Don't do the above; it will not create a sequence that will work with your hardware.
I'm surprised that AJA doesn't have 24p (23.976) sequence presets, but maybe that's the way it is. Try opening the New Sequence dialog, and then select one of the AJA 720p presets you already mentioned. Click on the Settings tab in that dialog, and under the Editing Mode dropdown, look to see what AJA 720p editing modes you have available. Select that one, if it isn't already, and then change the timebase to 23.976. You probably won't have to change anything else; if all looks good, save a preset so you can quickly access those settings the next time you need to create a similar sequence.
You need to use the AJA editing modes to enable output through the Kona card, and it's important to use a timebase that matches your footage (most of the time) since that will affect how frames are rendered for output. And don't be surprised if you don't have to render in Premiere Pro--that's the name of the game
If anything above doesn't check out, let me know.
Colin, you are correct. I modified one of the AJA settings, and now my Sequence Settings match my footage, and I don't have the red render bar. This "matching" sequence plays just as well as the "wrong" ones, but I feel better knowing that the settings match. Especially because, as you say, there otherwise may be problems with output.
Excellent. Thank you.
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Glad you were able to set up a sequence that way; I was shooting from the hip since I don't have an AJA card.
When it comes to matching source footage to sequences, frame rate is one of, if not the most important factor to attempt to match. Frame sizes are pretty flexible--it's common practice to shoot, edit and output in different frame sizes. But mixing frame rates can lead to some unwanted, or at least unpredictable results.
The chain of command goes like this:
source footage frame rate -> sequence frame rate -> output destination frame rate
If all of those sync up--for example, 23.976 (24p)--you know that you have a 1:1:1 frame rate ratio from source through output. There's no need to worry about dropped or interpolated frames.
However, even if your source footage and output frame rates match, if your sequence frame rate is different, you'll be forcing a frame rate conversion. That's because the source footage's frame rate is being put through the "filter" of the sequence's frame rate, and conformed to it in one way or another (dropped or interpolated frames). That's OK in certain circumstances--for example, I use 24p media in a 30p sequence frequently, and Premiere Pro properly duplicates the necessary frames to maintain the playback cadence--but going to something like 25p would have a wholly different (and not necessarily desirable) effect.
So, it's OK to mix-and-match frame rates, but just be aware of the consequences. A general rule of thumb that I try to follow is to match the sequence frame rate to either or both the frame rates of the source footage and the output destination; what you want to avoid is a sequence frame rate that is different than the frame rates of the source and the output, though.
Anyway, once again, glad that everything's working for you now. Let us know if you get hung up on anything else--and welcome aboard!
Colin, it's very kind of you to go into such an in-depth explanation.
I knew about frame rate conversions, as I've been editing for over 30 years, and was one of the first 100 hires at Avid Technology in 1991. I built a suite at home about five years ago, and started using FCP as my primary NLE.
I think what threw me the most was how fluidly the Pr + Kona LHi combo played my mis-matching sequence / footage to my display. This wasn't my experience with FCP. It's Render City when you use mixed frame rates.
My observation here is that FCP handles mixed frame SIZES with relative ease while having difficulty with mixed frame RATES. An Pr is the exact opposite: Handles mixed frame RATES with aplomb, while forcing renders with mixed SIZES.
I'm getting adjusted to the different approaches used by the two NLEs. I want to love Pr, because I do most of my finishing in AE, and I'm also immersing myself in Audition, Encore (as I am now getting requests to make BR disks), and AME for my web transcodes.
Thanks for your help and warm welcome.