AJA KONA LHI, Инструкция по установке и эксплуатации

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14
Understanding Typical Workflows
KONA LHi and Final Cut Pro allow more workflow flexibility than ever before. Users can
independently select different formats for capture and storage media, while also
outputting to an array of analog and digital uncompressed formats—with all outputs active
simultaneously. Capture can range from analog, DV, or SD and HD digital uncompressed.
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 as 8 or 10 bit uncompressed SD and HD
As quality and codecs improve, the lines between offline and online are blurring. For
example, with the Apple ProRes 422 codec, native HD editing in that codec is now possible,
providing very high quality results (true HD editing) at very low data rates.
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 Mac’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 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 LHi allows for
PhotoJPEG monitoring and/or output in both SD and HD. KONA LHi can capture from
almost any HD or SD input, directly to PhotoJPEG media.
DV (DV25)
Data rate: 3.13 MB/second (megabyte/second) standard definition only—supported by
internal system drive
Quality: Good
In this workflow, DV is usually input to a Mac Pro running Final Cut Pro through its FireWire
port. DV offers good quality, but it has lower Chroma resolution when compared to DV50,
JPEG, or uncompressed. You can use KONA LHi to convert DV projects to uncompressed—in
real time—for monitoring and/or output. Alternatively, KONA LHi can capture
uncompressed from any input, directly to DV media.
DV50
Data rate: 6.26 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 LHi to convert DV50 projects to
uncompressed—in real time—for monitoring and/or output. KONA LHi can capture
uncompressed from any input, directly to DV50 media.
DVCPRO HD
Data rate: 12 MB/second high definition—supported by internal system drive
Quality: Excellent
Like DV50, Final Cut Pro also supports the Panasonic DVCPRO HD high definition codec. You
can use KONA LHi to convert DVCPRO HD projects to uncompressed—in real time—for
monitoring and/or output. KONA LHi can capture uncompressed from any input, directly to
DVCPRO HD media. When playing the DVCPRO HD format back, the KONA LHi hardware
handles the work of properly scaling the video for monitoring and output—which provides
for more streams of RT effects, since the Mac processors are freed up to handle the RT.