AJA KiPRO installation Guide

www.aja.com

Installation and Operation

Guide

Because it matters.

Version 3.0 Published: 2/13/2012

PRO

Trademarks

Notice

Contacting Support

AJA®, KONA®, and XENA® are registered trademarks of AJA Video, Inc. Ki Pro™, Io Express™, Io

™

and Io™ are trademarks of AJA Video, Inc. AirPort, Apple, the Apple logo, AppleShare, AppleTalk, FireWire, iPod, iPod Touch, Mac, and Macintosh are registered trademarks of Apple Computer, Inc. Final Cut Pro, QuickTime and the QuickTime Logo are trademarks of Apple Computer, Inc. All other trademarks are the property of their respective holders.

Copyright © 2012 AJA Video, Inc. All rights reserved. All information in this manual is subject to change without notice. No part of the document may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying or recording, without the express written permission of AJA Inc.

To contact AJA Video for sales or support, use any of the following methods: Telephone: 800.251.4224 or 530.274.2048 Fax: 530.274.9442 Web: http://www.aja.com Support Email: support@aja.com Sales Email: sales@aja.com

Limited Warranty

AJA Video warrants that the product, not including hard-disk based Storage Modules (HDD), will be free from defects in materials and workmanship for a period of three years from the date of purchase. AJA Video warrants that the hard-disk based Storage Modules (HDD), will be free from defects in materials and workmanship for a period of one year from the date of purchase. If a product proves to be defective during this warranty period, AJA Video, at its option, will either repair the defective product without charge for parts and labor, or will provide a replacement in exchange for the defective product..

To obtain service under this warranty, the Customer must notify AJA Video of the defect before expiration of the warranty period and make suitable arrangements for the performance of service by contacting AJA Video support through the channels set forth on the support contacts web page at http://www.aja.com/support/index.php. Except as stated, the Customer shall bear all shipping, packing, insurance and other costs, excluding parts and labor, to effectuate repair. Customer shall pack and ship the defective product to a service center designated by AJA Video, with shipping charges prepaid. AJA Video shall pay to return the product to Customer but only if to a location within the country in which the AJA Video service center is located.

This warranty shall not apply to any defect, failure or damage caused by negligent, inadequate or improper use, handling or maintenance. Without limiting the foregoing, AJA Video shall not be obligated to furnish service under this warranty or repair any damage or malfunction a) resulting from attempts by personnel other than AJA Video representatives to install, repair or service the product, b) resulting from improper use or connection to incompatible equipment, c) caused by the use of non-AJA Video parts or supplies, d) if the product has been modified or integrated with other products when the effect of such a modification or integration increases the time or difficulty of servicing the product, or (e) resulting from being dropped or otherwise subjected to undue force, exposure to moisture or other corrosive or conductive substances, exposure to strong magnetic fields, use with improperly regulated power supplies, exposure to electric shock, use in temperatures outside the specified operating range, or otherwise failing to treat the product in accordance with the standard of care appropriate to sensitive and delicate electronic equipment.

EXCEPT AS STATED ABOVE, AJA VIDEO AND ITS VENDORS DISCLAIM IN THEIR ENTIRETY ALL OTHER WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION ALL WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. AJA VIDEO'S RESPONSIBILITY TO REPAIR OR REPLACE TIMELY REPORTED DEFECTIVE PRODUCTS IS THE WHOLE AND EXCLUSIVE REMEDY CUSTOMER IS PROVIDED.

Ki Pro Installation and Operation Manual — Limited Warranty

THE PRODUCT IS NOT INTENDED, STATED, OR WARRANTED TO OPERATE UNINTERRUPTED OR ERROR-FREE. YOU UNDERSTAND AND ACKNOWLEDGE THAT THE PRODUCT IS NOT INTENDED TO BE USED AS THE SOLE OR PRIMARY DATA SOURCE OR TARGET FOR CRITICAL DATA, AND THAT IT IS YOUR RESPONSIBILITY TO IMPLEMENT REDUNDANT CAPTURE AND BACKUP SYSTEMS AS APPROPRIATE.

