AJA | Ki Pro | Portable File-Based Recorder and Player

Portable File-Based Recorder and Player
Portable File-Based
Recorder and Player
Only $3,995 US MSRP*
Find a Reseller
AJA’s Ki Pro digital recorder was the
first standalone device to record
video directly to removable media
as ready-to-edit Apple ProRes files,
enabling an efficient workflow
from camera to editorial in a truly
portable size.
Portable File-based
Recorder and Player
Ki Pro combines the power of a file-based recorder with the familiar controls
of a VTR in a form factor that is portable enough to go anywhere.
The Ki Pro established a new paradigm in tapeless recording.
Revolutionizing how footage moves from production to editorial,
Ki Pro captures Apple ProRes 422 files at your choice of quality level
direct from the source. These files can then be used in most editing
systems without the need for any additional import or transcoding
steps. Just remove the Storage Module from the Ki Pro, connect it
directly to the editing computer, transfer the files to your edit system
and they are immediately ready for use in the NLE software.
Ki Pro’s comprehensive array of analog and digital connections let’s
you effortlessly bridge formats and sources within your workflow,
ingesting footage to a common format and outputting to numerous
simultaneous monitor outputs. Offering AJA’s high-quality up/down/
cross conversion and a multitude of connections, integration with your
other production gear is seamless.
www.aja.com
Ki Pro’s RS-422 control allows it to be connected to editing systems
and external controllers allowing it to fulfill some of the functions of a
traditional VTR. Editing systems can perform assemble edits directly
to the KiStor Modules, often faster than rendering Apple ProRes files
might be from within an editing system.
For control and configuration, Ki Pro can be connected directly to a
computer or a data network by an Ethernet cable or wireless 802.11.
Ki Pro can be accessed via a web browser on any networked computer,
or even a smartphone. Multiple Ki Pro units may even be networked
together and controlled from a single interface making them ideal
recorders for multi-camera projects.
2 | Ki Pro
Chad Smith at Remote Access prepping the Woodstock Film Festival music video
program with KiPro and iPhone. On screen is Bird of Flames - Chrysta Bell and David
Lynch (left monitor) and Fjögur píanó - Sigur Rós (right monitor)
The Original ProRes Recorder
Unify formats
RS-422 Control
Ki Pro established a new paradigm for tapeless
recorders by being the first to offer support
for creating Apple ProRes 422 files, which
revolutionized how footage could be moved
efficiently from production to editorial. Editors
are able to work with footage immediately
without the need for special file importers or
transcoding steps.
AJA’s high-quality up/down/cross conversion
makes it easy to unify SD, 720p, and 1080i
and create a single desired format for your
project. The multitude of video and audio
connections such as SDI, HDMI and analog
make integrating Ki Pro with other production
equipment easy.
RS-422 control allows Ki Pro to integrate easily
with supported editing systems and external
controllers allowing it to fulfill several of the
functions of a traditional VTR. Supported NLEs
can even perform assemble edits directly to
the Ki Pro.
The workflow is simple: record with the Ki Pro,
remove the KiStor Storage Module from the
Ki Pro and connect the KiStor Storage Module
to the edit system via built-in connectivity.
www.aja.com
3 | Ki Pro
10-bit, full raster recording
Connectivity
Reliable storage media
Compared to 8-bit recording devices, 10-bit
4:2:2 recording provides better quantization,
giving a superior representation of the
original scene and allowing for more flexibility
in post production when adjusting color and
balance.
Ki Pro’s extensive connectivity ensures that
you will be able to interface with virtually
any gear in your production workflow.
The rear panel is packed with connectors
which include: SDI input/output, HDMI input/
output, component analog input/output,
balanced and unbalanced analog audio input/
output, LTC input/output as well as LANC.
Ki Pro Rack captures directly to reliable
AJA KiStor modules. KiStor modules are
available as HDDs or SSDs in a variety of
capacities to best suit the demands of your
production environment. KiStor modules
also feature either a built-in FireWire 800 or
USB3 connector for direct connection to your
editing system. Alternatively, KiStor modules
may also be used with the optional KiStor
Dock which features USB3 and Thunderbolt
connectors for lightning-fast data transfers.
