Models: LSe and LS Installation and Operation Guide May 31, 2006 P/N101656
Trademarks AJA, KONA, 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. Notice Copyright © 2006 AJA Video, Inc. All rights reserved.
KONA LS Installation and Operation Manual — Limited Warranty 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.
KONA LS/LSe Installation and Operation Manual — Table of Contents Table of Contents Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii FCC Emission Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Installing the KONA LSe Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Installing the KONA LS Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Cabling the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 System Video/Audio Cable Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 1: Introduction KONA LS Edge Shot Photo Here KONA LSe Overview AJA KONA LSe and LS bring the highest quality SD and analog video/audio to a Power Mac running Final Cut Pro software. (For readability this manual refers throughout to the LSe and LS as “LS”.) KONA LS analog interfaces are very high quality. Using superb 12 bit video A/D and D/A converters, analog formats like BetaCam SP look excellent.
2 KONA LS/LSe work with Final Cut Pro and other applications to provide a professional editing suite, corporate/industrial video center, or high-powered desktop video setup. This manual covers the installation and operation of both the KONA LSe and LS and discuss using them with Final Cut Pro and other applications. Instructions for installing the KL-Box are shipped separately with it.
KONA LS/LSe Installation and Operation Manual — What’s In The Box? At the present time Final Cut Pro only supports 2 channels of audio input and up to 24 channels of audio output. However, KONA LS supports 6 audio channels in and out via the hardware, and will support multichannel audio input when Final Cut Pro supports that function in the future. KONA LS also features AES input sample rate conversion; this feature eliminates the requirement for audio source synchronization.
4 • Read Me First Notice—Contains late-breaking news and/or errata related to KONA LS and the documentation. • Registration Sheet—allows you to register your card by mail or online (details provided). Please save all packaging for shipping the KONA LS should you wish to do so when moving or sending it in for service.
KONA LS/LSe Installation and Operation Manual — System Requirements Minimum and Recommended System and Software Requirements The following table outlines the system hardware and software needed. Item Minimum Recommended Macintosh Operating System OS X, version 10.4, QuickTime 7 OS X latest release.
6 Storage Method Features/Limitations Cost Xserve RAID Features up to 14 ATA/100 drive channels, dual independent RAID controllers, and a dual 2Gb Fibre Channel host interface. Xserve provides up to 5.6TB of storage with throughput of up to 400 megabytes per second. Expensive, although the cost per gigabyte is excellent when large storage is needed External ATA/IDE or SCSI RAID Scalable. Performance almost as good as Xserve, although it can be more complex to set up and maintain.
KONA LS/LSe Installation and Operation Manual — System Requirements LSe or LS (Installed in PowerMac) 1 Disk Storage Solutions—External ATA/IDE or SCSI RAID About RAIDs Redundant Array of Independent Disks, or RAID, is a group of hard drives that appears to the host Power Mac 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, but not possible from a single hard drive.
8 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 Xserve RAIDs. It is very easy to use and has been tested to work well. The utility can be found in Macintosh HD/Applications/Utilities, where “Macintosh HD” is the name of the system drive. AJA KONA LS and Xserve RAID For the optimum in disk storage with Final Cut Pro and AJA KONA LS, we recommend Apple’s Xserve RAID.
KONA LS/LSe Installation and Operation Manual — Cable Connections Note: for uncompressed formats, PAL and NTSC transfer rates and storage requirements are the about the same because PAL has a lower frame rate, but more lines. Cable Connections When KONA LSe or LS is installed in a PowerMac, it connects to the outside world via either the standard breakout cable supplied, or the optional KL-box (using the two cables supplied with it).