Limitation of Liability

UNDER NO CIRCUMSTANCES SHALL AJA VIDEO BE LIABLE IN ANY WAY FOR ANY LOST, CORRUPTED OR DESTROYED DATA, FOOTAGE OR WORK, OR FOR ANY OTHER INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES, OR FOR ANY THIRD PARTY CLAIM, IN CONNECTION WITH THE PRODUCT, WHETHER RESULTING FROM DEFECTS IN THE PRODUCT, SOFTWARE OR HARDWARE FAILURE, OR ANY OTHER CAUSE WHATSOEVER, EVEN IF AJA VIDEO HAS BEEN ADVISED OF THE POSSIBLITY OF SUCH DAMAGES. AJA VIDEO's LIABILITY IN CONNECTION WITH THIS PRODUCT SHALL UNDER NO CIRCUMSTANCES EXCEED THE PURCHASE PRICE PAID FOR THE PRODUCT.

Ki Pro Installation and Operation Manual — Table of Content s

Trademarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Contacting Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Limited Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Limitation of Liability. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Table of Contents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

What’s In The Box?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

System Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Apple ProRes 422 Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

In This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 2: Getting Started & Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Operator Side. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Displays and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Other Front Panel Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Connector Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

LTC Timecode Input And Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SDI Input and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Component YPbPr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

CVBS Composite NTSC/PAL Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

HDMI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Analog 2 Channel Balanced Audio Input and Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Analog 2 Channel Unbalanced Audio Input and Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

9-pin Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Host (FireWire 800) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

CTRL/TC (FireWire 400). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Ethernet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

LANC Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Lens Tap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

LED Indicator for IEEE 802.11 Radio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Power Connector (back of unit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

ExpressCard/34 Memory Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Removable Storage Modules (HDD or SSD). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Formatting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Using Ki Pro Media in Final Cut Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Stand-alone Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Camera Mounting with Exo-skeleton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Exo-skeleton Setup and Adjustment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Applying Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Using AC Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Using DC Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Remote Network Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Network Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

TCP/IP Information You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Networking via DHCP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Networking Ki Pro using a Static IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Networking Ki Pro using the Factory Default IP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Test Ki Pro’s Network Connection with “Ping” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Mac Ping Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Controlling Ki Pro from a web-browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Controlling Ki Pro via 802.11b/g. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 3: Front Panel Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

TRANSPORT Mode (default) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Recording a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Recording Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Playing Back a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

STATUS menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Record and Play Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Alarm Status. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

MEDIA menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Media Menu Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

12.1 Media State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Data-LAN and Data-FW Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

14.1 ENCODE TYPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

15.1 PLAY MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

15.2 LOOP PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

15.3 PLAYLIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

16.1 FORMAT MEDIA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

16.2 DELETE CLIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

17.0 REEL NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

17.2 CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Clip Naming—Two Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

17.3 CLIP NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

17.4 CLIP APPEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

17.5 ALPHA APPEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

17.8 TAKE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Ki Pro Installation and Operation Manual — Table of Content s

Custom Clip Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

19.1 USE CUSTOM CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

19.2 CUSTOM CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

19.4 CUSTOM TAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

22.1 GANG CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

CONFIG menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

CONFIG Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

1.1 RECORD TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

1.3 1080p PLAYBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

1.4 IN CONVERT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

1.5 OUT CONVERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

1.6 SDI OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

1.7 COMPONENT OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

1.8 HDMI OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

1.9 SUPER OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

2.1 VIDEO INPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

2.2 AUDIO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

2.3 AUDIO CHANNELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

3.1 COMPONENT IN LVL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

3.2 COMPONENT OUT LVL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

3.4 NTSC CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

4.1 ANALOG AUDIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

5.1 UPCONVERSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

5.2 DOWNCONVERSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

6.1 GENLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

8.0 TC IN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

8.1 TC VALUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

8.2 TC TYPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

8.3 ARM RECORDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

13.1 CAMERA DATA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Important Notes About The Various Cameras Supported by 13.1 . . . . . . . . . . . . . . . . . . . 64

32.0 Loss of Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

35.2 REMOTE CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

41.1 VIDEO SG FRMT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

41.2 VIDEO SG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

41.3 AUDIO SG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

50.1 IP CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

50.2 IP ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

50.3 SUBNET MASK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

50.4 STATIC GATEWAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

50.5 SYSTEM NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

50.6 MAC ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

50.7 802.11 MAC ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

53.0 802.11 AVAILABLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

53.1 802.11 CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

53.2 802.11 NETWORK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

53.3 802.11 SECURITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

53.4 802.11 PASSWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

53.5 HIDE 802.11 PASSWORD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

54.1 802.11 IP CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

54.2 802.11 IP ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

54.3 802.11 DHCP MASK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

55.4 DATE SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

55.6 TIME SET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

70.1 SCREEN SAVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

70.2 DISPLAY INTENSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

70.3 FAN SPEED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

80.1 SERIAL NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

80.2 SW VERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

91.1 RECALL PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

92.1 STORE PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

99.1 FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Chapter 4: Browser Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Remote Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Resetting Values To Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Web Browser via Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

