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Kona3 Manual - Video Europe

1. 0 eee Final Cut Pro Easy Setup cuasaend 2 ex eg RS dad R4 S dure aad d 5 dr d R4 S ure doppi dur Chapter 3 Installation Installation Overview 000 ccc ccc ee ee eee eee eee eee eee hh lnc dno scare tpca easy E ae eee Gee nee eee ay pia Peed eta penne pues SKPP aE DOS Contents 2cccageerasseeoueacdeneeaads athe dard dd es qid d Installing the KONA 3 Card into a MacPro or G5 1 1 ee eee nee Cable te ccc a a a eee eee ee ee ee ee ee ee ee System Video Audio Cable Connections 0000s JUDIGIESUSEOHfL n ot a agence a ea eae epee oa epee Gata aie oo ee ee eg eas Installing KONA 3 Software 20 cee e nen n teen ene nee Software Installation Procedure 0 ec cece eee eee eee eee ees Updating KONA S Pirniwate 24 2000ee0 e404 4066008025 S RERO E ACRAS OEE E a a duce d Reverting to an Earlier Firmware Version 0 e eects Genlock and Your System sus6 stas sone eoen eee mena ends dia S he ee ene tone eee Chapter 4 Final Cut Pro and Other Application Software luna Cut O ossa ERERERESRESRUSSESEESIGEERAESNE SES ES nae ERSSXdSRSRSS NEA PSERE Using The KONA 3 Control Panel slieeeeeeeeeeee ees Control Panel Basics ll leeeeeeeeeee tnr hens Inpot Fab cee oan24n0e7Ga sank RITE AUOD EN E qd I eeepc Riad Inr Nab Screen ES ea e a a prebuit indul dade qutt drain auia Formats Tab Screen 1 2 0 ee ec ec nc cece lel boat Fab jeteet S68 eos osse sce xenon ease ut Rad tiae eee KONA 3 Installation and Ope
2. 12 256 07 20 12 28 37 16 12 41 45 07 13 04 02 19 13 43 03 10 13 57 52 22 14 24 35 17 15 03 19 15 Log and Transfer Media Duration T i oorno A004_C011_080224 C3 122607 00 01 11 10 00 03 40 13 00 04 06 07 00 03 47 09 D0 04 23 07 00 04 05 08 00 03 51 21 D0 04 37 22 pi mo 1 ET HD J t A e ua A 69 6 ye Hot 5 _ 1 selected 1 volume 8 clips displayed REDCODE PROJECT Status Name Transferring AQO4 CO11 080224 Out my 9 ADO4 COll 0 12 26 07 20 12 27 19 05 00 01 11 10 Add Selection ta Queue C8 Duration Logging Import Settings Reel BATTLESHIP E Name a004 Coli 080224 S OE Seem E Shot Take 0000000000000 E O A E Log Note Total Free Space 2 7 TE RED Log and Transfer being used to transcode media to Apple ProRes 422 HQ 28 Lin y 4 E bw 3 s y E VIDEO SYSTEMS RED Log and Transfer transcoded clip Item Properties These files can be added to a Final Cut Pro sequence and operate in much the same way HD Apple ProRes 422 HQ media would These files can be played back in realtime without the need to adjust the Dynamic RT settings for the sequence The KONA3 can be configured for video output of this media in either 2K or in HD at 1080psf 23 98 This workflow is simple to use but does require time to transcode the media from REDCODE to Apple ProRes 422 HQ However Apple
3. KONA Control Panel 3rd Priority If a QuickTime application is not running and the Default Video Output is not set to Mac Desktop then the KONA 3 Control Panel gets control of the board Control Recommendations To avoid surprises run the KONA 3 Control Panel keep it visible on the desktop and stay consistent in your settings within the various QuickTime applications while working on a project For example if you re working in a particular format e g 525129 97 it would make sense to set Final Cut Pro for 525129 97 the Mac Desktop size to 720x486 and the KONA Control Panel for 525129 97 Then when you switch between applications the output will stay in the same format Having the Control Panel running and visible helps because you can always check and see what the board is doing and who has control of it even when the Control Panel is running in the background KONA 3 Installation and Operation Manual Easy Setups for Typical Uses Easy Setups for Typical Uses Final Cut and KONA 3 together make working with multiple formats an easy proposition Inside of Final Cut equipment and setting presets are available in groups called Easy Setups from which you can choose typical system configurations A large set of Easy Setups are supplied with KONA 3 and installed along with the KONA 3 software These canned choices can be used directly or as the basis for making your own customized Easy Setups unique to your system By duplicat
4. television The rate at which frames are displayed per second Frame rates are used in synchronizing audio and pictures for video and film In motion pictures and television the frame rates are standardized by SMPTE Society of Motion Picture and Television Editors SMPTE frame rates of 24 25 and 30 frames per second are very common with a great number of others also used Frame rates have different applications and uses in different workflows For motion pictures 24 frames per second is common while in standard definition television 30 frames per second is common in the US NTSC Higher frame rates produce smoother motion but also create larger file storage requirements High Definition Television refers to the highest resolution formats of the DTV formats Offering twice the vertical and horizontal picture resolution of standard definition an HD picture is much sharper HDTV has a widescreen aspect ratio of 16 9 HD formats 1080i and 720p both offer reduced motion artifacts like ghosting and dot crawl Refers to a high definition signal provided on a serial digital connection A video format consisting of either 720 active lines of progressive video or 1080 active lines using either progressive or interlaced scanning A scanning method based on the visible screen showing every odd line at one scan of the screen and the even lines in a second scan Letterbox refers to the image of a wide screen picture on a standard 4 3 aspect ratio
5. to Bars and Tone NTSC Test the System Sequence Window Showing Bars and Tone Clip Dragged from Viewer If everything works properly go ahead and try capturing audio and video media from your VIR Using 8 bit Versus 10 bit Video While both 8 and 10 bit uncompressed video are capable of providing excellent quality broadcast video 10 bit represents a significantly higher quality and is preferable in many situations Because 10 bit video has four times the numerical precision when compared to 8 bit it has a signal to noise ratio 12 db higher than 8 bit video mam AJA VIDEO SYSTEMS Visually in 8 bit video compared to 10 bit video you will notice a substantial difference In 8 bit video there will be contour lines or striations visible particularly noticeable in scenes having soft gradients like a ramp or sunset For example if a sky region is mostly the same color but varies by only a few digital numbers from one side of the picture to another you may see contour lines where the signal passes from one digital value to the next higher value Since each numerical value in a 10 bit system is only one fourth as large as an 8 bit system s these contours become invisible and the sky varies smoothly 10 bit video is often used when the source and output video or master is also 10 bit Even if the input and or output video is 8 bit a 10 bit project will still maintain a higher quality when there
6. K3 Box connector descriptions 13 Key a bug 4 keyed video 66 Keyer 2 Kodak Cineon 2 KONA 3 2K Process Ingest to Output 4 KONA 3 control 79 KONA 3 Control Panel 47 KONA 3 Control Priorities 80 KONA 3 Formats 55 KONA 3 installation 31 KONA 3 Software 39 KONA 3X 1 KONA 3X installation 31 Kona Output Pulldown Menu 64 KONA TV 5 L Letterbox 59 letterbox 59 Linear 72 linear RGB 2 Load File 67 Lock Input Audio Gain To Unity 70 Log On Authenticate Prompt 40 Log RGB 20 looping 2 LTC 92 LUT 72 M Machine Control 13 machine control parameters 91 Machine Control pinout 2 Macintosh Desktop 64 81 MacPro 1 Manual 15 Matte 66 matte 4 Matte Color 67 menus context sensitive 48 mini connectors 12 minimum hardware and software requirements 7 Mixing 22 Mixing and Matching Formats 22 Monitor Audio 62 71 Monitor Out 14 monitoring analog outputs 62 motion adaptive de interlacing 2 MPEG 4 Multi cam 5 multi channel input 52 O offline quality at low bit rates 18 offset timecode 75 offset video adjustment timing 65 on line quality at moderate bit rates 18 Opacity 67 OS X installer files 39 Output Timecode Offset value 75 output video black 64 Overview P packaging 6 pattern test 64 PCI Express 1 PCI X version 1 PhotoJPEG 19 Pillar box 59 Pillarbox 59 pinout RS 422 D connector 2 Pixel aspect ratio 88 playback device 92 Post roll 92 Pre roll 92 Presets 79 pre
7. crop mode selection 76 crossconversion 2 55 Custom LUTs 72 Custom LUTs Dialog 73 customer service 97 D Data Rate Calculator 5 10 Data Rate Table 11 Default Kona Output 63 definitions control panel 48 Device Control Preset 85 Device Control Presets 91 Device pull down 91 digital audio 2 Digital Cinema overview of 2K and its uses 1 digital intermediate 1 Digital Out Screen 59 Digital Out Screen Settings 60 Digital System 37 Digitizer pull down menu 90 disk storage 8 Disk Utility 9 Down Conversion 59 Down Conversion 2 downconversion 2 59 Downstream Keyer 2 4 downstream keyer 66 DPX Digital Picture Exchange format 2 DPX files 3 DPXToQT Translator 4 DPXtoQTtranslator 5 Drop Frame 92 DS Keyer 66 Dual Link 2 3 52 60 Dual Link HD 10 DV DV25 19 DV50 19 DVCProHD 20 DVCProHD Acceleration 4 DVCProHD hardware scaling 2 Dynamic RT 4 E Easy Setup creating an 86 Easy Setups 83 Easy Setups For Use With KONA 3 85 Easy Setups Menu 83 EBU N10 14 editing long form content scenario 21 editing timebase 88 embedded audio channel selection 52 embedded digital audio 2 F Factory Easy Setups 84 feature films HD offline scenario 21 features 2 Features KONA 3 software 5 Fibre Channel 9 Field dominance 88 Final Cut Pro 5 47 Final Cut Pro and KONA 2 47 Final Cut Pro menu 83 FireWire 91 flying logo 4 Foreground pre multiplied checkbox 67 Format Screen Settings 54 Formats and
8. 10 bit 4 4 4 2048x1080PsF 23 98fps MB MegaBytes GB GigaBytes Cable Connections When KONA 3 is installed in an Apple desktop computer it connects to the outside world via either the standard cable set supplied with the board or the optional K3 Box Breakout Box using the cables and directions supplied with it Use the cables or the optional Breakout Box to connect your VTR input and output sources and external reference video genlock Using the KONA 3 offers you complete I O connectivity choices One cable provides AES EBU Standard Cables digital XLR connections and analog monitoring video connections The other cable has 4 mini connectors on one end and 4 BNCs on the other and provides SDI connections for both single link and dual link SD HD SDI HSDL connections Cable connections are marked on both the KONA 3 card endplate and on the cable connectors for easy identification AJA VIDEO SYSTEMS Using The Breakout Box About BNC and Mini Connectors The KONA 3 Breakout Box attaches to the KONA 3 card via cables supplied with it that attach to the back of the Box For additional functionality the K3 Box Breakout Box provides some features not present in the standard break out cables simultaneous XLR and BNC AES output 2 channel RCA analog audio monitoring and looping BNC Genlock reference connectors Although most video professionals are used to BNC connectors you may not have seen them if you ve been usi
9. Chapter 1 is the introduction youre reading listing features box contents and system requirements Chapter 2 gets you started with using KONA 3 in a typical video environment Typical workflows for SD HD Dual Link HD and 2K are discussed Chapter 3 provides complete instructions for installing and configuring the AJA KONA 3 card The user is guided through unpacking installing the card into a Mac tower installing KONA 3 Mac Software cabling the system and then getting it up and running Important configuration information is also provided on video settings and use of genlock external reference Chapter 4 discusses operational aspects of KONA 3 when used with Final Cut Pro Chapter 5 discusses troubleshooting problems with your system and what to do when there s a problem you cant solve Appendix A presents a list of technical specifications for the product Appendix B gives a glossary of technical terms and acronyms used in the manual Appendix C discusses the operational aspects of using 2K workflows with KONA 3 The remainder of the manual consists of appendices listing specifications and an index section to help you rapidly find topics in the manual Chapter 2 Getting Started KONA 3 And Your Workflow There are a lot of ways to think about audio video workflows Your setup might be categorized as corporate video professional broadcast or desktop video Or the workflow might be categorized by the type of equipme
10. and other sizes But most commonly 2K files are written in a 10 bit Log RGB or RGB format This provides for 1024 gradations of a given color in three equivalent colors of red green and blue By using RGB 2K data can emulate to some extent film which achieves its color reproduction via red green and blue layers of emulsion The actual 2K image sizes of 2048x1556 and 2048x1080 are usually written in two similar but slightly differing file formats Cineon or DPX Digital Picture Exchange format The Cineon file format traces it s roots back to one of the earliest film as digital devices the Kodak Cineon The Kodak Cineon introduced in 1992 was a scanner that took film images and translated them into digital data Today many devices from a number of manufacturers allow for such a process Since files bearing the cin extension were always related to film they tend to always be in Log RGB Log RGB is a color scheme designed to best approximate the characteristics of film emulsion in a digital environment An easy analogy is this Log RGB is like a digital film negative while linear RGB usually just referred to as RGB is like a digital film positive To transform a log RGB image into a positive Look Up Tables LUTs can be applied to the image so that before during or after processing the raw image can be seen as it would be if it were a finished product As already mentioned Cineon files are not the only file
11. frame buffer or the secondary format if upconverting Example you wish to key a logo on top of your 1920x1080 footage the still image with alpha channel that you load should be 1920x1080 Load File Clear Files O Opacity AJA VIDEO SYSTEMS F eoa KONA 3 Control Panel 1080i23 97 1080i23 97 f vuv 10b C 1080i29 97 SDI In 1 SDI Qut 1 No Video SBI In 2 No Video Ref In DS Keyer ON 1080i29 97 SDI Out 2 1080i29 97 Genlock Freerun Sane Buffer Camp SMPTE EBU Downstream Keyer Downstream Keyer Mode Graphic over Frame Buffer ES Matte Color S Til Foreground pre multiplied Audio Dut Frame Buffer Audio In Graphic File Opacity Picture 2 png E e n d me KONA 3 Control Panel DS Keyer Tab Loading a Graphic File to Place Over Framebuffer F eo KONA 3 Control Panel Click Matte Color 1080i29 97 Button to Bring Up SDI Out 1 Color Selection 1080i29 97 1080i29 97 SDI in 1 Dialog No Video 1080i29 97 SDI in 2 SDI Out 2 No Video aos Colors c3 us O12 amp EE Genlock Freerun Frame Buffer Camp SMPTE A Ds Keye Downstream Keyer Downstream Keyer Mode Graphic over Matte HJ Matte Color ial Foreground pre multiplied Audio Out Frame Buffer Audio In Graphic File Opacity Picture 2 png ES S a a ea KONA 3 Control Panel DS Keyer Tab Loading a Graphic File to Place Over a Matte KONA 3 Inst
12. the shape to be cut out from the video this will appear as a black and white image matte Using the second KONA output as an Alpha Channel key with the video output may be useful for feeding production switchers DVEs or other professional video equipment If Video4 Key has been selected as an output the block diagram will indicate the SDI outputs with video in blue and the key in red KONA 3 Installation and Operation Manual Using The KONA 3 Control KONA 3 Control Panel 1080i29 97 1080i29 97 YUV 8b 1080i29 57 5DI In 1 5DI Out 1 No Videa s SDI In 2 No Video Ref In Genlock 5DI In 1 Frame Buffer Comp SMPTE EBU 1080i29 97 SDI Qut 2 1080i29 97 Primary 1080i29 97 C Secondary 720p59 94 video Key 1080i29 97 Dual Link 1080i29 97 SE Output 2 _ Primary 1080i29 97 Secondary 720p59 94 KONA 3 Control Panel Digital Out Tab Video Key Output F eoo KONA 3 Control Panel 1080i23 97 1080i29 97 YUV 10b 525i29 97 SDI In 1 SDI Qut 1 DS Keyer ON Down Convert 525129 97 SDI In 2 1050129 97 SDI Out 2 1080129 97 Analog Qut No video Ref In Genlock 5DI In 1 Frame Buffer Comp SMPTE EBU Digital Video Output SDI Output 1 Primary 1080i29 97 f Secondary 525i29 97 C Video Key 1080i29 97 Dual Link 1080129 97 SDI Output 2 Primary 1080i29 97 C3 Secondary 525i29 97 KONA 3 Control Panel Digital Out Tab Showin
13. 188 timecode and configure timecode window burn output Vote SMPTE 12M 2 is the updated name and specification for what was RP 188 2K Crop select a 2K crop mode and the portion displayed from the overall frame Info displays status information about the KONA 3 card and how it is installed in the host Macintosh This information is generally intended for troubleshooting and support Input Tab Screen 000 l KONA 3 Control Panel 1080i29 97 1080i29 97 1080i29 97 SDI In 1 No Video SDI In 2 Click a Tab to No Video Select a Screen Ref In Frame Buffer 5DI Out 1 1080i29 97 SDI Qut 2 Control Genlock SDI In 1 z Format Digital Our Analog Out Click to Select video Input an Input RR fw SDI 1 1080i29 97 fy SDI No Video Dual Link Audio Input Input Select AES EBU XLR He KONA 3 Control Panel Inputs Tab Inputs Map Channels 1 2 to 1 2 B EZ VIDEO SYSTEMS On the Inputs screen you can view the currently selected video and audio input sources and map audio sources to the channels supported by Final Cut Pro more on this later Two information panes in the screen are provided Video Input and Audio Input Input Tab Screen Settings Video Input these radio buttons allow you to see and change what s currently selected and the video format that KONA 3 has detected if any In the example shown previously it shows that vi
14. 2K Crop screen while in another application 1 e Final Cut allows that application to retain control of the KONA output while adjusting the crop This is highly useful for visualizing the changes you re making Or you can also use the arrow buttons at the right of the screen to move the crop area up down or sideways The square button in the center returns the crop area to the center of the screen Alternatively you can also enter a specific X and or Y pixel offset by typing a number into the text fields above the arrow buttons AJA VIDEO SYSTEMS eoe KONA 3 Control Panel 2K1556sf23 98 1080i29 97 SDI In 1 No Videa SBI In 2 RGB 10b 10805623 98 5DI Out 1 1080sf23 98 SDI Out 2 2K Crop ON 1920x1080 Mo Video 10805 23 98 Ref In Analog Out Genlock Freerun Frame Buffer Comp SMPTE EBU lt Analog Out Control DS Keyer Setup 2K Crop I Off 1920 x 1080 2048 x 1080 x B4 y 238 E aim Y KONA 3 Control Panel 2K Crop Tab Selecting Crop Mode Important Note about 2K Operational procedures and information for working with 2K workflows are presented in Appendix C at the back of this manual 2K workflows are unique and require the use of KONA s VTR Exchange software and Final Cut Pro in conjunction with the 2K Crop features discussed above in the KONA Control Panel Info Tab Screen This Tabbed screen shows the
15. Analog Out ontrol DS Keyer Setup gt Shows the eE Primary Format Farmate KONA 3 has Click on Arrows selected to See Additional Tabbed Windows Click One To Edit View A Topic Tabs KONA 3 Control Panel Block Diagram Framebuffer the framebuffer is the engine in the KONA 3 card where active video operations take place using Final Cut Pro other 3rd party applications or even KONA 3 itself The framebuffer has a format called the Primary Format and color space that it follows as defined in the Tabbed Windows or via external application software such as the Easy Setups in Final Cut If the framebuffer Is processing 2K frame video and video cropping is turned un ON it will indicate the cropping by showing a shadow underneath the icon more later on how it s cropped 2K1556s 23 98 RGB 10b 2K Crop ON 1920x1080 It is important to realize that inside the Macintosh many applications can use the KONA 3 card as you switch from window to window and it may not always be obvious which is currently controlling it The KONA 3 Control Panel displays the name of the application controlling the card in red text on the Format and Control tabs of the interface If an application does not properly let go of the card as another takes over you ll be able to tell by looking at the Control Panel Primary Format the video format currently assigned to KONA 3 This is the format that th
16. KONA 3 Control Panel Formats Tab AJA VIDEO SYSTEMS 1080i29 97 SDI In 1 Mo Video SDI In 2 No Video Ref In Prin Seci 525i23 98 525i29 97 625125 720p23 98 720p50 720p59 94 720p60 1080i25 1080i29 97 1080i30 1080sf23 98 1080sf24 1080p23 98 1080p24 1080p25 1080p29 97 1080p30 1080p50 1080p59 94 1080p60 2K1080p23 98 2K1080p24 2K1080sf23 98 2K1080sf24 2K1556sf14 98 2K1556sf15 2K1556sf23 98 2K1556sf24 KONA 3 Control Panel 1080i29 97 YUV 10b 1080i29 97 5DI Qut 1 1080i29 97 5D Out 2 1080129 97 Analog Qut Camp SMPTE EBU Frame Buffer Control DS Keyer Codec Formats at Conversion Up Anamorphic J Down Letterbox He SD to SD Off Ke KONA 3 Control Panel Formats Tab Showing Primary Formats Pulldown Menu Format Tab Screen Settings Video Format this pull down menu shows the currently selected format This pull down appears in both the Primary Format area of the Formats screen as well as the Secondary Format area if present If you select an alternate value in the Primary Format using the pull down it will change the format used by KONA 3 s framebuffer When a change is made via the Video Format pull down or by clicking an icon widget and selecting a new format via a contextual menu the block diagram will change to reflect the new format In the case of a Secondary Format the formats available can vary based on what the Primary Format is
17. KONA 3 software files that have been installed on your system This information may be needed if you talk to an AJA Customer Service representative to determine if files are missing or need updating KONA 3 Installation and Operation Manual Using The KONA 3 Control eo e l KONA 3 Control Panel 2K1556sf23 98 1080i29 97 RGB 10b SDI In 1 f E 5 No Video 2K10805sf23 98 SDI In 2 SDI Out 2 2K Crop ON 2K10805f23 98 SD Gut 1 2048x1080 No Video Ref In N 2K1080s5f23 38 Analog Out Comp SMPTE EBU Genlock Freerun Frame Buffer DS Keyer Codec Timecode 2K Crop Kona Board ID KONA 3 0x10196500 S N 00G64036 K Box Breakout Box VideoProc Bit file 2006 04 03 16 39 24 DownConvert PCI Bit file 2006 03 20 09 49 23 f Library QuickTime 2 0 Beta 79 KonaCodec component 2 0 Beta 79 KonaDigitizer component 2 0 Beta 79 KonaMuxer component 2 0 Beta 79 KonalincompressedCodec component 2 0 Beta 79 KonaVideoOutput component 2 0 Beta 79 KonaVideoOutputClock component 2 0 Beta 79 KonaVideoOutputCodec component 1 3 FCP Uncompressed 422 component 1 2 DVCPROHDCodec component Applications 2 0 Beta 79 AJA KONA ControlPanel app Applications Kona Utilities KONA 3 Control Panel Info Tab Saving Your After configuring the KONA 3 Control Panel via the Tabbed screens you can then Control Panel save all your set
18. OR FITNESS FOR A PARTICULAR PURPOSE AJA VIDEO S RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUCTS IS THE WHOLE AND EXCLUSIVE REMEDY PROVIDED TO THE CUSTOMER FOR ANY INDIRECT SPECIAL INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER AJA VIDEO OR THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES AJA VIDEO SYSTEMS KONA 3 Installation and Operation Manual Table of Contents Table of Contents bcnc Soe ba oe eh oe bee he eed A ee bee eh es ees ii li e ele ERE ee ee eee es eee TUE CT TITRE i FCC Emission Information leeeeee es ii Conractns SUDDOPEGS acosa d da dre deq tease eee teni eee tape ergs RU Sha dide basa oue D Rd xd ii EE AN ATION a nn aed ep oe ee et a E E aes By Ge oe ee re e E iii Chapter 1 Introduction Tableol Contents NETTE TT TTE TT TETTE l Oea e ETTET E E E E E E E l O erare a e N es 2 Pate sense sew ee aoe eee ee eee RENDERE ee eens ae ee SERE EE SIRE ERE me 2 Broadcast Quality Conversion acude dee deg tutius a Red duae ispirato opt yates 2 KONA 3 Audio eee Rh eee cence eee cence ene 3 Dual Link 2222229 2uAreTQ4azecreecs eeeteseqaxeweestexectevseaqpEe tees 3 2K WOorktlow SUDDOEE a3 sud x s abcr dard Ed x CR ROREM ECRIRE dogs 3 Hardware based Acceleration cee ce cee eee RR res 4 Internal HD SD Hardware Downstream Keyer 0 0 cece eee nae 4 SOM Vale a o43 4 5 bua ue aes bae ee eee eee Pe ee ee ee eee waned a eee eee bees 5 KONA 3
19. Operation Manual Cable Connections Connector Connectors on the standard cable set are labelled as to their function for easy Descriptions installation and maintenance Similarly connectors on the optional Breakout Box are Cables and also labelled K3 Box 8 Channel Digital AES EBU Audio Inputs And Outputs When using the standard cables XLR connections are provided for digital AES EBU audio input output Four female XLR connectors are provided for audio input and four male for audio output Each XLR carries two channels XLR connectors are labelled as to input output and channels The optional Breakout Box provides both BNC and XLR audio connections on the front panel Note XLR connections are digital and cannot be used with analog equipment having XLR connectors Analog 2 Channel Unbalanced Audio Breakout Box only On the optional K3 Box are two analog output connectors one for each channel These connectors are RCA style phono jacks RS422 Machine Control A DB9 connector provides connection to VTRs digital disk recorders and other devices using RS422 device protocol For the breakout cable the connection is male and for the breakout box the connector is female Connector pinout is listed in Appendix A Specifications SDI Input and Outputs Mini connectors are provided for two SDI inputs and two SDI outputs for single or dual link A cable with four Mini connectors on one end and four BNCs on the other end i
20. Operation Manual Workflow General Notes KONA 3 2K PATH Shoot 35mm Film Telecine Simultaneous DPX and Quicktime Reference Movies are created during telecine Time to digitize 0 hours Footage is at 2K resolution Critical monitoring of focus and FX work may be started Offline media for editorial may be created at lower resolution FCP Media Manager allows offline media to be replaced with 2K media FCP 2K project may be seni to Motion or Shake for FX Kona 3 allows 2K media playback along with1080P HD and 525i 29 97 SD simultaneous video output Time to Scan 0 hours Files already in 2K format if from Kona 3 telecine Potential benefits of workflow Time labor and tape TYPICAL 2K PATH Shoot 35mm Film Telecine to Tape Use Flex Files to create Cinema Tools Database Use Batch List to Digitize Lun kTime Time to Digitize Hours or days Footage is at offline resolution Media is not at 2K resolution Critical monitoring for focus and FX work is not optimal EDL generated for full video resolution on line Cut Lists used to select film for scanning Time to Scan Days or weeks Use AJA DPXToQT costs minimized 2K media available at the beginning of the process for screening or sharing with FX department etc HD SD and HSDL output flexibility Scanned film results in DPX or Cineon files which can be given to Visual Effects or Color Grading
