[Tom Matthies]

Ideally you will need a TBC or a frame sync to go between the deck and your Kona card. Traditional TBCs are getting pretty scarce but SD frame syncs are still available both new and used. A quick search of eBay turned up quite a few used units and all pretty cheap. Leitch and DPS are decent brands. A frame sync should be able to handle the video straight out of your deck without external references required. Just go from the deck to the frame sync and into the analog (NTSC) input on the Kona card. You could try to go right from the deck into the composite input of the Kona card. It might work, but there will likely be some horzontal jitter in the video since that’s what a TBC or frame sync corrects.
Another possibility is to find a frame sync or TBC with the matching “dub” input that is on the back of tour deck. This should yield a better picture than going into the frame sync through the composite video input. If you buy a used frame sync or TBC, check them carefully for good operation. These things are getting pretty old and some of the components will deteriorate over the years and affect the performance of the unit.

Not my monkeys. Not my circus.

[Tom Matthies]

But a MacBook Pro that old wont have Thunderbolt.

Not my monkeys. Not my circus.

[Tom Matthies]

Check out these guys. Not cheap but they can do exactly what you are looking for.
https://www.vizrt.com

Not my monkeys. Not my circus.

[Tom Matthies]

Is your timelime set at 8-bit or 10-bit? 10-bil should eliminate the banding.

Not my monkeys. Not my circus.

[Tom Matthies]

And finally…
If I have a large project with much messing around with the timeline, once the picture is locked I will trash all of the render files and re-render the timeline again. That way the computer is not skipping all over the hard drives to play back many fragmented render clips from all the different revisions to the project. Rather it has only one set of freshly rendered files to play through. Less chance of something going wrong.

Not my monkeys. Not my circus.

[Tom Matthies]

Your audio should all be 48K rather than 44.1. FCP doesn’t work well with audio rates at 44.1.

Not my monkeys. Not my circus.

[Tom Matthies]

Connect the panel and plug it in. Unless the power supply or other components are shot, it should start right up. This switcher had a number of options available for it. Make sure that all the boards are in place and seated firmly. There are a number of test/diagnostic modes available for checking the operation. That’s the toggle switch/white button combination mounted on one of the horizontal boards. Flip the toggle switch and press the white button to put it into the diagnostic mode. Unless this switcher has the sync re-generator option, it will need drives from a sync generator for proper operation. All of your input sources will need to be analog and will need to be genlocked together. This switcher (as well as the 200-2) have no ability to frame-sync incoming video. The input video BNC connectors are the loop-through variety. You will need 75ohm terminator plugs on the loops unless you are looping to another source. The switcher should also have a blanking processor to even out the differences in sync/blanking of the input sources. This switcher is generally pretty reliable, but it’s getting old at this point. Some of the components are degraded by age. Keep a close watch on everything when you plug it in. Capacitors are especially vulnerable to old age. This was a real workhorse switcher in the day. The 200-2 is the same only much larger and a bit more modern.

Not my monkeys. Not my circus.

[Tom Matthies]

You can use Panasonic’s P2 viewer application to view the files on the P2 card right on the Mac desktop.

Not my monkeys. Not my circus.

[Tom Matthies]

Excellent idea! I’ll give it a try.

Not my monkeys. Not my circus.

[Tom Matthies]

List not lost…darn auto correct…

Not my monkeys. Not my circus.