General Screen Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Config Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Media Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Transport Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Presets Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Network Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Wireless Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Playlists Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Alarms Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Update Firmware Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Preparing to Update Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Upload and Install the Software on your Ki Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Web Browser via Wireless Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Using Wireless Devices to Control Ki Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

iPhone Ki Pro Screens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

When Using an iPhone to Control Ki Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Alarms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Config. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Transport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Controlling Multiple Ki Pros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Ki Pro Installation and Operation Manual — Table of Content s

Example: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

How to Use Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Gang Recording Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Using Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Working with the All Clips Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Creating a Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Playback of a Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Storing a Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Recalling Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Appendix A: Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Video Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Digital:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Video Outputs (all simultaneously active). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Digital:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Audio Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Audio Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Panel User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Serial Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Hardware up-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Hardware down-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Hardware cross-conversion - 10-bit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Physical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Edge Shot Photo Here

Overview

Chapter 1: Introduction

Ki Pro is an all new way of connecting production and post. With it, you can now acquire with the same codec you edit with—Apple ProRes 422—in all 4 types (including HQ, LT and Proxy). Ki Pro simplifies the link between production and post by acquiring on the best codec for use with Apple Final Cut Studio or Apple Final Cut Pro X from virtually any camera, regardless of format. With its extensive analog and digital connectivity, virtually any video and audio source can be fed into Ki Pro. Also included is AJA's powerful 10-bit realtime up/down/cross conversion, allowing you to record in the format you want to edit and deliver.

Small and portable, AJA’s Ki Pro was designed as a field recorder for creating “ready-to-edit” professional digital video. Ki Pro supports an Apple “file-based” workflow by recording standard Apple ProRes 422 QuickTime files on industry standard media. Ki Pro supports analog and digital audio/video I/O and records on either removable 34mm ExpressCards or a removable storage module. Two types of storage modules are also available for Ki Pro: a 2.5” SATA hard drive (supplied with the base system), or a Solid-State-Drive (SSD) module you can optionally purchase. When removed, storage modules function as a standard FireWire 800 drive when connected to a Mac.

Note: ExpressCard storage is not supported with firmware versions 1.0, 1.0.1, 1.1, or 2.0.

Beginning with version 3.0, ExpressCard storage is supported (for Slot 1 only).

Ki Pro's multi-purpose mechanical design and small form factor allow both “stand-alone” and camera configurations. In standalone mode, it can connect to a camera while sitting on a desk or flat surface. In a camera configuration it mounts between the camera and a tripod using an optional “Exo-skeleton” frame. The frame option allows for flexible positioning of the camera and accessories and serves as an attachment to a professional tripod.

Internally, Ki Pro natively supports the Apple ProRes 422 codecs in hardware, allowing realtime capture directly to Apple ProRes 422 QuickTime files. In fact, while the camera is recording to its own tape or file-based memory, Ki Pro can simultaneously capture the media as ProRes so it’s instantly ready to edit when the removable storage module is connected to a Mac. With this kind of flexibility, you can save time, steps, and get your project done quicker and with the highest quality.

Like AJA’s famous KONA and Io HD desktop products, Ki Pro offers unparalleled connectivity. Within its portable and rugged form factor, Ki Pro offers SD/HD analog I/O, SD/HD digital I/O including SDI, HD-SDI and HDMI, two channels of balanced and unbalanced analog audio with switch selectable line/mic levels, and LTC timecode in/out.

Control options are also varied and flexible. Ethernet 10/100/1000 connection is possible via an RJ45 connector, allowing remote control and configuration from a Mac or PC web browser.

Note: Firewire 400 was not supported in versions 1.0, 1.0.1, 1.1 or 2.0. Version 3.0

firmware enables the FireWire 400 (1394a) connector that allows passing control (start/stop) and timecode information from the camera. Additionally, the FireWire 800 connector was not supported in versions 1.0, 1.0.1, 1.1 or 2.0. Beginning with version 3.0 firmware, the FireWire 800 port on the Ki Pro will allow a Mac to mount Ki Pro’s storage devices (SSD, HD, and ExpressCards) as media volumes.

Features

Hardware

For wireless control, Ki Pro features an internal 802.11b/g antenna and radio for connection to wireless devices such as iPhone, iPod Touch, or 802.11 equipped computers. (For detailed illustrations and discussions of Ki Pro connectors and control features, see Chapter 2.)

This manual covers the installation and operation of Ki Pro and its optional accessories.