21. RAID array operate simultaneously increasing overall throughput RAID configurations can be comprised of e Striping data across multiple drives for storage performance RAID 0 e Mirroring for redundancy RAID 1 e Parity for data protection such as RAID 5 Most RAID configurations or RAID levels combine these to provide a balance of protection and performance Striping divides a logical drive into data blocks or stripes that are distributed across an array of physical drives Striping a set of disks improves storage performance because each drive operates concurrently However striping alone known as RAID level 0 offers no data protection Mirroring involves writing identical copies of all data to a pair of physical drives This results in very high data reliability If one drive fails the data is still available on the remaining disk drive However it also results in a storage efficiency of only 50 percent because two physical drives are required to achieve a single drive s capacity Mirroring alone is known as RAID level 1 KONA 3 Installation and Operation Manual System Requirements EH Parity provides data protection without requiring complete duplication of the drive contents In the event of a drive failure parity information can be used with data on surviving drives to reconstruct the contents of a failed drive Parity data can be stored on a dedicated drive as in RAID 3 or distributed across an array of drives a
22. Supports Final Cut Multi cam Feature 5 What s In The Box 0 cee cee RR RR RR e eee e eee ens 5 Oyster ROONIFEBIEHUS od mettre RESP eEDNESPNEREDePESOREPEPEE SRM RETE l Minimum and Recommended System and Software Requirements 20005 7 Understanding Disk Storage Methods 0 0 0 cece eee eens 8 About RAIDs 1 0 cc cc RR eee eee ee hh 8 Software For Striping aures socordia qty perturbat cawedaneestudedsesee 9 Storage Example AJA KONA 3 and Xserve RAID 1 ee ee 9 Storage Example AJA KONA 3 for Dual Link HD and 2K resolutions 10 uror PT eeeeee eben eerie a e on bes 10 Cable COnnectOUs uuu x 466 edo 9 on dac Ee Ere IRE SE DEOR E E IRE ee 11 Using th Standard Cables ue esqateee tue rx webpR qn bars ti bd a REI ene aya 11 Usine Ehe Breakout DOE Loue sodes eqakareceboheuregpEeRaXeN eque NAA 12 About BNC and Mini Connectors 1 0 0 cee ec RR es 17 Connector Descriptions Cables and K3 Box 1 0 0 cece eee eens 15 8 Channel Digital AES EBU Audio Inputs And Outputs 0 02000 e ee 13 Analog 2 Channel Unbalanced Audio Breakout Box only 0020s 13 RS422 Machine Control 0 0 nananana aea 13 SDI Input and Outputs 2 0 RI lh 13 Analog Monitor Out Component HD or SD or SD Composite Y C 14 Reference Video 222a ES doe SR RECE seGuseh bane eee dees oho HEC nee neds scence 14 To eisai 22 cary od wae BA Ss WR a ad Res Rs BAe as wha es 15
23. Transfer Rates Storage Table 11 Formats Screen 53 formats video 55 Frame Buffer over Matte 66 Frame Buffer over Video In 66 Frame Rate 92 Frame Size 90 Frame size 88 frame size settings 90 Framebuffer 49 KONA 3 Installation and Operation Manual Index Freerun 65 Full Frame 71 full screen 59 G G5 1 Gamma 72 Genlock 2 65 genlock 14 Genlock and Your System 45 Getting Help 98 Glossary 1 GOP 4 Graphic File 67 graphic file test pattern output 64 graphic files 4 Graphic over Frame Buffer 67 Graphic over Matte 66 Graphic over Video In 67 G Technology 10 H H Crop 59 hard drives 8 Hardware 2 4 hardware and software requirements 7 hardware scaling 1 HD Offline Scenario 22 HD Offline Scenarios 21 HD component analog connections 13 HD SDI connections 13 HDV codec 4 HDV hardware scaling 2 Hold Last Application 65 Horizontal reference 65 horizontally stretched 59 house sync 45 HSDL 2 HSDL High Speed Data Link 3 HSDL Defined 3 HSDL ingest 22 I O connectivity 11 Icons 50 icons 48 Icons Control Panel 50 m AJA VIDEO SYSTEMS IEEE 1394 91 Info Screen 78 Info Tab 79 InforTrend 10 ingest of 2K media via HSDL 22 Input Pass through 64 Input pull down 90 Input Screen 51 Input Screen Settings 52 Input Output 50 Installation Overview 31 Installation Software CD Rom 5 Installer Screen 40 Installing Software 39 Installing the KONA Card 34 IRE 69 K K3 Box 12
24. expiration of the warranty period and make suitable arrangements for the performance of service The Customer shall be responsible for packaging and shipping the defective product to a designated service center nominated by AJA Video with shipping charges prepaid AJA Video shall pay for the return of the product to the Customer if the shipment is to a location within the country in which the AJA Video service center is located Customer shall be responsible for paying all shipping charges insurance duties taxes and any other charges for products returned to any other locations This warranty shall not apply to any defect failure or damage caused by improper use or improper or inadequate maintenance and care AJA Video shall not be obligated to furnish service under this warranty a to repair damage resulting from attempts by personnel other than AJA Video representatives to install repair or service the product b to repair damage resulting from improper use or connection to incompatible equipment c to repair any damage or malfunction caused by the use of non AJA Video parts or supplies or d to service a product that has been modified or integrated with other products when the effect of such a modification or integration increases the time or difficulty of servicing the product THIS WARRANTY IS GIVEN BY AJA VIDEO IN LIEU OF ANY OTHER WARRANTIES EXPRESS OR IMPLIED AJA VIDEO AND ITS VENDORS DISCLAIM ANY IMPLIED WARRANTIES OF MERCHANTABILITY
25. format that can be used to house the 2K data DPX Digital Picture Exchange is quickly becoming the standard since being defined by SMPTE Like files bearing the cin extension files bearing the dpx extension can be Log RGB but they can also be linear RGB Cineon and DPX files at full size 2048x1556 and full 10 bit quality tend to exist as individual frames that occupy 12 2 MB of data At 12 2 MB sec data rates for a second of video climb to 291 5 MB sec By comparison the highest quality HD video images rarely exceed 200MB sec and most HD formats use only a little over 100MB sec Furthermore HD material is usually somewhat compressed in order to be recorded onto tape formats whereas the 2K data can achieve an uncompressed status having never had to be recorded onto a tape but instead directly recorded onto a harddrive If the first major advantage of working with 2K images is their size then the second advantage is their handling of color A 2K color scheme can be used that more closely emulates films properties than video Furthermore this color information need not be compressed due to the limitations of tape recording but rather the data can be dealt with as uncompressed The Source of 2K Data Scanning Telecine and Digital Cameras Until recently the only way to acquire a 2K image was to shoot on 35mm film and then scan the original camera negative OCN To be fair most 2K data is still generated in this method since film is
26. pin to multi connector breakout cable and a x4 BNC to 1 0 2 3 connectors cable If you purchased the optional K3 Box breakout box it ships with a multi pin to multi pin cable for connecting from the KONA 3 card to the breakout box The x4 BNC cable to 1 0 2 3 connectors cable that shipped with the card is also needed interconnect the SDI connectors out of the card to the breakout box KONA 3 Installation and Operation Manual Unpacking KAN AJA KONA 3 PCI Express Card Installation Software CD SS R Installation and Operation Manual ead Me First Notice in electronic form on the CD PDF and Registration Sheet Standard Cable Set BNC XLR cable RS422 Machine Control 9 pin 3 BNCs Analog Out Connections 2 In SD Can be Configured for A Component Composite q T or S Video In HD Can Only Be Component L U Reference Input BNC 4H 11 Pla 3 Audio Output XLR i preme 18 Plat 3 2 channels connector Gs M et 3 E Audio Input XLR CERES SENS 2 channels connector E I ETE SDI cable SDI Outt Link ABNC E OO SDI Out2 Link B BNC A N SDI Int Link ABNC A C03 SDI In2 Link B BNC E 4 mini BNCs to 4 standard Contents KONA 3 Shipping Box Contents As you unpack the shipping box es carefully examine the contents Ensure you received everything and that nothing was damaged during shipment If you find any damage immediately notify the shipping service and supply them with a comple
27. screen Usually black bars are shown above and below the picture to fill the unused space Letter boxing maintains the original aspect ratio of the source often a film source of 16 9 aspect ratio or wider The brightness or black and white component of a color video signal Luminance determines the level of picture detail Progressive scanning provides a picture made up of 720 or 1080 horizontal lines scanned progressively in succession within a vertical frame The frame repeats 30 times a second Resolution usually refers to the density of lines and dots per line that represent an image It is measured by the number of pixels displayed A higher number of lines and dots provides sharper and more detailed picture content Analog television pictures have over 200 000 color pixels while HDTV at 1080 vertical pixels by 1920 horizontal pixels offer greater than 2 million pixels per picture A digital process by which analog information is measured in intervals to convert analog to digital AJA VIDEO SYSTEMS SDTV Standard Definition Television pictures are higher quality than NTSC however they do Standard not reach the quality and resolution of HD SDTV is based on 480 lines of vertical Definition resolution available with both interlaced and progressively scanned formats Television SD SDI Refers to a standard definition signal provided on a serial digital connection Upconverting Process by which a standard definition
28. uada oda te EE RR RIDES 82 Control Recommendations care ae to estes ED CR Ua BOE eode se E Ua RI soie 82 E35 ets JoP Typical ses easteniteg ada ee tease Qi ud dtu dag qi du Et he 83 PAS SLU PS VICI uocassdos durent e nu dolet Ge od ee eRe ee et dh Ae eee dag 83 Easy setups For Use With KONAD 2 1i acia does uae ep dhe ee dista dd 85 Audio Video Settings Melle sad eret eee etd dece Mie ooa e utes eu eod a Bee aes 85 To reate A New Easy Setip onse ober tie ia retake oa TE Deb Takase A 86 Whe Sequence Presets WindOW syhewsse et bebe E dcs wd phere ees here een Rd 88 Checking the System with a Simple Test Project of Bars and Tone 0 2002 ee eee 93 Usine S Die Verus 10 bit Vide ce et ayer eR E E see anes steve nde artes neds 95 Chapter 5 Troubleshooting It You Bum nto ProbIenisr S ae aee torba EO denn EE e ha x teta eU Lb 97 Updating Soreware 44424 tue dutied Gee deeds bene SEL Od ERI EXER E LENDER unaa 98 SUD POM aras etengdets cence ea E E tease eee E Geer etme eee aeons 98 APPIE RECOU Ok ee LER EM I er ee ee re ee LR eee eee ee ee 99 Appendix A Specifications Video Taput PCP rcP E TEPETTTITMIITUUTITS A 1 A E E a cs TIR TULLIUM A 1 VideOOUpUt cigensusvenes treyen nb aom PE einem ROM ses Pauw qd ades A 1 DUO subdit stubs i da dd bibo EE i Red rb ted dicte texit EE A 2 UI p COnversiOl ac ex ex duod usted e esc v Ore etatis edocti ionpi usted s rior dus eee A 2 DGwieConvesion srne enr epe d dd erai Get pa Mau d Ru au
29. way HSDL is like Dual Link HD for the transmission of 2K data Where Dual Link HD moves across two SDI cables as video HSDL moves 2K data over the SDI cables Because of the amount of data previously mentioned full size 2048x1556 images cannot be transmitted over the dual SDI lines at full frame rate Instead of moving the data at 23 98 24 frames per second the HSDL transport stream often adheres to 14 98 frames per second Because this is transmitted data not video the data can be recorded at the 14 98 frames per second rate to a high speed storage device and then played back from this high speed storage device at full speed typically 23 98 frames per second In contrast to 2048x1556 images 2048x1080 digital cinema 2K can move across HSDL at the full frame rate of 23 98 frames per second Facilities with two lines of HD SDI rated cable in a limited sense are already prepared for the transmission of 2K data when attached to HSDL devices If a facility already has storage that can exceed 300MB per second that facility might also be ready to record and play back 2K data at full frame rate Again this transition to a digital film environment is far less cumbersome than a 4K digital environment where such numbers double those of 2K So a third advantage beyond image size and color reproduction is the ability of 2K data to use pre existing elements of HD infrastructure when adopting 2K For many facilities be they large full servic
30. www aja com In addition to this there are additional easy setups available on your KONA Software CD Audio Video The Audio Video Settings menu in Final Cut Pro contains a series of tabbed windows Settings Menu where you define the presets in specific categories such as A V devices or in what format media is captured When you open the Audio Video Settings window it shows a summary of the currently selected Easy Setup Other tabbed windows are available with greater details about each category On the initial summary window you can see the selected presets for the Easy Setup as well as change specific presets The presets you can change on the Summary window are Sequence Preset select one of these as the editing timebase for new sequences If you make a change to Sequence Presets the change will only take effect on any new sequences you create currently active sequences will not see the change Capture Preset select one of these to set the incoming source format you ll be capturing Ideally select the maximum quality format you ll be using for most of the material so there will be no need to re render later as clips are added from the bin to the sequence Device Control Preset select the AJA Video KONA 3 device NTSC or PAL as desired This tells Final Cut that the KONA 3 will control the VIR attached to KONA 3 A V Devices Audio and Video Playback select the KONA 3 as video and audio playback devices for Final Cut and the f
31. 0 29 97 10 Bit Editing Timebase 29 97 fps AJA Kona3 1080i 29 97 8 Bit Muda cim T inna ani Anamorphic 16 9 Off MEN ED EAA EN Video Processing High Precision TUM allowed AJA Kona3 1080i 30 10 Bit White Point White AJA Kona3 1080i 30 8 Bit Compressor Uncompressed 16 bit 4 2 2 AJA Kona3 1080i 30 DVCProHD MICE DEDO laa Ma Data Rate Limit AJA Kona3 1080psf 23 98 10 Bit No Keyframes Set E Quality 100 AJA Kona3 1080psf 23 98 10 Bit Log RGB AJA Kona3 1080psf 23 98 10 Bit RGB velles HERE ALA Lud TOGnercf 22 9 O Dir NOTE A Sequence Preset determines the Editing Timebase for a sequence Once a sequence is created its editing timebase can be changed only if it contains no clips Once a sequence contains a clip its editing timebase cannot be changed Audio Video Settings Sequence Presets Window This window allows you to select an editing timebase for the current sequence Once you add a clip to the sequence this cannot be changed For example once you ve selected uncompressed 10 bit NTSC 48 kHz you then have to stay in that timebase and can t switch to another By clicking in the leftmost column see the checkmark in the sample screen above you select a new Sequence Preset for use The checkmark tells which Preset is in use highlighting a choice alone does not select it If you select an editing timebase you can then edit it click the Edit button or copy and rename it as another click Duplicate When ed
32. 1 No Video SBI In 2 No Video Ret In Genlock Freerun Frame Buffer Comp SMPTE EBU DS Keyer ON 1080sf23 98 SD Out 2 1080sf23 98 Inputs Format Digital Out Analog Out Control 755 Downstream Keyer Downstream Keyer Mode Graphic over Frame Buffer B Matte Color E Foreground pre multiplied Audio Out Frame Buffer f Audio In Graphic File Opacity 2K_1 85 LETTERBOX tif n at ae a ate KONA 3 Control Panel Downstream Keyer Tab Settings in the DS Keyer tab provide control over how the keyer operates and whether it s turned on or off Controls and their meanings in the Tabbed screen are as follows Downstream Keyer Mode Downstream Keyer Off when this pulldown menu item is selected the downstream keyer will be turned off Frame Buffer over Matte places the keyed video with alpha channel currently in the Frame Buffer over a fixed color matte determined by the Matte Color setting set separately Frame Buffer over Video In places the keyed video currently in the Frame Buffer over the video input for playout or print to tape Graphic over Matte places a graphics file having an alpha channel chosen in Graphic File pulldown over a fixed color matte determined by the Matte Color setting set separately KONA 3 Installation and Operation Manual Using The KONA 3 Control Graphic over Video In places a graphics file having an alpha channel chosen in Graphic File p
33. 20 x 1080 or 2048 x 1080 from the pulldown menu choosing Off turns off 2K frame cropping In the Format Tab window this corresponds to lt inputs M Dicia Out Analog Out Control Ds kever Setup gt Formats Primary Native Format Wideo Format 2K15565f23 98 Hj Cropped to 1920x1080 Secondary Converted Format Video Format Conversion sptosb of PA KONA 3 Installation and Operation Manual Using The KONA 3 Control Heres another 2K crop this time showing cropped output to a 2K projector eoQg KONA 3 Control Panel 2K1556sf23 98 Mo Video RGE 1 h SDI In 1 No Video SDI In 2 d No Video os 2K 1080sf23 98 Ref In P Analog Out Genlock Freerun Frame Buffer Comp SMPTE EBU Timecode zKCrop Info 2K Crop 2K10805123 98 SD Out 1 2K10805f23 98 SDI Out 2 2K Crop ON 2048x1080 DS Keyer Codec Contral Crop Mode 2048 x 1080 B Crop Offset x b4 y 238 KONA 3 Control Panel 2K Crop Tab Showing a 2K Crop to 2K Projector In the Format Tab window this corresponds to Once a crop is selected KONA 3 defaults to the crop being placed in the center area of the 2K frame You can change or move the cropped area from within the frame by selecting the green rectangle with the mouse cursor and dragging it to a desired spot Tip Using the Command key held down in conjunction with the mouse cursor within the Control Panel
34. 3 and then you can step in and change the applications settings and Control Panel settings as desired to get the configuration you expect Mac Desktop Video 2nd Priority If you choose Macintosh Desktop as your KONA Default Video Output in the Control Tab then the Mac Finder uses the KONA 3 board as a second or third or fourth graphics desktop output as long as there isn t a QuickTime application running When the Finder is in control the Primary Format is dictated by the System Preferences Displays panel or by you selecting Show Displays in the menu bar from the Displays menu near the right hand side of the main menu bar AJA VIDEO SYSTEMS Resolutions 720 x 486 720 x 576 1280 x 720 1920 x 1080 Di spl ay Detect Displays Display Color Turn On Mirroring 1280 x 960 75 Hz Millions v 1280 x 1024 60 Hz Millions 1280 x 1024 75 Hz Millions Colors Millions le Refresh Rate 59 9 Hertz 1280 x 960 75 Hz Millions v 1280 x 1024 60 Hz Millions Detect Displays 1280 x 1024 75 Hz Millions 720 x 576 25 Hz Millions v 1280 x 720 60 Hz Millions 1920 x 1080 30 Hz Millions aoe Number of recent modes 3 Displays Preferences When the Finder is in control of the KONA board the KONA Control Panel disables the Primary Format popup and puts a message in the KONA Control Panel Formats tab as follows Preview None H
35. 3 SDI In Out mini connectors on the card technically called 1 0 2 3 connectors connect to full size BNCs for ease of use and compatibility with professional equipment Cable AES XLR digital audio connectors RS422 and Reference Input e Read Me First Notice Registration sheet and any other late breaking news and or errata related to KONA 3 Please save all packaging for shipping the KONA 3 should you wish to do so when moving or sending it in for service AJA KONA 3 PCI Express Card Installation Software CD E Installation and Operation Manual Read Me First Notice in electronic form on the CD PDF and Registration Sheet Standard Cable Set BNC XLR cable RS422 Machine Control 9 pin pe 3 BNCs Analog Out Connections In SD Can be Configured for et rm Component Composite C CE or S Video In HD Can Only Be Component L C C Reference Input BNC d 717 e 3 u oen s e 2 channels connector em EL Au ell L3 EU I Audio t XLR CO 1 8 EE 2 channels connector Seis SUI SDI cable SDI Outt Link A BNC A OO SDI Out2 Link B BNC El C03 4 mini BNCs to 4 standard SDI Int Link ABNC d C3 BNCs SDI In2 Link B BNC SC CI KONA 3 Shipping Box Contents KONA 3 Installation and Operation Manual System Requirements System Requirements Minimum and Recommended System and Software Requirements AJA Video recommends that your system meet minimum hardware and
36. 4 RGB video 3 snapshot Control Panel settings 79 Software 5 software files that have been installed 78 Software For Striping 9 software installation 39 Software License Agreement 41 Software License Agreement Screen 41 Software on a PowerMac 39 software requirements 7 software updates 98 Source of 2K Data 2 specifications Appendix A 1 Standard Cables 11 E VIDEO SYSTEMS Storage capacity 10 Storage Methods 8 Storage Requirement Table 11 Storage Requirements 11 Support 98 support 98 S Video connections 14 s video output 2 Symptoms and remedies 97 Symptoms problem 97 System Connections 38 system interconnections 37 T Tabbed Windows 49 50 Tabs available 51 Tabs available KONA Control Panel 51 Telecine 2 telecine to KONA 3 3 Test Pattern 64 testing the system 93 Time Source 92 timebase 88 Timecode 92 Timecode Burn in 75 Timecode Offset 75 Timecode Screen 69 73 Timecode Screen Settings 74 timing adjustment 65 Timing adjustment Control Panel 65 transforming 59 Transporting 2K Data 3 Troubleshooting 97 troubleshooting 97 typical applications 17 typical system interconnections 37 Typical Workflows 18 U Uncompressed 10 bit 20 Uncompressed 8 bit 20 unpack 5 Unpacking 32 Up Conversion 58 upconversion 2 59 Up Converstion 2 upconverter 2 Updating Software 98 user and password 40 User Bits RP 188 74 Using K3 Box 12 V V Crop 59 Varicam timecode 74 Vertical reference 65 vide
37. 5DI Out 1 1080sf23 98 SDI Out 2 Timecode ON No Video 10805f23 98 Ref In IRR i Analog Out Genlock Freerun Frame Buffer Comp SMPTE EBU Control DS Keyer Codec RP 188 Timecode Input RP 188 Timecode 0 4 User Bits Output M Use QT Timecode Timecode Burn in l Timecode HA i Output Timecode Offset 0 00 00 08 KONA 3 Control Panel Timecode Tab Timecode Tab Screen Settings Input RP 188 Timecode in RP 188 timecode SMPTE 12M 2 there can be multiple timecode values in the data stream Use this pull down to select the one you wish to monitor The selection will be displayed in the timecode value displayed to the right of the pull down User Bits for monitoring variable framerate timecode for example Varicam you may wish to monitor the user bits embedded in the timecode If you set this checkbox KONA 3 will detect and interpret the user bits and display them next to the checkbox input 8 RP 188 Timecode 0 02 04 28 7278 i VFR 24 fps 01 KONA 3 Control Panel Timecode Tab User Bits Checked KONA 3 Installation and Operation Manual Using The KONA 3 Control Output Use QuickTime Timecode when checked this directs KONA to output timecode from the QuickTime timecode track When not checked KONA uses the Output Timecode Offset value plus the number of frames into the movie Note not all QuickTime applications use or support timecode tracks so so
38. 8 Mo Video 1080sf23 98 SDI In 1 SDI Out 1 720 to 1080 No Video 1080sf23 98 SDI In 2 T f SDI Out 2 720 to 1080 No Video 1080sf23 98 Ref In gt Analog Out Genlock Freerun Comp SMPTE EBU Formats Primary Native Format Video Format 720p23 98 r3 Intermediate only secondary output format must be selected Secondary Converted Format Video Format Conversion KONA 3 Control Panel Formats Tab Showing Crossconversion 720p to 1080PsF eoe KONA 3 Control Panel 1080i29 97 No Videa SBI In 1 No Video SDI In 2 52 5129 97 SDI Gut 1 Down Convert 52529 97 SDi Out 2 Down Convert No Video 52529 97 Ref In Analog Out Genlock Freerun Frame Buffer Down Convert Comp SMPTE EBU Formats Primary Native Format Video Format 1080i29 97 E Secondary Converted Format Video Format Conversion KONA 3 Control Panel Formats Tab Showing Crossconversion 1080i Downconvert AJA VIDEO SYSTEMS a fe KONA 3 Control 52 5129 97 No Video SDI In 1 Mo Videa SDlin2 Genlock Freerun No Video Ref In Frame Buffer Formats Primary Native Format Video Format 525i29 97 ES Secondary Converted Format Video Format 720p59 94 E Panel 720p59 94 SDI Qut 1 Up Convert Up Convert 720p59 94 SDI Qut 2 52529 97 Analog Out Comp SMPTE EBU Conversion Up Zoom Letterbox ES Down Letterbox E SD to S
39. 9 94 SDI Out 2 1080 to 720 Mo Video 1080i29 97 Ref In Analog Out Genlock SOI In 1 Frame Buffer Comp SMPTE EBU Inputs Digital Qut Analog Qut Control Ds Keyer Digital Video Output sD Output 1 fe Primary 1080i29 97 j Secondary 720p59 94 Wideo Key 1080i29 97 Dual Link 1080i29 97 i eu SDI Output 2 Primary 1080i29 97 Secondary 720p59 94 KONA 3 Control Panel Digital Out Tab Digital Out Tab Screen Settings Separate information panes will be listed as applicable for SDI Outputs 1 and 2 Information that can appear includes the following items You can view the current setting or click on another to change to it Primary when selected this indicates that the SDI output is set to the same format as the framebuffer That value will be listed in blue Secondary when selected this indicates that the SDI output is set to a format different from the framebuffer Primary Format That secondary format value will be listed in green This shows that active processing of the video is taking place format change and possibly even up down conversion Dual Link when selected this indicates that both SDI outputs are being used together to output a 4 4 4 dual link signal from the KONA 3 card Video Key when selected this indicates that the SDI output 1 video is set to the same format as the framebuffer SDI output 2 is set to a video key signal associated with output 1
40. AJA VIDEO SYSTEMS Chapter 2 Getting Started Workflow KONA 3 And Your Workflow 2 0 0 0 ce e ra Understanding Typical WorkiOwss s c cccaux easyer eonceint to qen gp tnit os do dedo tes lgunilgscq T ID ION m DVO DVCPRO HD 20 lip Uncompressed 8 bit 4 2 2 SD or HD sseeeeeeeeeeeee e Uncompressed TU DIE 2 ng acer eg ag ae quiu d eua bar qr dote Hoa Coach Ud mcs AJA Kona 10 bit Log RGB and RGB Codecs 1 0 eee eee AJA Kona 10 bit Log RGB and RGB Codecs as related to a 2K Workflow Workflow General Notes 422a 0 060 004 480K 9 d254hOS d 9 OED EDROE RES OR ORE OOM OS MOONE SCenatiOU T a2 ocud teper een eeeted Brau sans Bue eaees dm exce sea enon HD Ofline Scenario F2 eee cia tty Gad a ecg See ne te oe es ee ag ke nk gg ee ecd Mixing and Matching Formats in Final Cut ZI a awd ean ees ee percents tones pemeoeoedeearawe ds d add d dd ame os AJA KONA 3 Workflow Support For RED 00 Workflow using RED proxy files 0 eee teen eens Workflow using Apple ProRes 422 HQ media created via RED plugin for Final Cur Pro Lopand Lister gna aac nee manta eeerenes METERS TARDE TRE P Lina e ap Pio Pas c onere eee ere neg ece dr adaptar tee made aes Workflow using 2K DPX files created via REDCINE wrapped as QuickTime files via the AJA DPXToQT Translator application 2 0 0
