Models: 3 and 3X

Installation and

Operation Guide

August 6, 2008 P/N101660

®

ii

Trademarks

AJA

®

, KONA

®

, and XENA

® trademarks of AJA Video, Inc.

are registered trademarks of AJA Video, Inc. Io HD

™

and Io

™

are

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 © 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 interference 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 user’s authority to operate this equipment.

Contacting Support

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: [email protected]

Sales Email: [email protected]

When calling for support, first read the Chapter on to get support from AJA and Apple Computer Inc.

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

KONA 3 Installation and Operation Manual — Limited Warranty

iii

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 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.

1

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 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.

iv

KONA 3 Installation and Operation Manual — Table of Contents

1

Table of Contents

Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

FCC Emission Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Contacting Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Limited Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Chapter 1: Introduction

Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Broadcast-Quality Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

KONA 3 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Dual Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2K Workflow Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Hardware-based Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Internal HD/SD Hardware Downstream Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

KONA 3 Supports Final Cut Multi-cam Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

What’s In The Box? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Minimum and Recommended System and Software Requirements . . . . . . . . . . . . . . . . . . . . . 7

Understanding Disk Storage Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About RAIDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Software For Striping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Storage Example: AJA KONA 3 and Xserve RAID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Storage Example: AJA KONA 3 for Dual Link HD and 2K resolutions . . . . . . . . . . . . . . 10

Storage capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Cable Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Using the Standard Cables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Using The Breakout Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

About BNC and Mini-Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Connector Descriptions—Cables and K3-Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

8 Channel Digital AES/EBU Audio Inputs And Outputs . . . . . . . . . . . . . . . . . . . . . . . . . 13

Analog 2 Channel Unbalanced Audio (Breakout Box only) . . . . . . . . . . . . . . . . . . . . . . . . 13

RS422 Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

SDI Input and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Analog Monitor Out (Component HD or SD or SD Composite + Y/C) . . . . . . . . . . . . . 14

Reference Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

In This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

2

Chapter 2: Getting Started—Workflow

KONA 3 And Your Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Understanding Typical Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

PhotoJPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

DV (DV25) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

DV50 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

DVCPRO HD 20

HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Uncompressed 8-bit 4:2:2 (SD or HD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Uncompressed 10-bit 4:2:2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

AJA Kona 10-bit Log RGB and RGB Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

AJA Kona 10-bit Log RGB and RGB Codecs as related to a 2K Workflow . . . . . . . . . . . . . . .21

Workflow General Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

HD Offline Scenario #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

HD Offline Scenario #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Mixing and Matching Formats in Final Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

2K Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

AJA KONA 3 Workflow Support For RED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Workflow using RED proxy files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Workflow using Apple ProRes 422 (HQ) media created via RED plugin for

Final Cut Pro Log and Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Final Cut Pro Easy Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Workflow using 2K DPX files created via REDCINE, wrapped as QuickTime files via the AJA DPXToQT Translator application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Final Cut Pro Easy Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Chapter 3: Installation

Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Unpacking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Shipping Box Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Installing the KONA 3 Card into a MacPro or G5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Cabling the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

System Video/Audio Cable Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Typical System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Installing KONA 3 Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Software Installation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Updating KONA 3 Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Reverting to an Earlier Firmware Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Genlock and Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Chapter 4: Final Cut Pro and Other Application Software

Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Using The KONA 3 Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Control Panel Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Input Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Input Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Formats Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Format Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

KONA 3 Installation and Operation Manual — Table of Contents

Digital Out Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Digital Out Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Analog Out Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Analog Out Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Control Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Control Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

DS Keyer Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Setup Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Setup Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Codec Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Codec Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

1

Timecode Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

2K Crop Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Info Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Saving Your Control Panel Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Who is Controlling KONA 3? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

QuickTime Application—1st Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Mac Desktop Video—2nd Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

KONA Control Panel—3rd Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Control Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Easy Setups for Typical Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Easy Setups Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Easy Setups For Use With KONA 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Audio/Video Settings Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

To Create A New Easy Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

The Sequence Presets Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Checking the System with a Simple Test Project of Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . 93

Using 8-bit Versus 10-bit Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 5: Troubleshooting

If You Run Into Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Updating Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Apple Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Appendix A: Specifications

Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Video Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Up-Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Down-Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Cross-Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

SD to SD Aspect Ratio Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Reference Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

3

4

Appendix B: Glossary

Appendix C: 2K Workflow

Overview of 2K and Its Uses In Digital Cinema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1

2K Color: More Like Film than Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-2

The Source of 2K Data: Scanning, Telecine and Digital Cameras . . . . . . . . . . . . . . . . . . . . . . . C-2

Transporting 2K Data: HSDL Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-3

The AJA KONA 3: An Ideal 2K Input/Output Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-3

The KONA 3 2K Process—Ingest to Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-4

Additional Advice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-6

Index

Models: 3 and 3X

Chapter 1:

Introduction

Overview

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 provided 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.