Ki Pro offers a large number of unique features for optimum quality, ease of use, and support for a wide variety of workflows and environments. Ki Pro provides flexible standard and high definition recording, with hardware up/down/cross-conversion for versatile operation in a mixed SD/HD environment, plus a wide variety of control methods and storage options.

• Apple ProRes 422, Apple ProRes 422 (HQ), Apple ProRes 422 (LT), and Apple

ProRes 422 (Proxy)—SD, HD 720/1080, full-raster 10-bit 4:2:2, realtime, implemented in hardware

• Up/down/cross-conversion, 10-bit, realtime, implemented in hardware

• Component HD/SD analog video I/O (6 BNC)

• Composite video output (1 BNC)

• HD/SD SDI I/O (2 BNC)

• HDMI I/O (2 HDMI)

• 2 channel balanced and unbalanced analog audio I/O (4 XLR, 4 RCA)

• LTC I/O (2 BNC, non-looping output during recording)

• IEEE 802.11 wireless

Ki Pro Installation and Operation Manual — Features

Base Ki Pro Exo-skeleton

chassis with camera mount

Knurled thumbscrews secure Ki Pro chassis

to Exo-skeleton

• 10/100/1000 Ethernet LAN

• Panel user interface features a VFD display (2 line character display), with 14

control buttons, 3 control knobs, and a power button

• Storage Module (HDD) with FireWire 800 port for use with Apple Mac®

computers (HFS+ file system)

• 12 Vdc AC adapter with industry standard 4-pin XLR connector

• 3-year warranty

Software

Options

• Remote Browser control software. When a Mac®, PC, or 802.11b/g enabled

device such as an iPhone are connected via the Ki Pro Ethernet port or its

802.11b/g connection, the device can control the Ki Pro via a web browser

• 20 Preset registers for storing and recalling system preset configurations

• Embedded internal web server for remote control via 802.11b/g or LAN

• Gang recording via multiple Ki Pro units controlled by a master Ki Pro unit

(see CONFIG parameter 35.4 explained in Chapter 3)

• RS422 control of Ki Pro for VTR-like interaction with edit controllers or

non-linear editors (see CONFIG parameter 35.2 explained in Chapter 3)

• Alarms to alert you to conditions that may need your attention

AJA’s Ki Pro can be enhanced by purchasing several options:

• Ki Pro Exo-skeleton—provides a surrounding chassis for the Ki Pro that can

both mount to a tripod and provide a mount for a camera on top; this combination allows convenient access to controls.

Ki Pro Exo-skeleton Option

Kit components: 2 endplates 4 screws (5/32 allen) 4 knobs with plastic washers

Optional Rod Accessory Kit Assembly

Storage Module Options: SSD or Hard Drive

• Ki Pro SSD Storage Module—although the Ki Pro comes standard with a

removable HDD Storage Module, an optional SSD Storage Module is also available. The Ki Pro Solid State Storage Module (SSD) is recommended for mobile environments where shock-proof sturdiness may be needed. The Ki Pro SSD Storage Module offers the ultimate in media reliability.

• Ki Pro Hard Drive Storage Module—although Ki Pro comes with one

removable HDD Storage Module standard, you can buy extras and simply swap them as needed.

• Ki Pro Rod Accessory Kit—this kit adds endplates to the Exo-skeleton 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, as well as a set of knobs for securing the rods in the brackets.

Rod Accessory Kit Option

• AJA Lens Tap Cable Accessory—this AJA proprietary cable allows Ki Pro to

connect between the lens tap control connector on a lens and camera body, thereby intercepting the lens control signals for use in simple start/stop Ki Pro recording operations. This option is not yet available.

What’s In The Box?

Ki Pro Documentation CD

Read Me First Notice and Registration Sheets

Ki Pro Recorder

AC Adaptor and Line Cord

Storage Module AC Adaptor

HDD Storage Module

Ki Pro Installation and Operation Manual in PDF format on CD

Ki Pro Installation and Operation Manual — What’s In The Box?

When you unpack your Ki Pro, you’ll find the following components:

• Ki Pro CD-ROM—this CD contains documentation—including this manual you’re

reading (PDF format).

• Ki Pro Recorder

• Ki Pro 250GB Hard Drive Storage Module and AC Adaptor

• AC Adapter 110/220 with industry standard 4-pin XLR connector for supplying

power to the Ki Pro.

• Read Me First Notice—Contains late-breaking news and/or errata related to

Ki Pro.

• Registration Sheet—allows you to register by mail or online (details provided).

Please save all packaging for shipping the Ki Pro should you wish to do so when moving or sending it in for service.

