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Warning!
Only use attachments and accessories specified and/or sold by the
manufacturer.
Warning!
Read and follow all warning notices and instructions marked on the product or
included in the documentation.
Warning!
Do not use this device near water and clean only with a dry cloth.
System Requirements
AJA Video recommends that the Mac Pro or MacBook Pro used with the Ki Pro
support Firewire 800 and Apple ProRes 422 with a satisfactory level of performance.
Consult Final Cut Pro documentation when setting up and configuring your system
for editing; ensure you have an adequate storage system (RAID array) and any
needed video/audio interfaces.
Apple ProRes 422 Advantages
Data rates: 220 Mb/second Apple ProRes 422 (HQ), 145 Mb/second Apple ProRes
422, 100 Mb/second Apple ProRes 422 (LT), and 36 Mb/second Apple ProRes 422
(Proxy).
Note: Apple ProRes 422 (Proxy) is for high-quality offline editing at the original
frame size, frame rate, and aspect ratio.
Quality: Excellent, broadcast quality
Captured media is virtually indistinguishable from pristine uncompressed sources.
Better yet, ProRes maintains the quality during editing, surviving multiple
encoding/decoding generations without degradation. It was designed by Apple for
editing, rather than as a transmission/distribution codec as are most popular
codecs. Some of the advantages include:
• Full-size 1920-by-1080 and 1280-by-720 HD resolutions.
• Full-size 720-by-486 and 720-by-576 SD resolutions.
• 4:2:2 chroma sampling. Provides precise compositing and blending at sharp
saturated-color boundaries.
• 10-bit sample depth. Preserves subtle gradients of 10-bit sources (perfect for
green-screen compositing, graphics or color correction) with no visible
banding artifacts.
• I frame-only encoding. Ensures consistent quality in every frame and no
artifacts from complex motion.
• Variable bit-rate (VBR) encoding. “Smart” encoding analyzes the image and
allocates more bits to complex frames.
• Low data rate requirements make for more storage options and require less
drive space to store high quality video.
• Optimized for efficient Real-Time effects.
- Installation and Operation 1
- Trademarks 2
- Contacting Support 2
- Limited Warranty 2
- Limitation of 3
- Liability 3
- Table of Contents 5
- Chapter 1: Introduction 11
- Features 12
- What’s In The Box? 13
- System Requirements 14
- Apple ProRes 422 Advantages 14
- In This Manual 15
- Avid DNxHD Advantages 15
- Overview 17
- Operator Side 18
- Displays and Indicators 21
- Other Front Panel Features 21
- Connector Side 22
- RS-422 Connector 23
- SDI Inputs and Outputs 23
- Component YPbPr 23
- Composite NTSC/PAL Output 24
- Ref Loop 24
- LTC Timecode Input And Output 24
- Removable Storage 26
- Modules (HDD or 26
- Formatting Media 26
- Using Ki Pro Media 27
- Using Ki Pro Rack 27
- Media with Avid 27
- Media Composer 27
- Installation 28
- Applying Power 29
- Using AC Power 29
- Remote Network Control 30
- Network 31
- Connections 31
- TCP/IP Information 31
- You’ll Need 31
- Networking via 32
- Networking Ki Pro 33
- TRANSPORT Mode (default) 37
- Recording Notes 38
- Playing Back a Clip 39
- Deleting Clips 39
- STATUS menus 40
- MEDIA menus 43
- 14.0 ENCODE MODE 44
- 14.1 ENCODE TYPE 44
- 15.1 PLAY MEDIA 44
- 15.2 LOOP PLAY 44
- 15.3 PLAYLIST 45
- 16.1 FORMAT MEDIA 45
- 16.2 DELETE CLIPS 45
- 17.0 REEL NAME 45
- 17.2 CLIP NAME 45
- Clip Naming—Two Examples 46
- 17.3 CLIP NUMBER 47
- 17.4 CLIP APPEND 47
- 17.5 ALPHA APPEND 47
- 17.8 TAKE 48
- Custom Clip 48
- 19.1 USE CUSTOM CLIP NAME 49
- 19.2 CUSTOM CLIP NAME 49
- 19.4 CUSTOM TAKE 49
- 22.1 GANG CLIP NAME 49
- CONFIG menus 50
- 1.1 RECORD TYPE 51
- 1.3 1080p PLAYBACK 51
- 1.4 IN CONVERT 52
- 1.5 OUT CONVERT 52
- 1.6 SDI OUT 52
- 1.6 SDI 2 OUT 52
- 1.7 COMPONENT OUT 52
- 1.8 HDMI OUT 53
- 1.9 SUPER OUT 53
- 2.1 VIDEO INPUT 53
- 2.2 AUDIO INPUT 54
- 2.3 AUDIO CHANNELS 54
- 3.1 COMPONENT IN LVL 55
- 3.2 COMPONENT OUT LVL 55
- 3.4 NTSC CONFIG 55
- 4.1 ANALOG AUDIO 55
- 5.1 UPCONVERSION 56
- 5.2 DOWNCONVERSION 57
- 6.1 GENLOCK 57
- 8.0 TC IN 58
- 8.1 TC VALUE 58
- 8.2 TC TYPE 58
- 8.3 ARM RECORDING 58
- 13.1 CAMERA DATA 59
- 32.0 Loss of Video 61
- 35.2 REMOTE CONTROL 61
- 41.1 VIDEO SG FRMT 63
- 41.2 VIDEO SG 63
- 41.3 AUDIO SG 63
- 50.1 IP CONFIG 64
- 50.2 IP ADDRESS 64
- 50.3 SUBNET MASK 65
- 50.4 STATIC GATEWAY 65
- 50.5 SYSTEM NAME 65
- 50.6 MAC ADDRESS 66
- 55.4 DATE SET 66
- 55.6 TIME SET 66
- 70.1 SCREEN SAVER 67
- 70.2 DISPLAY INTENSITY 67
- 70.3 FAN SPEED 67
- 80.1 SERIAL NUMBER 67
- 80.2 SW VERSION 67
- 91.1 RECALL PRESET 68
- 92.1 STORE PRESET 68
- 99.0 FACTORY RESET 68
- Browser Remote Control 69
- General Screen 70
- Information 70
- Config Screen 71
- Media Screen 74
- Transport Screen 76
- Presets Screen 78
- Network Screen 80
- Playlists Screen 82
- Alarms Screen 83
- Update Firmware 84
- Preparing to Update Software 84
- Advanced Features 86
- How to Use Gang Recording 87
- Gang Recording Summary 88
- Using Playlists 89
- Creating a Playlist 90
- Playback of a Playlist 91
- Using Presets 92
- Storing a Preset 92
- Recalling Presets 93
- Appendix A: Specifications 95
- Physical 97
- Temp erature 97
- Appendix B: 99
- Safety & Compliance 99
- Regulatory Compliance 100
- Taiwan Compliance Statement 101
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