By utilizing efficient ProRes codecs, file sizes
are kept in check so you won’t need to blow
your production budget on extra storage.
www.aja.com
Remote configuration
and operation
On set or in a machine room, Ki Pro is
equipped for advanced remote control and
configuration. With a standard Ethernet LAN
connection to a host computer and a
web browser, all Ki Pro parameter settings,
clip selection and transport controls can be
controlled; no additional or special software
installation is required on the host computer.
Multiple Ki Pro units may even be networked
together and controlled from a single
interface making them ideal recorders for
multi-camera projects.
4 | Ki Pro
Connections
Storage Module
Release Button
Alphanumeric and
Graphics Display
Storage Module
(slides into slot)
ExpressCard 34 Slots (2)
Level Meters
2-CH
Audio Input
Level Adjust
Click here
www.aja.com
Transport and Menu Buttons
Headphone
Volume
Headphone
Output
Power ON/OFF
For full product specifications visit www.aja.com/ki-pro/techspecs
5 | Ki Pro
Connections
FireWire 400
to Camera
(for Control & Timecode)
Ethernet
10/100/1000
RJ45
FireWire 800
Connection
to Mac
Lens Tap
LANC Loop
LTC In/Out
Balanced Audio Out
Left
Right
Left
Right
Unbalanced
Audio Out
RS-422
(machine
control)
WiFi Radio
ON/OFF
LED Indicator
4-Pin XLR Power
Port on Side
HDMI
In/Out
Click here
www.aja.com
SDI
In/Out
Component
In/Out
Composite
Out
Mic/Level
Switch
Balanced Audio In
Unbalanced
Audio In
For full product specifications visit www.aja.com/ki-pro/techspecs
6 | Ki Pro
Accessories
KiStor Modules
KiStor modules use thoroughly tested spinning disk or solidstate-media and are backed by a 1-year warranty. KiStor
modules are also engineered with the rigors of production
use in mind; not only are robust housings used for the media,
but connectors rated for multiple instertions and removals are
used, unlike bare drive connectors that are not engineered for
repeated use. Additionally, KiStor modules can be formatted
in the device making it a true standalone recorder; connecting
the media to a host computer to format media is not necessary.
KiStor Dock
ExoSkeleton
Ki Pro Rod Accessory Kit
This external docking station provides both
Thunderbolt™ and USB 3.0 connections for
ultra-fast file transfers between either PC
or Mac host computer and Ki Stor modules.
Works with all Ki Stor modules.
The ExoSkeleton provides a surrounding
chassis for the Ki Pro that can both be mounted
to a tripod and also provides a mounting area
for a camera on top; this combination allows
convenient access to controls.
This kit adds endplates to the ExoSkeleton
so you can attach two user supplied 15mm
camera accessory rods. The endplates have
knobs for adjusting the height of the rod
brackets relative to the camera, and a set of
knobs for securing the rods in the brackets.
Filament Productions Takes AJA Ki Pro
on Tour with Dave Matthews Band
www.aja.com
7 | Ki Pro
Photo credit: Parrish Smith
AJA Ki Pro Helps
Filmmakers Deliver
the Drama for
R. Kelly’s Latest
Trapped in the Closet
Installment
"The Ki Pro really allowed us to
get the most out of the Sony F3
with high quality recording and
real time color correction. It let
us work faster and better from
filming through to editing we really got to have our cake
and eat it too."
The latest chapters of R. Kelly’s cult hit "Trapped in the Closet" debuted
recently on IFC, garnering the networks highest ratings ever for an
original production. The "hip-hopera" served up more of its signature
rhymes and plot twists after a five-year hiatus in the series which first
debuted in 2005. Approaching production again after several years,
longtime "Trapped" co-director/editor Jim Swaffield decided to adopt
AJA Ki Pros to optimize and simplify their camera to edit workflow.