Ki Pro Shipping Box Contents

Warning!

Only use attachments and accessories specified and/or sold by the manufacturer, such as the Exo-skeleton.

War ning!

Read and follow all warning notices and instructions marked on the product or included in the documentation.

War ning!

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 offer a FireWire 800 port and support 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)— all supported by internal system drive or attached storage.

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:

In This Manual

• 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.

Chapter 1 is the introduction you’re reading, listing features, box contents, and system requirements.

Chapter 2 gets you started with Ki Pro, introducing the front and rear panel features, connections and indicators, and all the options available.

Chapter 3 provides complete instructions for operating the Ki Pro from the front panel.

Chapter 4 discusses remote web browser control of Ki Pro via Ethernet or 802.11b/g.

Appendix A provides specifications for various aspects of the system.

Overview

Chapter 2: Getting Started & Installation

When using Ki Pro, you’ll make media cable connections to a variety of equipment based on how it’s being used. Chapters 2 and 3 discuss how to operate and use the Ki Pro in its many configurations—this chapter introduces the operating configurations, power supply options, plus all indicators, controls, and connections so you’ll have a working knowledge of how it can be used to tie together the worlds of acquiring media (production) and post-production. For ease of explanation, we’ll talk about these two ways of using the Ki Pro:

• Stand-alone—in standalone use for acquiring media, the Ki Pro unit is placed on

a desktop or surface and connected by cable to video/audio sources, usually a camera or camcorder. After acquiring media, you can use the media on a Mac, by removing the Ki Pro storage module and directly connecting it to the Mac via FireWire 800. Alternatively, the whole Ki Pro unit can be connected to a Mac via a FireWire 800 cable.

• Camera Mount with Exo-skeleton—for the optimum in onset flexibility, an

optional Ki Pro Exo-skeleton camera mount can be attached to a tripod, the Ki Pro mounted within it, and the camera mounted on top of the Exo-skeleton. This creates a complete self contained acquisition system for acquiring Apple ProRes 422 media in realtime as the camera is shooting. As in the standalone mode, the storage media can be easily inserted or removed for shooting and shuttling to your editing system—without having to remove Ki Pro from the tripod. The Exoskeleton offers many adjustments and an optional rod accessory kit is available for vertical/horizontal camera adjustment with respect to the rod and accessories.

Learning about the front panel indicators will be useful in selecting operational modes and monitoring what is happening on Ki Pro as well as troubleshooting problems that can occur. Becoming familiar with the Ki Pro operator-side and connectors will simplify installation, setup, and operation of the system.

On the following pages are front and rear panel illustrations with notations that summarize all of the connectors and indicators. Detailed descriptions of each of the connectors and indicators follow afterward.

Caution!

This device is a Class A product. Operation of this equipment in a residential area is likely to cause harmful interference, in which case users will be required to take whatever measures may be necessary to correct the interference at their own expense.

Caution!

The AJA Ki Pro contains a lithium battery soldered in place permanently (it is not user replaceable). If you ever dispose of the Ki Pro, ensure you follow local regulations for safe disposal. The lithium battery shall not be exposed to excessive heat, such as sunshine or fire.

STATUS

DELETE

CLIP

SLOT

ADJUSTSELECT

CONFIG

MEDIA

CLIP xxxxxxxx

REEL xxx

01 1 4% S

00:01:21:13

Storage Module (slides into slot)

Slot LED Status Indicators show: Media Selected—Green Not-Selected—not illuminated Recording—flashes Green, On and Off

Expresscard Memory Slots (2) — 34mm 1-lane PCIe

(press card in to mount; press again to eject)

4-pin XLR Battery Power Connector

(on side)

Meters

(2 Channel)

Audio

Input

Level

Adjust

(Press in and

knob will pop out

for easy adjustment)

Mic/Line

Phones

L R

Head Phone Jack

Head

Phone

Volume

(Press in and

volume adjust

knob will pop out

for easy adjustment)

Storage Module

Release

Button

(press and hold button down while removing Disk Storage

Cartridge)

140 x 16 pixel

Alphanumeric

and Graphics Display

(typically 2 x 20 characters)

Transport Control Buttons

(Reverse/Stop/Play/Record/Fast Forward)

Power ON/OFF

(Press to power up, press and hold for 2 seconds to power-down; abort power-down by removing finger before 2 seconds)

Cover Plate over 802.11 b/g Antenna

Operator Side

Controls and Displays

Ki Pro Operator Side (front panel)

The Operator Side of Ki Pro features a variety of buttons, knobs, jacks, and indicators for operating Ki Pro directly. Each of the items found on the “Operator Side” are described here and on the following pages. This side is referred to as the “Operator Side” because when mounted in the Exo-skeleton, it matches the operator side of the camera. When controlling camera features, you’ll also be looking at all the Ki Pro control features for ease of use.

