[Sam Crutsinger]

I’ve discovered that it depends on how you place your dissolve. If you dissolve between 2 clips on the same layer, then the dissolve is smooth. If you stack clips and dissolve the clip on v2 to reveal the clip on v1, that’s where Premiere loses it’s damn mind and the transition abruptly cuts off.

Sam Crutsinger
Media Kingpin
Confidence Bay

[Sam Crutsinger]

I was having this same issue with Premiere CC2014 and CC2015.

Here’s what fixed it for me.
Sequence > Sequence Settings…

Sam Crutsinger
Media Kingpin/CTO
Confidence Bay

[Sam Crutsinger]

I’m curious about those benchmarks. I’m bidding out a 24x3TB Norco DS-24E chassis (with SAS expander) running off of a RR4322. It’s a 66TB RAID 6 for under $7,000. It’s going to be for backing up a much faster $50K Terrablock server, so speed isn’t actually mission critical, but I am very curious about how fast it will be.

Oh, and the cables you were talking about originally are breakout cables. A single 8808 cable has channels of data in the single cable. That’s why in most boxes, you can hook up one SAS cable and control 4 drives, or 2 cables to control 8 drives. The cable just separates out the 4x into 4 separate single channel cables. Kinda like an old 2 line phone cable getting split into line 1 and line 2.

Sam Crutsinger
Media Kingpin/CTO
Confidence Bay

[Sam Crutsinger]

Keep in mind that the Kona3 is SDI ONLY. It doesn’t have analog input. It lets you go up to dual-link HD SDI and all that beautiful 2K footage, but if you have to hook up a Betacam or any other analog format, it’ll be like trying to eat tomato soup with 24K gold chopsticks.

If you’re not going to be dealing with the top-shelf HD formats, I’d recommend the Kona LHe. I have an LHe and a 3 and I use the LHe far more than the 3 because of it’s analog abilities. Of course, if money is no object, then a Kona 3 and an Io LA will get you everything in existence short of 4K HD. (I think it’s the LA. I forget which is which in the Io lineup.)