AJA KONA LH, Installation And Operation Manual

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Uncompressed
8-bit
Data rate: 21 MB/second standard definition, or 100-124 MB/second high
definition (see later “Storage Capacity” chart in Chapter 1 for the various transfer
rates per format)—requires SCSI, Fibre Channel, or ATA drive array
Quality: Excellent
Uncompressed media is KONA LH’s native storage format, offering the highest
quality available. Capturing in uncompressed results in no compression artifacts,
and video is sampled over the full raster at a 4:2:2 rate.
Using uncompressed maintains a higher quality in your project from capture all the
way through effects rendering. Final Cut Pro 5 supports RT with uncompressed
media using RT Extreme. KONA LH supports capture of uncompressed through
any of its inputs, and uncompressed projects are output to all of its outputs
simultaneously.
Uncompressed
10-bit
Data rate: 28 MB/second standard definition, or 133-166 MB/second high
definition (see later “Storage Capacity” chart in Chapter 1 for the various transfer
rates per format)—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 5’s 32 bit Floating Point YUV Codec, video quality is second to none. 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.”
Mixing and Matching Formats in Final Cut
In Final Cut Pro, it works best to use one format consistently. For example, if you
capture DV 50 files and then capture 8-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 HDV, and then place them both on a PhotoJPEG timeline and
end up having to render them both . You can capture directly, in real time to any
supported format, even if it doesn’t match the source formats at all (for example,
DV and DV50 to 8 bit uncompressed).
Therefore, it makes sense to capture media into your system at the highest quality
you’ll expect to use to eliminate rerendering and ensure best results. KONA LH is
ideal for this since it has the connections necessary to bring in a variety of media for
capturing into Final Cut.