For the saga’s latest installment, Swaffield and DP Teodoro Maniaci
chose to work with two Sony F3 cameras for the the bulk of the
the photography, supplemented by an Arri Alexa for slow motion
sequences. "With good glass, the Sony F3 produces wonderful images,
it has a great sensor,• explained Swaffield, "however the internal
recording is done at 4:2:0 35Mb/s and we wanted a higher data rate."
To address this issue, Swaffield turned to Gary Pontore, a VP in the
Modern Media Solutions Division at Future Tech Enterprise, who
serves as a post/digital workflow consultant on the series.
Pontore recommended an all new workflow using two Ki Pro recorders
on set fed from the camera’s SDI outputs to the recorders to benefit
from Ki Pro’s 10-bit 4:2:2 recording capabilities, along with Mac Pros
running Final Cut Pro 7 and Adobe Creative Suite 6 for editing.
The two F3 cameras output 1920x1080x23.976fps 4:4:4 10-bit RGB
S-log signals, to which LUTs were applied on set by DIT John Waterman
using Pomfort LiveGrade software. "Teo likes to interactively combine
illumination and grading," says Swaffield, "and we were able to get very
close to our final look dynamically on set as we shot."
"With the Ki Pro, our files were already in ProRes and ready to edit
without having to transcode, which allowed co-editor David Rosenblatt
to work live on set. This was key for us because our start date got
pushed back while our delivery date remained the same, so we ended
up only having three and a half weeks to do everything - but thanks
to the Ki Pros we were able to work and turn everything around very
quickly with no problems."
"The Ki Pro really allowed us to get the most out of the Sony F3 with
high quality recording and real time color correction. It let us work
faster and better from filming through to editing - we really got to have
our cake and eat it too."
View Online
www.aja.com
8 | Ki Pro
Tech Specs
Video Formats
Video Input Analog
Audio Input Digital
Up Conversion
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
525i, 29.97
625i 25
720p 23.98*, 25*, 29.97*, 50, 59.94, 60
* Note: These formats require a valid camera
source and the use of the Record Type>VFR
selection
1080i 25, 29.97, 30
1080psF23.98, 24, 25*, 29.97*
*Note: These formats require a valid camera source
and the use of the Record Type>PsF selection
1080p 23.98, 24, 25, 29.97
Codec Support
•
•
•
•
Apple ProRes 422
Apple ProRes 422 (HQ)
Apple ProRes 422 (LT)
Apple ProRes 422 (Proxy)
Removable Storage
•
•
AJA KiStor modules – 1 slot
ExpressCard/34 – 2 slots
(Only Slot 1 active, See www.aja.com for
supported media)
SD/HD SDI, SMPTE-259/292/296, 10-bit
Single Link 4:2:2 (1 x BNC)
HDMI v1.1
•
•
•
•
Video Output Analog
•
•
•
•
•
•
•
•
•
•
•
•
www.aja.com
Composite (1 x BNC)
NTSC, NTSCJ, PAL
12-bit D/A, 8x oversampling
+/- .2 dB to 5.0 MHz Y Frequency Response
+/- .2 dB to 1 MHz C Frequency Response
.5% 2T pulse response
<1% Diff Phase
<1% Diff Gain
Note: Composite output requires that the
Component Analog output be set to SD;
composite output does not support HD
Component (3 x BNC)
HD: YPbPr, RGB
SD: YPbPr, RGB (component mode)
SMPTE/EBU N10, Betacam 525 line, Betacam 525J,
RGB
12-bit D/A, 8x oversampling
+/- .2 dB to 5.5 MHz Y Frequency Response
+/- .2 dB to 2.5 MHz C Frequency Response
.5% 2T pulse response
<1 ns Y/C delay inequity
•
•
•
•
•
•
SD/HD SDI, SMPTE-259/292/296, 10-bit
Single Link 4:2:2 (1 x BNC)
HDMI v1.1
Note: HDMI requires 1080i, 720p or 1080p to
be active; HDMI does not provide support for PsF
2-channel or 8-channel user selectable
8-channel, 24-bit SDI embedded audio,
48kHz sample rate, Synchronous