1

1

1

2

Features

Hardware

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.

•

SD-SDI, HD-SDI, Dual Link HD-SDI, and HSDL inputs

•

2K support that includes 2048x1556 and 2048x1080 formats

•

x4 Lane PCI-Express Bus Interface (or PCI-X 133Mhz)

•

DVCProHD hardware scaling acceleration

•

HDV hardware scaling acceleration

•

Final Cut Pro Dynamic RT Extreme hardware acceleration

•

Broadcast quality hardware based 10 bit upconversion

•

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

•

HD/SD Hardware Downstream Keyer

•

8 channel 24 bit, 48kHz or 96kHz digital AES/EBU audio

•

16 channels of SDI embedded digital audio

•

RS-422 control via 9 pin

•

Genlock input with optional looping capability via the K3- Box (terminated on the supplied breakout cable)

•

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 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

1

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 VTR—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 high quality (over 120db

THD).

3

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 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.

4

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-sizes 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 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.

Software

KONA 3 Installation and Operation Manual — What’s In The Box?

•

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.)

•

AJA QuickTime™ Drivers for tightly integrated hardware/software operation

•

Support for Apple Final Cut Pro™ (application software not included)

•

Support for After Effects, Combustion, Motion, and other application application software not included.

•

AJA Utilities: KONA TV, VTR Xchange, KONA System Test, AJA Data Rate

5

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, drivers 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, 6up, 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:

•

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.html

•

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).

•

KONA 3 4-Lane PCI-Express card (or KONA 3X if you ordered the PCI-X version).

6

•

Cable, KONA 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.

•

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

Read Me First Notice and Registration Sheet

Standard Cable Set

BNC/XLR-cable

Installation and Operation Manual in electronic form on the CD (PDF)

RS422

Machine Control

(9-pin)

3 BNCs (Analog Out Connections):

In SD Can be Configured for

Component,

Composite, or S-Video

In HD Can Only Be Component

Reference Input BNC

Audio Output XLRs

Channels 1-8

(2 channels/connector)

Audio Input XLRs

Channels 1-8

(2 channels/connector)

SDI Out1/Link A BNC

SDI Out2/Link B BNC

SDI In1/Link A BNC

SDI In2/Link B BNC

KONA 3 Shipping Box Contents

SDI cable

4-mini BNCs to 4 standard

BNCs

KONA 3 Installation and Operation Manual — System Requirements

System Requirements

AJA Video recommends that your system meet minimum hardware and 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.

7

Minimum and

Recommended

System and

Software

Requirements

The following table outlines the system hardware and software needed.

Item

Recommended Kona Driver for

Mac OSX and Final Cut Pro:

Note:

always consult the release notes for the AJA software version you are running (included with installer)

Recommended

1

FCP 6.0.x - Kona Driver version 6.0 (Leopard and Tiger OS compatible version)

FCP 6.0.x - Kona Driver version 5.1 (Leopard and Tiger OS compatible version)

FCP 6.0.x - Kona Driver version 4.0 (Tiger OS compatible version)

FCP 5.1.x - Kona Driver versions 3.1 through 3.4 (Tiger OS 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:

Internal Storage (SATA inside

Mac):

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 external 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/html/support_kona_rec_sys.htm

Best suited for compressed SD/HD formats only

External Storage:

Note:

see Storage Methods topic that follows later in this

Chapter

Ideally a RAID configuration with Fibre Channel or SCSI connection to the Mac via qualified host bus adapter

8

Understanding

Disk Storage

Methods

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). There 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 RAID array operate simultaneously, increasing overall throughput. RAID configurations can be comprised of:

•

Striping data across multiple drives for storage performance (RAID 0).

•

Mirroring for redundancy (RAID 1).

•

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

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, as in

RAID 5. Parity provides much greater storage efficiency than mirroring-up to 85 percent for a set of seven drives.

9

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.

1

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 rackmountoptimized 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 RAID 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.

10

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:

•

G-Technology, Inc. GSPEED-XL (4Gb Fibre Channel)

Unit must be fully populated and with a minimum 512MB cache per controller.

•

InforTrend EonStor A16F-G2422 (4Gb Fibre Channel)

Unit must be fully populated and with a minimum 512MB cache per controller.