10 60-pin connector To KONA LSe SD-SDI/HD-SDI Video/Audio Reference Input BNC SDI Input BNC SDI Output 1 BNC SDI Output 2 BNC Analog Video green Y/CVBS In BNC blue Pb/Y In BNC KONA LSe Cable red Pr/C In BNC green Balanced Audio Analog Audio Channel 1 Input Analog Audio Channel 2 Input Analog Audio Channel 1 Output Analog Audio Channel 2 Output AES Input Channels 1 & 2 Y/G/CVBS Out BNC blue Pb/B/Y Out BNC red Pr/R/C Out BNC 6 BNCs (Analog Connections): Can be Configured for Component, Composite, or Y
KONA LS/LSe Installation and Operation Manual — Cable Connections The KL-box attaches to the KONA LSe or LS card via cables that attach to the back of the KL-box. These cables and installation instructions are supplied with the KL-Box. Using KL-box Note: The LSe and LS use different cables to attach to the KL-Box; ensure you have ordered the correct KL-Box for your model.
12 2 Channel Digital AES/EBU Audio Inputs And Outputs One female XLR connector is provided for the channel 1 and 2 inputs, while a male XLR connector carries channel 1 and 2 outputs. AES/EBU signals are handled internally as 24-bit digital.The optional KL-box also provides XLR audio connections on the front panel. Note: These XLR connections are digital and cannot be used with analog equipment having XLR connectors.
KONA LS/LSe Installation and Operation Manual — In This Manual A Note About RGB—Although RGB is used less in today’s video systems, KONA LS supports it (RGB out only). However, because KONA LS (and SMPTE SDI) 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 YPbPr when the monitor supports it.
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Chapter 2: Getting Started KONA LS And Your Workflow There are a lot of ways to think about the video/audio workflow you follow. Your setup might be categorized as corporate video, professional broadcast, or desktop video. Or the workflow might be categorized by the type of equipment used rather than the nature of work produced—many systems these days are a mixture of equipment from high-end professional to desktop video.
16 Source Deck Type(s) Workflow Attributes Digital SD Examples: Digibeta, DV50, DVCPRO and DVcam Analog Example: Beta Digital capture via Firewire with Output via AJA KONA LS Example: MiniDV Without even using a deck; use the video monitor as a second Mac monitor. The KONA LS desktop lets you drag graphics from programs like Adobe Photoshop from the computer display to the video monitor. You paint full frame and live onto a broadcast monitor.
KONA LS/LSe Installation and Operation Manual — Understanding Typical PhotoJPEG Data rate: approximately 1-3 MB/second—supported by internal system drive Quality: Very Good The Apple PhotoJPEG codec offers an excellent compressed media choice for 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 quality using a PhotoJPEG control panel. KONA LS allows for PhotoJPEG monitoring and/or output in SD.
18 Uncompressed 10-bit Data rate: 28 MB/second (see later “Storage Capacity” chart in Chapter 1 for transfer rates)—requires SCSI, Fibre Channel or ATA drive array Quality: Excellent, very high quality Offering all the benefits noted previously for 8-bit uncompressed, 10-bit additionally offers the very highest quality available. With 10-bit media and Final Cut Pro’s 32 bit Floating Point YUV effects rendering, video quality is second to none—at any price.
Chapter 3: Installation & Configuration Installation Overview TThe installation and set up of a KONA LSe/LS 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 Power Mac, ensure that Final Cut Pro is installed as detailed in its user documentation. Final Cut Pro must be installed and have been run at least once prior to installing AJA KONA LS software. 3.
20 Unpacking Shipping Box Contents KONA LS is shipped with a CD containing system software and an Installation and User manual (a PDF on the CD), and a cable. If you purchased the optional KL-box breakout box, it ships with its own set of cables and instructions for connection to the KONA LS card.
KONA LS/LSe Installation and Operation Manual — Installing the KONA LSe 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 LSe Card 1. Place the PCI-Express G5 in a well-lit convenient area, where you will have easy access to the chassis access door. 2. Using your hand, touch the outside of the G5 to discharge any static electricity you have.