41. AJA Kona3 1080i 25 10 Bit Capture Preset AJA Kona3 1080 25 10 Bir Device Control Preset AJA Kona3 25 Sony VTA B Playback Output Video ALA Kona 1080125 10 Bit 1920 x 1080 Playback Output Audio AJA Kona Edit ta Tape PTY Output Video Same as Playback Edit ta Tape PTY Output Audio Same as Playback Hote Settings for existing sequences will not change New sequences will use the settings from the selected Easy Setup preset Easy Setup Dialog At the top of the Easy Setup dialog is the currently selected Easy Setup It can be changed by clicking on the pulldown arrow at the right Doing so results in a long list of the factory Easy Setups stored on the system If you wish to see all of the Easy Setups factory and user defined then ensure the Show All checkbox is marked at the right side of the dialog By default all AJA Easy Setups will be checked BE S8 33 29 00 58 33 29 00 55 39 18 bis az 3 16 BE SS 39 I5 01 00 04 01 p1 00 01 29 A large set of Easy Setups are Provided as KONA 3 defaults Factory Easy Setups AJA KONA 3 1080i 25 10 Bit Uncompressed AJA KONA 3 1080i 25 8 Bit Uncompressed AJA KONA 3 1080i 25 DVCPro HD AJA KONA 3 1080i 29 97 10 Bit Uncompressed AJA KONA 3 1080i 29 97 8 Bit Uncompressed AJA KONA 3 1080i 29 97 DVCPro HD AJA KONA 3 1080i 30 10 Bit Uncompressed AJA KONA 3 1080i 30 8 Bit Uncompressed AJA KONA 3 1080i 30 DVCPro HD AJA KONA 3 1080psf 23 98 10 Bit
42. Audio In Out Typical System Connections KONA 3 Installation and Operation Manual Installing KONA 3 Software Installing KONA 3 Software First ensure that Final Cut Pro is installed as detailed in its user documentation Next install the KONA 3 driver You cannot use KONA 3 with Final Cut Pro until the Final Cut Pro software has been installed and run at least once on the Mac You also cannot use KONA 3 with Final Cut Pro until you run the KONA 3 driver and software installer System software updates may occasionally become available to AJA KONA 3 owners on our website www aja com We recommend checking occasionally for both software updates and additional product information Note If your Mac has previously had another video capture or multimedia card installed ensure you remove the card and uninstall any related software before installing KONA 3 This will prevent any hardware or software conflicts KONA 3 will operate properly on a Mac that also has an AJA Io product and its associated drivers installed Software For the most recent version of the KONA 3 driver it is best to visit the AJA website at Installation www aja com download the driver and read the details and requirements on the Procedure current driver in order to ensure compatibility with your system configuration Your system should be an Apple PowerPC Mac G5 or Apple Intel MacPro Minimum system requirements for the host were described in Chapter 1 System Re
43. CI Express Bus Interface or PCI X 133Mhz e DVCProHD hardware scaling acceleration HDV hardware scaling acceleration Final Cut Pro Dynamic RT Extreme hardware acceleration Broadcast quality hardware based 10 bit upconversion e Broadcast quality hardware based 10 bit downconversion Broadcast quality hardware based 10 bit crossconversion 1080 to 720 and 720 to 1080 Broadcast quality hardware based 10 bit SD aspect ratio conversion anamorphic to letterbox etc 12 bit HD component analog video and SD analog component or composite and s video output 10 bit HD SD Video Key Output e HD SD Hardware Downstream Keyer 8 channel 24 bit 48kHz or 96kHz digital AES EBU audio 16 channels of SDI embedded digital audio e RS 422 control via 9 pin e Genlock input with optional looping capability via the K3 Box terminated on the supplied breakout cable e Standard 2 meter length connection cables Broadcast Quality Conversion KONA 3 features hardware based full 10 bit broadcast quality motion adaptive SD to HD upconversion HD to SD downconversion and HD to HD crossconversion The quality of the conversion features found in the KONA 3 is virtually identical to AJA s award winning stand alone converter products used throughout the post production market The KONA 3 built in upconverter uses a a full 10 bit path fully motion adaptive de interlacing and large multi point digital interpolators Downconversion uses large
44. D Off HJ KONA 3 Control Panel Formats Tab Showing SD to 720p Upconvert aoe KONA 3 Control Panel 1080p59 94 No Video 1080p59 94 SDI In 1 fe SDI Gut 1 No Video 1080p59 94 SDI In 2 m SDI Out 2 No Video 1080i23 97 Ref In Analog Qut Genlock Freerun NN Comp SMPTE EBU Frame Buffer Digital Out Analog Out DS Keyer Setup gt Formats Primary Native Format Video Format 1080p59 94 H4 Requires dual link Secondary Converted Format Video Format 525i29 97 ES Conversion KONA 3 Control Panel Formats Tab Showing Dual link In Out no conversion Digital Out Tab Screen KONA 3 Installation and Operation Manual Using The KONA 3 Control E Up Conversion the Up and Down pull down menus are available when conversion has been selected for the video path to from the framebuffer and like Hz formats are selected the one exception is 1080PsF 23 98 which can be downconverted to 5251 29 97 Different choices will be available depending on the type of conversion and formats being converted SD to SD conversions are essentially aspect ratio conversions to accommodate transforming anamorphic images to letterbox or vice versa For Upconversion the following choices are available Anamorphic full screen stretched image Pillar box 4 3 results in a 4 3 image in center of screen with black sidebars Zoom 14 9 results in a 4 3 image zoomed slightly to fill a 14 9 image with blac
45. D 5 via the RAID Admin application the Xserve RAID then shows up in Disk Utility as two drives regardless of the number of internal drives which must be configured together as RAID 0 Apple calls this configuration RAID 50 When considering any high performance disk storage system AJA recommends working with a qualified reseller in order to configure storage appropriate for your needs AJA VIDEO SYSTEMS Storage Example AJA KONA 3 for Dual Link HD and 2K resolutions AJA can recommend the following examples of drive configurations to support certain specified video and digital film resolutions and their associated bandwidth requirements If a particular drive array or manufacturer is not listed it may simply be because AJA has no experience with the company or a particular unit This guide simply offers examples that AJA has used with success when working with the specified formats listed With any device actual results may vary from unit to unit and proper configuration of the drive array and any ancillary items such as host bus adapters software drivers and cabling is assumed Supports 2K Dual Link HD Single Link HD SD e G Technology Inc GSPEED XL 4Gb Fibre Channel Unit must be fully populated and with a minimum 512MB cache per controller e nforT rend EonStor AIGF G2422 4Gb Fibre Channel Unit must be fully populated and with a minimum 512MB cache per controller Any drive array with comparable specificati
46. Display once checked results in a prompted request that a restart is required for the feature to become effective Note lt Desktop Display change will not take effect until after you reboot the computer Control Panel Lock Input Audio Gain To Unity when set the KONA card will ignore the Final Cut Pro gain setting and set the audio gain at unity Not setting this checkbox tells the KONA card to get the audio gain setting from Final Cut Pro Active Video Output Filter The Active Video Output Filter is designed to help manage the comprehensive list of video outputs that may be available to applications particularly Final Cut Pro s A V Devices tab Setup Active Video Out Filter Frame Rates Geometries ral 23 98 29 97 59 94 1080 Progressive iM 24 30 60 C RED iM 25 50 2K By selecting the checkbox next to specified parameters the video outputs related to these specified parameters are enabled as possible video outputs for applications As an example if the checkbox next to 25 50 is unchecked 50Hz video outputs are deselected and would not be available to the user in the A V Devices tab of Final Cut Pro To avoid confusion when working in a particular editorial environment users might elect to leave 50Hz unchecked if they work solely in a 60Hz editorial environment The same might be true for users who do not intend to work with true progressive 1080 material Note Ifa prompt occurs in Final Cut Pro stating that t
47. Each frame af video will be captured to a sequentially numbered file amp QuickTime reference movie which allows playback of the captured files will also be created Hint Choose 10 bit RGB or 10 bit Log RGB video compression to create DPX files or choose Fhota JPEG TGA or TIFF Note Phota PEG TGA and TIFF are not real time formats and frames may be dropped Preferred timecode source Deck Ke Determines which timecode source is applied to captured clips when VTR Xchange is controlling the deck and the SDI video source contains RP 188 timecode or the laHD is receiving LTC timecode Use the AJA Control Panel to choose between LTC and RP 188 vi Abart an dropped frames yv Open captured files Use this option if you want files to automatically open after a capture or a grab Tip You can temporarily reverse the checkbox setting by holding down the Option key when you click capture capture now grab or grab now VTR Xchange Preferences Screen Click Save as Numbered Files for file per frame capture 1856x2Kpsf14 98 10 Bit 2048x1556 AJA Kona 10 bit Log RGB C SS M ETE NETS N NUMBER 3 o4 91M Um VTR Dre Main Window Screen VIDEO SYSTEMS Index Symbols pkg 39 Numerics 10 bit Log RGB 2 10801 1 1080p 1 10 bit video 96 16 92 9 screen 59 ID LUT 72 24 frames per second to 30 conversion 71 24P 2K 10 2K Color 2 2K Crop 76 2K ingest 22 2K sequential DPX 22 2K suppo
48. Frame Rate to Full KONA 3 Installation and Operation Manual Workflow General Notes Safe RT Unlimited RT y Y Play Base Layer Only X Scrub High Quality Playback Video Quality Dynamic 4 H High a aa d E Medium m cll REED NENNEN X Low n acus ML n 7 Playback Frame Rate a0 ej wa a Dynamic X Full Half Quarter Y Multiclip Playback gs kahan Settings Full Quality Dynamic RT settings for Timeline when working with REDCODE proxy files Note Dynamic RT Unlimited denoted in Timeline by orange bar On a high performance 8 core Mac Pro the playback should be realtime or close to realtime with these settings Video playback can be routed through the KONA3 outputs as either 1080psf23 98 10 bit 1920x1080 or as 2K that can be cropped to a 1080 output if desired This workflow is suitable for an offline editorial where a conform to the R3D files is planned or some other finishing method These proxy files are assigned HD video values by default resulting in a rec 709 HD video color space with a gamma of 2 2 AJA VIDEO SYSTEMS _ KONA 3 Control Panel 2K1080s 23 98 YUV 10b Mo Videa SBI In 1 No Videa SDI In 2 No Videa Ref In m 10B80sf23 98 5D Out 1 1080sf23 98 SDI Out 2 2K Crop ON i 1920x1080 Genlock Freerun Frame Buffer Camp SMPTE EBU Kona in use by Final Cut Pro as M ee
49. Install AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Installation completed successfully Oo Destination Select Installation Type Install Succeeded Installation e Introduction 6 Read Me B License Summary The software was successfully installed Click Restart to finish installing the software Final Installation Screen 13 Click the Restart button to complete the installation procedure The system will perform a software restart and be ready for use Updating KONA 3 Firmware When you update your KONA 3 software by downloading new versions from the aja com website it is possible that some versions may also require a firmware update to update the software stored in non volatile memory on the board Always carefully read the release notes that accompany each version to be installed The release notes will spell out all required software and hardware necessary to ensure a successful update of your KONA 3 At the time this manual is published the Version 6 KONA 3 software does require an accompanying firmware update to operate the card with the new software Follow these instructions when a firmware update is required 1 First install che new version of KONA 3 software 2 After successfully installing the new KONA 3 software then locate the AJA Utilities folder and find the AJA KONA Firmware Updater application in the folder Air dA AJA KONA Firmware Updater 3 Double c
50. KONA gt Models 3 and 3X Installation and Operation Guide na KONA f Control Panel EIAS August 6 2008 P N101660 7 AWN ANAL VIDEO SYSTEMS EE AJA VIDEO SYSTEMS sfagemarks AJA KONA and XENA are registered trademarks of AJA Video Inc lo HD and Io are trademarks of AJA Video Inc Apple the Apple logo AppleShare AppleTalk FireWire and Macintosh are registered trademarks of Apple Computer Inc Final Cut Pro QuickTime and the QuickTime Logo are trademarks of Apple Computer Inc DVCPRO HD is a registered trademark of Panasonic Inc All other trademarks are the property of their respective holders Copyright 2008 AJA Video Inc All rights reserved All information in this manual is subject to change without notice No part of the document may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying or recording without the express written permission of AJA Inc FCC Emission Information This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful in
51. NA 3 may be upconverting downconverting or crossconverting the signal to the proper standard This may be automatic because it s detected an input signal that differs from the standard currently selected or because you ve explicitly told it to convert In either case the block diagram will show the conversion by displaying a conversion icon in between the input output and the framebuffer In the case of cross conversion the type of crossconvert will be shown under the icon in the example that follows it s 1080 to 720 Down Up and Cross Conversion Icons Down Convert Up Convert 1080 to 720 Color Meanings all items in the KONA 3 Control Panel block diagram are color coded to show what is happening in realtime This applies to both icons and text These colors have the following corresponding meanings Blue video is same format as the Primary Format framebuffer Red the selected operation cannot be performed or an invalid selection has been made Yellow reference video black burst or other reference source Green indicates that KONA 3 is performing some kind of active change to the video to make it different from the Primary Format e g up down convert format change etc Tabbed Windows the bottom area of the KONA 3 Control Panel provides different information categorized by topic Clicking on a Tab or a block diagram element will result in an information screen corresponding to a tabbed topic With the m
52. NA board up to date and is Read Me currently using 64 bit DMA firmware Click Install to force this update Installing 6 Finish Up Click checkbox to revert firmware Go Back jJ Install Genlock and Your System For video stability and proper system operation it s best to genlock all equipment to house sync Although genlock is not required for KONA 3 or your system better quality will be seen by doing so Usually this means using a black burst generator output looped through the system On the KONA 3 cables and optional K3 Box breakout box house sync is connected to Ref Loop VIDEO SYSTEMS Final Cut Pro Chapter 4 Final Cut Pro and Other Software A Final Cut Pro After you install the KONA 3 software on your Mac all you need to do to begin using it is to become familiar with the KONA 3 Control Panel and how Final Cut Pro works with KONA 3 With Final Cut Pro you ll choose the proper setups from those provided by AJA to utilize the card for input and output These provided setups are called Easy Setups in Final Cut Pro and are available to use under Audio Video Settings in the Final Cut Pro menu next to the apple menu For unique workflows or situations the AJA provided Easy Setups may be copied and modified You ll also need to gain familiarity with the KONA 3 Control Panel which will be used for source input selection configuring many KONA 3 features and for creating y
53. Pr when the monitor supports it The YPbPr format provides headroom for superwhite and superblack and these video levels will be clipped when transcoding to RGB Also the RGB YPbPr transcoding involves a level translation that results in mathematical round off error RGB can be configured in the KONA 3 Control Panel Reference Video A single BNC connector is standard on the KONA 3 cable self terminating Two BNC connectors are standard on the breakout box these provide loop through if ref is not looped out a 75 ohm terminator should be used for the loop out connector Reference allows you to synchronize KONA 3 outputs to your house analog reference video signal or black burst If you have a sync generator or central piece of video equipment to use for synchronizing other video equipment in your studio then connect its analog composite output to the KONA 3 reference input When KONA 3 outputs video it uses this reference signal to lock to When connecting a reference video source the locking signal should be the same format in Hz 1080129 97 625125 etc as the Primary format selected in the KONA 3 Control Panel It is possible in some circumstances to use an alternate format video signal as long as the basic frame rate is compatible for example using a 525129 97 genlock signal to lock a system running 1080i29 97 if the Hz coincide KONA 3 Installation and Operation Manual In This Manual In This Manual
54. ProRes 422 HQ media can be used easily in the Final Cut Studio suite of applications Like the REDCODE proxy files these Apple ProRes 422 HQ files generated via the Log and Transfer process are assigned HD video values by default resulting in a rec 709 HD video color space with a gamma of 2 2 KONA 3 Installation and Operation Manual Workflow General Notes E Workflow using 2K DPX files created via REDCINE and wrapped as QuickTime files via the AJA DPXToQT Translator application RED provides the REDCINE software for transcoding REDCODE media into a variety of formats and frame rates REDCINE can be obtained from www red com support One option that is available within REDCINE is to convert the source media into sequential DPX files The DPX files can be assigned a variety of frame sizes including RED s own RED ONE 2K aspect ratio which will result in 2048x1152 sized images Note that a large number of applications may expect to work with DPX files at a more standard frame size such as 2048x1556 This frame size can also be produced in REDCINE and the image can be scaled to fit within this frame size via X and Y scale settings in the application Also of note REDCINE produced DPX files unlike either the proxies or the files created via the Log and Transfer method can be assigned 4 4 4 RGB values not just Y Pb Pr 4 2 2 values After producing the sequential DPX files via REDCINE the files can be wrapped into QuickTime reference movi
55. SYSTEMS For this reason it is useful to leave the Kona Control Panel application on the desktop while you work in applications and simply command click into it to access it if you are unsure of a setting or wish to make a change Although the KONA 3 card auto detects the input format depending on the input that it is presented and the Control Panel intuitively shows at a glance much about what the card is doing there is even more information presented that may not be obvious To ensure you make the most of the software run the KONA 3 Control Panel application and look at its display Then refer to the Basics described here to better understand what you re seeing and learn how to view and change the KONA 3 system configuration Note The KONA Control Panel also works with KONA LS LSe KONA LH LHe and KONA 2 However the actual features and screens displayed differ slightly since the board feature sets differ Currently only one KONA card can be installed in a Mac at a time Before we go into too much detail here are some basic definitions you should know please refer to the figure that follows for reference After studying the basics read Who is Controlling KONA 3 later in this chapter for more advanced information on how applications interact with the KONA 3 board Block Diagram Screen the top area of the KONA 3 Control Panel shows a visual picture representing the processing if any that s currently occurring inclu
56. Translator application to convert pre existing DPX or Cineon files from scanners in order to generate 2K QuickTIme Reference Movies then use Kona 3 for HD and SD video output KONA 3 Workflow for 2K Compared to Traditional 2K Workflow 23 AJA AJA KONA 3 VIDEO SYSTEMS Workflow Support For RED Important Note about 2K Operational procedures and information for working with 2K workflows are presented in Appendix C at the back of this manual 2K workflows are unique and require the use of KONA s VTR Exchange and Final Cut Pro in conjunction with the 2K Crop features of the KONA Control Panel discussed in Chapter 4 2K Crop Screen To begin working with 2K please read Appendix C For more information on 2K and the use of the AJA KONA 3 card users should download the AJA whitepapers on this specific topic on our website www aja com When working with footage produced by the RED One camera there are many possible workflows due to the flexibility of the camera and the hi resolution images it produces Outlined in this section are three possible workflows that Final Cut Pro and AJA KONA3 users might elect to implement Workflow using RED proxy files RED recordings produce R3D files as well as proxy files These proxy files which are essentially QuickTime reference movies are denoted with an underscore and then a letter designation that denotes their quality such as A004_C011_080224_H mov this
57. U BNC when in fact you are connected via AES EBU XLR Input Select 4 AES EBU XLR p AES EBU BNC Embedded Ch 1 8 Embedded Ch 9 16 M Audio Input Select Choices Map Channels 1 2 to 1 2 4 3 4 to 1 2 5 6 to 1 2 7 8 to 1 2 Dipan Audio Map Channel Choices KONA 3 Installation and Operation Manual Using The KONA 3 Control Formats Tab The Formats screen shows the video format currently in use by the KONA 3 Screen framebuffer called the Primary Format and allows you to change it All throughout the Control Panel choices are always presented based on what KONA 3 can do with the signals available and the inputs outputs selected For example on the Formats screen if the output or inputs are a different format than the primary then you ll see an additional information pane that allows you to view and edit the secondary format including control over whether up down cross conversion is employed KONA 3 Control Pane 1080i23 97 Mo Videa Yuv 10b 1080i29 97 SDI In 1 sS SDI Out 1 1080i29 97 x Timecode ON 1080129 07 SDI In 2 SDI Qut 2 No Video 1080i23 97 Ref In prc Analog Out Genlock Freerun Frame Buffer Camp SMPTE EBU Inputs rmat Digital Out Analog Out Control DS Keyer Setup gt Formats Primary Native Format Video Format 1080i29 97 HJ Secondary Converted Format Video Format Conversion 525129 97 B Up Anamorphic B Down Letterbox B SD to 5D Off HH
58. Uncompressed AJA KONA 3 1080psf 23 98 8 Bit Uncompressed AJA KONA 3 1080psf 23 98 DL 10 Bit Uncompressed Log RGB AJA KONA 3 1080psf 23 98 DL 10 Bit Uncompressed RGB AJA KONA 3 1080psf 23 98 DVCPro HD AJA KONA 3 1080psf 24 10 Bit Uncompressed AJA KONA 3 1080psf 24 8 Bit Uncompressed AJA KONA 3 1080psf 24 DL 10 Bit Uncompressed Log RGB AJA KONA 3 1080psf 24 DL 10 Bit Uncompressed RGB AJA KONA 3 1080psf 24 DVCPro HD AJA KONA 3 720p 23 98 10 Bit Varicam AJA KONA 3 720p 23 98 8 Bit Varicam AJA KONA 3 720p 23 98 DVCPro HD Varicam AJA KONA 3 720p 59 94 10 Bit Uncompressed AJA KONA 3 720p 59 94 8 Bit Uncompressed AJA KONA 3 720p 59 94 DVCPro HD ALA KOMA 2 MTE 10 Bit lnrnmanraoccar KONA 3 Installation and Operation Manual Easy Setups for Typical Uses E To choose a new Easy Setup from the list click on the pulldown menu and select a desired choice The choice wont take effect until you click the Setup button but you will be able to see the description for the choice just by selecting it without clicking the Setup button Descriptions provide a paragraph summarizing what the Easy Setup is intended for and then each of the presets are explained Sequence Capture Device Playback Output and Edit to Tape Video Audio Outputs Easy Setups For Use With KONA 3 The factory default Easy Setups currently shipped with KONA 3 are updated regularly by AJA and posted on the relevant support web page for your model of KONA
59. al Link 4 4 4 video uses 2 HD SDI channels to provide full color resolution as well as luminance The term 4 4 4 refers to the ratio of sampling frequencies used to define the RGB components of a video signal In this ratio the red green and blue components receive equal specificity providing increased quality over 4 2 2 where chroma sub sampling occurs 4 4 4 is particularly useful for film related digital intermediate work as well as the highest level compositing and color correction KONA 3 Installation and Operation Manual Workflow General Notes AJA Kona 10 bit Data rate For 2048x1556 2K Log RGB and RGB When seen as a QuickTime movie at 23 98fps with a raster of 2048x1556 the data Codecs as related rate is 300MB second approximately to a 2K Workflow e When seen as a single frame DPX file with a 2048x1556 raster the size is roughly 12 MB frame e 2K uncompressed media necessitates the use of high performance SCSI or Fibre Channel drive arrays Quality Excellent with additional cost and labor savings over traditional 2K workflows Workflow General Notes The previously discussed codecs DVCPRO HD PhotoJPEG DVCPRO 50 etc are used in different ways based on project characteristics Some codecs create very high quality offline files at low data rates for projects that will ultimately be delivered as uncompressed via an offline online process other projects may use these compressed formats to create final mast
60. allation and Operation Manual Using The KONA 3 Control E Setup Tab Screen KONA 3 provides a high quality analog component or composite output generally used for monitoring This screen shows the current settings for that analog output and allows you to re configure it when desired KONA 3 Control Panel 1080i23 97 1050i29 97 M YUV 10b 1080i29 97 SDI In 1 Pd JU SDI Out 1 No Video 1080129 97 SDI In 2 al gS s SDI Out 2 No Video 1080i29 97 Ref In Analog Out Genlock Freerun Frame Buffer Comp SMPTE EBU Setup Video Setup Active Video Out Filter Analog Black Level Frame Rates Geometries 9 7 5 IRE WI 23 98 29 97 59 94 1080 Progressive C 0 IRE M 24 30 60 C RED 1 Enable Desktop Display Wf 25 50 LJ 2K Audio Setup iM Lock Audio Gain To Unity KONA 3 Control Panel Setup Tab Setup Tab Screen Settings Analog Black Level choices in the black Level pulldown menu are only available for the two Composite analog formats Choices presented are for US or Japan 7 5 IRE NTSC US 0 IRE NTSC Japan Enable Desktop Display In previous versions of the AJA Control Panel excluding version 5 1 NDD which eliminated the feature users could configure the KONA card Default Video Output selection to produce an extended Macintosh Desktop Beginning with the version 6 0 driver this feature is re enabled but requires the user to first make a selection under the Setup tab A checkbox labeled Enable Desktop