•

Any drive array with comparable specifications 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

11

FORMAT

Data Rate in MB/ sec

SD Formats

10 bit 4:2:2 SD (NTSC/PAL)

8 bit 4:2:2 SD (NTSC/PAL)

DV50(NTSC/PAL)

DV25(NTSC/PAL)

Photo JPEG SD (NTSC/PAL)

HD Formats

10 bit 4:2:2 1080i 59.94Hz/29.97fps

8 bit 4:2:2 1080i 59.94Hz/29.97fps

10 bit 4:2:2 1080i 50Hz/25fps

8 bit 4:2:2 1080i 50Hz/25fps

10 bit 4:2:2 1080PsF 23.98Hz/fps

8 bit 4:2:2 1080PsF 23.98Hz/fps

10 bit 4:2:2 720P 59.94Hz or fps

8 bit 4:2:2 720P 59.94Hz or fps

10 bit 4:4:4 1080PsF 23.98Hz/fps

10 bit 4:4:4 1080PsF 25Hz/fps

8 bit 4:2:2 1080i 59.94Hz/29.97fps

8 bit 4:2:2 1080i 50Hz/25fps

8 bit 4:2:2 1080PsF 23.98Hz/fps

8 bit 4:2:2 720P 59.94Hz or fps

2K Formats

10 bit 4:4:4 2048x1556PsF 23.98fps

10 bit 4:4:4 2048x1080PsF 23.98fps

MB = MegaBytes

GB = GigaBytes

28

21

7

3.6

2.5

199

207

124

104

100

100

166

124

138

104

133

100

133

100

306

212

Storage

Requirement in

GB/Hour

101

76

27

14

9

597

1

448

498

373

478

358

478

358

717

746

448

373

358

358

1100

764

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

Standard Cables

KONA 3 offers you complete I/O connectivity choices. One cable provides AES/EBU 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.

12

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 using 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)

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.

Knurled Barrel:

Pull back to release

connector.

4 Mini-connectors on KONA 3 PC Board endplate

Connector

Descriptions—

Cables and

K3-Box

KONA 3 Installation and Operation Manual — Cable Connections

Connectors on the standard cable set are labelled as to their function for easy installation and maintenance. Similarly, connectors on the optional Breakout Box are also labelled.

13

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.

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 is 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.

14

Analog Monitor Out (Component HD or SD or SD Composite + Y/C)

KONA 3 features 12-bit component video output 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 SDI’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 YPbPr 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 (1080i29.97, 625i25, 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 525i29.97 genlock signal to lock a system running 1080i29.97)—if the Hz coincide.

In This Manual

KONA 3 Installation and Operation Manual — In This Manual

15

Chapter 1 is the introduction you’re 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.

1

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 can’t 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.

16

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 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. 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.

2

1

1

18

Source Deck Type(s)

Digital SD or HD

Examples: Digibeta, DV50, DVCPROHD,

HDCAM, and DVcam

Workflow Attributes

KONA 3 captures and outputs

SDI video (SD or HD) with embedded audio. Use high-quality AES/EBU and/or embedded 8-channel audio output.

Applications

Pro Broadcast

Corporate/Industrial

On-site Editing

Digital capture via Firewire with Output via AJA

KONA 3

Example: HDV

Without even using a deck; use the video monitor

as a second Mac monitor. The KONA 3

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.

Output virtually anything to video—ideal for

animators and compositors.

Using standard desktop video techniques, video/audio is captured directly from a camcorder or deck.

KONA 3 is used for playing back captured media and editing/mastering to tape or DVD using Final Cut 4.5HD

and other tools such as After Effects,

Combustion, Apple Motion, etc.

Desktop Video

Corporate/Industrial

On-site Editing

Pro Broadcast

Using Final Cut Pro, work with a wide range of old and new SD and

HD sources, including dual-rate and dual-link, and then also use desktop graphics and video software for creative power and flexibility.

Post-production

Animation

Compositing

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 see the benefits.

PhotoJPEG

DV (DV25)

DV50

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.

19

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 online quality at low data rates. PhotoJPEG can use the full-raster at 4:2:2 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.

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 rate, 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.

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.

20

DVCPRO HD

HDV

Uncompressed

8-bit 4:2:2 (SD or

HD)

Uncompressed

10-bit 4:2:2

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 it 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.”

AJA Kona 10-bit

Log RGB and RGB

Codecs

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, Dual

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

Log RGB and RGB

Codecs as related to a 2K Workflow

Data rate: For 2048x1556 2K:

• When seen as a QuickTime movie at 23.98fps with a raster of 2048x1556, the data rate is 300MB/second (approximately).

• When seen as a single frame DPX file with a 2048x1556 raster, the size is roughly

12+MB/frame.