22 To Install: 1. Remove Screw and Cover Plate and Insert KONA LSe Card 2. Secure KONA with Screw Removed Earlier PCI-Express Slots PowerMac G5 Cardcage Access PCI-Express Slots PowerMac G5, PCI-Express Slots: use any available slot for KONA LSe Note: After you install the KONA LSe card, you may notice that in the MacOSX Network preferences there is a message stating “You have a new network port named KONA LSe —be sure to check the settings...”.
KONA LS/LSe Installation and Operation Manual — Installing the KONA LS 23 Installing the KONA LS Card 1. Place the G4/G5 in a well-lit convenient area, where you will have easy access to the chassis access door. 2. Using your hand, touch the outside of the G4/G5 to discharge any static electricity you have. Remove the power cable from the back of the PowerMac. 3. Open the PowerMac to gain access to the card slots as described in your Apple User Manual. Lay the G4/G5 on its side, motherboard facing up. 4.
24 PCI Slots Locate the PCI Slots Inside Your PowerMac (G5 Shown Here) PowerMac G5 PCI Slot Detail
KONA LS/LSe Installation and Operation Manual — Cabling the System 1 Insert the KONA LS Into the Slot Note: After you install the KONA LS card, you may notice that in the MacOSX Network preferences there is a message stating “You have a new network port named KONA LS —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 LS card that you will use for VTR machine control.
26 KONA LSe System Cabling When Using The Breakout Cable KONA LSe Installs in PCI-Express Slot in G5 Standard Breakout Cable 60-pin connector To KONA LSe SD-SDI Video/Audio Reference Input BNC SDI Input BNC SDI Output 1 BNC SDI Output 2 BNC Analog Video green Y/CVBS In BNC blue Pb/Y In BNC red Pr/C In BNC green Balanced Audio Analog Audio Channel 1 Input Analog Audio Channel 2 Input Analog Audio Channel 1 Output Analog Audio Channel 2 Output AES Input Channels 1 & 2 Y/G/CVBS Out BNC blue Pb/B/Y Ou
KONA LS/LSe Installation and Operation Manual — Cabling the System KONA LS System Cabling When Using The Breakout Cable KONA LS Installs in PCI Slot G4 or G5 1 Standard Breakout Cable 44-pin connector To KONA LS RS422 Machine Control to VTR (user-supplied 9-pin cable) Reference Input BNC SDI Input BNC green Y/CVBS In BNC SDI Output 1 BNC blue SDI Output 2 BNC red Pb/Y In BNC Pr/C In BNC green Balanced Audio Analog Audio Channel 1 Input Analog Audio Channel 2 Input Analog Audio Channel 1 Output A
28 KONA LSe, this will be on breakout cable or KL-Box; on the KONA LS, it’s on the circuit card endplate.) 4. Connect two SDI cables between KONA LS and your digital VTR (Digital Betacam etc.): one from KONA LS SDI In to the VTR SDI Out, and one from KONA LS SDI Out (1 or 2) to the VTR SDI In. The KONA LS SDI connections have embedded audio so the VTR must be configured accordingly. (On the LSe, the SDI connectors are on the card’s endplate; on the LS they are provided on the breakout cable.) 5.
KONA LS/LSe Installation and Operation Manual — Installing KONA LS System software updates may occasionally become available to AJA KONA LS owners on our website (www.aja.com). We recommend checking occasionally for both software updates and additional product information. Note: If your PowerMac has previously had another video capture or multimedia card installed, ensure you remove the card and uninstall any related software before installing KONA LS. This will prevent any hardware or software conflicts.
30 7. Click on the OK button after entering a valid user and password. 8. The installer will launch and you’ll see a series of installer screens. Initial Installer Screen 9. Click Continue to begin installation. 10. The next screen lets you know that the installer will check your PowerMac to ensure it has the hardware and software resources required (see Minimum Requirements in Chapter 1).