61. ame buffer format KONA 3 will center it in the frame If it s larger than the current frame buffer format it will be cropped on the right and bottom Also some graphics formats and bit depths may not be supported Once a graphic file is loaded into the frame buffer it will be retained until it is overwritten by another graphic or test pattern or when power is turned off Graphic file names are only remembered in the menu as long as the Kona Control Panel application is running KONA 3 Installation and Operation Manual Using The KONA 3 Control E ZH Inputs Format Digital Qut Analog Out DS Keyer Control Default Output Playback Timing Genlock Default Video Outpul Black Color Bars 10056 Freerun Test Patterrg A Und 5 e ns M C Ref In No Video Ramp 3 video In 525i29 97 A Multiburst Line Sweep Timing Multi Pattern EN Flat Field Horiz 0 lvert 0 Load File rampTEST2 psd Clear Files KONA 3 Control Panel Test Pattern Choices Hold Last Application this selection directs KONA 3 to hold and output the last frame of video from the last application to control KONA 3 This can be helpful when operating in an environment where you re switching back and forth between multiple application windows Tip pressing and holding the Apple COMMAND key while clicking in the KONA Control panel while in any software application Final Cut etc causes control of the KONA card to stay with that appli
62. and tells it what Primary format to use If one of the FCP windows covers up the KONA Control Panel application which typically happens you won t be able to see the Kona card is in use by Final Cut Pro message displayed in the Control Panel or be able to tell which format FCP has selected This is why we recommend you arrange your display so you can see the Control Panel at all times 2 Next you want to see what the KONA card is doing so you find the KONA Control Panel application by clicking around on the desktop eventually clicking on the Control Panel to make it visible As soon as FCP realizes it is now running in the background it gives up control of the KONA 3 board The KONA Control Panel application takes away the Final Cut Pro message 3 With the Control Panel the topmost application and in control of the board you now switch to a different Primary format 4 However when you click back on Final Cut Pro and bring it back to continue your project it becomes the master again and resets the board s Primary format to the one determined by Final Cuts A V Settings dialog To further the surprise if FCP s windows are covering the KONA Control Panel window the change will be hidden and you won t know why the board isn t doing what you told it earlier via the Control Panel The moral of the story keep the Control Panel visible so you can learn what various QuickTime applications are doing when they control KONA
63. and the input signal frame rates of input sources limits the to from conversion choices The Secondary Video Format pull down menu lists all compatible formats in black incompatible formats are shown in gray and cannot be selected This allows you to see what you ve chosen and also see those formats that are compatible with the selected Primary format KONA 3 Installation and Operation Manual Using The KONA 3 Control EI KONA 3 Formats include 525i 23 98 525i 29 97 625i 25 720p 23 98 720p50 720p 59 94 720p 60 1080i 25 1080i 29 97 1080i 30 1080sf 23 98 1080sf 24 1080p23 98 1080p24 1080p25 1080p29 97 1080p30 1080p50 1080p59 94 1080p60 2K1080p23 98 2K1080p24 2K1080sf23 98 2K1080sf24 2K1556sf14 98 2K1556sf15 2K1556sf23 98 2K1556sf24 Note The AJA Control Panel software uses the abbreviation sf instead of psf when referring to progressive segmented frame formats In the manual and in other literature you may see either of these acronyms used interchangeably Visually it is easier to discern at a glance if you are working with progressively segmented frame formats sf in the Kona Control Panel as compared to progressive frame formats which will show only p Crossconversion if you have an HD format as your primary and then select a secondary HD format with a different frame size the KONA 3 card will perform a crossconversion where necessary input or output for like Hz formats By lik
64. as another click Duplicate The only exceptions to this are those presets marked with a lock icon those can be duplicated but when you try to edit one the system reports they re locked and can only be copied it will create the copy for you when you try to edit When editing a Device Control preset you can change the following e Name and description of Device Control preset e Protocol for capture playback VTR for KONA 3 this will be RS422 e Audio Mapping e Time Source LTC VITC both etc e Port e Frame Rate e Default Timecode Drop Frame etc e Capture Playback Offsets to correct for VTR versus Final Cut timing issues e Handles Pre roll Post roll e Auto Record and PTV KONA 3 ships with VTR Device Control Presets for Sony and Panasonic VI Rs Select a Device Control Preset for the desired frame rate Presets for both Sony and Panasonic VTRs are provided with these frame rates 23 98 24 25 29 97 and 59 94 The A V Devices Window Audio Video Settings Control Presets A V Devices Playback Output Video AJA Kona 1080i29 97 10 Bit 1920 x 1080 Options IV Mirror on desktop Audio AJA Kona B Options _ Different Output for Edit to Tape Print to Video Video AJA Kona 10801i29 97 10 Bit 1920 x 1080 Options v Mirror on desktop Default Options _ Do not show External A V Device Warning when device not found on laun
65. ave a device that can be controlled you can set in and out points and then select capture 5 While capturing VTR Xchange is creating the QuickTime Reference Movie and the series of sequential DPX files these files are written to the target folder defined by the V TR Xchange application based on the selection you made for their location from within the Preferences Captured Clips Folder 6 For editorial run Final Cut Pro From within the Final Cut Pro application go to the Final Cut Pro pulldown menu and choose Easy Setup If the Show All checkbox is not checked check it and then from the pulldown select the 2K easy setup that reflects your media If you ingested from telecine in all likelihood you will select the AJA Kona 3 2K x 1556 psf 23 98 10 Bit Uncompressed Log RGB as an example Within your new project you can import the QuickTime Reference Movies created by VTR Xchange into the Browser window Note Note Since these QuickTime movies reference the 2K sequential DPX files you will be able to play and scrub the footage as expected however if you wish to play the footage backward be sure to adhere to first holding down the K key on the keyboard and while holding this key then the J key can be depressed for reverse playback This is simply a limitation of reading the sequential DPX files all other functions such as scrubbing the playhead in the timeline or using the L key for forward play and transport wil
66. cable or via the optional K3 Box 5 Ifyou have an AES EBU ready audio monitoring system then connect the eight channels of AES EBU output from KONA 3 s XLR or BNC connectors if using an optional K3 Box 1 2 3 4 5 6 and 7 8 to the monitoring system AES EBU inputs If you instead have an analog audio monitoring system you can use the two RCA style unbalanced stereo output jacks on the optional K3 Box for output Computer Monitor Apple G5 w OSX And Final Cut Pro HD Video Monitor Component Video AJA KONA 3 Card installed in the G5 3 BNCs Analog Connections In SD Can be Configured for KB r3 XB Component Composite aL OTI I Em I or S Video I In HD Can Only Be Component L B O3 I I I Reference Input BNC B 714 1 I I I I I I I Optional Genlock Reference Dual port 2Gb Apple Fibre Channel PCI Express card Audio Output XLRs Channels 1 8 em 2 channels connector Gl gm RA i i ds ab decies a w Installed w Oe Inside G5 4 mini BNC AES EBU Audio Out Pt O mini BNCs to 4 standard to Monitor System Audio Input XLRs BNCs Channels 1 8 NN 2 channels connector S CD L e O pose MAE Machine Control 9 pin SDI Outt Link ABNC 4 13 SDI Out2 Link B BNC SH TT o MANET SDI Int Link A BNC SDI cable SDI In2 Link B BNC A T Digital VTR with SDI Inputs SDI Video with Embedded
67. cation rather than shifting to the Control Panel This works regardless of the setting of Default Kona Output Genlock Freerun Ref In Input 1 ox Input 2 selects how KONA 3 will synchronize program video Freerun In this mode KONA 3 generates sync without an external reference source Ref In Directs KONA 3 to use the Ref Video source for sync usually an analog black burst video signal Video Directs KONA 3 to use whichever video input source has been selected in the Inputs tab window for sync Timing Horiz and Vert these two pull downs allow output timing adjustment with reference to the Ref Video source selected The Horizontal reference can be adjusted by selecting a number of pixels clocks to offset Vertical can be adjusted by specifying a number of lines to offset mam AJA DS Keyer Tab Screen VIDEO SYSTEMS The KONA 3 has a hardware based downstream keyer that is ideal for putting logos bugs or other video material with an alpha channel on top of video being played out or printed to tape A typical application would be putting a television station s call letters or channel over program video content Keyed video can be from the KONA s internal Frame Buffer from storage video In Kona TV etc or from a graphics file that has an alpha channel PhotoShop etc 8686 KONA 3 Control Panel 10805 523 98 No Video YUV 10b 1080si23 98 SDI In 1 SDi Out
68. ch Do not show warning when audio outputs are greater than audio device channels Cancel Audio Video Settings A V Devices Window The A V Devices window selects the current playback device for both audio and video Typically you ll select KONA 3 for both playback devices The format chosen determines the Primary format for the KONA 3 board during playback KONA 3 Installation and Operation Manual Checking the System with a The Video Options button is greyed out for KONA 3 use the KONA 3 Control Panel for video configuration the Audio Options button opens a second dialog where Final Cut gives options for changing bit depth number of channels and the sample rate Since Final Cut currently only supports 2 channels of audio AJA recommends you leave all of these settings as set in the factory defaults You may wish to use a different KONA 3 output for final Print to tape from Final Cut You can select that in this window by clicking the checkbox Different Output for Edit to Tape Print to Video This allows you to select via a pull down menu any KONA 3 video output and audio output The window also allows you to turn on and off device and audio output warnings Checking the System with a Simple Test Project of Bars and Tone To test that youve installed the KONA 3 drivers and have audio and video monitoring correctly configured try creating a simple Final Cut Pro project with bars and tone 1 Select an Easy Set
69. coming source video and audio media you ll be capturing Select the maximum quality format you ll be using for most of the material so there will be no need to re render later The information on the right window pane describes the preset and all it s parameters If you select a format by making a checkmark in the left column you can edit it click the Edit button or copy and rename it as another click Duplicate The only exceptions to this are those presets marked with a lock icon those can be duplicated but when you try to edit one the system reports they re locked and can only be copied it will create the copy for you when you try to edit Factory AJA presets are easily identified by AJA at the beginning of their name Since Capture Presets will be used frequently as you bring media into KONA 3 we ll discuss the edit screen next AJA VIDEO SYSTEMS Capture Presets Editing sape fresat Editor Name AJA Kona3 1080i 29 97 10 Bit Description Use this setting when editing with the Kona3 at 1080i 29 97 in 10 Bit Uncompressed Width Height Aspect Ratio Frame Size 1920 x 1080 HDTV 1080i 16 9 I Cl Anamorphic 16 9 r QuickTime Video Settings Digitizer AJA Kona 10 bit Digitizer Compressor Uncompressed 10 bit 4 2 2 He Input 1080129 97 1920x1080 Quality 4 100 FPS 29 97 B5B Limit Data Rate o k Advanced QuickTime Audio Settings Device AJA Kona g input D
70. d audio monitoring system If you don t see bars on the external video monitor and hear tone check your connections and ensure KONA 3 is selected in the Easy Setups and Audio Video Settings as necessary MD LAA Click Filmstrip Button in Viewer Window Then select Bars and Tone Finally click in the viewer window and drag the bars to the Sequence window Sequence Effects Tools Window Help Viewer BarsandToneiNTSC ES A i i JF Sequence 1 3 ex 00 00 00 00 E 00 00 00 00 sem m m pem e Ha ja p pem pes d AE Bars and Tone NTSC He RH Favorites j EEREEEERENI Bars and Tone NTSC 10 08 00 01 00 12 00 01 00 16 00 Gere end Tons PAL Matte Jd Others b Render le Shapes ie Slug Text b Title 3D Title Crawl Click and Drag Bars and Tone From Viewer Window to Sequence KONA 3 Installation and Operation Manual Using 8 bit Versus 10 bit Video E Effects Tools Window Help DAT Bars and Lone MISC ECC A X ECEC EE ge P a I E E in a ME n an zw RD Cay E eee i 5 m s EEE a o S um 000000 E i iN x ee _ at o 2 00 00 y C 7 65 Leen NELTTI LIEM OES f P UM EE EQ 3U EUN NNNN NS p 993 9J43 3 H 7359373H33H se p9 33 94H W3 993 H3 p 533 Wu 11 01 48 02 01 01 52 02 01 01 56 02 Bars and Tone In Sequence Window Click Play
71. d software utilities and applications deliver leading features for broadcasters and filmmakers As a state of the art PCI Express card KONA 3 plugs into a PCI Express slot on Apple s latest MacPro PCI Express slot enabled computers A PCI X version of the card for legacy G5 computers with a PCI X 133Mhz slot is also offered KONA 3X The card comes supplied with software that allows it to work seamlessly with Final Cut Pro and other QuickTime based applications to provide a professional broadcast quality editing suite corporate industrial video center or high powered desktop video setup or anything in between Included with the KONA 3 is a cable set that can be connected to a variety of SD HD Dual Link HD and 2K capable equipment For even easier connectivity an optional K3 Box rack mountable breakout box can also be purchased it ships with it s own multi pin cable and is connected to the Kona 3 card with this capable and the multi connector SDI cable provided with the card This manual covers the installation and operation of the KONA 3 the optional K3 Box and how to use the card in conjunction with Final Cut Pro and other software applications Features The KONA 3 card offers a large number of unique features for optimum quality ease of use and support for a wide variety of post production workflows Hardware e SD SDI HD SDI Dual Link HD SDI and HSDL inputs e 2K support that includes 2048x1556 and 2048x1080 formats x4 Lane P
72. da eee Meee et A 2 Cross nic PC A 2 SD to SD Aspect Ratio GOnvension sic ats e eredi eee shee Ratte a ew t A 2 Reterence pu uae a ie Mite coun oar ee tao ee ee cua ud ares A 2 Machine Control 221 dear oa ae shoe gees tr do e eoe bn dedo iden do Co hk os E oleae heen A 2 AJA VIDEO SYSTEMS Appendix B Glossary Appendix C 2K Workflow Overview of 2K and Its Uses In Digital Cinema 1 22 ee eee C 1 2K Color More Like Film than Video lee C 2 The Source of 2K Data Scanning Telecine and Digital Cameras llle C 2 Transporting 2K Data HSDL Defined i22 ex scehbi habe Ehe ERG RR HERE E E dep d RE C 3 The AJA KONA 3 An Ideal 2K Input Output Device llle C 3 The KONA 3 2K Process Ingest to Output 2 0 eee eee eee ees C 4 Additional Advice 0 cece cn cnc e ee nee res C 6 Index Overview KONA gt Models 3 and 3X The AJA KONA 3 brings the highest quality to SD HD Dual Link HD and 2K film resolutions to Apple PCI Express and PCI X computers The KONA 3 offers unsurpassed 10 bit broadcast quality serial digital video input output 8 channel digital AES EBU audio input output as well as 16 channel embedded audio hardware based upconversion from SD to HD hardware based downconversion from HD to SD and HD to HD crossconversion between 720 and1080 HD formats DVCProHD and HDV hardware scaling support KONA 3 is designed to be the ultimate capture and playback card AJA provide
73. deo is selected at the SDI 1 input and the format is 10801 with a frame rate of 29 97 Since this text is shown in blue you can tell that it does match the framebuffer s primary format you ve set in the Formats screen By looking at the input source you can determine how the primary format should likely be set unless you want to perform a conversion on input If you wish to select a different input you can do so by clicking a different radio button or you may want to select Dual Link if your source is 4 4 4 RGB Audio Input this pulldown menu allows you to pick where the audio comes from KONA 3 supports up to 8 channels of AES via XLR or BNC on the K3 box or 16 channels of SDI embedded audio You can choose out of the 16 channels embedded in the SDI and pick which 8 to bring in 1 8 or 9 16 Here you can also select which two channels from the 8 embedded would be mapped to Final Cut s if only two channels were selected in the application FCP 5 and higher supports multi channel input and output so you may elect to select up to all 16 embedded audio channels When a KONA 3 has a Breakout Box attached there are two ways to connect AES EBU inputs XLR or BNC connectors The Audio Input pulldown allows you to select which of the two connector groups will be used If you digitize footage and find that there is no audio present on the captured footage it may simply be because the audio selection in the Kona Control Panel is set to AES EB
74. ding inputs outputs any up down cross conversion reference source and system status Lines between inputs the framebuffer and outputs show a video path Where there are no lines it shows there is no connection this can be either because an input or output isn t selected or because no video is present at the selected input The lines will also show whether the input or outputs are single inputs outputs or dual link where two channels are used to carry the bandwidth of HD SDI 4 4 4 video and whether output is video or video key Icon objects on the block diagram screen input output icons frame buffer etc also called widgets indicate their status by color explained later and can be clicked for context sensitive information and choices These same choices can also be made from the tabbed Control panel screens 1080i29 97 5DI In 1 v SDI 1 SDI 2 No Video Dual Link SDI In 2 Control Clicking an Icon Produces a Context sensitive Menu KONA 3 Installation and Operation Manual Using The KONA 3 Control F 4 e e e KONA 3 Control Panel The Primary Format 1080i29 97 1080i23 97 D YUV 8b p 1080i29 97 SDI In 1 SDI Qut 1 alae No Video 1080i29 97 Bids one two gt i or dual link lys ee or dual link No Video oe E 525i29 97 Ref In i Analog Out Genlock SDI In 1 Frame Buffer f Down Convert Comp SMPTE EBU Conversion C S a Icon Framebuffer c Inputs Format Digit Out
75. e Hz this means that 720P 59 94 may be converted to 10801 29 97 59 94Hz Converting from disparate Hz is not supported on the KONA 3 card for crossconversions The example below shows 10801 to 720p AJA VIDEO SYSTEMS eoe KONA 3 Control 1080i29 97 No Video SDI In 1 No Videa SDI In Z Genlock Freerun No Video Ref In Formats Primary Native Format Video Format 1080i29 97 B Secondary Converted Format Video Format 720p59 94 E Panel 720p59 94 SDI Qut 1 720p59 94 SD Out 2 F20p59 94 V Analog Qut Comp SMPTE EBU Conversion Up Zoom Letterbox E Down Letterbox HJ SD to 5D Off Hu KONA 3 Control Panel Formats Tab 720p23 58 No Videa SDI In 1 No Videa SDIin2 Genlock Freerun No Video Ref In Formats Primary Native Format Video Format 720p23 98 HJ Showing Crossconversion 1080i to 720p KONA 3 Control Panel 1080sf23 98 SDI Gut 1 720 to 1080 1080sf23 98 8DI Qut 2 1080sf23 98 Analog Out Intermediate only secondary output format must be selected Secondary Converted Format Video Format 1080 f23 98 Conversion Up Zoom Letterbox ES Down Letterbox ES SDtoSD Off HJ KONA 3 Control Panel Formats Tab Showing Crossconversion 720p to 1080i KONA 3 Installation and Operation Manual Using The KONA 3 Control eost KONA 3 Control Panel 720p23 5
76. e yet good quality codec While DV does offer good quality it has lower chroma resolution when compared to DV50 JPEG or uncompressed The KONA 3 can be used to convert DV projects to uncompressed in real time for monitoring and or output even if you haven t captured the footage using the KONA 3 DV50 Data rate 6 MB second standard definition only supported by internal system drive Quality Very Good Like DV25 Final Cut Pro also supports the Panasonic DV50 standard definition codec DV50 is a 4 2 2 compressed format and therefore has higher chroma resolution when compared to DV25 Also like DV25 you can use KONA 3 to convert DV50 projects to uncompressed in real time for monitoring and or output KONA 3 can capture from its SDI input directly to DV50 compression E VIDEO SYSTEMS DVCPRO HD HDV Uncompressed 8 bit 4 2 2 SD or HD Uncompressed 10 bit 4 2 2 AJA Kona 10 bit Log RGB and RGB Codecs Data rate 6 to 14 MB second high definition supported by internal system drive Quality Excellent KONA 3 has hardware support that allows capture from HD SDI to the DVCPRO HD codec KONA 3 s hardware also takes a portion of the DVCPRO HD codec processing load off the CPU allowing more computer processor time for Dynamic RT effects in Final Cut Pro Data rate 2 MB second high definition supported by internal system drive Quality Very Good to Excellent While the structure of HDV Long GOP MPEG2 makes i
77. e are a variety of system configurations and peripherals that can provide this level of performance For uncompressed single link HD AJA recommends that at a minimum the disk storage system must be able to provide and maintain a consistent 200 MB sec transfer rate from the Apple computer to disk read write There are a variety of system configurations and peripherals that can provide this level of performance For uncompressed dual link HD and 2K AJA recommends that at a minimum the disk storage system must be able to provide and maintain in excess of 300 MB sec transfer rate from the Apple computer to disk read write There are a variety of system configurations and peripherals that can provide this level of performance KONA 3 users wishing to configure a storage for a system should also be aware that raw benchmark numbers alone do not necessarily reflect the performance of a drive solution Other factors such as drive seek time and controller cache can also affect performance especially with regard to the bandwidth requirements of SD HD dual link HD and 2K files About RAIDs Redundant Array of Independent Disks or RAID is a group of hard drives that appears to the host computer as a single high speed storage unit RAID systems enable you to increase storage capacity and get the performance reliability and data protection needed for video production that would otherwise not be possible from a single hard drive Drives inside the
78. e controlled by software applications as well as its own control panel the output can change dynamically When you select many video applications they will grab control of the KONA 3 card inputs outputs These settings determine what happens when an application that doesn t grab the KONA 3 inputs outputs Is active Genlock Freerun Frame Buffer Comp SMPTE EBU I v e pem gram amm T T Ss e Inputs Format Digital Out nalog Out Control DS Keyer Setup gt Default Output Input Passthrough Playback Timing Black Default Video Outpu E ZR SL Ceno Hold Last Application Freerun Test Pattern Color Bars 75 i C Ref In Mo Videa Video In 525i29 97 KONA 3 Control Panel Control Tab Default Kona Output Pulldown Menu Default KONA Output Choices and their meanings Macintosh Desktop when selected this selection causes the KONA 3 program video output digital and analog to be an extension of the Macintosh desktop Mac OS windows and applications can appear when applicable on the KONA outputs It is wise to select in the Mac OS System Preferences gt Displays the checkbox Show displays in menu bar so that you can access the various settings for the extended desktop for your NTSC or HD monitor from the menu bar Selecting Number of Recent Items and setting it to 10 is also beneficial for making configuration of the Macintosh Desktop mode simpler Note Begin
79. e fault Format 48 000 kHz 24 bit 8 chan n e Capture Card Supports Simultaneous Play Through and Capture Remove Advanced Pulldown 2 3 3 2 From DV 25 and DV 50 Sources v High Quality Video Play Through Cancel Audio Video Settings Capture Presets Editing Window Note Whenever a Preset is being copied as the basis of a new preset always change the name and description to fit the new preset so users aren t confused between it and the original Frame Size below the name and description are the frame size settings These can be changed via the pulldown menu Selecting a new Aspect Ratio value also changes the values in the width and height fields QuickTime Video Settings these settings select a video input source and affect how it s processed by Final Cut Pro The Digitizer pull down menu selects whether you want the selected input source to be digitized as 8 bit or 10 bit uncompressed video as it comes into KONA 3 The Input pull down selects the primary format KONA 3 will use to capture input video The Compressor pull down selects a codec that tells Final Cut how to process the video the codec selected should be chosen for compatibility with the Digitizer setting selected For example if your Digitizer setting is 10 bit Uncompressed then the Compressor setting should be one of the 10 bit choices available The Quality slider should be set to 100 percent when capturing uncompressed for other formats use an appropria
80. e framebuffer will use and is shown in the Control Panel using the color blue All icons in blue are the same as the Primary Format used by the framebuffer Also any text descriptions in the block diagram that appear in blue also indicate that something is in the primary format So for example if you see that the input and output icons are blue then you know that the same format is used throughout the video path and that no format conversion is being performed If a different color is displayed on the input or output green for example then you know that KONA 3 is performing a format conversion in the video path Secondary Format any format other than the currently selected Primary Format is a secondary format As described previously this means that either the Inputs or Outputs are somehow different from the framebuffer s assigned format i e the Primary Format This can be seen at a glance because the color will be different than blue EZ AJA VIDEO SYSTEMS Input Output Icons the input and output icons are triangles that together with their color show all the input and outputs and their status selected not selected input present or not format etc A complete video path is shown when inputs and outputs are connected with lines going to from the framebuffer p P Single link Dual link Input Output Icons Conversion Icons when an input or output is a different standard than the framebuffer then the KO
