Hi Rob, Thank you again!


Hi Rob,

Thank you again! Your knowledge and willingness to share is deeply appreciated. I think I’m starting to grasp this. But I still have some more questions …

Is importing through the Kona LHi in ProRes any faster than the import (with or without down-conversion) would be through Firewire? Or is it a real time import because of the limitations of the miniDV tape?

So many questions … I understand that the Kona LHi will also provide the connection to the tv for monitoring. What if we purchased that second LCD with an HDTV tuner internally; would that, connected to the Kona LHi, be a reasonable choice as an external monitor? Or are we really just better off with an old crt tv hooked up to the Kona LHi?

And I think you’re right; he must have meant that he would have the camera do the down-conversion during the transfer to the Mac Pro. But I like the idea of avoiding that by importing in ProRes through the Kona LHi.

I looked up a few HDV decks, but (betraying my ignorance again) I’m not sure I fully understand the need for this. My friend’s plan was to do all his editing in Final Cut Studio 3, then burn the videos to CD or DVD initially, adding a Blu-Ray burner in the future. And, if and when he has a need to reproduce in quantity, get a disk duplicator system. The HDV decks I saw were quite expensive. The most budget-friendly one I found was a JVC Professional SR-DVM600US for somewhat less than $1000. Right now the plan was to have the 640 GB hard drive as the main drive, for the OS and programs (FCP3, etc.), and to have at least a 1 TB drive internally to use for all the video footage. What would we lose here without an HDV deck, or what do we gain with one? Or is it primarily to leave the camera’s tape drive just for recording and thus have it last longer? So then we would put the tape in the HDV deck and transfer in at ProRes through the Kona LHi, correct?

I think we’re getting near the finish line! <g>

With many thanks, Chuck

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