KONA LS/LSe Installation and Operation Manual — Installing KONA LS 1 System Check Installer Screen 11. Read and agree to the Software License Agreement. KONA LS Software License Agreement Screen 12. The next screen shows all the available drives on the Power Mac. Click on the boot drive that contains your system files (Apple default is “Macintosh HD”). A green arrow will point to the drive you’ve selected. Click the Continue button to proceed with installation.
32 Select a Destination Drive For the KONA LS Software 13. At the next screen, click the Install button to place the software on the drive you previously selected. Easy Install, Installer Screen 14. A system prompt will pop up with a reminder that OS X must be restarted after installation. Click the Continue Installation button to proceed.
KONA LS/LSe Installation and Operation Manual — Installing KONA LS 1 Restart OS X Reminder Prompt 15. The installer will run and put all the necessary KONA LS drivers, KONA LS Control Panel, presets and software on the desired hard drive. When it has completed installation, a final screen will be displayed announcing that “software was successfully installed.” 16. Click the Restart button to complete the installation procedure. The system will perform a software restart and be ready for use.
34 Final Installation Screen Genlock and Your System For video stability and proper system operation, it’s always best to genlock all equipment to house sync. Although genlock is not absolutely required for KONA LS or your system, better quality and repeatable operation will be experienced by doing so. Usually, this means using a black burst generator output supplied to the system.
Chapter 4: Final Cut Pro and Other Software Final Cut Pro Final Cut Pro (not included with KONA LS) ships with information already configured for most common system configurations. After you install the KONA LS software on your Power Mac, all you need to do to begin using it is to become familiar with the KONA LS Control Panel and how Final Cut Pro works with KONA LS. With Final Cut Pro you’ll choose the proper setups from the canned ones provided by AJA.
36 Control Panel Basics Although the KONA LS card auto-configures depending on the inputs present, 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 LS application and look at its display. Then refer to the “Basics” described here to fully understand what you’re seeing and learn how to view and change the KONA LS system configuration.
KONA LS/LSe Installation and Operation Manual — Using The KONA LS Framebuffer—The framebuffer is the “engine” in the KONA LS card where active video operations take place using Final Cut Pro, other 3rd-party applications, or even KONA LS 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).
38 Tabbed Windows—The bottom area of the KONA LS 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. 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 LS/LSe Installation and Operation Manual — Using The KONA LS 39 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. (If an input/output has no video, it will be indicated on the block diagram as “No Video.
40 Audio Input—This pulldown menu allows you to pick where the audio comes from. KONA LS supports up to 6 channels of embedded digital audio, so you can choose out of the 16 channels that can be embedded in SDI, and pick which 6 to bring in (from the group 1-8 or 9-16). Since Final Cut Pro currently only supports two channels of audio, here you can also select which two channels from the 8 embedded will be mapped to Final Cut’s two channels.
KONA LS/LSe Installation and Operation Manual — Using The KONA LS Formats Screen The Formats screen shows the video format currently in use by the KONA LS framebuffer (called the Primary Format) and allows you to change it. All throughout the Control Panel, choices are always presented based on what KONA LS can do with the signals available and the inputs/outputs selected.
42 Analog Out Screen KONA LS provides a high-quality analog component or composite output. This screen shows the current settings for that analog output, and allows you to reconfigure it when desired (format and black-level). KONA LS Control Panel, Analog Out Tab Analog Out Screen Settings Analog Format—choices in the Analog Format pulldown menu vary depending upon the Analog Output video standard.
KONA LS/LSe Installation and Operation Manual — Using The KONA LS Control Screen The KONA LS can be controlled by various software applications running on a host PowerMac, and can also be used as a Macintosh Desktop extension. The Control Screen is where you select how the KONA LS will direct video and be used by application software. This screen also provides control for configuring output timing with regard to external reference video and horizontal/vertical delay.
