Sean Oneil
Forum Replies Created
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[JeremyG] “DId you then set to Kona CP for ref in?”
Yes. I’ve tried every combination of sync reference possible.
The deck IS syncing. I can master tapes all day long. I just get that green line. Is it safe to assume this isn’t a genlock issue.
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[JeremyG] “What’s your Digibeta’s ref set to?
Try Setting it to incoming video instead of external.”
Normally set to internal, but I tried both.
[JeremyG] “SInce the K3 gives a clean signal without the Deck involved, there’s something set wrong in the deck.”
Nope. Been running great for 7 or 8 years now. All are other machines have Decklinks and they still work fine with it. The problem is only with the new Intel machine that has the Kona 3.
[JeremyG] “A blackburst would help in the situation.”
Have one. Tried it. Plugged into the deck (and set for ref in), plugged it into the Kona’s genlock, and plugged it into both. None of those setups got rid of the green line.
I probably have a bad card. Good times. Thanks though.
Sean
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[zrb123] “And where did I say to just use MP3’s right in iTunes. The post is about using purchased iTunes music, and that is why I suggested iTunes Plus”
I never said you said anything.
My post is about whatever I put in it.
The THREAD topic was about purchased iTunes music and my post was quite relavent.
I was suggesting that even without DRM, you still have issues with MP3 files – and those same issues are very likely to also be true with Unprotected MP4 like from iTunes Plus (which only offers music from EMI and independent labels).
Have you tried unprotected MP4 audio in FCP? What’s it like?
Sean
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Its funny. I’ve come across this multiple times. Some people buy a nice new shiny Kona card, only to learn that the best solution for their workflow is to capture firewire.
The Kona is for capturing and mastering SDI/HD-SDI. Digibeta, HDCam, D5, etc. With HDV, and DVCPro, you want to use firewire for capture. Furthermore, if you are mastering to those formats (which would be odd since no broadcaster will accept that as a delivery format), you should use FW for output as well. The Kona can still be useful for monitoring.
Sean
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[zrb123] “Enable it on your iTunes account, and you have access to purchase available DRM free music. Plus the quality is better.
“DRM is only part of the problem. Unprotected MP3 files do not work very well in Final Cut. You can import them, put them in sequences, etc. But you get a nasty gargling sound all the time plus a red “I need to be rendered” bar.
Haven’t tried it in FCP6, but I doubt its any different.
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[qcostello] “I’m curious about the workflow that involves capturing native hdv through the firewire and then rendering in ProRes. I really want to capture with my LHe card because I can monitor it on my big screen as I go. I haven’t, however, found any info about an offline/online solution that makes use of my Aja capture card. “
Capture HDV over firewire. Edit the clips on a ProRes timeline.
You monitor while editing using your Kona. If you want to monitor while capturing over FW, plug the camera’s analog output directly into the monitor.
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[qcostello] “NTSC HDV”
🙂 NTSC or HD. Can’t be both.
[qcostello] “Panasonic GY-HD100”
The GY-HD100 is a JVC camera.
[qcostello] “Can anyone recommend a codec that approaches the quality of DVCProHD but that takes up even less space. I’m going to up-rez way down the road but I’d like something that is fast and easy to convert later on.”
Photo-JPEG @75% is smaller than DVCProHD I believe, and the quality is better. You run into other issues though. Effects render as RGB, effects are not real-time, and Final Cut doesn’t officially support it except for OfflineRT. DVCProHD is pretty small. I don’t know why you need to squeeze it any more. Buy more hard drives. You can buy 400GB hard drives for $90 nowadays.
[qcostello] “What about Pro Res? If I decide to keep my project at fairly high quality is there any reason not to go with the Pro Res codec? I know the jury is still out on this but it seems like an improvement over DVCProHD and it only takes up slightly more space. “
No, the jury is not still out. It never was. ProRes is a much better codec. It’s not “arguably” better. It is better. No controversey.
But it’s bigger. Twice as big. You said you wanted something smaller.
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[John Pale] “I can confirm the J-series can do the 23.98-29.97 conversion. Recently captured a whole bunch of material that way. It certainly appears to be a 3:2 pulldown. Perfectly clean.”
It could be an option board. So people who rent one shouldn’t blindly assume it will have that capability.
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[Michael G] “Not where I come from sunshine. A 25psf tapes get captured as 1080 50i.
You poor buggers in NTSC land have cadence catastophe that we just chuckle about.”
Forgive my ignorant American ethnocentricity :).
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What do you mean “act like a deck”?
Sean