81. e or boutique this makes the financial transition from HD to 2K less of a burden While a transition to 4K would produce higher quality for most facilities it would not be nearly as easy to achieve financially The AJA KONA 3 An Ideal 2K Input Output Device Opening the door to data centric workflow and universal mastering the AJA KONA 3 card represents a perfect input output device capture card for facilities considering entering the film as digital landscape The card is ideal because it s capable of working with SD HD Dual Link HD and 2K The KONA 3 card can receive and send 2K data via HSDL making it compatible with a number of devices such as telecines and digital disk recorders DDRs already on the market and working with 2K data AJA VIDEO SYSTEMS The advantages of using the KONA 3 as an input output device extend beyond its 2K HSDL functionality Not only can users ingest 2K data as simultaneous 2K DPX files and QuickTime files edit this information and then output 2K data but users can also elect to ingest 2K data and output simultaneous HD from a crop directly derived from the 2K media An SD downconvert of this HD video can also be created simultaneously if so desired For review of 2K data on HD and SD monitors and for some mastering scenarios the KONA 3 card can be used as a very flexible and effective tool Existing 2K data files in the Cineon and DPX file formats can be wrapped into 2K QuickTime Ref
82. edia 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 KONA 3 Installation and
83. erence Movies via AJA s DPXToQT Translator application so that users can take advantage of the aforementioned flexibility without writing any new data to their drives QuickTime reference movies only point back to the source original DPX files from which they are derived The main advantage of this beyond not writing any new data to the drives is that the cumbersome sequence of potentially thousands of frames can be consolidated non destructively to a single file Furthermore once media exists as a 2K QuickTime movie it can be converted back into sequential DPX files that can be given to facilities using software or hardware such as film recorders that do not accept QuickTime files This conversion can be accomplished via the AJA QTToDPX Translator application This process it should be noted does require writing new data because it may reflect creative changes to the images that the user desired such as effects Note The QTToDPX Translator and DPXToQT Translator are both available from the AJA website in the KONA 3 support area www aja com html support_kona3_swa html AJA Video Systems Inc along with other 2K HSDL device manufacturers has seen the growing need for a high quality image source like 2K in an evolving data centric workflow A 2K source can be used to derive the high quality film digital cinema HD and SD deliverables without compromise outside of a cumbersome leap to 4K 2K capable devices like the AJA KONA 3 card will
84. ers AJA provides Final Cut Pro Easy Setups for settings that can be used in a capture once use in many steps type of process For example you might use offline files for editing digital dailies for review from a digital projector location footage viewing and editorial performed on laptops even creating screening cuts of the project for approval and audience testing all from one QuickTime file using the DVCPro HD codec Some examples of these scenario workflows are given following HD Offline A popular way to edit long form content such as feature films shot at 24fps film or Scenario 1 23 98 is to take the telecine to HD tape masters or the HD field masters typically at 23 98fps and then capture using the KONA 3 to a compressed format An interesting and very high quality option would be to use the DVCPRO HD codec to capture from whatever deck you are using for your HD masters typically HDcam or D5 This allows for offline files that in the 1080PsF 23 98 format are under 12MB sec and in the 720p raster are under 6MB sec This size and processing efficiency for the codec allows for the use of multiple layers of RT effects and color correction in the Final Cut Pro Dynamic RT environment A choice of viewing quality draft or high quality modes can be selected depending on how much RT is required and the speed of your Apple computers processors In addition to the low data rates another advantage is that your offline files are in the
85. es or self contained QuickTime movies using the AJA DPXToQT Translator application This workflow is more complex than the other two outlined but yields very high quality results When interfacing with other applications such as high end color correction or visual effects applications DPX files might be the desired file type Note that the bandwidth requirements for the playback of sequential DPX files are much higher than the REDCODE proxy files or the Apple ProRes 422 HQ media Appropriate computer and storage configurations need to be in place for realtime playback of 2K media Chapter 3 Installation amp Configuration iii ii Installation Overview The installation and set up of a KONA 3 is very simple All of the steps of installation and configuration are documented in this chapter summarized as follows 1 Unpack the shipping box 2 If not previously installed on your Mac ensure that Final Cut Pro is installed as detailed in its user documentation If you do not intend to use the KONA card with Final Cut Pro but the AJA provided stand alone applications FCP need not be installed Not only must Final Cut Pro be installed in order for the Kona Easy Setups to be properly installed for FCP use FCP should have been run at least once prior to installing the AJA KONA 3 driver If other capture cards have been installed the software for those products should be removed before installing the Kona driver to avoid
86. evice being displayed upon LCD CRT or projector The AJA Custom LUT supports the loading of a tabbed text file which could be created in either an application like TextEdit or Microsoft s Excel The document would consist of 3 columns representing 1024 values for each of the R G and B columns Note Custom LUTs only work with RGB material KONA 3 Installation and Operation Manual Using The KONA 3 Control e OGA Custom LUTs Qut LUT Transfer Function Bank 1 1024 Select a canned LUT or wi Enable Custom LUTs create your own LUT Type User Linear Red Green Blue Click to restore factory defaults q Adjust Gain amp Offset sliders to change color Changed values will appear in red in text fields You can also enter specific Gain Offset Gain Offset Gain Offset 1 05 101 1 00 0 1 11 101 numbers to explicitly set a value KONA 3 Custom LUTs Dialog Timecode Tab The timecode screen is used for both monitoring the RP 188 timecode embedded in Screen the digital data stream and for selecting a timecode offset on output if desired Settings for the output section of the tab can be used to create window burn superimposed timecode outputs Note SMPTE 12M 2 is the updated name and specification for what was RP 188 AJA VIDEO SYSTEMS eo e KONA 3 Control Panel 1080sf23 98 No Videa SDI In 1 Mo Videa SBI In 2 YUV 10b 1080sf23 98
87. file represents a half resolution proxy of the source 4K file Half resolution proxy files reside with the source R3D files and are at a 2048x1024 frame size in the REDCODE codec These half resolution 2K files can be imported into Final Cut Pro if the RED QuickTime codec has been installed on the system For the RED QuickTime codec visit www red com support ame Date Modified Size Kind A004 CO11 080224 001 R3D Feb 24 2008 12 27 PM 1 84 GB RED RAW R3D 2 A004 COl1l 080224 F mov Feb 24 2008 12 27 PM 20 KB QuickTime Movie 2 A004 CO11 080224 H mov Feb 24 2008 12 27 PM 20 KB QuickTime Movie 2 A004 CO11 080224 M mov Feb 24 2008 12 27 PM 20 KB QuickTime Movie 2 A004 CO11 080224 P mov Feb 24 2008 12 27 PM 20 KB QuickTime Movie 3 A004 COll 080224 R5X Feb 26 2008 1 40 PM 8 KB Document Red Files Once proxy files are imported into Final Cut Pro they can be used in a Final Cut Pro timeline If the files are added to a new sequence the sequence settings dialog prompt will appear Users should select the yes button in the prompt so that the sequence is set appropriately Since the proxy file is essentially a QuickTime reference movie based on the source R3D wavelet compression file it requires some processing overhead to playback seemlessly within Final Cut Pro and out of the KONAS video outputs For optimum playback results the timeline RT settings should be switched to Unlimited RT Playback Video Quality set to Dynamic and Playback
88. for visual effects can be done much earlier Offline editing can be done in Final Cut Pro and because of the flexibility of Final Cut Pro and QuickTime even a 2K online is possible AJA VIDEO SYSTEMS Hardware based Acceleration Final Cut Pro users will likely notice the DVCPROHD HDV and Apple RT Extreme hardware acceleration provided by KONA 3 This hardware acceleration was developed in close cooperation with Apple How does KONA 3 accelerate DVCPROHD HDV and Apple RT Effects A precision hardware scalar in KONA 3 does what the Apple computer s processor would otherwise have to do scale less than full raster HD DVCProHD and HDV to full raster size thus speeding up the system considerably and doing this scaling at full 10 bit broadcast quality KONA 3 also has hardware support when capturing from HD SDI to the DVCProHD codec With KONA 3 any HD source can be captured using the DVCPROHD codec giving you online HD quality at remarkably low data rates This feature allows HD to be used where only SD would have been considered due to drive capacity or drive performance constraints KONA 3 even supports the DVCPROHD codec with up or down conversion allowing projects to be downconverted to SD or even upconverted to the DVCPROHD codec on ingest When using the Final Cut Pro HDV codec the KONA 3 advanced scaling engine takes the native frame long GOP 1440 HD and outputs it via hardware in real time Precision AJA circuitry re size
89. g Downconvert secondary format Analog Out Tab Screen KONA 3 provides a high quality analog component or composite Y C output generally used for monitoring This screen shows the current settings for that analog output and allows you to re configure it when desired format and black level e e KONA 3 Control Panel 1080i29 97 1080i29 97 SD Out 1 1080i29 97 SDI In 1 No Video SDI In 2 i No Video Ref In i Genlock SDi In 1 Frame Buffer Comp SMPTE EBU 1080i29 97 SD Out 2 1080129 97 Digital Out Analog Out Analog Video Output1 Analog Output Format 9 Primary 1080i29 97 Secondary 720p59 94 Analog Format Monitor Audio Component SMPTE EBU N10 Hj i Ch 1 2 B KONA 3 Control Panel Analog Out Tab Analog Out Tab Screen Settings Analog Output Format choices in the Analog Format pulldown menu vary depending upon the Analog Output video standard For example the Composite Y C selection is only available when an SD 525129 97 or 625125 format is in use Analog formats can include Composite Y C one composite output and a simultaneous Y C S Video output Component SMPTE EBU N10 Component Beta Component RGB Component RGB HV Monitor Audio here you can select which two channels will be mapped to the analog audio output K3 Box only KONA 3 Installation and Operation Manual Using The KONA 3 Control Control Tab The KONA 3 can be contr
90. he AJA output device Is missing this simply may be due to the Active Video Filter for a given parameter being unchecked for the format being selected in the application If this occurs simply make the appropriate selection in the Control Panel application and re enter Final Cut Pro where the selection should now be available The RED checkbox is designed to enable video output support for the unique geometries associated with RED proxy files or media transcoded from RED source R3D files Without this checkbox enabled playback of RED footage be It proxy or transcoded files will require Final Cut Pro to handle the scaling of the video to a standard video output size such as 1920x1080 Codec Tab Screen This screen offers a variety of controls that determine how the card behaves under Final Cut Pro KONA 3 Installation and Operation Manual Using The KONA 3 Control 668 KONA 3 Control Panel 1080i29 97 1080123 97 i YUV 10b 1080129 97 SBI In 1 5B Out 1 Mo Video 1080i29 97 SDI In 2 SDI Qut 2 Mo Video 1080i29 97 Ref In i Analog Out Genlock Freerun Frame Buffer Comp SMPTE EBU gt Analog Out Control i DS Keyer Codec Options Video Out Pause on Full Frame Single Field 24 30 fps Conversion YUV RGB Conversion Pattern Offset ColorSpace Gamma p2 3 2 3 He 1 0 Auto He Auto HJ Enable Custom LUTs KONA 3 Control Panel Codec Tab Codec Tab Sc
91. he computer display to the video monitor You Using Final Cut Pro work with Post production paint full frame and live onto a broadcast monitor a wide range of old and new SD and Animation Output virtually anything to video ideal for HD sources including Compositing dual rate and dual link and then also use desktop graphics and video software for creative power and flexibility animators and compositors Workflow Scenarios Understanding Typical Workflows KONA 3 and Final Cut Pro allow more workflow flexibility than ever before in post production Users can select a variety of formats frame rates and codecs for capture and editorial manipulation KONA 3 hardware has a full array of connectors for interfacing with VTRs DDRs and other devices with all outputs active simultaneously Capture can range from compressed DV to uncompressed dual link HD and even 2K Media can be stored on disk as offline quality at low bit rates on line quality at moderate bit rates or with the highest quality 8 or 10 bit uncompressed quality As quality and codecs improve the lines between offline and online are blurring For example with the DVCPRO HD codec introduced in FCP HD v 4 5 native HD editing in the codec became possible providing very high quality results true HD editing at very low data rates in some cases as lower than 6 MB sec Compare this to 100MB sec and higher for uncompressed HD formats and you can immediately
92. he following Linear 1 8 Rec 601 2 20 Rec 709 2 22 Auto Enable Custom LUTs this checkbox enables a custom color lookup table LUT for use in Final Cut Pro When checked there will be a new Custom LUT menu item under the Windows menu in the KONA Control Panel Selecting that item brings up the Custom LUTs dialog shown on the following page Defining a LUT applies it to the KONA 3 output The custom LUT will be saved with the Final Cut Pro presets 1D LUTs are supported for import but not 3D LUTs The KONA 3 has an additional window in the Kona Control Panel for Custom LUTs In this window there is a pulldown where users see choices like Linear User Linear etc In this list is Load File AJA can only support 1D LUTs not 3D LUTs and 1D LUTS should be considered appropriate for viewing purposes and tape mastering to video but not for hyper critical color correction where the goal is to go back to film In these cases a hardware or software application that can use 3D LUTSs would be more appropriate 1D LUT S can be created or obtained from a number of companies including Kodak and Thomson Grass Valley to name a few Often a 1D LUT can be derived from a 3D LUT so you still will have an accurate reference for viewing and video mastering LUTS have two major parameters to remember they are for turning material from its raw form to a viewable representational form and they should also be calibrated for the d
93. help facilities and filmmakers enter a data centric workflow that results in a universal mastering environment The KONA 3 2K Process Ingest to Output The following step by step procedure outlines the task of bringing in 2K material from telecines or other HSDL devices connected to the dual SDI inputs on the KONA 3 card The 2K ingest process requires the use of the AJA VTR Xchange software and configuration of the AJA KONA Control Panel The procedure for ingest of 2K is as follows 1 Connect the telecine with HSDL output or other HSDL output capable device to the KONA 3 s two SDI inputs If you already have 2K DPX or Cineon files on storage capable of 300MB sec you can elect to use the AJA DPXToQT Translator application to wrap the sequential DPX or Cineon files to QuickTime Reference Movies If this is the case skip ahead to step 6 of these instructions 2 Configure the AJA Kona Control Panel as follows A For the Input tab of the KONA Control Panel make certain that Dual Link is selected for Video Input KONA 3 Installation and Operation Manual The KONA 3 2K Process Ingest B For the Format tab of the KONA Control Panel make certain that the Video Format for Primary and Secondary is matched and matches the incoming video which should be indicated in the graphic portion of the KONA Control Panel next to the SDI in 1 and SDI in 2 icons 3 Run AJA VTR Xchange software Go to the Capture pulldown menu in
94. horizontal stretch to fill a 16 9 screen this setting can introduce a small aspect ratio change Down Conversion Hardware 10 bit Anamorphic full screen Letterbox image is reduced with black top and bottom added to image area with the aspect ratio preserved Crop image is cropped to fit new screen size Cross Conversion Hardware 10 bit 1080i to 720P 720P to 1080i 720P to 1080PsF Letterbox This transforms SD anamorphic material to a letterboxed image H Crop Will produce a horizontally stretched effect on the image transforms anamorphic SD to full frame SD Pillarbox Will produce an image in the center of the screen with black borders on the left and right sides and an anamorphized image in the center V Crop Will transform SD letterbox material to an anamorphic image Reference Input Analog Color Black 1V or Composite Sync 2 or 4V Non terminating Looping 75 ohm on K3 Box terminated on supplied breakout cable Machine Control RS 422 Sony 9 pin protocol 9 pin D connector pinout is as follows Tenon GND DE RX co TX errr GND ee No Connection o ERR GND roc RX re TX See GND Appendix B Reference Terms 3 2 Pull Down 3 2 pull down is a process where six frames are added to a film s original 24 frames per second format so that it can work within the 30 fps NTSC standard 24P A term for 24 full frames per second digital video progressively captured It generally refers to the HD f
95. ified by the coding of a distributed binary bit Equipment manufacturers can use the meta data for different purposes AJA VIDEO SYSTEMS 2K Crop Tab This Tabbed screen allows you to determine how 2K frames captured with VIR Screen Exchange and brought into Final Cut will be cropped You can select a crop mode and then pan and scan around to choose the area that will be displayed This can be done dynamically with a mouse or by entering explicit numbers 668 KOH 2 Centon Pans 2K15565f23 98 No Video ES RGB 10h gt 10B0sf23 98 5DI In 1 SDI Qut 1 One way to move the crop area No Video 1080sf23 98 i SDI In 2 d ES aer Moving the mouse 2K Crop ON cursor while holding 1920x1080 the mouse button No Video COM 1080sf23 98 down moves the Ref In 4 Analog Out crop rectangle within Genlock Freerun Frame Buffe Comp SMPTE EBU the 2K frame Control DS Keyer I Setup Codey Timecode 2k Crop info gt l Select crop mode 3 via pulldown 2K Crop Tini Two other ways to move the 1920x1080 crop area Gron Otbset Explicitly specify x 64 yw 238 an X and or Y Offset for the crop a Select a crop area aae n by moving the rectangle lt m gt using these navigation Y buttons arrows Square button at center is used to re center the crop KONA 3 Control Panel 2K Crop Tab Showing a 2K Crop to 1080PsF from Film Raster Select a crop mode by choosing 19
96. igh quality over 120db THD Dual Link KONA 3 supports Dual Link HD SDI 4 4 4 This emerging technology is found in Sony s HDCamSR product line as well as Thomson Grass Valley s Viper Filmstream camera KONA 3 supports the ingest and output of SMPTE 372M compliant 4 4 4 RGB video at 10 bit 2K Workflow Support The KONA 3 2K path offers potentially significant cost and labor savings over a tape based approach to 2K workflow In a unique development for customers on the Apple platform users can go straight from telecine to disk with 2K media and eliminate steps requiring the use of tape stock and then the digitizing of those tapes for the nonlinear editor 2K telecine to KONA 3 saves time and steps in the process by directly and simultaneously creating 2K DPX files and 2K QuickTime reference movies Material can be played out at 2K via HSDL High Speed Data Link offering further synergy with other 2K products such as projectors or DDRs currently available in the market Additionally KONA 3 allows 2K files to be viewed on HD 1080PsF supported video monitors lowering the price barrier for recording to tape and viewing 2K material This 1080 HD playout can be down converted to SD in real time giving the 2K DI pipeline a powerful solution for multi format video playout of 2K material By generating 2K DPX files during the digitize phase different parts of the process for example delivery of full resolution media for shots intended
97. ing of the image For a traditional cinematic projection scenario the final delivery of this 2048x1556 data is onto 35mm film The film then undergoes photochemical and mechanical processes before the image digital image reaches the screen The other common size attributed to 2K is 2048x1080 and this is the standard to which digital cinema currently adheres Most digital cinema projectors have this 2048x1080 image size as a supported resolution and in many cases as a maximum resolution So the first obvious advantage of working with 2K images as opposed to HD images when considering a traditional cinematic path is the size of the image that can be generated worked with and ultimately projected Some will argue that a better choice for cinematic work is a 4K resolution Certainly this is true but this requires double 2K s already large data requirements to be handled and therefore is beyond the scope of nearly most modern equipment be it scanners storage or projectors To be fair some 4K and beyond resolution is already being performed for select feature films and even then for select shots in many cases Perhaps in the future 4K will supplant 2K as HD has SD but that day seems to be quite distant so for now a large body of the motion picture community has settled on 2K as a high quality image size AJA VIDEO SYSTEMS 2K Color More Like Film than Video 2K images like SD and HD images can come in 8 bit 10 bit 12 bit 16 bit
98. ing an Easy Setup and then making changes to it you simplify the process of configuring and re configuring when working with new formats Although this manual assumes you re familiar with Final Cut Pro and have read its documentation let s review Easy Setups and how to use them effectively with KONA 3 At the simplest level Final Cut lets you choose and edit presets for capturing media device control and for project sequences These presets are defined in the Audio Video Settings menu Just like Easy Setups here also there are factory defined choices plus you can create and make your own When you have a set of presets you want to use again you can store them as an Easy Setup On the following pages well further review the Easy Setups menu and Audio Video Settings Menu Easy Setups Menu Both the Easy Setups menu item and the Audio Video Settings menu item are located under the main Final Cut Pro menu View amp ERASE Fie Edit About Final Cut Pro User Preferences Ya System Settings Easy Setup Audio Video Settin Services Hide Final Cut Pro 36H Hide Others c 36 H Quit Final Cut Pro 20 Easy Setup and Audio Video Menu Items Click on the Easy Setups menu item and Final Cut Pro will present the Easy Setup dialog window AJA VIDEO SYSTEMS Easy Setup Setup For AJA KONA 3 1080i 25 10 Bit Uncompressed if Show All AJA KONA 3 10801 25 10 Bit Uncompressed Sequence Preset
99. is a significant amount of effects rendering involved Industry standard professional mastering formats Sony Digital Betacam for Standard Definition and Panasonic D5 for High Definition are both true 10 bit formats Chapter 5 Troubleshooting If You Run Into Problems One useful way to find the source of problems is to isolate your system to the smallest size where the problem still occurs and then note all the symptoms This serves to eliminate areas not involved in the problem and make finding the problem easier Once you ve noted problem symptoms look through the following table and see if any of the symptoms are listed If so check the items listed If you later need to call for customer service let them know all of the things you ve tried and when and how the symptoms appeared Table 5 1 Problem Solving by Matching Symptoms to Remedies Disk RAID cannot keep up dropped Ensure the disk system is providing at least 50 MB frames etc second sustained transfer rate Dropped frames during playback 1 Canvas Viewer zoom setting exceeds the fit to window setting Change to Fit to Window 2 RAID cannot sustain the data rate of the clip sequence 3 The sequence setting does not match the playback output setting found at FCP Audio Video Settings gt AV Output 4 Virus checking software running in the background disable it 5 Scratch drive not set to the RAID Dropped frames during record 1 RAID cann
100. itiate a complete ON OFF power cycle to load the new firmware into the hardware KONA 3 Installation and Operation Manual Genlock and Your System Reverting to an Under normal circumstances you should never need to revert to an earlier firmware Earlier Firmware version since they are tied to driver versions The only case would be if you wished to Version back your KONA driver software to an earlier version that ran under earlier firmware For example Version 6 KONA software drivers requires a new firmware version that once installed prevents you from running pre Version 6 KONA software If you decide to roll back to pre Version 6 you ll have to first revert the firmware to the previous 32 bit Firmware that was used with those versions Fortunately this is easy to do using the same updater used to update it As in the Firmware Update procedure go through steps 1 through 4 Then when you get to the Install screen click on the box marked Revert to 32 Bit DMA Firmware and then click on the Install button The older firmware will be installed and then you ll be asked to shut down the Mac computer wait for two seconds and then turn it back again just as you did when you originally installed it As before you must initiate a complete ON OFF power cycle to load the changed firmware into the hardware AOO AJA KONA Firmware Updater 2008 05 15 22 53 19 Current Firmware Version 2008 05 15 22 53 19 amp Introduction Your AJA KO
101. iting a timebase you can change the following e Select video processing properties how to render Frame size and aspect ratio e Pixel aspect ratio e Field dominance none upper or lower Editing timebase e Set QuickTime video codec settings quality and type e Select audio sample rate KONA 3 Installation and Operation Manual Easy Setups for Typical Uses E The Capture Presets Window Audio Video Settings e Preset Capture Presets A evice AJA Kona3 1080i 25 10 Bit AJA Kona3 1080i 25 8 Bit AJA Kona3 1080i 25 DVCPra HD AJA Kona3 1080i 29 97 10 Bit AJA Kona3 1080i 29 97 8 Bit AJA Kona3 1080i 29 97 DVCPro HD AJA Kona3 1080i 30 10 Bit AJA Kona3 1080i 30 8 Bit AJA Kona3 1080i 30 DVCProHD AJA Kona3 1080psf 23 98 10 Bit AJA Kona3 1080psf 23 98 10 Bit Log RGB AJA Kona3 1080psf 23 98 10 Bit RGB AJA Kona3 1080psf 23 98 8 Bit Q 29 Duplicate Edit Use this setting when editing with rhe Kona3 at l080 258 971n I0 Bit Uncompressed Using ALA Kona 10 bit Digitizer for video input i 8Di29 97 1920x1080 using NTSC 29 97 frames per second Uncompressed 10 bit 4 2 2 at Medium quality 24 bits per pixel 1920 by 1080 Using ALA Kona for audio input Input Default Format 48 000 kHz 24 bit 8 chan Speaker off Volume 100 Gain 100 Cancel Audio Video Settings Capture Presets Window This window lets you choose a preset format for in