2-channel, 24-bit HDMI embedded audio,
48kHz sample rate, Synchronous
Audio Input Analog
•
•
•
•
•
•
Click here
•
Video Output Digital
Video Input Digital
•
•
•
SD/HD Component (3 x BNC)
SMPTE/EBU N10, Betacam 525 line, Betacam 525J
12-bit A/D, 2x oversampling
+/- .25 dB to 5.5 MHz Y Frequency Response
+/- .25 dB to 2.5 MHz C Frequency Response
.5% 2T pulse response
<2 ns Y/C delay inequity
2-channel, 24-bit A/D analog audio, 48kHz sample
rate, balanced (2 x XLR)
Input level: Line, Mic, Mic+phantom 48Vdc
+24 dBu Full Scale Digital
+/- 0.2 dB 20Hz to 20kHz Frequency Response
2-channel unbalanced (2 x RCA)
Audio Output Digital
•
•
8-channel, 24-bit SDI embedded audio,
48kHz sample rate, Synchronous
8-channel, 24-bit HDMI embedded audio,
48kHz sample rate, Synchronous
Audio Output Analog
•
•
•
•
•
For the most recent product specifications visit www.aja.com/ki-pro/techspecs
2-channel, 24-bit D/A analog audio,
48kHz sample rate, balanced (2 x XLR)
+24dBu Full Scale Digital (0 dBFS)
+/- 0.2 dB 20Hz to 20kHz Frequency Response
2-channel unbalanced (2 x RCA)
Stereo unbalanced headphone
(1 x 3.5mm mini jack)
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 side bars
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
•
•
•
•
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
Cross Conversion
•
•
•
Hardware 10-bit
1080i to 720p
720p to 1080i
(Continued on Next Page)
9 | Ki Pro
Tech Specs (Continued)
Timecode
Computer Interface
Machine Control
Physical
•
•
•
•
•
•
•
•
SDI RP188/SMPTE 12M via SDI BNC
LTC input (1 x BNC)
LTC output (1x BNC)
Note: active during playback not during
record or EE
Network Interface
•
•
•
10/100/1000 Ethernet (RJ-45)
802.11g Wireless
Embedded web server for remote control
1
GND
2
RX-
•
3
TX+
4
GND
5
No Connection
6
GND
7
RX+
8
TX-
9
GND
Shell
GND
2 x 20 character display, with dedicated buttons
Control
•
•
www.aja.com
RS-422, Sony 9-pin protocol.
9-pin D-connector pinout is as follows:
User Interface
•
Click here
IEEE1394b/FireWire 800
LANC Loop (2 LANC Connectors)
Note: requires a LANC enabled camera
Lens Tap
Note: Not activated
IEEE-1394a/FireWire 400 for control and
timecode data
•
•
•
Width: 9.00" (22.86cm)
Depth: 6.12" (15.56cm) from front antenna cover to
back of handles
Height: 3.25" (8.25cm)
Power: 100-240 VAC 50/60Hz (adapter), 12-18Vdc
4-pin XLR (chassis), 3.3A max, 30W typical
Weight: 3.7 lb. (1.67kg)
For the most recent product specifications visit www.aja.com/ki-pro/techspecs
10 | Ki Pro
Incredible 3-year warranty
AJA Video warrants that Ki Pro products, except
for Storage Modules, will be free from defects in
materials and workmanship for a period of three
years from the date of purchase. Storage Modules
are warranted for one year.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading
manufacturer of video interface and conversion
solutions, bringing high-quality, cost-effective
digital video products to the professional broadcast
and post-production markets.
AJA offers the Io and KONA desktop video products,
Ki Pro family of recorders, miniature standalone
converters, and a complete line of rack mount
interface and conversion cards and frames.
With a headquarters and design center located in
Grass Valley, California, AJA Video offers its products
through an extensive sales channel of dealers and
systems integrators around the world. For further
information, please see our website at
www.aja.com
B e c a u s e
i t
m a t t e r s .™
B e c a u s e
i t
m a t t e r s .™
AJA Video Systems Inc.
Grass Valley, California
www.aja.com • sales@aja.com • support@aja.com
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising