Tom Matthies
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COW Coin
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DaVinci Coin
Forum Replies Created
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The DXC-325 camera should have an “S-Video” output on it. Use this signal to go to your A to D converter for higher quality than composite video. It should be plenty good enough for what you will use it for. If you have the studio back on the camera, you could also go out of the 14-pin connector as RGB with a suitable breakout cable onto a better converter or card that will accept RGB signals. This would be even higher quality than the S-Video. Then use your composite output to go to your VTR. If you have a better vtr that accepts S-video, you can feed the S-video output from the camera, into an S-Video distribution amp anf then into both the converter and your vcr. It all depends on what you have to work with.
Tom -
Although it’s not the solution you’re looking for, it’s easy to simply go to the audio tab on the bars and type in -20db for the correct level. Its kind of a pain to do every time, but I don’t think there is an easy way to change the default levels from within the program itself.
Tom -
Also check your sequence settings. A DV/DVCPro sequence will be 720×480, not 720×486. That could be causing some playback issues. If you want to use the sequence in the DV format, use the Easy Settings when setting your sequence. Also,your AE clips, when output as ProRes could be causinf issues when you try to play them back off of a single FW drive. If you are editing your video as DV, then export the clips from AE as DV also. That could help.
Tom -
Your idea of the Analog to Digital converter will work. Just find a suitable converter box (there are many out there) and feed the S-Video from your camera into the box and then into a suitable computer for capture via Firewire. If you want audio as well, use a mixer to feed your audio into the audio input on the converter. Make sure that you provide the proper levels (mic or line) to the box or the sound will be either too low or badly distorted. You will need some software on the computer to capture and edit the material. Final Cut Pro or Adobe Premiere would work well for this. The DXC-325 is a pretty old camera, but if it’s working properly, it should make a good picture for you. Otherwise, pick up a cheap or even used Mini DV camera. It would save you a lot of trouble in the long run.
Tom -
A quick update.
AJA is sending out a replacement card today even though my Kona 3 is a couple of years old.
Gotta love AJA’s support! Thanks guys.
Tom -
You will also need to get rid of the old stills in your browser and then re-import them again to have them come in at the new length. Otherwise, in the viewer they will automatically have in in/out points set when you load them into the window. Just clear those out to get the fill length of the still you imported.
Tom -
Under the Final Cut pull down menu>User Preferences>Still/Freeze Duration. Change the time to whatever value you need and then reimport your stills.
Tom -
Fourth time was the ticket.
I actually unplugged the computer from the mains and let it sit for a few minutes to “rest” without any power going to the system. When I booted it back up, the Kona was now passing audio from the SDI input. I fired up my project in FCP and it’s now working just fine.
Just wish I could isolate the reason why the Kona just suddenly stops passing audio. It’s happened several times now…
I’m just happy it’s working again.Tom
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Fourth time was the ticket.
I actually unplugged the computer from the mains and let it sit for a few minutes to “rest” without any power going to the system. When I booted it back up, the Kona was now passing audio from the SDI input. I fired up my project in FCP and it’s now working just fine.
Just wish I could isolate the reason why the Kona just suddenly stops passing audio. It’s happened several times now…
I’m just happy it’s working again.
Tom -
Also, when you tape the two pieces of tape together, put the repair tape on the INSIDE of the tape you are repairing. That is, put the piece of “Scotch” tape on the side of the loop of tape that faces the cassette itself. Otherwise if the tape is on the other side, it will be on the side of the tape that the rotating heads will hit when the splice goes past the heads. Even though the repair tape is very thin, it’s still enough to possibly damage the heads as they pass over the splice. If the tape is on the side of the recorded tape that is away from the scanner, it’s less likely to damage the rotating heads when it goes by. Also trim the repair tape along the sides of the recorded tape you are repairing. Use a razor blade or a pair of sharp scissors to trim the repair tape so it doesn’t stick out past the edges of the tape you are repairing. Otherwise it’s likely to get hung up on one of the various guides within your playback machine, possibly causing another break in the tape or at least causing playback problems.
The most difficult part is getting the cassette shell back together. As stated above, if you have problems getting the two doors back on the cassette, just leave them off, capture the tape and put the tape away for safety. Put the tape in a zip-lock bag for storage.
Tom