• 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

1

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 masters. 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.

21

HD Offline

Scenario #1

A popular way to edit long form content, such as feature films shot at 24fps film (or

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 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 downconversion 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 24p 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

1080i 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.

22

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 at the native frame rates of those tapes (23.98fps). While not as high quality as DVCPRO HD, the files sizes can be even smaller-less than 3 MB/sec -and are usually more than adequate for offline purposes.

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 media via HSDL, high speed data link, (using SDI connections) from 2K telecine machines or DDRs into the KONA 3 as 2K sequential DPX files and 2K QuickTime reference movies simultaneously. 2K playout via HSDL further enhances the flexibility of KONA 3 to work with other 2K equipment such as DDRs and projectors that work with 2K.

For cost-conscientious facilities, playback of 2K to HD 24P supported monitors helps lower the price barrier for working with, and especially viewing, 2K material.

When comparing the traditional 2K path and a potential Kona3 2K path, the potential for cost and labor savings becomes apparent. By avoiding the telecine to tape and instead going straight to disk with media, the Kona3 2K path can immediately save users the cost of tape stock and the time associated with then digitizing these tapes into a non-linear editor. By generating 2K DPX files during the digitize phase, the Kona3 also moves a portion of the 2K process up to the beginning - instead of the end - of the post production process; this means that shots intended for visual effects work could be given to visual effects artists at full resolution at the beginning of the process instead of waiting until near the end of the process. The flexibility of an offline using Final Cut Pro leveraged against the power of QuickTime and Final Cut Pro's media management tools, allows easy access to 2K resolution files and even potential 2K online possibilities.

KONA 3 Installation and Operation Manual — Workflow General Notes

23

KONA 3 2K PATH

Shoot 35mm Film

Telecine to

Kona 3 via HSDL

TYPICAL 2K PATH

Shoot 35mm Film

Telecine to Tape

1

Simultaneous

DPX and

Quicktime

Reference Movies are created during telecine vs.

Use Flex Files to create

Cinema Tools

Database;

Use Batch List to Digitize

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 sent to Motion or Shake for FX. Kona 3 allows 2K media playback along with1080P HD and 525i 29.97 SD simultaneous video output

2K

2K

SD

HD

Time to Scan:

0 hours

*Files already in

2K format if from Kona 3 telecine

Potential benefits of workflow:

*Time, labor and tape 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 vs.

vs.

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

Scanned film results in DPX or Cineon files which can be given to Visual Effects or Color Grading

OR

Use AJA DPXToQT

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

24

AJA KONA 3

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 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 .

Red Files

INSERT SCREENGRAB "RED files" HERE

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

KONA3 video outputs.

For optimum playback results, the timeline RT settings should be switched to

Unlimited RT, Playback Video Quality set to Dynamic and Playback Frame Rate to

Full.

KONA 3 Installation and Operation Manual — Workflow General Notes

25

Sequence" HERE

1

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.

26

INSERT SCREENGRAB "2K Crop" HERE

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 plugin 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.

KONA 3 Installation and Operation Manual — Workflow General Notes

27

INSERT SCREENGRAB "Log and Transfer" HERE

1

RED Log and Transfer being used to transcode media to Apple ProRes 422 (HQ).

28

INSERT SCREENGRAB "clip Item Properties" HERE

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 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

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

1

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 movies 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.

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30

Chapter 3:

Installation & Configuration

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 possible conflicts.

3. Lay the Mac on it’s side (motherboard facing up, side door opening up toward you).

4. For the 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.)

3

1

1

32

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.

Unpacking

Shipping Box

Contents

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-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

33

AJA KONA 3

PCI-Express

Card

Installation Software CD

Read Me First Notice and Registration Sheet

Standard Cable Set

BNC/XLR-cable

Installation and Operation Manual in electronic form on the CD (PDF)

1

RS422

Machine Control

(9-pin)

3 BNCs (Analog Out Connections):

In SD Can be Configured for

Component,

Composite, or S-Video

In HD Can Only Be Component

Reference Input BNC

Audio Output XLRs

Channels 1-8

(2 channels/connector)

Audio Input XLRs

Channels 1-8

(2 channels/connector)

SDI cable

SDI Out1/Link A BNC

SDI Out2/Link B BNC

SDI In1/Link A BNC

SDI In2/Link B BNC

4-mini BNCs to 4 standard

BNCs

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 complete 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.

34

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. Place the computer in a well-lit area, where you will have easy access when opening the MacPro or G5 chassis.

2. 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.

3. 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.