102. k sidebars Zoom Letterbox results in image zoomed to fill full screen Zoom Wide results in a combination of zoom and horizontal stretch to fill a 16 9 screen this setting can introduce a small aspect ratio change Down Conversion for downconversion the following choices are available Anamorphic full screen stretched image Letterbox image is reduced with black top and bottom added to image area with the aspect ratio preserved Crop image is cropped to fit new screen size SD to SD this pulldown is for SD to SD aspect ratio conversion Letterbox this transforms SD anamorphic material to a letterboxed image H Crop will produce a horizontally stretched effect on the image transforms anamorphic SD to full frame SD Pillarbox will produce an image in the center of the screen with black borders on the left and right sides and an anamorphized image in the center V Crop will transform SD letterbox material to an anamorphic image The Digital Out tab shows the current settings for both of the SDI outputs Because the outputs can be configured independently one output may be the Primary format and the other output may be the Secondary format If an input output has no video it will be indicated on the block diagram No Video AJA VIDEO SYSTEMS eoe KONA 3 Control Panel i 10801i29 97 1080i293 97 SDI In 1 Mo Videa SBI In 2 _ 1080i29 97 SDI Out 1 720p5
103. l behave as expected In the event that you do use the J key solely you may experience a lag and will need to wait for the application before further operations can be performed AJA Additional Advice VIDEO SYSTEMS 7 You can elect to either view the footage out of the card on monitors in one of three ways two of which may occur simultaneously or output from the Kona 3 card via HSDL to another HSDL compliant device For monitoring the 2K Crop tab of the Kona Control Panel can be configured to output 1920x1080 from the 2K source These settings are described in Chapter 4 earlier in this manual under the description of the 2K Crop Screen The 1920x1080 crop can be sent to a Dual Link HD SDI capable monitor by connection of both of the HD SDI outputs Link A and Link B of the KONA to the Dual Link inputs of a monitor Or if a single link HD output is desired the signal may be routed via single link HD SDI out from the card An additional single link HD SDI output can be obtained from the card or one SD SDI output from the card both of which can happen simultaneously The component output of the card can also be configured to output HD or SD in conjunction with the SDI outputs The settings for the various outputs are accessed via the KONA Control Panel s Format tab by setting the Secondary Converted Format For HSDL output the 2K Crop function must be turned to Off in the Crop Mode and from the Digital Out tab of the KONA C
104. lanced 13 Bars and Tone sample FCP project 93 Betacam 14 Black 64 black borders 59 black burst 14 black burst generator 45 EZ VIDEO SYSTEMS Black Level 69 71 black Level pulldown menu 69 block diagram element 50 Block Diagram Screen 48 BNC Connectors 12 borders black 59 Box 5 Box Contents 32 Breakout Box 12 Breakout Cable diagram 37 Browser window 93 burn in timecode 75 C Cable Connections 11 36 Cable connector descriptions 13 cables 2 Cabling the System 36 capacity 10 Capture Preset 85 Capture Presets Window 89 Card installation MacPro or G5 34 Card Slots recommended installation 36 CD 5 CD KONA Software 5 Chassis 5 Chassis Connections 38 Checking the System 93 Cineon file format 2 codec settings 88 Codec Tab Screen 70 color matte 66 Color Meanings Control Panel 50 color selection dialog 67 colors meaning of 50 Colorspace choices 72 COMMAND key 65 component video output 14 Component Composite 14 composite 2 62 composite output 69 Configuration 39 Connector Descriptions 13 Connectors 13 connectors 12 36 Control Panel 47 Control Panel Basics 48 Control Panel Presets 79 Control Panel importance of keeping visible 81 Control Panel KONA 3 47 Control Recommendations 82 Control Screen 63 66 Control Screen Settings 63 Conversion 2 conversion icon 50 Conversion Icons 50 Conversion Icons Control Panel 50 conversion YUV RGB 71 Create A New Easy Setup 86 Crop 59
105. lick the AJA KONA Firmware Updater icon to run the application When the updater starts a welcome screen is displayed AJA VIDEO SYSTEMS AAOC AJA KONA Firmware Updater 2008 05 15 22 53 19 Current Firmware Version 2008 05 15 22 53 19 Welcome to the AJA KONA Firmware Updater Introduction This application will download new firmware to your a i al AJA KONA board Installing Es You can get technical support by sending email to Finish Up support amp aja com News and other information about this product including software updates are available from the AJA website at http www aja com You will now be guided through the steps necessary to install this firmware Go Back Continue 4 Click Continue to begin the update process A message will be displayed asking if youre ready to install and listing the new version number Click Install to proceed AON AJA KONA Firmware Updater 2008 05 15 22 53 19 Current Firmware Version 2006 01 04 15 17 01 Introduction HIM Click Install to update the firmware on your 6 Read Me AJA KONA PCI Express board to version Installing 2008 05 15 22 53 19 6 Finish Up Revert to 32 Bit DMA Firmware Go Back Install i LM 5 After the firmware installation completes you ll be asked to shut down the Mac computer wait for two seconds and then turn it back again Restarting the Mac will not load the new firmware you must in
106. metimes the QuickTime timecode is missing or not meaningful Output Timecode Offset entry field and FPS pull down this text entry field allows you to specify a timecode offset for use with Final Cut Pro or any other application that has timecode offsets that are user controlled In FCP go to Timeline Options and locate the Starting Timecode value Use that same value here as the Output Timecode Offset to ensure the timecode is synchronized i 24b teen xx Timecode Burn in this pulldown selects whether the timecode Eas p value is burned in on video output from KONA 3 If set to 30 fes OFF timecode will not be keyed over the video If set to ui timecode then the timecode value will be keyed over the b Fons output video This can be useful for synchronizing choosing edit points dailies and many other purposes Note SMPTE RP 188 SMPTE 12M 2 defines a standard for the transmission of time code and control code in the ancillary data space of a digital television data stream Time code information is transmitted in the ancillary data space as defined in ANSI SMPTE 291M Multiple codes can be transmitted within a single digital video data stream Other time information such as real time clock DTTR tape timer information and other user defined information may also be carried in the ancillary time code packet instead of time code The actual information transmitted through the interface is ident
107. multi point digital interpolators anti alias filtering and interpolation KONA 3 Installation and Operation Manual Features Crossconversion is high quality hardware based providing capability to streamline dailies and offers true broadcast picture quality in realtime Because these functions are in hardware on the card they are available full time all the time with no CPU load Such conversions are useful for cost effective monitoring making standard definition dubs of an HD project or upconverting from a standard definition FCP project to an HD deliverable KONA 3 Audio KONA 3 supports 8 channels of 24 bit 48kHz or 96kHz AES digital audio via XLR balanced 110 ohm connectors using the supplied breakout cable or XLR and BNC unbalanced 75 ohm connectors when the optional K3 Box breakout box is used KONA 3 also supports 16 channels of embedded 24 bit 48kHz digital audio over the same SDI connection as the video If you are using a Digital Betacam VTR HDCam VTR DVCPro VTR D5 VTR or HDCam SR VT R you ll have the proper audio connections for interfacing with the VTR KONA 3 support for 8 AES digital audio via XLR or BNC features AES input sample rate conversion this feature eliminates the requirement for audio source synchronization Sample rate converters auto lock to any AES input 32 96kHz and then convert it to 24 bit 48 or 96kHz audio perfectly locked to internal KONA 3 video Sample rate conversion is done at very h
108. n i lt Control OS Keyer Setup Codec Timecode Info Crop Mode 1920x1080 Crop Offset x 54 y O AJA Control Panel configured for 2K Crop Final Cut Pro can also be set so that A V Devices is configured to 1080PsF 23 98 10 bit In this case FCP will handle scaling the video for HD output Workflow using Apple ProRes 422 HQ media created via RED plu gin for Final Cut Pro Log and Transfer RED provides a plugin for the Log and Transfer feature within Final Cut Pro This plugin can be obtained from www red com support and can be used with Final Cut Pro version 6 0 3 or higher The RED Log and Transfer plugin imports REDCODE clips and transcodes them to Apple ProRes 422 HQ at 2048x1024 and 23 98fps Import Preferences vi Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache RED FCP Log and Transfer plugin RED Digital Cinema REDCODE Apple ProRes 422 HQ AVCHD Plugin AVCHD Apple ProRes 422 KONA 3 Installation and Operation Manual Workflow General Notes eo m oF a cy A004_CO11_080224 aA004_C012_080224 A004 C014 080224 A004 C016 080224 A004 C017 080224 A004 C019 080224 O A004 C021 080224 O A004 C022 080224 Volume BATTLESHIP BATTLESHIP BATTLESHIP BATTLESHIP BATTLESHIP BATTLESHIP BATTLESHIP BATTLESHIP Media Start
109. n2 Link B BNC E SDI cable KONA 3 System Using Breakout Cable Typical System A figure on the following page shows typical system interconnections for a system with digital A V sources Your system may differ depending on VTRs audio monitoring and video monitoring 1 If desired connect your house reference sync to the KONA 3 Ref Loop connector BNC On the breakout cable this is a terminated reference input The second KONA 3 Ref Loop connector on the optional Breakout Box can be connected to your VTR If you do not loop through the reference the second connector should be terminated with a 75 ohm terminator 2 Connect a Video Monitor to the KONA 3 Component Analog Video Out BNC connectors preferred or instead connect to a composite monitor If you have an SDI or HD SDI enabled monitor you may also connect one of the Kona SDI outputs to a monitor as well 3 Connect the 9 pin DB9 machine control cable on the supplied breakout cable to your VI R s RS422 control port or connect a 9 pin DB9 cable between the breakout box and the VI R s RS422 serial port AJA VIDEO SYSTEMS 4 Connect two SDI cables between KONA 3 and your digital VTR Digital Betacam etc one from KONA 3 SDI In to the VTR SDI Out and one from KONA 3 SDI Out 1 or 2 to the VTR SDI In The KONA 3 SDI connections have embedded audio 16 channels so the VTR must be configured accordingly These connections will be made via the mini connectors to BNC
110. nal RAID for uncompressed SD HD storage Recommended KONA 3X System Apple Xserve 3 GHz Quad Xeon or Power Mac G5 dual 2 5 GHz or better with minimum of 2GB RAM for uncompressed SD or 4GB RAM for uncompressed HD PCI X slot required later G5s have these slots Minimum KONA 3X System Apple Power Mac G5 dual 2GHz with a minimum of 2GB RAM for uncompressed SD or 4GB RAM for uncompressed HD PCI X slot required later G5s have these slots Slot Placement Visit our website and view this regularly updated slot placement document http www aja com Rtml support kona rec sys htm Internal Storage SATA inside Best suited for compressed SD HD formats only Mac External Storage Ideally a RAID configuration with Fibre Channel or SCSI Note see Storage Methods connection to the Mac via qualified host bus adapter topic that follows later in this Chapter BE AJA Understanding Disk Storage Methods VIDEO SYSTEMS The KONA 3 card an Apple PCI Express Power Mac and Final Cut Pro together offer an unprecedented level of features and performance for audio video post production applications However to ensure performance and quality the disk storage system used with the Apple computer must be able to meet the demands of the media For uncompressed SD AJA recommends that at a minimum the disk storage system must be able to provide and maintain a consistent 50 MB sec transfer rate from the Apple computer to disk read write Ther
111. ng primarily prosumer video equipment BNC connectors ensure a positive connection by the act of locking the connectors together via pins in one connector that fit into slots in the corresponding connector To make a BNC connection slide the cable connector over the panel connector and then when seated rotate the barrel of the cable connector 90 clockwise until the connectors are locked together When properly locked the cable cannot accidentally be pulled out Pins 2 on BNC Connector connector on K3 Box lt q Align slots in cable connector barrel with connector pins then slide it over the pins and rotate the barrel to lock the connectors together The four mini connectors found on the KONA 3 endplate are not common to most video equipment but offer small size ease of use and high reliability The connectors are also called mini BNCs and 1 0 2 3 Connectors To make a connection with these connectors simply push the cable mini connector onto the endplate mini connector It will lock in place when fully seated To remove a mini connector just grasp the knurled barrel on the connector and pull the connector off Note Do not try to remove the mini connector by pulling on the cable itself as this action will not remove the connector but can stress the cable EEN Knurled Barrel Pull back to release connector 4 Mini connectors on KONA 3 PC Board endplate i111 KONA 3 Installation and
112. ning with version 6 0 of the driver enabling the Macintosh Desktop Display requires the Enable Desktop Display checkbox to be selected in the Setup tab of the Control Panel application Input Pass through this selection directs KONA 3 to route video from its selected input through the card for processing and output When this selection is in effect all Primary Secondary Format selections are available for selection in controlling the output This in effect makes the KONA 3 as a converter when used in conjunction with the Kona Control Panel application and a Mac No applications other than the Kona Control Panel need to be open to convert audio and video from one format to another For example if an SD source tape needs to be dubbed to an HD tape the signal might be routed from the SD VTR to the Kona card configured for upconversion in the Kona Control Panel and then passed through to the HD VTR for recording Black this selection directs KONA 3 to output video black whenever an application isn t controlling the card Test Pattern this selection directs KONA 3 to output a choice of preset pattern when no other application is using the KONA board In addition to the preset test pattern choices a Load File selection at the bottom of the menu allows you to load any standard Mac RGB graphics file tif psd etc into the frame buffer for display Note the graphic file will not be scaled to fit If it s smaller than the current fr
113. nt used rather than the nature of work produced many systems these days are a mixture of equipment from high end professional to desktop video This chapter tries to show how Final Cut Pro and KONA 3 can help fit into whatever workflow you currently have and make it more efficient A Workflow Scenarios diagram on the following page shows types of equipment sorted by VTR source and the type of workflow attributes KONA 3 applications support After the diagram we also discuss some typical applications AJA VIDEO SYSTEMS Source Deck Type s Workflow Attributes Applications KONA 3 captures and outputs Pro Broadcast Digital SD or Hb SDI video SD or HD with embedded Corporate Industrial Examples Digibeta DV50 DVCPROHD audio Use high quality AES EBU On site Editing HDCAM and DVcam and or embedded 8 channel audio output Digital capture via Firewire with Output via AJA Using standard desktop video Desktop Video KONA 3 techniques video audio is captured Corporate Industrial Example HDV directly from a camcorder or deck On site Editing KONA 3 is used for playing back Pro Broadcast captured media and editing mastering to tape or DVD using Final Cut 4 5HD and other tools such as After Effects Without even using a deck use the video monitor Combustion Apple Motion etc as a second Mac monitor The KONA 3 desktop lets you drag graphics from programs like Adobe Photoshop from t
114. o and audio input output connections 36 video connections 11 Video Format 54 Video Formats 1 Video Input 52 1 video input source 65 video input source selection 90 Video Output 1 video path 49 50 video processing properties 88 Video Key 60 Video Key Output 2 Video Audio connections 36 VITC 92 VTR 91 VTR connections 38 VTR Device Control Presets 92 VTR Xchange 5 VTR Xchange software 5 W Workflow 17 Workflow General Notes 21 workflows 17 X Xserve RAID 9 Y Y C connection 14 Y C output 62 Y R Y B Y 14 YPbPr 14 YUV 14 YUV RGB Conversion 71 KONA 3 Installation and Operation Manual Index Z Zoom 14 9 59 Zoom Letterbox 59 Zoom Wide 59 ED AJA VIDEO SYSTEMS
115. o for KONA 3 PCle card installation Top Slot is preferred in PCI X G5s 133Mhz slot for KONA 3X PCI X card installation Card Slots PCIe G5 shown here Note After you install the KONA 3 card you may notice that in the MacOSX Network preferences there is a message stating You have a new network port named KONA 3 be sure to check the settings There is no need to take any action this occurs because MacOSX detects the RS 422 serial port on the KONA 3 card that you will use for VI R machine control Cabling the System System Video When installing your system youll make video and audio input output Audio Cable connections These connectors are explained individually in chapter 2 Here system Connections interconnection is shown and described KONA 3 Installation and Operation Manual Cabling the System j KONA 3 Installs in S PCI Express Slot any Standard Cable Set Showing BNC XLR cable Use RS422 F Machine Control ce Bi HHEHE 9 pin 3 BNCs Analog Out Connections In SD Can be Configured for BL OT Component Composite a 7 or S Video In HD Can Only Be Component L E pia Reference Input BNC 4 174 Audio Output XLRs El Channels 1 8 2 channels connector El 4 mini BNCs to 4 standard BNCs Audio Input XLRs Channels 1 8 Ed 2 channels connector ERES SDI Int Link A BNC U OO SDI I
116. olled by various software applications running on a host Screen Mac as well as be used as a Macintosh Desktop extension The Control Tab is where you select how the KONA 3 directs video and is used by application software This screen also provides control for configuring output timing with regard to external reference video and horizontal vertical delay At the top of the Control screen it will show the current Default Output and the application currently controlling the KONA 3 card if there is one For example in the screen shown here the default output is the Macintosh Desktop and the only controlling application is the KONA 3 Control Panel itself e o0o0 KONA 3 Control Panel 545i29 97 525129 97 YUV 10b 52529 97 SDI In 1 SDI Out 1 No Video i SDI In 2 p No Videa 525j29 97 Ref In Analog Qut Genlock 501 In 1 Frame Buffer Comp SMPTE EBU Kona in use by Final Cut Pro Inputs Format Digital Out Analog Out Control Ds Keyer 525i29 97 SDI Out 2 Control Default Output Playback Timing Default Video Output Test Pattern H Genlock Freerun Test Pattern Color Bars 75 H _ Ref In Mo Video Video In 525i29 97 Timing Horiz 0 Vert oO KONA 3 Control Panel Control Tab Control Tab Screen Settings Default Kona Output this is where you select what KONA 3 will output as a default when no application has control of the board such as when the Finder is active Since KONA 3 can b
117. ome SDTV Standard Definition TV The ratio is 16 arbitrary units of width for every 9 arbitrary units of height The aspect ratio of traditional National Television Systems Committee NTSC TV screens The ratio refers to four units of width for every three units of height Refers to a picture that is 1 280 vertical pixels by 720 horizontal pixels The p stands for progressive scanning Progressive scanning offers a smoother picture as 720 horizontal lines are scanned progressively or in succession in a vertical frame repeated 30 times a second Refers to video images that are squeezed or stretched depending on whether the video 1s being upconverted or downconverted to fit a video frame When 16 9 anamorphic video is displayed on a 4 3 screen size downconvert the images will appear unnaturally tall and narrow A ratio of screen width to height It may be traditional 4 3 or 16 9 widescreen An acronym for Advanced Television Systems Committee which is responsible for developing and establishing Digital HD TV Standards It is also the name of the DTV system used by broadcasters in the U S When a 4 3 image is viewed on a 16 9 screen the viewer sees black bars on the sides of g the screen sometimes referred to as barn doors A short term used for both Compressor decompressor and Coder decoder In terms of Final Cut Pro and most editing and graphics applications codec generally means Compressor decompres
118. on and Operation Manual Easy Setups for Typical Uses Audio Video Settings Bik Fee 71 TS a4 TT moa Miia E Easy 5etup Name 1080i 29 97 10 bit KONA 3 Capt Description My standard 1080i 29 97 10 bit KONA 3 setup Device Cont i Enable verification of device control in first start dialog FK Video Audio Playback AJA Kona i Create Easy Setup Cancel J OK Audio Video Settings Creating a New Easy Setup At any point in the above procedure you can go to the other tabbed windows and make additional changes For example in the Sequence Presets Capture Presets and Device Control Presets windows you can select a preset and click on an Edit button to change specific aspects of the preset As an example under Device Control Preset you might wish to change the Time Source on your VTR from LTC to VITC or change the pre roll and post roll values When you save a Setup it defaults to saving in the Final Cut Pro Custom Setups folder Each of the tabbed preset screens are described on the following pages for your convenience For more information please read the Final Cut Pro user documentation AJA VIDEO SYSTEMS The Sequence Presets Window Audio Video Settings Presets summary TE ni Use this setting when editing with rhe Kanal at AJA Kona3 10801 25 8 Bit 1080i 29 97 in 10 Bit Uncompressed AJA Kona3 1080i 25 DVCPro HD Frame Size 1920 x 1080 Pixels AJA Kona3 108
119. ons to the above examples 16 or more SATA drives with 4Gb fibre channel connectivity to host and 512MB cache per controller Storage capacity No matter which storage system you choose pick one that can scale to meet your needs over time Ideally you should be able to increase storage capacity or switch to a RAID level offering increased data protection in the future Balance current and future storage needs with your budget and choose accordingly Note All of the following numbers are approximations based on 2 channels of 48kHz audio More audio channels can increase data rates AJA also provides a freeware application called the AJA Data Rate Calculator that can be used to help determine the amount of storage space and bandwidth requirements needed for a selected format frame rate audio setting and compression The AJA Data Rate Calculator is also included with version 3 3 and higher of the Kona driver and can be found in the AJA Utilities folder which installs in the Applications folder of the Mac OS The AJA Data Rate Calculator application can also be downloaded from the AJA website and used on any OSX computer KONA 3 Installation and Operation Manual Cable Connections Storage FORMAT Data Rate in MB Requirement in ids GB Hour SDFomais e SINT eT wonse ooo RR RR Pho JPEG SD NTSC fes 8 HD Formats 3KFomas BEEN 10 bit 4 4 4 2048x1556PsF 23 98fps 1100
120. ontrol Panel Dual Link must be selected For HSDL output you can select to output 2048x1556 at 14 98fps which is a standard among many HSDL devices or you may elect to output via HSDL 2048x1080 at 23 98fps which is what digital cinema devices tend to use Or you may elect to output the timeline as a QuickTime movie that can be translated back into a sequence of DPX files via the AJA QuickTimeToDPX Translator application Note Note This may be necessary for some devices and applications that do not accept QuickTime files or the AJA Kona 10 bit Log RGB or AJA Kona 10 bit RGB codecs but instead accept DPX files Due to the flexible nature of Final Cut Pro the timeline where the 2K files reside during editing can be sent to other applications to be worked on at 2K resolution Motion and Shake are examples of this The 2K edit in Final Cut Pro can be referred to by other applications via XML or EDL like Silicon Color s Final Touch 2K so that the 2K DPX files or their associated QuickTime Reference Movies may be accessed Note KONA Utility Applications that can be used for 2K Workflow All are available free from www aja com html support_kona3_swa html KONA 3 Installation and Operation Manual The KONA 3 2K Process Ingest r eon Preferences f Deck Captured Clips Falder Change Volumes Macintosh HD1 Capture Folder C Save as QuickTime movie Save as Numbered files g click here
121. operational issue Mac system issue or Xserve RAID issue then call Apple Customer Support for help If the problem is an AJA Video KONA 3 issue then contact AJA Video Customer Support using one of the methods listed below Contacting by Mail Address 443 Crown Point Circle Grass Valley CA 95945 USA Telephone 1 800 251 4224 or 1 530 274 2048 Fax 1 530 274 9442 Web http www aja com Support Email support aja com Apple Resources Apple provides a large amount of support information online at their support website Information provided includes answers to top questions discussions on specific topics and software downloads for updates and utilities You may also enroll in AppleCare for extended support of hardware and software products Information is provided on the Apple Support website on how to enroll in AppleCare General Apple Support Website for information on all products http www info apple com Mac Support Area http www apple com support macpro or http www apple com support powermac Xserve Support Area http www apple com support xserve index html Xserve Discussion Area http discussions info apple com WebX f50 176 UAD8aK Wnmbr 0 3bb84b79 Final Cut Pro Web Support http www apple com support finalcutpro index html VIDEO SYSTEMS Appendix A Video Input Dual rate SD or HD SD and HD SDI SMPTE 259 292 296 Single Link 4 2 2 Dual link HD 4 4 4 2K HSDL High Speed Da
122. ormat of 1920x1080 although it is also used with 1280x720 images as well 10801 Refers to a picture resolution of 1920 vertical pixels by 1080 horizontal pixels The i stands for interlaced scanning Interlaced scanning is based on the principle that the screen shows every odd line at one scan of the screen and then all the even lines in a second scan 1080p Refers to a picture resolution of 1 920 vertical pixels by 1 080 horizontal pixels The p stands for progressive scanning This format works on the same principle as 720p the only difference is that in this type there are more pixels and the resolution is better 1080psf 1080psf differs from 1080p defined previously PSF is an acronym for Progressive Segmented Frame Like 1080p psf is progressive but it differs in that the data is written as two separate fields but without inter field motion as interlaced video carries This provides psf with the temporal motion characteristics of progressive video but with the data transport ease of interlaced video There should be no visual difference between the display of a progressive frame communicated as 1080p and the same frame communicated as 1080psf dd AJA 16 9 4 3 720p Anamorphic video Aspect ratio ATSC Barn Doors Codec Decoder Deinterlacing Downconvert VIDEO SYSTEMS Refers to the aspect ratio of movie screen and widescreen D TV formats used in all HDTV High Definition TV and s