44 Note: Any application trying to play back audio outside of Final Cut will not work properly in Input Pass Through. This happens because while in Input Pass Through all audio is passed straight through the card, and any inserted audio is ignored. Black: this selection directs KONA LS to output video black whenever an application isn’t controlling the card. Test Pattern: this selection directs KONA LS to output a choice of preset patterns—when no other QuickTime application is using the KONA board.
KONA LS/LSe Installation and Operation Manual — Using The KONA LS Setup Screen KONA LS 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. 1 KONA LS Control Panel, Setup Tab Setup Screen Settings Analog Black Level—choices in the black Level pulldown menu are only available for the two Composite analog formats.
46 Codec Screen This screen offers a variety of controls that determine how the card behaves under Final Cut Pro. KONA LS Control Panel, Codec Tab Codec Screen 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).
KONA LS/LSe Installation and Operation Manual — Using The KONA LS Timecode Screen The timecode is used for both monitoring the RP-188 timecode embedded in the digital data stream and for selecting a timecode offset (if required) for the attached VTR (connected to KONA LS’s RS-422 port)—and sent during assemble-edit mode. 1 KONA LS Control Panel, Timecode Tab Timecode Screen Settings RP-188 Timecode —in RP-188 timecode there can be multiple timecode values in the data stream.
48 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. Timecode Burn-in—this pulldown selects whether the timecode value is “burned-in” on video output from KONA LH.
KONA LS/LSe Installation and Operation Manual — Easy Setups for Typical Uses Saving Your Control Panel Presets After configuring the KONA LS Control Panel via the Tabbed screens, you can then save all your settings as a snapshot for later recall—called a preset. In this way, you can 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 -> Save Preset...”. Be sure to give the preset a meaningful name.
50 Ensure “Show All” is checked so you can see the AJA Easy Setups 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 list of the Apple-supplied Easy Setups stored on the system. If you wish to see all of the Easy Setups, factory, AJA, and user-defined, then ensure the “Show All” checkbox is marked at the right side of the dialog.
KONA LS/LSe Installation and Operation Manual — Easy Setups for Typical Uses Note: Easy Setups and Final Cut Pro presets can be tricky to configure for optimal performance. We highly recommend choosing an AJA KONA preset close to your desired configuration and then editing a copy of this preset instead of trying to set one up from scratch. Easy Setups For Use With KONA LS The factory default Easy Setups currently shipped with KONA LS are shown below.
52 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 LS device (NTSC or PAL as desired). This tells Final Cut to control the VTR attached to KONA LS or KLBox.
KONA LS/LSe Installation and Operation Manual — Easy Setups for Typical Uses Click Here Audio/Video Settings, Creating a New Easy Setup 1 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.
54 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.
KONA LS/LSe Installation and Operation Manual — Easy Setups for Typical Uses The Capture Presets Window 1 Audio/Video Settings, Capture Presets Window This window lets you choose a preset format for incoming 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.
56 Capture Presets Editing 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.
KONA LS/LSe 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 AJA Kona. The Input pull-down selects that KONA LS (AJA Kona) will be used for capturing audio—it does not select the specific inputs. For specific audio input selection use the KONA LS Control Panel.
58 When editing a Device Control preset you can change the following: • Name and description of Device Control preset • Protocol for capture/playback VTR (for KONA LS this will be RS422) • Audio Mapping • Time Source (LTC/VITC/both/etc.) • Port • Frame Rate • Default Timecode (Drop Frame etc.) • Capture/Playback Offsets (to correct for VTR versus Final Cut timing issues) • Handles/Pre-roll/Post-roll • Auto Record and PTV KONA LS ships with VTR Device Control Presets for Sony and Panasonic VTRs.
KONA LS/LSe Installation and Operation Manual — Easy Setups for Typical Uses The A/V Devices Window 1 Audio/Video Settings, A/V Devices Window The A/V Devices window selects the current hardware playback device for both audio and video. Typically, you’ll select KONA LS for both playback devices. The format chosen determines the Primary format for the KONA LS board during playback.