The front panel of Ki Pro operates in two modes: the “TRANSPORT” mode (default), and the “MENU” mode. Some controls have different functions in these two modes. The TRANSPORT mode (shown above) controls basic play, record, clip select, etc. functions. The MENU mode is for set-up and configuration of Ki Pro. There are three menu groups: STATUS, CONFIG, and MEDIA - these menus are accessed by depressing the corresponding Menu buttons on the left of the panel.

Buttons

Power ON/OFF Button—Controls system power on/off and shows whether power is

ON (when illuminated) or OFF. To turn power on, press the button once. It isn’t necessary to press hard or depress the button—it’s a “soft” button sensed by the processor inside. When OFF, and the button is touched, it will begin powering up and display start-up progress on the alphanumeric display.

To power down, you must press and hold the power button down for 2 seconds. This action prevents accidental power-off during normal operation. When the unit is powering down you can abort the power-down process by simply removing your finger from the power button before 2 seconds have elapsed.

Ki Pro Installation and Operation Manual — Operator Side

ADJUSTSELECT

STATUS Button—Pressing the STATUS button, when not lit, enters the I/O Status

menu. Pressing STATUS when it is lit turns off the Status menu and returns you to Transport mode. STATUS menus can be accessed at any time— including when the machine is in an active transport mode (PLAY, RECORD, FF, REV). The ALARM state presented on the display shares functionality with STATUS. The Select buttons can be used to cycle through alarms and I/O status. All menus and front panel operations are described in Chapter 3.

CONFIG Button—Pressing CONFIG when not lit, enters the CONFIG menu.

Pressing CONFIG when it is lit turns Off the CONFIG menu (returning you to the default TRANSPORT menu). The CONFIG menu can only be entered from the STOP mode. The CONFIG menu remembers which parameter it is set to when exited, and will return to that same parameter when the menu is reentered.

MEDIA Button—Pressing MEDIA when not lit, enters the MEDIA menu. Pressing

MEDIA when it is lit will turn Off the MEDIA menu (returning to the default TRANSPORT menu). The MEDIA menu can only be entered from the STOP mode. The MEDIA menu remembers which parameter it is set to when exited, and will return to that same parameter when the menu is re-entered.

Transport Control Buttons—The transport buttons are always active.

STOP : The STOP button has a dual function. When playing back a clip (PLAY, FF, or REV) the first push of STOP acts as a “pause” mode: the playback is paused, the current point of the clip is displayed, and the STOP button flashes. A second push of STOP completely stops the playback and directs Ki Pro's outputs into an “E to E” mode (the currently selected inputs bypass to the outputs). To determine at a glance if the STOP button is in a “pause” mode, note that the stop button will flash if media playback is paused. The STOP button is fully illuminated in “stop” mode.

PLAY : Press PLAY to begin forward playback of the current clip at normal speed.

RECORD : Press the red button to begin recording. Once in RECORD mode, all other transport buttons are locked-out except the STOP button.

FFWD : Press button to begin fast playback of the current clip at 2x speed. Successive pushes increase the speed to 4x, 8x, and 16x. (Pushing the button after 16x speed is reached has no further effect.) When fastforwarding, audio is muted.

REV: Pressing REV when not lit, begins playback of the current clip in reverse at 1x speed. Successive pushes increase the speed to 2x, 4x, 8x, and 16x. (Pushing the button after 16x speed is reached has no further effect.) When playing in reverse, audio is muted for all speeds.

SELECT (up/down): The SELECT up/down buttons operate differently depending on whether Ki Pro is in the TRANSPORT mode or the MENU mode. In the TRANSPORT mode, the SELECT buttons select clips and operate like “previous” and “next” keys. When a clip is selected, Ki Pro “cues” it to the beginning. Note that ordering and playback of clips is based on timestamp order (creation date), not clip name. However, in a playlist, ordering and playback is determined by playlist order. In the MENU mode, the SELECT buttons select parameters for adjustment. Holding down either of the SELECT buttons causes them to repeat.