4. Remove the KONA 3 card from its protective anti-static bag; place the card on top of the bag.

5. 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 speed. For PCI-X KONA 3 cards, the top slot of PCI-X enabled G5s is a 133Mhz slot suitable for the KONA 3 card.

6. 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.

7. 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.

8. Secure the card in the slot using the screw removed earlier or with the tiedown bar found on MacPro machines.

9. 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

35

KONA 3 Card

1

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)

36

PCI-Express Slots

Slot 4 is the preferred slot on a PCIe G5 for KONA 3 PCIe card installation

Slot 3 is the preferred slot on a MacPro for KONA 3 PCIe 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

Cabling the System

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 VTR machine control.

System Video/

Audio Cable

Connections

When installing your system, you’ll make video and audio input/output connections. These connectors are explained individually in chapter 2. Here, system interconnection is shown and described.

KONA 3 Installation and Operation Manual — Cabling the System

37

KONA 3

Installs in

PCI-Express Slot (any)

Standard Cable Set

Showing “BNC/XLR-cable” Use

RS422

Machine Control

(9-pin)

3 BNCs (Analog Out Connections):

In SD Can be Configured for

Component,

Composite, or S-Video

In HD Can Only Be Component

Reference Input BNC

Audio Output XLRs

Channels 1-8

(2 channels/connector)

1

4-mini BNCs to 4 standard

BNCs

Audio Input XLRs

Channels 1-8

(2 channels/connector)

SDI Out1/Link A BNC

SDI Out2/Link B BNC

SDI In1/Link A BNC

SDI In2/Link B BNC

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 VTR's RS422 control port or connect a 9 pin DB9 cable between the breakout box and the VTR's RS422 serial port.

38

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 miniconnectors-to-BNC cable or via the optional K3-Box.

5. If you 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

POWER

CMPTR

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

Apple Xserve RAID

Video Monitor

Component Video

AJA KONA 3 Card

(installed in the G5)

Optional

Genlock

Reference

3 BNCs (Analog Connections):

In SD Can be Configured for

Component,

Composite, or S-Video

In HD Can Only Be Component

Reference Input BNC

Audio Output XLRs

Channels 1-8

(2 channels/connector)

Dual-port 2Gb Apple

Fibre Channel

PCI-Express card

Installed

Inside G5

AES/EBU Audio Out to Monitor System

Audio Input XLRs

Channels 1-8

(2 channels/connector)

4-mini BNCs to 4 standard

BNCs

RS422

Machine Control

(9-pin)

Digital VTR with SDI Inputs

SDI Out1/Link A BNC

SDI Out2/Link B BNC

SDI In1/Link A BNC

SDI In2/Link B BNC

SDI Video with Embedded

Audio In/Out

SDI cable

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.

1

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.

39

Software

Installation

Procedure

For the most recent version of the KONA 3 driver, it is best to visit the AJA website at www.aja.com, download the driver and read the details and requirements on the 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 Requirements.

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. The system 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.

40

Log On Authenticate Prompt

6. Click on the OK button after entering a valid user and password.

7. The installer will launch and you’ll see a series of installer screens.

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

41

System Check Installer Screen

10. Read and agree to the Software License Agreement.

1

KONA 3 Software License Agreement Screen

11. At the next screen, click the Install button to place the software on your computer.

42

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.

KONA 3 Installation and Operation Manual — Updating KONA 3 Firmware

43

1

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 the 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.

3. Double-click the AJA KONA Firmware Updater icon to run the application.

When the updater starts, a welcome screen is displayed.

44

4. Click Continue to begin the update process. A message will be displayed asking if you’re ready to install and listing the new version number. Click

Install to proceed.

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 initiate a complete ON/

OFF power cycle to load the new firmware into the hardware.

Reverting to an

Earlier Firmware

Version

KONA 3 Installation and Operation Manual — Genlock and Your System

Under normal circumstances you should never need to revert to an earlier firmware version since they are tied to driver versions. The only case would be if you wished to 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

1

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.

45

Click checkbox to revert firmware

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”.

46

Chapter 4:

Final Cut Pro and Other Software

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 your 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 upconverters/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.

4

1

1

48

Control Panel

Basics

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, including 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.)

Control-Clicking an Icon Produces a Context-sensitive

Menu

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

49

The “Primary Format”

Inputs: one, two, or dual-link

Outputs: one, two, or dual-link

Framebuffer

Shows the

“Primary Format”

KONA 3 has selected

Tabbed Windows—Click One To Edit/View A Topic

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

ON, it will indicate the cropping by showing a “shadow” underneath the icon (more later on how it's cropped).

1

Conversion

Icon

Click on Arrows to See Additional

Tabs

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 the 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.

