meet kona 3, the heavyweight champion capture card for

Visualize uncompressed video, 8-channel
AES and embedded 16-channel audio,
up/cross/down HD/SD format conversion,
hardware downstream keyer, and HD/SD
component analog output—all yours on a
state-of-the-art 4-lane PCI Express card.
Intrigued? Like other members of the KONA
family, KONA 3 is designed for no-holdsbarred design and editing—with support for
Apple Final Cut Studio—plus,
hardware acceleration for the DVCPROHD
and HDV codecs, and Dynamic RT Extreme
effects in Final Cut Pro 5. It’s a knockout—
KONA 3—the new standard bearer for quality,
flexibility and future-safe architecture in a
QuickTime I/O card.
KONA 3 Control Panel
• SDI, HD-SDI, Dual Link HD-SDI 4:4:4, and 4:4:4:4, 2K
• 4-lane PCI-Express Bus interface
• DVCPROHD hardware acceleration
• HDV hardware acceleration
• Dynamic RT Extreme hardware acceleration
• Broadcast Quality hardware 10-bit up/cross/down-conversion
• 12-bit HD component and SD component/
composite analog output
• 10-bit HD/SD video/key output
• Internal HD/SD live hardware keyer
• 8-channel 24-bit AES and 16-channel embedded audio
• AJA QuickTime™ drivers
• Apple Final Cut Studio™ support
• Adobe After Effects, PhotoShop support… and much more!
• RS-422 machine control
• Cables standard—K3-Box breakout optional
• 3-year warranty
KONA 3 is the ultimate uncompressed capture
card for seamless operation with PCI Express
(PCIe) Apple G5 Power Macs and Apple Final
Cut Pro. Supporting any uncompressed SD or
HD format, including Dual Link and 2K, KONA 3
captures and plays back uncompressed 10-bit
and 8-bit digital video and 24-bit digital audio,
providing unparalleled power and workflow
efficiency. KONA 3 also includes a variety
of 10-bit broadcast-quality features, such
as hardware-based up-, down-, and crossconversion to and from HD, and adds a live
hardware HD/SD keyer for compositing bugs,
live clips and other elements over video.
KONA 3 supports Dual Link 4:4:4 HD-SDI, a
new technology on the Macintosh platform.
Commonly known as Sony HDCAM SR or
Thompson Viper Format, KONA 3 Dual Link
supports full bandwidth 4:4:4 RGB at 10-bits
(12-bit capable) for 1080i, 1080p and 720p
formats. KONA 3 can also convert between
4:4:4 and 4:2:2 formats for single link HD-SDI
The KONA 3 2K path offers significant cost and
labor savings over a tape-based approach to
2K. In a unique development for customers on
the Macintosh platform, you can go straight
from telecine to disk with 2K media and
eliminate the steps of using tape stock and
then digitizing those tapes for the nonlinear
editor. The added 2K support in KONA 3 v2
will benefit large, full-service facilities as well
as boutique facilities entering the 2K "film as
digital" landscape.
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 High Speed Data Link (HSDL),
offering further synergy with other 2K products
available and already in use.
Additionally, KONA 3 v2 allows 2K files to
be viewed on HD 1080 24P-supported video
monitors, lowering the price barrier for
recording to tape and viewing 2K material.
This 1080 HD playout can also be downconverted to SD in realtime, giving the 2K
DI pipeline a powerful solution for multiformat video playout of 2K material.
By generating 2K DPX files during the digitize
phase, different parts of the process (delivery
of full-resolution media for shots intended
for visual effects, for example) 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.
KONA 3 features full 10-bit, broadcast-quality,
motion-adaptive SD to HD up-conversion,
HD to HD cross-conversion, HD to SD downconversion, and automatic HD/SD 2-bit
component analog output. That’s the
equivalent of rolling AJA’s stand-alone HD
D/A converter, HD to SD down-converter,
and our SD to HD up-converter into one
convenient, cost-efficient KONA 3 board —
at half the price. The quality is identical to
AJA’s award-winning stand-alone products,
and all functionality is hardware-based,
making it available full time, all the time,
on digitize or playback. KONA 3 will address
your needs with support for hardware-based
1080-to-720 or 720-to-1080 cross-conversion.
This desirable feature further streamlines
dailies and deliverables creation at true
broadcast picture quality in realtime.
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 input, a selectable matte
or the contents of the card’s framebuffer
(KONA TV/Final Cut Pro). Even more than
that, 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
perhaps—into KONA TV and then place it
over live video coming into the card.
KONA 3’s extensive audio support makes
installation a breeze, working with 8-channel
24-bit 96kHz AES audio via XLR (balanced)
connections, and 16-channel embedded
24-bit 48kHz embedded SDI/HD-SDI audio.
KONA 3 also features high-quality input
sample-rate conversion on AES inputs,
which eliminates the need for audio source
Looking for unsurpassed cable connectivity?
Well look no further, because when you plug
in KONA 3’s breakout cables, they automatically configure. For SDI video, the card
features two HD/SD inputs and two outputs
for Single or Dual Link, one connection
for Genlock input, and three for HD/SD
analog video out. Also included is a 9-pin D
connector for RS-422 machine control. The
SDI inputs and outputs use a separate cable
with special mini-BNC connectors on one
end and full-sized BNCs on the other for
ease of connection and superior reliability.
The K3-Box for KONA 3 simplifies interfacing
by offering a 19-inch, 1RU rack-mountable
breakout box that attaches to the KONA 3 with
just two cables. This option offers all the same
inputs and outputs as the standard breakout
cable, and can be easily rack-mounted or
placed on top of a broadcast monitor or
editing desk. Additional functionality includes
simultaneous XLR and BNC AES output,
2-channel RCA analog audio monitoring, and
looping BNC Genlock reference connectors.