ADJUST (up/down): ): The ADJUST up/down buttons operate differently depending on whether Ki Pro is in TRANSPORT mode or MENU mode. In TRANSPORT mode, and in the “Pause” mode (single push of STOP from PLAY mode), the ADJUST buttons “single step” the current clip at a rate of one frame per button push (up=forward, down=reverse). In the MENU mode, the ADJUST buttons adjust the selected parameter. Holding down either of the ADJUST buttons causes them to repeat.

DELETE CLIP Button—Dedicated button that when pressed, deletes the currently

selected clip. When pressed, the system displays a precautionary “ARE YOU SURE?” prompt. Press the up-arrow ADJUST button to delete the clip, or the down-arrow ADJUST button to abort the deletion. When a clip is deleted, the next clip is cued for deletion. Pressing DELETE CLIP, STOP or any other button—while “ARE YOU SURE” is displayed—cancels the deletion. Pressing any button other than ADJUST up always aborts deletion.

DELETE CLIP can be used in either the TRANSPORT menu or the MEDIA menu. When pressed in the TRANSPORT menu with a current clip active (PLAY, REV, FF, RECORD), the active mode will continue until the DELETE CLIP is confirmed.

SLOT Button—The SLOT button serves two purposes. First, it selects which storage

is accessed by the system—either the storage module slot or one of the ExpressCard slots (only Slot 1 is functional in firmware version 3.0). Second, the SLOT button is used to unmount a currently selected piece of media.

Caution!

Not using the SLOT button to unmount the media can lead to issues with the media if the media is removed prior to this action.

Pushing the slot button cycles between unmounting media and selecting media. This function is only active when in the “STOP” mode and requires a “PRESS STOP TO CONFIRM” if not stopped. After you select a slot, the system returns to the last selected clip and timecode for that slot. If the media has been changed since the slot was last selected (physically removed/media replaced), then the “first” clip on the media will be “cued” to its start point. If inserted media has any issues, additional prompts may be displayed as appropriate such as: “WARNING Backup and Reformat” or “WARNING Media Unrecognized.”

Note: On power up, the storage module is the initial storage system selected and accessed

by Ki Pro.

Disk Storage Module Release Button—Press and hold to physically release a

storage module from the unit; you must pull out the storage module while pressing the button. This action prevents a storage module from accidental removal while recording/playing. For safe removal of any media, either storage module or Expresscards, the corresponding slot LED must be unlit. Note: the ExpressCard/34 media is push-to-eject media and does not require this release button to be pressed for removal.

Caution!

Removing any media with the slot LED lit, or while flashing, can result in corrupted media or potential damage to the SSD, hard drive or ExpressCard/34

media.

Analog Audio Input Level Adjust Knobs—Knobs underneath the VU meters allow you to adjust the analog input levels for each of the two audio channels.

Note: Digital audio via embedded SDI and HDMI is not affected by the adjustment knobs.

To adjust an analog audio level, press the knob inward and the knob will then pop out for easy adjustment. This feature allows the knobs to be recessed, preventing accidental changes in a production environment.

Head Phone Volume Knob—To adjust headphone listening level, press the knob

inward and the knob will then pop out for easy adjustment—just like the audio input level knobs.

Ki Pro Installation and Operation Manual — Operator Side

Displays and Indicators

The displays and indicators consist of an alphanumeric and graphics display, analog audio level VU meters, and LED status indicators for each of the 3 media slots (S1, S2, D1). Display and indicator details are as follows:

Alphanumeric and Graphics Display—Display details: The display is a 140x16 Graphics

display. Normally, it will be configured in a 2x20 character format. All menus are designed to fit into this format, so some words may be truncated to fit the display limits.

Operational note: The display power consumption is directly related to the number of pixels that are turned on and the intensity. Therefore, the default brightness is an intensity value of 6 (on a scale of 1-8) and users will be able to diminish this value as they see fit in order to conserve as much as 22% power consumption for the VFD. The intensity setting of the VFD also correlates to the backlit buttons on the unit (play, select up, select down, etc.).

During a period of 3 minutes of inactivity, the VFD will go to a screensaver mode— if the Screen Saver parameter has been set in the CONFIG menu.

VU Meters—7-segment LEDs show audio input levels for the 2 analog audio channels

(respectively). Knobs underneath the VU meters allow you to adjust the input levels independently to prevent clipping and ensure proper signal amplitude.

Green—audio source signal level is in the “safe” area (no clipping). Vertically, the green LEDs also show the signal strength, so you can see if the signal level is low. Generally, it’s preferred to have the signal near the top of the green or even occasionally peaking into the yellow LEDs.

Yellow—audio source signal levels are at the peak edge of the safe area before clipping will occur.