60 Checking the System with a Simple Test Project of Bars and Tone To test that you’ve installed the KONA LS 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 Setup 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. Create a New Project 3.
KONA LS/LSe Installation and Operation Manual — Checking the System with a 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.
62 Bars and Tone In Sequence Window Click “Play” to 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 VTR.
KONA LS/LSe Installation and Operation Manual — Using 8-bit Versus 10-bit 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.
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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.
66 Table 5-1. Problem Solving by Matching Symptoms to Remedies Symptom Check Dropped frames during playback Look for scroll bars in the viewer or canvas as a warning sign that the zoom setting exceeds the fit-twindow. Changes made to Final Cut’s configuration aren’t remembered or you need to force a change to them. Under some circumstances, Final Cut Pro may need to be initialized back to the factory default state as it was when you installed it.
KONA LS/LSe Installation and Operation Manual — Support 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 operational issue, Power Mac system issue, or Xserve RAID issue, then call Apple Customer Support for help.
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Appendix A: Specifications Video Input Digital: 8 or 10 bit SDI, SMPTE-259 Analog: Composite/S-Video (Y/C): NTSC, NTSCJ, PAL 12 bit A/D, 2x oversampling 5 line adaptive comb filter decoding +/- .25 db to 5.0 MHz Y Frequency Response +/- .25 db to 1 MHz C Frequency Response .5% 2T pulse response < 1.5% Diff Phase < 1.5% Diff Gain Component: SMPTE/EBU N10, Betacam 525 line, Betacam 525J, 12 bit A/D, 2x oversampling +/- .25 db to 5.5 MHz Y Frequency Response +/- .25 db to 2.5 MHz C Frequency Response .
A-2 Audio Output Digital: 24 bit AES/EBU, 48 KHz sample rate, 2-channel 24 bit SMPTE-259 SDI embedded audio, 6 ch, 48 KHz synchronous Analog: 2-channel Balanced output (XLR) +24dbu Full Scale Digital (0dbFS) 24 bit D/A, 48 KHz sample rate +/- 0.
KONA LS/LSe Installation and Operation Manual — Index Index Symbols .
I-2 D data protection 8 DB9 12, 27 Default Kona Output 43 Device Control Preset 52 Digital Out Screen 42 Digital System 27 Disk Storage Solutions 6 Disk Utility 8 drivers 28 Drop Frame 58 DV (DV25) 17 DV50 17 DVCProHD 17 E Easy Setup (as listed in FCP Pulldown) 51 Easy Setups 49 Easy Setups Menu 49 EBU N10 13 editing timebase 53 embedded audio 2 F Factory Easy Setups 50 Features 6 features 2 Features, KONA 2 software 3 Fibre Channel 6 Field dominance 54 Final Cut Pro 4 3, 5, 35 Final Cut Pro and KONA 2 35
KONA LS/LSe Installation and Operation Manual — Index Log On Authenticate Prompt 29 LTC 58 M Machine Control 12 machine control 2 machine control parameters 57 Machine Control, pinout 2 Macintosh Desktop 43 Macintosh Desktop extension 43 Manual 13 minimum hardware and software requirements 4 minimums 5 Mirroring 7 Mixing and Matching Formats 18 Monitor Audio 45, 46 Monitor Out 12 O Operating System 5 optional K-Box 9 OS X installer files 29 OS X, version 10.
I-4 Shipping Box Contents 4 Slot Detail 24 SMPTE protocol 12 SMPTE RP 188 48 snapshot, Control Panel settings 49 Software 3 Software CD 29 software files that have been installed 48 Software For Striping 8 Software License Agreement Screen 31 Software on a PowerMac G4 or Xserve Server 28 software requirements 4 software updates 66 software, 3rd-party 35 Sony 12 Standard Cables 9 Storage 5 Storage capacity 8 Storage Methods 5 Storage Requirement Table 8 Storage Solutions 6 Striping 7 Striping data 7 Support