123. ormat to be output EL AJA VIDEO SYSTEMS Audio Video Settings Sequence Preset AJA Konad 1080i 29 97 10 Bit L Use this setting when editing with the Kona3 at 10801 29 97 In 10 Bit Uncompressed Capture Preset AJA Kona3 1080i 29 97 10 Bit He Use this setting when editing with the Kona3 at 1080 29 97 In 10 Bit Uncompressed Device Control Preset AJA Konas 29 97 Sony VTR B 4 Use this preset when editing with the Kona3 in 29 37 fps Video Playback AJA Kona 1080i29 97 10 Bit 1920 x 1080 Audio Playback AJA Kona 5 Create Easy Setup Cancel Audio Video Settings Summary Window To Create A New Easy Setup If you have a group of presets that youd like to use continually then you can create a new Easy Setup by modifying the settings of Easy Setup currently selected pick one most like the one you want to create and then saving it under a new name 1 Change the currently selected Easy Setup by making changes at the Summary tabbed window via the pulldown menus 2 When everything is set as desired click on the Create Easy Setup button at the bottom of the Summary window 3 A new dialog will pop up Enter a descriptive name for the new Easy Setup i e 10 bit SDI from Video Server in the Name field 4 Enter a sentence or two describing what is unique about the Easy Setup in the Description field 5 Click the Create button to store the new Easy Setup KONA 3 Installati
124. ot sustain the data rate of the capture preset codec 2 Virus checking software running in the background disable it 3 Scratch drive not set to the RAID Media is not being captured from Check the settings in the nput tab of the KONA 3 desired external device Control Panel application Also check equipment cables E AJA VIDEO SYSTEMS Table 5 1 Problem Solving by Matching Symptoms to Remedies Dropped frames during playback Look for scroll bars in the viewer or canvas as a warning sign that the zoom setting exceeds the fit t window Changes made to Final Cut s Under some circumstances Final Cut Pro may need configuration aren t remembered or you to be initialized back to the factory default state as it need to force a change to them was when you installed it The easiest way to do this is to locate Final Cut s preference file and discard it To do so follow this procedure 1 Locate the file named Final Cut Pro Preferences Note path to file is Macintosh HD users username library oreferences final cut user data 3 Click and drag that file to the Trash Can icon and drop it there When you next start up Final Cut Pro it will present the Choose Setup prompt as in initial installation where you can again choose a desired KONA 3 input format in the Setup For pulldown and re enter a desired system scratch disk your RAID Video in the canvas stays frozen during 1 The sequence set
125. our own preset configurations for different applications The manual you are reading does not provide operational information about Final Cut Pro Please read the Final Cut Pro user documentation provided with it for information on configuration and operation The chapter you are reading addresses configuration and setup unique to the use of KONA 3 with Final Cut Pro and other applications Using The KONA 3 Control Panel The KONA 3 control panel is a software application that provides a simple visual way to see how the KONA 3 card is currently configured and then make changes as desired Settings both what you changed and didn t can be saved as a preset for recall at anytime This lets you save settings associated with all your frequent tasks then as you switch tasks you don t have to spend extra time constantly resetting card configurations just load the previously saved settings for each task One thing you ll notice instantly about the control panel is that it represents a visual block diagram of how the card is set The current status of the up converters downconverters the input and output settings and many other details can be viewed as a color coded block diagram in the control panel You can even access the Kona Control Panel application without exiting the application by first holding down the command key Apple key before mouse clicking on the Kona Control Panel application on the desktop AJA Control Panel Basics VIDEO
126. ouse on a block diagram element you can also control click to reveal drop down menus for certain functions The arrows at either side of the displayed tabs can be clicked to see any additional tabs not visible on the screen If an arrow is grayed out then it means there are no additional tabs in that direction Each of these tabbed windows are described on the following pages KONA 3 Installation and Operation Manual Using The KONA 3 Control Tabs available are Inputs view and edit input selections and how they are mapped Formats select the framebuffer primary video format any secondary formats and parameters of up down crossconversion for input output Digital Out assign outputs either Primary or Secondary formats Analog Out configure the component composite Y C analog output Control configures KONA 3 default output test pattern pass through desktop etc plus setting genlock and output timing DS Keyer configure the hardware based downstream keyer for putting image files with alpha channels like logos or other video material with an alpha channel on top of video being passed through the card or played out of the card Setup configures Video and Audio options such as composite black level and analog audio monitor level Codec used to select codec options such as whether paused video appears as a full frame or a single field jitter shown or not shown and 24 to 30 fps padding patterns Timecode monitor RP
127. peed For PCI X KONA 3 cards the top slot of PCI X enabled G5s is a 133Mhz slot suitable for the KONA 3 card Remove the card edge access cover from the desired slot where you will be inserting the KONA 3 card The card edge cover is secured by a phillips screw on G5s and by a tie down bar with two secured screws on MacPro computers after removing either set them aside for use in securing the KONA 3 in the slot later in the installation process Holding the KONA 3 card by the card edge plate and an outside edge carefully insert the KONA 3 card by rocking it slowly into the slot Ensure the card edge aligns properly with the computer s slot opening where the card edge cover was just removed and that it is fully seated in the slot Secure the card in the slot using the screw removed earlier or with the tie down bar found on MacPro machines Replace the G5 s clear inner panel for the G5 machines and then the outer access door for G5s or MacPro machines KONA 3 Installation and Operation Manual Installing the KONA 3 Card into Ks KONA 3 Card To Install 1 Remove Screw and Cover Plate and Insert KONA Card 2 Secure KONA with Screw Removed Earlier PCI Express Slots PowerMac G5 Cardcage Access MacPro card cage differs in appearance AJA VIDEO SYSTEMS PCI Express Slots 54 LIMJf Slot 4 is the preferred slot on a PCle G5 for KONA 3 PCle card installation Slot 3 is the preferred slot on a MacPr
128. picture is changed to a simulated high definition picture Widescreen Widescreen TV is a picture with a 16 9 aspect ratio 16 9 is the aspect ratio of movie screen and widescreen DTV formats used in all HDTV High Definition TV and some SDTV Standard Definition TV it stands for 16 units of width for every 9 units of height Appendix C Working With 2K Workflows Introduction This chapter provides a simple overview of 2K workflow and how the KONA 3 can be used as an integral part of it Overview of 2K and Its Uses In Digital Cinema 2K is a term like SD and HD used to describe a particular image size and quality of data 2K data exceeds our pre existing television broadcast standards for both SD and HD and is therefore most commonly associated with traditional cinema and the emerging digital cinema initiative As a point of reference HD is commonly referred to by the 1920x1080 or 1280x720 pixel frame sizes 2K like HD is commonly defined by two basic frame sizes When working with data for eventual cinematic projection FX work or digital intermediate purposes 2K is usually defined as 2048x1556 pixels This size represents the full size of the 35mm film between the sprockets Therefore the result 2048x1556 pixels appears as a 4x3 image when compared to an HD image which is typically 16x9 In 2K other images sizes can be derived from this 2048x1556 source by taking a cropped portion of the image for use or via scal
129. possible conflicts 3 Lay the Mac on it s side motherboard facing up side door opening up toward you 4 Forthe PCIe version of the KONA 3 capture card AJA recommends that the KONA 3 be placed in Slot 3 and the Apple Expansion Slot Utility be configured so that the slot is running at x4 lane speed or higher The choice of x4 x4 x1 and x16 is ideal For the PCI X 133Mhz version of the KONA 3 card KONA 3X PCI X enabled G5s slot 4 is a 133Mhz slot For the Intel based Apple XServe product the PCI X version of the KONA 3 may be used in the slot if the PCI X riser is in place 5 Install AJA KONA 3 software on your Mac while the CD supplied with your card will likely have a recent version of the driver the fast paced nature of feature releases and updates means that visiting the AJA website for the latest driver is usually a better choice AJA Unpacking Shipping Box Contents VIDEO SYSTEMS 6 Cable the system audio and video sources VTR audio monitor and video monitor If you purchased the optional Breakout Box then install it into an equipment rack or place it on a desk and connect its cables to the KONA 3 card If you re instead using the standard cable set then use those to connect equipment Each of these steps are explained in greater detail in the pages of this chapter KONA 3 is shipped with a CD containing system software for installation and a user manual a PDF on the CD and two cables a multi
130. quirements Note Before installing KONA 3 software turn off any virus protection and security software that you may have installed on your computer 1 Visit the AJA website for the latest driver version appropriate to your configuration Alternately if you have no internet connection insert the KONA 3 CD in the Mac as noted this driver version may not be the most current 2 Locate the downloaded driver on the desktop or the KONA 3 CD icon on the desktop 3 Locate the package file in the folder from the download or by double clicking on the CD the package has an icon that looks like a box and has a pkg suffix Note Files ending in the pkg suffix are OS X installer files These launch the OS X installer and tell it where and what to install on your system 4 Double click the package to log on and begin software installation 5 Thesystem will respond by asking you to authenticate who you are as currently defined on your OS X user profile Enter the proper name and password at the Authenticate prompt if you have multiple users defined ensure that you log on as a user with administrator level authority AJA VIDEO SYSTEMS Authenticate a Installer requires that you type your passphrase Name Charles Whitlock Password or phrase esse a Details FTT D f N Cancel 7 OK Log On Authenticate Prompt 6 Click on the OK button after entering a valid user and password 7 The installe
131. r will launch and you ll see a series of installer screens O install AJA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Welcome to the AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Installer Welcome to the AJA Video KONA Installation Program Introduction e Read Me This software includes a device driver software components and License configuration information to allow your AJA Video KONA video card to play and capture broadcast quality uncompressed video via QuickTime and a variety of popular video editing and design tools amp Installation Type Obsolete components and data that may cause conflicts may be amp Installation removed amp Destination Select amp Summary You can get technical support by sending email to support aja com News and other information about this product including software updates are available from the AJA website at http www aja com You will now be guided through the steps necessary to install this software GoBack Continue Initial Installer Screen 8 Click Continue to begin installation 9 The next screen lets you know that the installer will check your Mac to ensure it has the hardware and software resources required see Minimum Requirements in Chapter 1 KONA 3 Installation and Operation Manual Installing KONA 3 Software w Install AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Impor
132. ration Manual Table of Contents Dieta OG TDS elect ee hse he ee ee TOT I CTS OEIL ees 59 Digital Out TaD Screen Settee ou e siege na aia Genium Me td inten en ae atn Ne a tie e 62 Andor Ont Nab Scteen Soto esq tees tet XU SERERE QrEx PULS Eu deis Pace 62 Analog Out lab Seres Setlgs ava te COVER ER ORBE Rer EORR ek ond 62 Control lab Screen drre cede eet peewee the eet Pea et Ges deutet parate 63 Control TaD Scen SENES i ee ee obser ane 63 S ever Uap Screen ora dob aoc de Rr UE aa Urna dade es Aa eS MER M pda eee a 66 SGU ab S CIO out me aM exa uM oU MM MEE aco AA sU nemesis 69 Delp Lab S Glech Seles ou ga eee b Reemi ve atico E aoo n pe da ep de MR roe 69 Codec Lab SOT EH wetoa sir E odd RE cael een ease ore dunt aded dedu pu Sent 70 Codec Tab Screen Settings aes durata Nome abe e rae x dia ars Kee ea kee Kee 7 Timecode Tikon grason iora a du d e qua akns iade cx qua de ro aeu dre quie 73 Timecode lab Screen Settings 24 cesso bete x be etm beer end eden bra 74 2K Crop TaD Screen acceded exe x DXX EESRERAWY IE QNS EE RE Na 2d s eg ada 76 Info abSCIee n sostenute UbePU D ur uM SM S EEUU SE Ue 78 Saving Your Control Panel Presets vade 4 soe ha dest eeeve liweee ted phase eed piss 79 Whows Controlling KONA O9 ete doy e roteto neiise ae na Yos 79 QuickTime Application 1st Priority er ere br ete Eee vt aUa de ae ees 80 Mac Desktop Video 2nd Priority 255 5 UL RE RLRESd b eR P EX RE RORRESUESR E 81 KONA Control Panel 3rd Priority 22
133. reen Settings Pause On these two choices determine what happens when Final Cut Pro is paused in stop mode Full Frame both fields are displayed resulting in some jitter while paused Single Field a single field is displayed showing no flicker useful when color correcting or whenever the flickering would be a distraction 24 30 FPS Conversion the value selected in this pulldown is used whenever due to format selection you ve chosen to do 24 frames per second to 30 conversion where extra fields will be added to pad the existing ones Depending on video content selection of different field patterns may be useful in reducing jitter due to the content of adjacent fields The numbers in the pattern choices specify the frequency with which inserted fields will be repeated For example 2 3 2 3 means duplicate a field twice then the next field three times then the next twice and then back to three times 24 30 fps Conversion YUV RGB Conversion Pattern Offset ColorSpace Gamma y 2 3 2 3 j E w Auto HH Auto B 2 0 3 2 E 2 2 2 4 Enable Custom LUTs 9 KONA 3 Control Panel Codec Tab Frame padding Pattern Choices YUV RGB Conversion These pulldowns select industry standard color space and gamma transfer functions for the YUV RGB conversion or allow you to direct the KONA card to automatically determine it for you AJA VIDEO SYSTEMS Colorspace choose from Rec 601 Rec 709 Auto Gamma choose from t
134. rials it is licensed to you only for reproduction of materials vou are authorized or Y KONA 3 Software License Agreement Screen 11 At the next screen click the nstall button to place the software on your computer AJA VIDEO SYSTEMS CO Install AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Standard Install on Macintosh HD Introduction Read Me This will take 40 0 MB of space on your computer License Click Install to perform a standard installation of this software on the volume Macintosh HD Destination Select 6 Installation Type amp Installation e Summary install Easy Install Installer Screen 12 The installer will run and put all the necessary KONA 3 drivers KONA 3 Control Panel presets and additional software on the desired hard drive When it has completed installation you ll be asked to restart the computer CO Install AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Installing AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Introduction 6 Read Me e License 6 Destination Select Installation Type Finishing Installation Installation Summary Running AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Installer script GoBack Continue jJ 4 KONA 3 Installation and Operation Manual Updating KONA 3 Firmware a
135. rivers for the card itself and all files necessary for Final Cut Pro and other application support KONA 3 Supports Final Cut Multi cam Feature Final Cut Pro 5 and later provides multi cam playout and KONA 3 supports it With KONA hardware and a sufficient storage solution you can handle up to 16 sources in real time Each stream of video is captured individually and then ganged together in Final Cut Pro for a multi cam editing workflow The KONA 3 hardware plays the multi cam clips out to professional broadcast monitors or decks via SDI HD SDI or via analog video Up to 16 sources can be viewed in real time via the KONA 4 up 6 up 9 up 16 up etc or each individual source can be viewed as it is selected via Final Cut Pro What s In The Box When you unpack your AJA KONA 3 you ll find the following components e AJA KONA 3 Software and Documentation CD ROM this CD contains the software installer to place KONA 3 drivers and the Control Panel on an Apple Mac Due to the pace of innovation it is best to install the latest driver version from the AJA website www aja com html support_kona3_swd himl Install the software as discussed in this manual in Chapter 3 Installation and Configuration The CD also contains a wide variety of useful information including this manual you re reading PDF format e KONA 3 4 Lane PCI Express card or KONA 3X if you ordered the PCI X version AJA VIDEO SYSTEMS e Cable KONA
136. rt 2 2K Workflow 3 2K Workflows 22 1 2K workflows procedures Appendix C 78 3 2 Pull Down 1 4 2092 4 4 3 20 4 dual link 60 8 Channel audio 13 8 bit Versus 10 bit Video 95 9 pin D connector 2 A A N Devices 85 A N Devices window 92 A V sources 37 AES digital audio 3 AES EBU 13 38 AES EBU audio 2 AES EBU Audio Inputs 13 AES EBU inputs selection 52 AJA Utilitie 5 alpha channel 4 67 alpha channel Video Key 60 KONA 3 Installation and Operation Manual Index Analog 4 Channel Balanced Unbalanced Audio 13 analog audio output 62 analog component 69 analog component or composite 2 analog component output 62 analog composite 69 analog connections 14 Analog Format 62 69 7 Analog monitor output 14 Analog Out Screen 62 Analog Out Screen Settings 62 69 7 Anamorphic 59 2 anamorphic SD to full frame SD 59 Apple Disk Utility 9 Apple Expansion Slot Utility 31 Apple Support 99 aspect ratio 88 aspect ratio conversion 2 50 Aspect Ratio value 90 Audio 3 2 audio 2 Audio channel mapping 52 audio connections 3 Audio Input 52 audio input source 91 audio input pulldown menu 52 audio input output 36 Audio Inputs And Outputs 13 Audio Mapping 92 audio monitoring connections 12 Audio Out 67 audio select between 8 and 16 bit sampling 91 Audio Video Settings 83 87 Audio Video settings 83 Audio Video Settings Menu 85 Audio Video Settings Device Control Presets Win dow 91 B Ba
137. s in RAID 5 Parity provides much greater storage efficiency than mirroring up to 85 percent for a set of seven drives Software For Striping AJA recommends the Disk Utility software provided by Apple with OS X for creating and striping RAIDs including 3rd party SCSI and Fibre Channel RAIDs This easy to use utility can be found in Macintosh HD Applications Utilities where Macintosh HD is the name of the system drive Storage Example AJA KONA 3 and Xserve RAID For an optimum disk storage configuration with Final Cut Pro and the AJA KONA 3 working with compressed media to uncompressed single link HD media Apple s Xserve RAID is an effective storage device when properly configured Apple s Xserve RAID holds up to 14 drive modules resulting terabytes of storage in a rackmount optimized 3U enclosure Each 7200 RPM hard drive connects to a dedicated ATA 100 drive channel eliminating a traditional source of bottlenecks and maximizing the 2Gb s Fibre Channel host connection s Populated with all 14 drive modules and using 512MB cache for each controller the XServe RAID can support the ingest and playback of all formats up to and including uncompressed single link HD Dual Link HD and 2K formats are not supported on a single XServe RAID Note When creating and striping an Xserve RAID with the Apple Disk Utility provided with OS X an ideal configuration is RAID 50 in other words the internal Xserve RAID drives are set up as RAI
138. s provided for connecting equipment to the SDI inputs and outputs This cable is also used to interconnect between the KONA 3 board to the optional K3 Breakout Box KONA 3 has up to 4 video outputs in SD and up to 3 outputs in HD 2 SDI outputs that are used for both high definition and standard definition SD HD SDI and an analog video output configuration of this three BNC cluster is discussed later with regards to component composite and Y C Each of the three outputs is independently switchable between HD and SD For example if you are working in HD you can have simultaneous HD SDI SD SDI and HD component analog output SDI inputs and outputs support video as well as 16 channels of embedded 24 bit digital audio Use SDI wherever possible for the best quality 10 bit uncompressed video input capture and output If peripheral equipment has a variety of inputs outputs look to see if it has SDI I O and use it where possible Most high end professional broadcast equipment supports SDI VTRs cameras media storage servers etc Note In the past manufacturers have used separate I O connections for standard and high definition SDI because the circuits were different On KONA 3 we use the same connectors for both HD and SD SDI both input and output due to our dual rate chipset which supports both HD and SD AJA VIDEO SYSTEMS Analog Monitor Out Component HD or SD or SD Composite Y C KONA 3 features 12 bit component video ou
139. s the video to full raster 1920 x 1080 providing instantaneous playback of HDV captured by Final Cut Pro for both monitoring and recording Unlike the DV25 format which can preview in realtime natively via Final Cut Pro the MPEG structure of HDV is much more complex Fortunately KONA 3 can provide real time monitoring and playback to both HD and SD monitors and decks via the realtime hardware scaler and down converter on board In addition to speeding up Final Cut Pro Dynamic RT by using the KONA scalar multiple frame size RT 1 4 size 1 2 size full size a Final Cut Pro feature also benefits from KONA 3 The frame count and image size are dynamically changed during file playback so you don t get the un rendered message in Final Cut Pro The KONA 3 scalar handles the dynamic multiple frame sizes seamlessly so that the Dynamic RT you see on the Mac monitor is the same as that shown on your professional broadcast monitor Internal HD SD Hardware Downstream Keyer Available for the first time on any QuickTime capture card is a powerful hardware keyer that can place graphic files with an alpha channel over video in a selectable matte or the contents of the card s framebuffer from a software application AJA Kona TV Apple s Final Cut Pro AJA s VTR Xchange Key a bug or text over picture and avoid what might normally be a lengthy software render In addition to working with these software applications you can also key video
140. same timebase as your original master tapes greatly simplifying the online editing and finishing process A more traditional way still supported by the KONA 3 using the on board down conversion option and Cinema Tools software is to down convert your HD masters to an SD format DVCam for example at 29 97fps non drop frame This allows for traditional lower cost SD monitoring equipment to be used but results in the changing of the editorial time base of your media for your offline editing which then must be dealt with via a somewhat complex series of software steps Keeping your files in the same timebase allows for a much simpler offline online process particularly when dealing with 2p HD media For 29 97 59 94 HD projects the complexity of the changing time base is eliminated but the same rules apply In this case using the 10801 DVCPRO HD setting for your offline gives you great quality results at data rates about half the size of SD uncompressed files for offline all the while allowing editorial to be performed in a high quality compressed HD format HD Offline Scenario 2 Mixing and Matching Formats in Final Cut 2K Workflows 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 a
141. see the benefits KONA 3 Installation and Operation Manual Understanding Typical Workflows Following are summaries of the most common workflows listing data rates and relative quality levels Some workflows require a RAID array and some will work using the host Apple computer s internal system drive it s noted where this is supported in the following discussions PhotoJPEG Data rate approximately 1 3 MB second standard definition or high definition supported by internal system drive Quality Very Good The PhotoJPEG codec offers an excellent compressed media choice for near on line quality at low data rates PhotoJPEG can use the full raster at 4 2 2 sampling Final Cut Pro allows you to adjust the quality using a slider To be able to effectively encode to PhotoJPEG when capturing HD the quality slider should not be set past 35 for HD The quality slider can be set higher for SD formats KONA 3 allows for PhotoJPEG monitoring and or output in both SD and HD KONA 3 can capture from almost any HD or SD input directly to PhotoJPEG media DV DV25 Data rate 3 MB second megabyte second standard definition only supported by internal system drive Quality Good DV is commonly input to an Apple computer via FireWire KONA 3 can capture directly to DV compressed media from an uncompressed SDI source For devices that may not have FireWire IEEE1394 or i Link connections this allows the user to capture to this low data rat