50

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.

Single-link

Dual-link

Input/Output Icons

Conversion Icons—when an input or output is a different standard than the framebuffer then the KONA 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 crossconversion, 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

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 mouse 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.

Input Tab Screen

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

51

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.

1

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-188 timecode and configure timecode window burn

output (Note: 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.

Click a Tab to

Select a Screen

Click to Select an Input

KONA 3 Control Panel, Inputs Tab

52

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 video is selected at the SDI 1 input and the format is 1080i 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/

EBU (BNC) when in fact you are connected via AES/EBU (XLR).

Audio Input Select Choices

Audio Map Channel Choices

Formats Tab

Screen

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

The Formats screen shows the video format currently in use by the KONA 3 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.

53

1

KONA 3 Control Panel, Formats Tab

54

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 pulldown 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 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

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

1

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 like

Hz this means that 720P 59.94 may be converted to 1080i 29.97 (59.94Hz).

Converting from disparate Hz is not supported on the KONA 3 card for crossconversions. The example below shows 1080i to 720p.

55

56

KONA 3 Control Panel, Formats Tab Showing Crossconversion, 1080i to 720p

KONA 3 Control Panel, Formats Tab Showing Crossconversion, 720p to 1080i

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

57

1

KONA 3 Control Panel, Formats Tab Showing Crossconversion, 720p to 1080PsF

KONA 3 Control Panel, Formats Tab Showing Crossconversion, 1080i Downconvert

58

KONA 3 Control Panel, Formats Tab Showing SD to 720p Upconvert

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

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 525i 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

1

with black 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

59

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”).

60

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 (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

Video+Key has been selected as an output, the block diagram will indicate the

SDI outputs with video in blue and the key in red.

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KONA 3 Control Panel, Digital Out Tab, Video+Key Output

KONA 3 Control Panel, Digital Out Tab, Showing Downconvert (secondary format)

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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).

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 (525i29.97 or

625i25) 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).

Control Tab

Screen

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

The KONA 3 can be controlled by various software applications running on a host

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.

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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 be 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.

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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>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:

Beginning 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 frame 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.

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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 application, rather than shifting to the Control Panel.

This works regardless of the setting of “Default Kona Output.”

Genlock (Freerun, Ref In, Input 1, or 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.

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DS Keyer Tab

Screen

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.).

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” pulldown) 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.

1

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 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.

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KONA 3 Control Panel, DS Keyer Tab, Loading a Graphic File to Place Over

Framebuffer

Click Matte Color

Button to Bring Up

Color Selection

Dialog

KONA 3 Control Panel, DS Keyer Tab, Loading a Graphic File to Place Over a Matte

Setup Tab Screen

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

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.

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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 Display, once checked, results in a prompted request that a restart is required for the feature to become effective.

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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.

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:

If a prompt occurs in Final Cut Pro stating that the 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

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KONA 3 Control Panel, Codec Tab

Codec Tab 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).

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.

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.

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Colorspace—choose from:

Rec 601

Rec 709

Auto

Gamma—choose from the 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 LUTs would be more appropriate. 1D LUTs 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 device 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

73

Timecode Tab

Screen

create your own

Click to restore factory defaults

Adjust Gain & Offset sliders to change color. Changed values will appear in red in text fields.

You can also enter specific numbers to explicitly set a value.

KONA 3 Custom LUTs Dialog

The timecode screen is used for both monitoring the RP-188 timecode embedded in 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.

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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.

KONA 3 Control Panel, Timecode Tab, User Bits Checked

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

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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 sometimes 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 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 3. If set to

“OFF”, timecode will not be keyed over the video. If set to

“timecode”, then the timecode value will be keyed over the 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 identified by the coding of a distributed binary bit. Equipment manufacturers can use the meta data for different purposes.

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2K Crop Tab

Screen

This Tabbed screen allows you to determine how 2K frames captured with VTR

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

One way to move the crop area:

Moving the mouse cursor while holding the mouse button down moves the crop rectangle within the 2K frame

Select crop mode via pulldown

Two other ways to move the crop area:

Explicitly specify an X and/or Y Offset for the crop

Select a crop area by moving the rectangle using these navigation 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 1920 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:

KONA 3 Installation and Operation Manual — Using The KONA 3 Control

Here’s another 2K crop, this time showing cropped output to a 2K projector:

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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 2K Crop screen—while in another application (i.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.

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Info Tab Screen

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.

This Tabbed screen shows the 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

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Saving Your

Control Panel

Presets

KONA 3 Control Panel, Info Tab

After configuring the KONA 3 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. Thereafter the preset will be available under the

Control Panel “Presets” menu.