If you’re using a digital Betacam deck, HDCAM,
DVCPROHD, D5, D9, or even an HDCAM SR,
you’ll have the proper connections.
Most users run multiple applications to
create their video projects. So in addition to
Final Cut Pro support, the KONA Desktop
feature allows broadcast design elements
to be viewed with the proper aspect ratio
and color depth on a broadcast monitor via
the KONA card. KONA Desktop supports
Adobe After Effects, Adobe Photoshop, Apple
Motion, Apple Shake, Discreet Combustion
and more.
Final Cut Pro users will love our DVCPROHD,
HDV and Apple Dynamic RT Extreme hardware
acceleration, developed in close cooperation
with Apple and available exclusively on highend KONA cards. KONA 3 hardware takes
a portion of the codec processing load off
the CPU, allowing more RealTime effects in
Final Cut Pro when outputting. KONA 3 also
has hardware support when capturing. This
brings amazing RealTime HD production
power to the desktop. With KONA 3, any
source can be captured using the DVCPROHD
codec—giving you online HD quality at
remarkably low data rates, allowing the
internal PowerMac SATA storage to be used
for HD capture, playback, and RT effects. Of
course, you’ll obtain still better performance
and more RT when using a fast SCSI or Fibre
array, but this feature allows HD to be used
where only SD would have been considered
due to budget or time constraints. KONA
3 even supports the DVCPROHD and HDV
codecs with up or down-conversion—allowing
projects to be down-converted to SD, or even
up-converted for DVCPROHD capture.
Because KONA’s precision hardware does
part of the work, the G5 has more time
available to process RT effects. This means
more RT-effects power, and more RT streams.
Most broadcast codecs, including DVCPROHD
and HDV, use a two-step process. First the
video is scaled to a lower horizontal pixel
count, and then the video is compressed.
This is done because the slightly scaled video
results in a favorable trade-off between
resolution and codec efficiency. KONA 3’s
hardware not only dramatically speeds up
the scaling part of the job, but it’s also done
with full 10-bit broadcast quality.
The Panasonic DVCPROHD format takes
advantage of KONA hardware as well.
KONA’s precision hardware allows capture
and playback of HD-SDI video to/from the
DVCPROHD codec at a quality level virtually
indistinguishable from native FireWire, while
freeing up valuable RT processing power.
When using the Final Cut Pro HDV codec,
the KONA 3 hardware acceleration allows
instantaneous realtime playback for both
monitoring and recording. Even KONA’s
downconverter works in realtime with HDV,
allowing SD monitoring, dubs, or mastering.
This KONA 3 functionality makes HDV a fully
professional solution.
For Final Cut Pro 5’s Dynamic RT feature,
KONA’s hardware is used to offload the video
scaling as the “Playback Video Quality”
dynamically adjusts. This allows more
playback power—and because KONA handles
it seamlessly, the Dynamic RT you see on the
Mac monitor is the same as that shown on
your professional broadcast monitor.
All of this adds up to the most reliable,
feature rich, and highest-performance card
available for OS X and Final Cut Pro. KONA 3
represents the next generation of technology.
AES/EBU Audio In
Channels 1 through 8
AES/EBU Audio Out
Channels 1 through 8
All AES/EBU audio connectors have two channels
per connector
AES/EBU Audio In
Channels 1 through 8
Digital In
AES/EBU Audio Out
Channels 1 through 8
Machine Control
Video Output
Analog Audio
KONA 3 Standard XLR
Breakout Cable
Slot (any)
SDI Out1/Link A BNC
SDI Out2/Link B BNC
SDI In1/Link A BNC
SDI In2/Link B BNC
Machine Control
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)
Audio Input XLR’s
Channels 1-8
(2 channels/connector)
SDI cable
4-mini BNCs
to 4 standard
Video Input
HD-SDI/SDI, SMPTE-259/292/296
Dual-link HD 4:4:4, 4:4:4:4
Video Formats
525i 29.97
625i 25
720p 50
720p 59.94
720p 60
1080i 25
1080i 29.97
1080i 50
1080psf 23.98
1080psf 24
1080p 50
1080p 59.94
1080p 60
Video Output
SD-SDI, SMPTE, 259M, 10-bits, BNC
HD-SDI SMPTE, 292/296, 10-bits, BNC
Dual-link HD 4:4:4 2K HSDL
SD and HD Output, 12-bits, BNC
SD: YPbPr, RGB (component mode)
Composite/YC (composite mode)
2K Formats Supported
2048 x 1080p 23.976
2048 x 1080psf 23.976
2048 x 1080p 24
2048 x 1080psf 24
2048 x 1556psf 14.98
2048 x 1556psf 15
2048 x 1556psf 23.98
AJA Video Systems Inc.
P.O. Box 1033 • Grass Valley, California 95945
800.251.4224 • 530.274.2048 •
Downstream Keyer:
Will output graphics with alpha channel over
video, matte or framebuffer, or framebuffer
content over video or matte
24-bit embedded HD audio, 16-CH
20-bit SD embedded audio
24-bit AES audio, 8-CH
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
blackside 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
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
Reference Input
Analog Color Black (1V) or Composite Sync
(2 or 4V) Non terminating, Looping, 75 ohm
Machine Control
RS-422, Sony 9-pin protocol
Incredible 3 Year Warranty
AJA Video warrants that KONA products will
be free from defects in materials and workmanship for a period of three years from the
date of purchase.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading
manufacturer of high-quality and cost-effective digital video interface, conversion and
Desktop solutions supporting the professional
broadcast and post-production markets.
With headquarters in Grass Valley, California,
AJA maintains an extensive sales channel of
dealers and systems integrators around the
world. For further information, please see our