Instruction manual

22
HD Offline
Scenario #2
The DV codec has been a staple of Final Cut Pro since the application's inception,
providing a well-suited offline editing workflow that has proven to work fine for
many projects. Similar to the process described above with the newer DVCPRO
HD codec, this codec can be used to capture from your HD tapes at the native
frame rates of those tapes (23.98fps). While not as high quality as DVCPRO HD,
the files sizes can be even smaller-less than 3 MB/sec -and are usually more than
adequate for offline purposes.
Mixing and
Matching Formats
in Final Cut
In Final Cut Pro, the best editorial results come from working with one format
consistently per timeline. For example, if you capture HDV files and then capture
10-bit uncompressed files, you'll have to rerender one or the other when using the
two types on the same Final Cut sequence (the timeline where media is edited into a
project). You could even capture 8-bit uncompressed and DV, and then place them
both on a PhotoJPEG timeline and end up having to render them both.
Therefore, it makes sense to capture media into your system at the highest quality
you'll expect to use in Final Cut to eliminate rerendering and ensure the best results
for mastering. Otherwise a well thought out online/offline workflow should be
mapped out before starting a project. Luckily, the KONA 3 card allows users to
capture to a common codec easily with its hardware based upconversion,
downconversion and crossconversion capabilities. For example, if a 720P 59.94
DVCProHD master were desired, and the source material was standard definition
Digital Betacam tapes at 29.97fps, DVCProHD tapes at 59.94fps and HDCam
tapes at 29.97fps, all of these tapes could be digitized to the common codec of
DVCProHD at 720P 59.94.
2K Workflows For large facilities, KONA 3's 2K support allows ingest of 2K media via HSDL,
high speed data link, (using SDI connections) from 2K telecine machines or DDRs
into the KONA 3 as 2K sequential DPX files and 2K QuickTime reference movies
simultaneously. 2K playout via HSDL further enhances the flexibility of KONA 3
to work with other 2K equipment such as DDRs and projectors that work with 2K.
For cost-conscientious facilities, playback of 2K to HD 24P supported monitors
helps lower the price barrier for working with, and especially viewing, 2K material.
When comparing the traditional 2K path and a potential Kona3 2K path, the
potential for cost and labor savings becomes apparent. By avoiding the telecine to
tape and instead going straight to disk with media, the Kona3 2K path can
immediately save users the cost of tape stock and the time associated with then
digitizing these tapes into a non-linear editor. By generating 2K DPX files during
the digitize phase, the Kona3 also moves a portion of the 2K process up to the
beginning - instead of the end - of the post production process; this means that
shots intended for visual effects work could be given to visual effects artists at full
resolution at the beginning of the process instead of waiting until near the end of
the process. The flexibility of an offline using Final Cut Pro leveraged against the
power of QuickTime and Final Cut Pro's media management tools, allows easy
access to 2K resolution files and even potential 2K online possibilities.