[Shari225]

Hi Bob,
When I checked as to where I can get the AJA HD10AVA, I found there is a store that also supports what they sell, helps lay out systems, and provides technical support, about 13 miles away from me at Advanced Systems Group in Emeryville. So I’ll give them a call tomorrow, and do what I have to do to get things working again.
Thanks again for your help,
Shari

[Shari225]

Hi David,
I got curious too. Here is what is posted on the Markertek Online store:
Why Choose HD-SDI over IEEE1394 FireWire?
While the HDV cameras and decks always support a IEEE1394 (aka FireWire connection) not all non-linear editing systems can accept the HDV signal through such a connection. If a non-linear editing system can accept the IEEE1394 signal, the footage can be ingested in its native, highly compressed state. While this seems like a simple solution for post-production, it means that the footage stays in the compressed Long GOP MPEG2 structure in which it was recorded and this structure can be incredibly processor intensive for most non-linear computers to negotiate. The first benefit when ingesting HDV material through an analog to HD-SDI conversion versus ingesting via IEEE1394 for post production is that the structure of the signal will be brought in as an I-Frame based structure common to the non-linear editor as opposed to the HDV’s native Long GOP MPEG2 structure, which may prove more difficult to edit.

Additionally, what if the post-production process demands that the HDV acquisition be delivered as a finished product on HD formats such as Panasonic D5, DVCProHD or Sony HDCam? Working with the compressed HDV material would be akin to working with DV natively for SD broadcast; less than ideal. Certain post-production processes would be better performed in a 10 bit (or even 8 bit) 4:2:2 color space than in the 8 bit 4:2:0 color space that is the domain of the compressed HDV format. If the non-linear editing system could ingest via HD-SDI using the AJA HD10AVA converter’s HD-SDI output, then digitizing to an uncompressed codec might be a better choice for tasks like color correction and compositing.

I thought this was quite informative. Bob must be an engineer – you can always tell an engineer, but you can’t tell them much! 🙂
Shari

[Shari225]

Hi Bob,
I know the Decklink Pro was not the card I needed, which is why I upgraded to the Kona 3. The reason I mentioned the Decklink Pro was to give you a background as to why I was caught unawares by the requirements of the Kona 3. I had hooked up the Decklink Pro to a G5 myself. I just didn’t know that there would be a major difference in the interfaces, and was defending my decision to get the Kona 3 to you.

I was wondering – if I bought a Flying Cow interface – would that converter would do the job and allow me to use the Kona 3 with the rest of my equipment?

Shari

[Shari225]

It looks like Flying Cow might work. It is relatively cheap. I’d like your opinion on it. Is it a good choice for a DSR to SDI converter?
The company I got the Kona 3 from is Markertek. Considering the expense of the card, I was trying to find the lowest price. I carefully read the requirements, and was able to meet them . . . I thought. I didn’t know I had to worry about the analog/digital interface.
I’m up to learning how to drive an HD Prosche, with help.
Thanks,
Shari

[Shari225]

I would have loved to hire someone, had I known this was necessary. It was not with the DeckLink Pro. I had no trouble hooking it up. If you advise it, I will be happy to get that Sony HVR-1500 HDV VTR when it comes out in the spring, and/or hire you to help me build a decent set up. But it’s right now that I need your help as you can give it. I set myself up for a domino effect, which, while wasn’t my intent, seems to be what is happening.

I do get a color bar signal on the monitor, I’m delighted to say. I don’t know why the video on FCP canvas isn’t working. I have the Sequence and Capture presets as well as the Vieo Playback on AJA Kona 525 8 bit.

Thank you,
Shari

[Shari225]

Hi Bob,
Thanks for your reply. Believe me, I absolutely do not want to do this alone. I’m in an area, however, where this kind of help is very, very scarce, and those that can help are already swamped with work. I have tried, and would love for someone to come over and help. Creative Cow and people like you are Godsends. I got the Kona 3 with the intent to upgrade gradually. I read that the Kona 3 worked with both SP and HD, so that seemed – at the time – to be a reasonable expense to make.
I have a mixer. A little Mackie 1202-VLZ Pro – 4 XLR outlets. I use it sometimes when I use a shotgun mic on my GL2. It never occured to me to use it on my computer, but of course that’s the answer. Thanks for that.
I am somewhat familiar with the Kona 3 control panel, but not enough to set things up readily. With your help, I should have a better handle on that soon.
The DSR -45 is connected to the Mac via firewire, so maybe that’s why I can read the VTR on FCP Log & Capture.
I had already hooked up the Out Y Out Pb Out Pr BNC component cables directly to the Aquos Monitor – perhaps I didn’t explain that well in my first email. On the analog tab in the Kona controls, I have the primary at 525, and the analog format at component (RGB). Still no picture on the Aquos. The Mac is not detecting the dispay.
The General Error alarm is gone – I don’t know why, but I’m grateful.
On the other hand, while I am getting sound on my Mac, FCP is not running the video right now. Nothing is moving on the canvas. Sigh. A new wrinkle.
On the Format for the Kona 3 contol Panel there is an SD to SD option, which I have as off. Is that correct?
This all has to work. Somehow.
Thanks,
Shari

[Shari225]

Thanks for your response. Here are the settings:

Kona Control Panel
Inputs: SDI 1 (no video) Input Select: AES/EBU (BNC), Map Channels: 1-2 to 1-2
Format: 525i29.97 (both primary and secondary) Conversion Up-Anamorphic Down – Letterbox SD to SD – off
Digital Out: Both outputs primary 525i29.97
Analog Out: Primary 525i29.97 Analog format: Component (SMTE/EBU N10 Monitor Audio: Ch 1-2
Default Kona Output: Test Pattern Test Pattern: Color Bars
Genlock: Freerun
DS Keyer: Kownstream Keyer Mode Off Graphic File: Load File Matte Color: grey
Setup: Video 7.5 IRE Audio Lock Input Audio Gain to Unity checked Analog Audio Monitor Level +24 dBu FSD

FCP
View > External Video: All frames
Audio/Video Settings
Sequence Preset: DV NTSC 48 kHz
Capture Preset DV NTSC 48 kHz
Device Control Preset: FireWire NTSC
Video Playback AJA Kona 720p60 RGBA (1280 x 720)
Audio Playback: AJA Kona

(I’ve since recabled the audio playback to run from my Mac to a receiver via optical cable to the speakers, using the receiver’s headphone jack at the output. Not optimum, but at least I can control the sound level. FCP is on built-in Digital Output with this configuration.)

Also, I’m concerned about synching, and wonder if I need a device to secure Genlock.

Thank you,
Shari