Matte and Fill. -
Creative Tech,
Finally found the problem… May be your issue as well. Thanks to the AJA support team I found that there is a new tab in the Audio/visual settings (new from version 5.0 anyway) that allows you to set seperate outputs for edit to tape function. Make sure this is checked and set to the same format of your sequence. I guess this is for users using cinema displays for monitoring.
Hope it helps
Rob -
The problem seems to be fixed. For those experienceing the same thing… install the Kona in slot three and use the PCI-E expantion utility (new for Intel-Macs) and make sure slot 3&4 are running at 4x install storage host card in slot 4. The install instructions on the Kona site needs to be updated as it indicates that you can install the Kona in any open slot.
Thanks for the help.
Rob -
Yes, I think that’s the problem… I just got off the phone with AJA. I’ll re-post if it works.
Thanks
RT -
We’re having the same issue.
Macpro 1.1 2×266- Intel
4 gigs of ram
FCP 5.1.2
Kona 3
Atto FC-41ES
6 terbyes of fiber (Terrablock)
We still have dual 2.5’s running Kona 2 same drive set-up with no problem. Most of our work is 1080i 29.97 or 25. We have followed Kona’s specs. -
Yes. just finished a show where I had many problems with media manger… on of which was re-linking clips. I tried everything I could think of but in the end I had to export an edl (thank God it was mostly cuts) and down-grade to FCP 5.0.1 which worked. I could not export as an XML because it kept crashing.
RT -
Thanks Walter I did see those gliches when monitoring via FW. Also, the lag was my concern from the first posting so I think I’ll try your work-flow.
Strangle is a little strong don’t ya think Bob? The system I’m describing is at a post house (remember those)? My system is a little less robust but it has scopes all the same. (although I find the FCP scopes to be accurate) The system I did the test on had HD scopes and in my opinion looked better in a good old fashioned split screen test. My concern was mixing the capture/monitoring scheme for fear of syn issues. I’m not interested in starting a huge debate here just looking for the cleanest way to capture and monitor a fomat I don’t have a lot of experience with…yet. (pretty much the purpose of this site) Then move on to the next job.
Thanks for the feedback.
RT -
Thanks Guys,
I think what happened was I confused the system with my res test. I captured both FW and via SDI and did a split screen and rendered. After I restarted, the Kona seemed to work although I did still get an Error-unkown message. I’m running OSX 10.4.2 with six gigs of ram and FCP 5.0.2. with a 2.7 XSERVE raid. As far as the test… the firewire seemed to look better on a sony HD monitor through the KONA for playback. (it had much more chroma then the SDI capture)
because it was a kona setup I tried the FW capture on V1 and V2 to rule out the added render hit. For that reason, and because of a deadline, I choose to use FW for capture and monitoring. I like the Kona and feel it is the best way to do HDCAM but for DVCPROHD I believe this is the cleanest route. I’d like to hear other opinions.
RT -
I’m really not concerned with monitoring during capture as I can see the super down convert on my HD monitor… I’m really concerned with monitoring during the editing process… The more I think about it I should probally by-pass the KONA all together and just monitor EE through the deck. I can use the RCA monitor outs to my audio board. It’s seems a waste of hardware but I guess that the beauty of DVCPRO HD as a native codec. I normally work with HDCAM for which I need the KONA. Any thoughs?
RT