Who is Controlling

KONA 3?

If you are consistent in the workflows and formats you use between applications, you 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 3’s Primary Format at the current moment.

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Who Has

Priority?

1st Priority

1st Priority

2nd Priority

3rd Priority

Masters

That Can

Control KONA 3

Final Cut Pro

.

.

Other “QuickTime Application”

Mac OSX Desktop Video

KONA 3 Control Panel Application

Control of KONA 3 and

Primary Format

Selection

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 it’s own sets of control parameters

TIP: If 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 three “masters” is:

1. QuickTime Application

2. Macintosh Desktop

3. KONA 3 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 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.

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1. Open Final Cut Pro, select KONA 3 as the A/V device. FCP takes control of the board 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 Cut’s 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 3—and then you can step in and change the application’s 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).

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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:

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. 525i29.97), it would make sense to set Final Cut Pro for 525i29.97, the Mac

Desktop size to 720x486, and the KONA Control Panel for 525i29.97. 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 duplicating 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

1

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 we’ll further review the Easy Setups menu and Audio/Video

Settings Menu.

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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.

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:

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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.

A large set of Easy

Setups are

Provided as KONA 3 defaults

Factory Easy Setups

Audio/Video

Settings Menu

KONA 3 Installation and Operation Manual — Easy Setups for Typical Uses

To choose a new Easy Setup from the list, click on the pulldown menu and select a desired choice. The choice won’t 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).

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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 (www.aja.com). In addition to this, there are additional easy setups available on your KONA Software CD

1

The Audio/Video Settings menu in Final Cut Pro contains a series of tabbed windows 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 VTR 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 format to be output.

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Audio/Video Settings, Summary Window

To Create A New Easy Setup

If you have a group of presets that you’d 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 Installation and Operation Manual — Easy Setups for Typical Uses

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1

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.

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The Sequence Presets Window

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 editing a timebase you can change the following:

•

Select video processing properties (how to render)

•

Frame size and aspect ratio

•

Pixel aspect ratio

•

Field dominance (none, upper, or lower)

•

Editing timebase

•

Set QuickTime video codec settings (quality and type)

•

Select audio sample rate

KONA 3 Installation and Operation Manual — Easy Setups for Typical Uses

The Capture Presets Window

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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. 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.

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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.

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 pulldown 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 appropriate 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

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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 VTR 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 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).

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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 3 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 3 ships with VTR Device Control Presets for Sony and Panasonic VTRs.

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, 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

1

To test that you’ve 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 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.

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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.

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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 and 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.

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.

Click and Drag Bars and Tone From Viewer Window to Sequence

KONA 3 Installation and Operation Manual — Using 8-bit Versus 10-bit Video

95

1

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.

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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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 10bit. Even if the input and/or output video is 8-bit, a 10-bit “project” will still maintain a higher quality when there 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

Symptom

Disk RAID cannot keep up (dropped frames etc.).

Dropped frames during playback.

Dropped frames during record.

Media is not being captured from desired external device.

Check

Ensure the disk system is providing at least 50 MB/ second sustained transfer rate

1. Canvas/Viewer zoom setting exceeds the fit-towindow 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 -> AV Output.

4. Virus checking software running in the background

(disable it).

5. Scratch drive not set to the RAID.

1. RAID cannot 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.

Check the settings in the Input tab of the KONA 3

Control Panel application. Also check equipment cables.

5

1

1

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Table 5-1.

Problem Solving by Matching Symptoms to Remedies

Symptom Check

Dropped frames during playback

Changes made to Final Cut’s configuration aren’t remembered or you need to force a change to them.

Look for scroll bars in the viewer or canvas as a warning sign that the zoom setting exceeds the fit-twindow.

Under some circumstances, Final Cut Pro may need to be initialized back to the factory default state as it was when you installed it. The easiest way to do this is to locate Final Cut’s preference file and discard it.

Video in the canvas stays frozen during playback.

Video output is black.

Video stutter during playback.

Red render bar occurs when placing a clip on a sequence.

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/preferences/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).

1. The sequence setting does not match the

“playback output setting” found at FCP Audio Video

Settings -> AV Output.

2. Canvas/Viewer zoom setting exceeds the fit-towindow setting. Change to “Fit-to-Window.”

1. External video is set to “No Frames” (View ->

External Video).

2. The “Playback output setting” found at FCP Audio

Video Settings -> AV Output is set to “none” or to a non-KONA 3 device.

RAID cannot sustain data rate.

The sequence setting does not match the clip setting.

