[Scott Smith]

Also, since this is 4 inputs, and you have pots to control input levels, this eliminates your need for a mixer. Mix it in post!

[Scott Smith]

I record separate audio frequently, and really like the Edirol R-44. I had to have something that recorded 4 channels, and this does it well. I had the older model, R-4, and it worked fairly well, although I thought the preamps were a bit noisy. They are much cleaner with the R-44, and the unit is half the size.

There are cheaper solutions, and some much more expensive ones. But this one at right under $1000 is a lot of recording for your money. 4 channels of audio on XLR’s, provides phantom power, will do balanced line level, you can stack them together if you need 8 channels, nice monitoring output, records on SD-HC cards.

[Scott Smith]

At first, the manual reinstall appeared to work. Then I tried to open Compressor, and it wouldn’t open. Obviously I had more going on than just the Kona drivers.

Long story short, I uninstalled everything in Final Cut Studio. (BTW, FCS Uninstaller helped a lot https://www.digitalrebellion.com/fcs_remover.htm ). I uninstalled the Kona drivers. I manually searched for anything on the mac related to anything FinalCutStudio or AJA or Kona and deleted it. I ran disk permissions and rebooted. I reinstalled Final Cut Studio from scratch. I ran software update on Final cut. I reinstalled Kona drivers 5.1, and rebooted. And wouldn’t you know, after all that, I still had the initial problem.

After going home and drinking heavily, I uninstalled Kona 5.1 and tried Kona 5.0. The format problems went away, but I had no machine control. I uninstalled Kona 5.0 and installed Kona 4.0. At long, long last, everything is working!

[Scott Smith]

So far so good, but there was no real editing done yet since I did it. I just tested it out, and haven’t actually used it. I will update tomorrow if there are any problems.

[Scott Smith]

Not in easy setup.
Video output set to 720p.
No down-convert on monitoring output.
PCIe Ports set correctly, and card in slot 3.
Was working fine, and suddenly not working.

Called AJA again and went through many steps with tech support-most of which I had already done. One thing we did – that I hadn’t – was to delete a kona receipt file in root/system/coreservices , then uninstalled/reinstalled kona drivers. The initial check is that it may have fixed it, but I’ve had it appear to work before then go bad within a short amount of time. I’m keeping my fingers crossed.

[Scott Smith]

Hungry Bull, there are more qualified people than I to help you through this, but I have to wonder why your original footage was 24 fps, and your end result needs to be 24 fps, yet you converted to–and edited at–30 fps. Or maybe I misunderstood what you were saying.

I think you may want to see if you can export the EDL and reimport your original footage into a 24 FPS sequence. Then maybe the EDL will help recronstruct all of the edits. I’m not sure how good a 30 fps EDL will work on a 24 fps sequence. It may take some work, and maybe someone else has good advice on how to accomplish this.

As far as converting the footage goes, there’s an good option using after effects. Andrew Kramer has a good tutorial here: https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=1&page=https://www.creativecow.net/articles/kramer_andrew/fps/index.html that will really walk you through conversion.

[Scott Smith]

I totally agree GranitW, I loved seeing the Behind the Scenes stuff, but was very irritated at hearing Sigourney Weaver tell me 20 times how high tech they were during the main program. It was very self indulgent of the producers. Leave that stuff to the Behind the Scenes extras and take it out of the main program.

And did anyone else think the timing and flow of the program was off? I mean the camera work was incredible, unbelievable, I just can’t say enough how good it was, but the writing and editing left a little to be desired.

[Scott Smith]

here’s a shootout: https://www.dv.com/features/features_item.php?articleId=192501232

[Scott Smith]

If you are considering the 200, take another good hard look at the 250. It comes with the Anton Bauer battery mount built in, a battery, it NOW comes with the lens, and it has a better encoder than the 110.

If you might ever want to use it in the studio, it will output full res, 1080I HD(not HDV, but HD) in a studio, it just cant put that to a miniDV tape.

The 250 is a much more complete and professional camera than the 110.

[Scott Smith]

HDV is an encoding very similar to mpeg2. They interpret the all the frames between two I-frames. This span of frames is a GOP (Group of Pictures). I think part of the problem of compatibility between the Sony vs. JVC HDV formats is that Sony uses a Long, or 15 frame GOP while JVC uses a much shorter 6 Frame GOP. For 60I or 30P, this is a half-second for Sony and only 1/15 second for JVC. Sony HDV has many more frames to interpret than JVC. This is one of the strengths of JVC’s version of HDV. While HDV is not frame-accurate for editing, JVC hit’s much closer to the mark. The trade-off is that Sony is 1080 lines of resolution, while JVC is 720 (I believe).

Basically, I don’t think they play nice together, as each brand equipment is looking for it’s own format and GOP length to interpret.