142. sets 83 Presets KONA 3 Control Panel 79 Primary 60 Print to tape 93 problem symptoms 97 Problems what to do 97 problems what to do if you encounter 97 progressive frame 55 progressive segmented frame 55 psf 55 Q QTToDPX Translator application 4 QTtoDPXtranslator 5 quality and codecs 18 quality lowest to highest 18 QuickTime Audio Settings 91 QuickTime Timecode 75 QuickTime video 88 QuickTime Video Settings 90 QuickTime Drivers 5 R RAID 9 RAIDs 8 read write 8 rear panel 13 Rec 601 72 Rec 709 72 Recommended System Requirements 7 Ref In 65 Ref Loop 45 ref loop 14 Reference Input 2 Reference Terms 1 Reference Video 14 Requirements 7 Requirements System 7 RGB 14 RGB Codec 20 RP 188 73 RP 188 Timecode 74 KONA 3 Installation and Operation Manual Index Em RS422 13 91 RS 422 control 2 RS 422 Sony 9 pin protocol 9 pin D connector pi nout 2 S sample rate 88 Sample rate conversion 3 SATA drives 10 Save Preset 79 Scenarios workflow 17 SD letterbox material to an anamorphic image 59 SD to SD aspect ratio conversion 59 SDI Input and Outputs 13 SD SDI connections 13 Secondary 60 select audio 67 Sequence Preset 85 Sequence Preset Window 88 Sequence window 93 set up 31 Settings 83 shipping 34 Shipping Box Contents 6 Shipping Box Contents illustration 33 shipping box unpacking 31 sidebars 59 Simple Test Project 93 single Field 71 SMPTE RP 188 75 SMPTE 372M compliant 4 4
143. software requirements to achieve a satisfactory level of performance when operating it Here we provide minimum and recommended requirements and then discuss disk storage issues that should be understood for proper system configuration The following table outlines the system hardware and software needed ee Recommended Kona Driver for FCP 6 0 x Kona Driver version 6 0 Leopard and Tiger OS Mac OSX and Final Cut Pro compatible version FCP 6 0 x Kona Driver version 5 1 Leopard and Tiger OS Note always consult the compatible version release notes for the AJA FCP 6 0 x Kona Driver version 4 0 Tiger OS compatible software version you are version running included with FCP 5 1 x Kona Driver versions 3 1 through 3 4 Tiger OS installer compatible versions FCP 5 0 x Kona Driver version 3 first Universal Binary version For the latest appropriate match for your software and hardware visit http www aja com html support_kona3_swd html Macintosh Tower Recommended KONA 3 System Apple Mac Pro with Dual Core Intel Xeon Processors 2 GHz or better with a minimum of 2GB RAM for uncompressed SD or 4GB for uncompressed HD Use a Fibre Channel or SCSI external RAID for uncompressed SD HD storage Minimum KONA 3 System Power Mac G5 dual PCI Express 2GHz with 2GB RAM minimum for uncompressed SD or 4GB RAM for uncompressed HD Ensure your Macintosh has a PCI Express slot for compatibility Use a Fibre Channel or SCSI exter
144. sor which whether hardware or software converts video and audio signals to and from a compressed digital format Coder decoder is generally a device that converts analog video and audio signals into a digital format for transmission and also converts digital signals back into an analog format depending on the application it can also have alternate meanings See codec A device or program that translates encoded data into its original format i e it decodes the data The process of converting an interlaced scan video signal where each frame is split into two sequential fields to a progressive scan signal where each frame remains whole Advanced de interlacers include a feature called 3 2 pulldown processing Sometimes de interlacing is referred to as line doubling Refers to format conversion from a higher resolution input standard to a lower one For example converting a 1080 input to a 525 display HD to SD DTV Digital Television Frame rate HDTV High Definition Television HD SDI High Definition Interlaced Scanning Letterbox Luminance Progressive Scanning Resolution Sampling KONA 3 Installation and Operation Manual Reference Terms DTV stands for Digital Television It refers to all digital television formats and standards established by the Advanced Television Systems Committee ATSC Two basic DTV standards are HDTV high definition television and SDTV standard definition
145. still seen as the de facto medium for recording moving images for projection at the highest possible resolution 2K scanning has persisted as the solitary method of creating 2K data until recently when a handful of telecine machines have come on the market that can move data at 2K resolution KONA 3 Installation and Operation Manual Transporting 2K Data HSDL Now we are seeing the first generation of what can truly be referred to as digital cinema cameras as they lack video recording devices specifically tape recording capability in their design and instead concentrate on producing electronic data that aims to emulate the image quality of traditional photochemical film processes This era is still early in its development but the pace of development promises that it will soon draw close to the quality and in some users opinions the ease of use of capturing images to motion picture film Transporting 2K Data HSDL Defined Moving 2K data is no small task remember that at 12 2MB frame data moves at nearly 300MB sec Storage devices such as RAIDs or SANs must have very high bandwidth capabilities to handle recording or playing back data at full speed The storage devices must also have adequate space to hold this data as an hour of 2K just exceeds 1 Terabyte But storage devices are for storing the data transporting the data is something different HSDL High Speed Data Link is easiest for video professionals to understand in this
146. t nearly impossible to ingest in realtime you can use KONA 3 to convert HDV projects to uncompressed in real time on playback for monitoring and or output Data rate 21 MB sec for standard definition or 100 to 125 MB sec for high definition external storage recommended Quality Excellent broadcast quality Capturing in uncompressed results in clearly defined video at full raster size and 4 2 2 chroma sampling Using uncompressed maintains high quality from capture all the way through effects rendering Final Cut Pro supports RT with uncompressed media using RT Extreme KONA 3 supports capture of uncompressed through its SDI input Uncompressed media can output via all of the KONA 3 outputs simultaneously Data rate 28 MB second standard definition or 133 166 MB second high definition Quality Excellent broadcast quality Offering all the benefits noted previously for 8 bit uncompressed 10 bit additionally offers higher color specificity for compositing and color correction With Uncompressed 10 bit 4 2 2 media video quality is second to none at any price point for non linear post production For more information on this subject please see the topic at the end of Chapter 4 Installation and Configuration titled Using 8 bit Versus 10 bit Video Data rate 200 to 300 MB sec high definition and 2K Quality Excellent highest quality available Offering all the benefits noted previously for 10 bit uncompressed 4 2 2 Du
147. t 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 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 For large facilities KONA 3 s 2K support allows ingest of 2K m
148. ta Link 4 4 4 Video Formats 525i 23 98 intermediate format only 525i 29 97 625i 25 720P 23 98 intermediate format only 720P 50 720P 59 94 720P 60 1080i 25 1080i 29 97 1080i 30 1080PsF 23 98 1080PsF 24 1080P 24 1080P 25 1080P 29 97 1080P 30 1080P 50 1080P 59 94 1080P 60 2048 x 1080P 23 98 2048 x 1080P 24 2048 x 1080PsF 23 98 2048 x 1080PsF 24 2048 x 1556PsF 14 98 HSDL data rate 2048 x 1556PsF 15 HSDL data rate 2048 x 1556psf 23 98 playback rate 2048 x 1556PsF 24 playback rate Video Output Digital SD SDI SMPTE 259M 10 bits BNC HD SDI SMPTE 292 296 10 bits BNC Dual link HD 4 4 4 and 2K HSDL 4 4 4 Analog SD and HD Output 12 bits BNC HSD and HD Output 12 bits BNC HD YPbPr RGB SD YPbPr RGB component mode or Composite Y C composite mode with simultaneous Y C Downstream Keyer can output graphics with alpha channel over video matte or framebuffer or framebuffer content over video or matte L AJA VIDEO SYSTEMS Audio 24 bit SDI embedded audio 16 channel 48kHz 24 bit AES audio 8 channel 96kHz or 48kHz 16 bit capable Up Conversion Hardware 10 bit Anamorphic full screen Pillar box 4 3 results in a 4 3 image in center of screen with black sidebars Zoom 14 9 results in a 4 3 image zoomed slightly to fill a 14 9 image with black sidebars Zoom Letterbox results in image zoomed to fill full screen Zoom Wide results in a combination of zoom and
149. tant Information Before You Install AJA KONA License This document contains system requirements and things to Destination Select do before you install the AJA KONA software B installation Type Introduction 6 Read Me WARNING Installation Summary The installer will run a system requirements check before installing If your system does not meet the minimum requirements listed below the AJA KONA software will not be installed A Macintosh computer with a PowerPC G5 or Intel System Check Installer Screen 10 Read and agree to the Software License Agreement 7 Install AJA KONA 3 Software 6 0 Beta 144 built Thu Jul 31 11 11 24 PDT 2008 Software License Agreement Introduction Read Me 7 AJA VIDEO INC License SOFTWARE LICENSE AGREEMENT Destination Select PLEASE READ THIS SOFTWARE LICENSE AGREEMENT Installation Type LICENSE BEFORE USING THE SOFTWARE BY USING THE SOFTWARE YOU ARE AGREEING TO BE BOUND BY THE B installation TERMS OF THIS LICENSE IF YOU ARE ACCESSING THE SOFTWARE ELECTRONICALLY SIGNIFY Y OUR AGREEME Summary TO BE BOUND BY THE TERMS OF THIS LICENSE BY CLICKING THE AGREE ACCEPT BUTTON IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE RETURN THE AJA SOFTWARE TO THE PLACE WHEKE YOU OBTAINED IT FOR A REFUND OR IF THE SOFTWARE WAS ACCESSED ELECTRONICALLY CLICK DISAGREE DECLINE IMPORTANT NOTE To the extent this software may be used to reproduce mate
150. te description of the damage AJA will repair or replace damaged items If you find shipping damage contact your AJA dealer or distributor for details on how to have your KONA 3 repaired or replaced Note Save packing materials and the shipping box If you ever require service or move your system use the packaging materials and box for safe shipment Installing the KONA 3 Card into a MacPro or G5 1 2 Place the computer in a well lit area where you will have easy access when opening the MacPro or G5 chassis Using your hand touch the outside of the Mac to discharge any static electricity you have Remove the power cable from the back of the chassis Remove the side access door and clear inner panel as described in your Apple User Manual The Mac Pro does not have a clear inner panel so you will have direct access to the slots Lay the machine on its side motherboard facing up Remove the KONA 3 card from its protective anti static bag place the card on top of the bag Visually locate the PCI Express slots inside the Mac chassis G5 photo shown on the following page The KONA card only requires a x4 lane PCI Express slot so any of the available slots will work correctly be aware that slot 4 is the preferred slot on a PCIe G5 and slot 3 is the preferred slot on the MacPro You should also be aware to configure the slots with the Apple Expansion Slot Utility application for the MacPro so that the KONA is at x4 or better s
151. te quality level Set the FPS Frames Per Second setting to the correct frame rate The Advanced settings button opens a new screen providing choices of codec specific options For uncompressed codecs these probably are not unneeded for other codecs choose the options desired KONA 3 Installation and Operation Manual Easy Setups for Typical Uses QuickTime Audio Settings these settings select an audio input source and affect how it s processed by Final Cut Pro The Device pull down should be set to KONA 3 The Input pull down selects that KONA 3 will be used for capturing audio it does not select the specific inputs For specific audio input selection use the KONA 3 Control Panel The Rate pull down selects a sample rate it should always be set to 48 kHz for KONA 3 By clicking on the Advanced button a new screen will be displayed where you can select between 8 and 16 bit sampling AJA recommends 16 bit for optimum sound quality This has nothing to do with input format as KONA 3 supports 24 bit embedded HD audio 20 bit SD embedded audio and 24 bit AES audio The Device Control Presets Window Audio Video Settings Summary Sequence Presets Capture Presets Device Control Presets AV Devices Presets Summary Use this preset when editing with fhe Kona3 in AJA Kona3 23 98 Sony VTR A 29 97 fps AJA Kona3 23 88 Sony VTR B AJA Konad 24 Sony YTR A AJA Kona3 24 Sony YTR B AJA Kona3 25 Sony VTR A AJA Kona3 25 Son
152. terference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense Changes or modifications not expressly approved by AJA Video can effect emission compliance and could void the users authority to operate this equipment To contact AJA Video for sales or support use any of the following methods 443 Crown Point Circle Grass Valley CA 95945 USA Telephone 800 251 4224 or 530 274 2048 Fax 530 274 9442 Web http www aja com Support Email support aja com Sales Email sales aja com When calling for support first read the Chapter on Troubleshooting at the back of this manual You can often save time and effort by looking there first for simple remedies and information on how to get support from AJA and Apple Computer Inc KONA 3 Installation and Operation Manual Limited Warranty E Limited Warranty AJA Video warrants that this product will be free from defects in materials and workmanship for a period of three years from the date of purchase If a product proves to be defective during this warranty period AJA Video at its option will either repair the defective product without charge for parts and labor or will provide a replacement in exchange for the defective product In order to obtain service under this warranty you the Customer must notify AJA Video of the defect before the
153. that has an alpha channel over video input or a matte For example you could load a QuickTime clip that has an alpha channel a flying logo generated in the Animation codec into KONA TV and then place it over live video coming into the card and then passing both on to a VTR for recording or broadcast KONA 3 Installation and Operation Manual What s In The Box Em Software e KONA 3 Control Panel for audio video source selection conversion and control of KONA 3 within the overall MacOS environment Macintosh Desktop Input Pass through etc e AJA QuickTime Drivers for tightly integrated hardware software operation e Support for Apple Final Cut Pro application software not included e Support for After Effects Combustion Motion and other application application software not included e AJA Utilities KONA TV VTR Xchange KONA System Test AJA Data Rate Calculator KONA QTtoDPXtranslator and KONA DPXtoQTrtranslator these utilities are also available for free download at www aja com html support_kona3_swd html as well as being part of the KONA 3 installer AJA s KONA 3 software and hardware were developed for use with Final Cut Pro for powerful integrated video audio capture editing and video production With a MacPro or Apple G5 FCP and KONA 3 you have the ultimate system for standard definition and high definition video production and DI work Software is supplied on CD including the KONA 3 Control Panel d
154. the application and select Video Settings Choose Source from the three options of Adjustments Compression and Source From within this menu select the appropriate format that is being indicated in the KONA Control Panel i e 1556x2Kpsf14 98 10 Bit 2048x1556 Now select Compression from the three choices of Adjustments Compression and Source In the pulldown for Compression type select AJA Kona 10 bit Log RGB Codec or AJA Kona 10 bit RGB Codec For maximum flexibility and with most equipment the AJA Kona 10 bit Log RGB Codec will be the best choice For the Frames per second select 23 98 as this 1s the frame rate that will be set for the QuickTime Reference Movie that you will create simultaneously with the sequential DPX files From the Preferences AJA VTR XChange pulldown menu look under the Capture heading and select Save as Numbered Files You should also select a storage device capable of a minimum of 300 MB sec for the data under the Capture heading Captured Clips Folder if no selection is made the application will prompt you to choose a location for your captured media 4 You re now ready to capture the material from the 2K output device Begin playback on a non controllable device or mark in and out points for a clip coming from a controllable device like a digital disk recorder If you have no device control you can only select capture now meaning that you will be crash recording the data onto your disks If you do h
155. the topmost application and has KONA 3 as its A V Device then the KONA 3 s Primary format is determined by Final Cut s Video Playback submenu under the View menu or in its Audio Video Settings dialog under A V Devices When a QuickTime application is in control of the KONA 3 board versus one of the other masters it will be indicated by a label in both the KONA Control Panel s Formats and Control tabs The KONA 3 Control Panel s Primary Format menu will KONA 3 Installation and Operation Manual Using The KONA 3 Control also indicate that it is not active while the QuickTime application is running it will be grayed out What can be confusing is that QuickTime applications can start and stop and change modes even while they are running And the behavior of different QuickTime applications can vary some applications take control of the board as soon as they are launched and don t give it up until they quit while other applications take control of the board only when they are the front most running application and then relinquish control when they re not Final Cut Pro is one of the latter type QuickTime applications This difference in behavior can surprise you when you click in and out of multiple QuickTime application windows To illustrate such possible confusion consider this multiple application scenario 1 Open Final Cut Pro select KONA 3 as the A V device FCP takes control of the board
156. ting does not match the playback playback output setting found at FCP Audio Video Settings gt AV Output 2 Canvas Viewer zoom setting exceeds the fit to window setting Change to Fit to Window Video output is black 1 External video is set to No Frames View gt External Video 2 he Playback output setting found at FCP Audio Video Settings gt AV Output is set to none or to a non KONA 3 device Video stutter during playback RAID cannot sustain data rate Red render bar occurs when placing a The sequence setting does not match the clip setting clip on a sequence Updating Software Support Check on the AJA Video website www aja com html support_kona3_swd html for software updates If any are available download the file and read any associated instructions prior to installing the software When calling for support first check over your system configuration and ensure everything is connected properly and that current Final Cut presets and Easy Setups match what you are trying to do Even if you cannot find the cause of the problem having this information at hand will help when you call Apple or AJA Customer Support for help KONA 3 Installation and Operation Manual Support E If the problem is unknown or you need general help first contact the dealer where you purchased the product AJA dealers offer product support for many service requirements If the problem is a Final Cut Pro
157. tings as a snapshot for later recall called a preset In this way you can Presets organize the presets for all your typical tasks saving time by not having to manually reconfigure each time To save a preset simply go to File gt Save Preset Be sure to give the preset a meaningful name Thereafter the preset will be available under the Control Panel Presets menu Who is Controlling If you are consistent in the workflows and formats you use between applications you KONA 3 generally won t be surprised by how your system operates KONA 3 is very flexible and most applications perform the necessary housekeeping so they work correctly when they re active and when they re not However since several applications using KONA 3 can be running at once with one active it can create confusion when settings are different in each and you switch back and forth To prevent confusion we recommend you run the KONA 3 Control Application and have it visible somewhere on your Macintosh desktop It will tell you even when it s not the active application who has control of KONA 3 and what the current format selections are For further understanding read on and we ll give you some further background on KONA 3 control The main issue you ll generally want to know is what application has control of KONA 35 Primary Format at the current moment ED AJA VIDEO SYSTEMS Masters Who Has That Can Priority Control KONA 3 1st Priori
158. tput for both HD and SD The analog component output can be configured in a variety of ways as a component composite or Y C signal This flexibility allows for example the use of an inexpensive analog input only monitor for both HD or SD viewing Since the three BNC connectors share component composite and Y C functions output of component is exclusive while composite and Y C can be output simultaneously For Y C monitoring an adapter cable from dual BNC for Y C to S Video mini DIN style connector is required For analog monitoring a component video signal is generally regarded as higher quality for monitoring than a composite signal A Note About YPbPr Component Video or YPbPr has been given several names over time YUV Y R Y B Y and YCbCr are just some examples Although these various formats have some differences in levels they are all basically the same KONA 3 uses the modern YPbPr terminology exclusively KONA 3 supports three different types of YPbPr SMPTE EBU N10 Betacam NTSC and Betacam NTSC Japan These three formats differ in level only and are configured in the KONA 3 Control Panel A Note About RGB Although RGB is used less in today s video systems KONA 3 supports it for A V Monitor output However because KONA 3 s and SMPTE SDT s native format is YPbPr AJA recommends the use of YPbPr whenever possible for analog monitoring Although component video monitors often have RGB inputs it s better to use YPb
159. ty Final Cut Pro 1st Priority Other QuickTime Application Control of KONA 3 and Primary Format 2nd Priority Mac OSX Desktop Video Selection 3rd Priority KONA 3 Control Panel Application When you click in an application window the Master controlling KONA 3 changes possibly changing the Format Selections in effect This happens because each application has its own sets of control parameters TIP f you keep the KONA 3 Control Panel window in view it displays the application that is in control and what the Primary and Secondary Format Selections are at all times KONA 3 Control Priorities The KONA Control Panel is one of three masters contending for control and it s the lowest priority of the three The other two masters are any currently running QuickTime application e g Final Cut Pro KONA TV Apple Motion After Effects etc using the board and the Mac Desktop display The priority of these cc gt gt three masters is 1 QuickTime Application 2 Macintosh Desktop 3 KONA 93 Control Panel By Master we mean a process that can control and change what the KONA 3 is doing and the Primary and Secondary formats that it uses as set in the Control Panel Formats tab screen QuickTime Application 1st Priority If a running QuickTime application uses KONA 3 for capture or output it controls the Primary format via its own menus and settings For example when Final Cut Pro is active it s
160. ulldown over the video input for playout or print to tape Graphic over Frame Buffer places a graphics file having an alpha channel chosen in Graphic File pulldown over the current contents of the KONA card s Frame Buffer which might be from storage video In Kona TV etc Matte Color only available when the pulldown Frame Buffer over Matte or Graphic over Matte are selected pressing this button brings up a color selection dialog The dialog provides a variety of ways to select a matte color including a color wheel color picker choose from a location anywhere on the computer screen numeric sliders swatches crayons and spectrums The matte chosen will be used as a video background under the keyed video Foreground pre multiplied checkbox use to avoid matte lines and improve the appearance of the foreground key being composited over the background Audio Out Frame Buffer select audio out to be routed from the contents of the Frame Buffer Audio In select audio out to be routed from KONA s currently selected input s Opacity this slider controls the transparency of the keyed video over the background from translucent to completely opaque Graphic File this pulldown allows you to choose from any recently accessed file or select a new file Load File which then brings up a file dialogue Remember that the file raster pixel x pixel count should match the primary format in the
161. up as previously discussed go to the Final Cut Pro menu and select Easy Setup then select a desired preset 2 Select New Project from the File menu itm Edit View Mark Modify Sequence Effects Tools Window Help rx LJ amp New b New Proiect s d spagn 22 Stereo ala2 Filters Motion Jf Sequence Open 520 00 02 00 00 4587 ORT E3 7 63 o0 00 00 00 Es cox Open Recent gt Close Window HW Close Tab AW Close Project Save Project 365 Save Project As 4365 Save All C365 Revert Project Restore Project Import p Export gt Create a New Project 3 The Sequence window will be at the bottom of the screen and a Browser window will be at the top left Look at the Browser window and locate the Effects tab at the top right Click on it 4 Locate the Viewer window in Final Cut and click on the Filmstrip pulldown menu button it s a filmstrip icon with an A on it Select Bars and Tone NTSC or Bars and Tone PAL The viewer window will display bars after you do this AJA VIDEO SYSTEMS 5 Click the mouse cursor on the Bars and Tone in the Viewer window and drag it to the beginning of the sequence window You ll see the bars and tone show up on the sequence where it can then be played 6 Go to the beginning of the sequence by clicking on the left most icon and then click the Play icon You should see and hear the bars and tone on your video monitor an
162. y YTR B AJA Kona3 29 97 Sony VTR A Pratacal Sony R5 422 Time Source LTC Fort Kona Serial Audio Device Control mapping Ch1 8 4 Channels Frame Rate 259 07 Use deck search machansism Fre rull 3 seconds Fost rall seconds Capture Offset 1 500 frames Handle Size 00 00 00 00 Playback Offset no0 00 00 01 AJA Kona3 29 97 Sony VTR B AJA Kona3 30 Sony VTR A AJA Kona3 30 Sony VTR B AJA Kona3 59 94 Panasonic VIR AJA Kona3 720p 59 94 Varicam Panasonic DVCPRO HD 1080150 FireWire lt r ee mice nave s Duplicate Edit Delete y Cancel jJ Audio Video Settings Device Control Presets Window This window selects machine control parameters for an attached VTR Your choice here tells Final Cut that KONA 3 is handling the machine control parameters for the VTR attached to KONA 3 Alternatively you could also select a different device for input output instead of KONA 3 for example if you have a IEEE 1394 camcorder attached to the Power Mac s FireWire port you might choose FireWire NTSC The information on the right window pane describes the current machine control settings and parameters for the VIR attached For KONA 3 presets this means the VTR attached at the RS422 port on KONA 3 For non KONA 3 presets this means camcorder VTRs attached directly at the FireWire port or via some other interface If you select a preset you can edit it click che Edit button or copy and rename it

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