Updating Software

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.

Support

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.

Apple Resources

KONA 3 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, 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: [email protected]

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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/

[email protected]@.3bb84b79

Final Cut Pro Web Support: http://www.apple.com/support/finalcutpro/index.html

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Appendix A:

Specifications

Video Input

Video Formats

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 Data Link) 4:4:4

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

A

1

1

A-2

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 horizontal stretch to fill

a 16:9 screen; this setting can introduce a small aspect ratio change

Down-Conversion

Cross-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

Hardware 10-bit

1080i to 720P

720P to 1080i

720P to 1080PsF

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.

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:

1 ............. GND

2 ............. RX-

3 ............. TX+

4 ............. GND

5 ............. No Connection

6 ............. GND

7 ............. RX+

8 ............. TX-

9 ............. GND

Shell ....... GND

Appendix B:

Glossary

Reference Terms

3:2 Pull Down

24P

1080i

1080p

1080psf

3:2 pull down is a process where six frames are added to a film’s original 24frames-per-second format so that it can work within the 30 fps NTSC standard.

A term for 24 full frames per second digital video progressively captured. It generally refers to the HD format of 1920x1080, although it is also used with

1280x720 images as well.

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.

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 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.

B

1

1

B-2

16:9

4:3

Refers to the aspect ratio of movie screen and widescreen DTV formats used in all

HDTV (High Definition TV) and some 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.

720p

Anamorphic video

Aspect ratio

ATSC

Barn Doors

Codec

Decoder

Deinterlacing

Downconvert

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 is 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-HDTV 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 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-decompressor”, 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

KONA 3 Installation and Operation Manual — Reference Terms

B-3

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 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

1

produce smoother motion but also create larger file storage requirements.

HDTV (High-

Definition

Television)

Interlaced

Scanning

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.

HD-SDI

Refers to a high definition signal provided on a serial digital connection.

High Definition

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

Luminance

Progressive

Scanning

Resolution

Sampling

Letterbox refers to the image of a wide-screen picture on a standard 4:3 aspect ratio 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.

B-4

SDTV

(Standard-

Definition

Television)

SD-SDI

Upconverting

Widescreen

Standard Definition Television pictures are higher quality than NTSC, however, they do not reach the quality and resolution of HD. SDTV is based on 480 lines of vertical resolution, available with both interlaced and progressively scanned formats.

Refers to a standard definition signal provided on a serial digital connection.

Process by which a standard definition picture is changed to a simulated high-definition picture.

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 scaling 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.

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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, 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 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 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

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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

1

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 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-service 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.

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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 Reference 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_swd.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 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

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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 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

1

the AJA Kona 10-bit Log RGB Codec will be the best choice.) For the Frames per

second, select 23.98 as this is 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 have 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

VTR 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 will 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.

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Additional

Advice

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 Control

Panel, Dual Link must be selected.

8. 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_swd.html

KONA 3 Installation and Operation Manual — The KONA 3 2K Process—Ingest

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click here

1

VTR Xchange Preferences Screen—Click “Save as Numbered Files” for file-per-frame capture

VTR Xchange Main Window Screen

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Index

Symbols

.pkg 39

Numerics

10 bit Log RGB 2

1080i 1

1080p 1

10-bit video 96

16

9 2

9 screen 59

1D LUT 72

24 frames-per-second to 30 conversion 71

24P 1

2K 10

2K Color 2

2K Crop 76

2K ingest 22

2K sequential DPX 22

2K support 2

2K Workflow 3

2K Workflows 22, 1

2K workflows procedures, Appendix C 78

3

2 Pull Down 1

4

3 59, 2

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/V Devices 85

A/V 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

I-1

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, 71

Analog monitor output 14

Analog Out Screen 62

1

Analog Out Screen Settings 62, 69, 71

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, 59

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 Window 91

B

Balanced 13

Bars and Tone, sample FCP project 93

Betacam 14

Black 64

black borders 59

black burst 14

black burst generator 45

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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

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 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

I-3

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

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

I/O connectivity 11

Icons 50

icons 48

Icons, Control Panel 50

I-4

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

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 1

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

presets 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

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RS422 13, 91

RS-422 control 2

RS-422, Sony 9-pin protocol. 9-pin D-connector pinout 2

S

sample rate 88

Sample rate conversion 3

SATA drives 10

Save Preset.. 79

Scenarios, workflow 17

1

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

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

I-6

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

video 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

Z

Zoom 14

9 59

Zoom Letterbox 59

Zoom Wide 59

KONA 3 Installation and Operation Manual — Index

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1

I-8