Red—audio source amplitude is too hot and the signal is clipping at its signal peaks. You should reduce the input gain at its source (camera, mixer or source equipment supplying the signal).

Disk Storage Module LED Status Indicator—The following states for the LED indicator

denote the media status:

LED lit/on: selected media LED unlit/off: inactive media, okay to eject or no media inserted LED flashing: recording in progress

ExpressCard Slot LED Status Indicators—The following states for the LED indicator

denote the status of the media:

LED lit/on: selected media (only Slot 1 is functional in firmware version 3.0)

LED unlit/off: inactive media, okay to eject or no media inserted LED flashing: recording in progress

Other Front Panel Features

ExpressCard Memory Slots (2)—Both of these slots accept ExpressCard/34 (34mm

wide) memory cards (not ExpressCard/54). Only cards qualified for use by AJA should be used with the Ki Pro.

Note: ExpressCard memory is not supported in Ki Pro firmware versions 1.0 through 2.0.

Support for ExpressCards is enabled for Slot 1 only

Visit the Ki Pro support page on our website for a list of AJA-qualified cards:

http://www.aja.com/support/ki-pro/ki-pro.php

Head Phone Jack—1/8” (3.5mm) miniature stereo TRS connection for standard stereo

headphones.

, beginning with firmware version 3.0.

Connector Side

Connect any camcorder, camera, or audio source—digital or analog—regardless of brand or format, to Ki Pro’s many connectors. The connector side of Ki Pro contains the available audio/video connections, which are protected by handles that extend past the connectors. These handles make for an easy grip when inserting or removing the Ki Pro from the optional Exo-skeleton. On the back side of the unit, a single power connector supplies the 12-Volt DC operating voltage (see Installation later in this chapter).

The function of Ki Pro’s inputs and outputs depend on the operational mode. Ki Pro’s active input (the one to be recorded) is selected by front panel, web browser, or wireless device browser. Ki Pro’s outputs are active all the time. In other words, the same output video appears simultaneously on the HDMI, SDI, component, and composite outputs. (Note: You should be aware of the limitations of each output. The composite output is by definition an SD signal, so it will not output HD. The HDMI output is by definition an HDMI-compatible signal, so 1080PsF formats cannot be output via HDMI; instead use a true progressive format for the HDMI output.) This method of operation allows simultaneous connection to source devices, onset monitoring displays, and audio equipment.

Connections

Ki Pro Connector Side and Back Side

• HDMI—video with embedded audio, 2 channel input and recording support as

of v2.0 firmware. 1x connector for input and 1x connector for output.

• HD/SD SDI Input and Output, with 2 or 8 channel embedded audio as of v2.0

firmware (2x BNC)

• HD/SD Component YPbPr/RGB Video, 3x BNCs for input, and 3x BNCs for output.

• Composite video output (CVBS, 1x BNC)

• 2 channel balanced analog audio Input and Output (4x XLR)

• 2 channel unbalanced analog audio Input and Output (4x RCA)

• Line/Mic Level Switch (analog XLR audio input level)

Ki Pro Installation and Operation Manual — Connector Side

• LTC Input and Output (2 BNC, non-looping output during recording)

• Lens Tap*

• LANC

• 1394a FireWire port (connection to camera for timecode and control)

• 1394b FireWire port (connection to host computer)

• LED Indicator for IEEE 802.11 Radio ON/OFF

• 10/100/1000 Ethernet LAN

• 9-pin serial port for RS422 control of Ki Pro via external editing systems

Note: above item marked with an asterisk (*) is not supported in Ki Pro versions 1.0 through 3.0

software.

LTC Timecode Input And Output

Two BNCs provide connections to the house LTC timecode generator or source. Connections are high impedance. One BNC is for input and the other for output. Note: the Ki Pro LTC output does not provide output during EE or recording operations; the output is only for use during playback, as might be used for dubbing content to another device with matching timecode. For timecode to multiple Ki Pro units, the use of a timecode generator and a timecode distribution amplifier is recommended.

SDI Input and Outputs

Two BNC connectors are provided for SDI input and output. SDI input and output supports SD-SDI and HD-SDI video and embedded 24-bit digital audio. If your camera has multiple outputs, look to see if it has SDI, and use it where possible for the highest quality.

Component YPbPr

Connect component YPbPr video cables from a VTR, Camera, or other source to the three YPbPr input BNCs: Y/G, Pb/B and Pr/R. Then connect the YPbPr Out BNCs to a monitor, or other component device. Component input video signals are A/D (input) converted (10-bit). Similarly, component output video signals are D/A converted (10-bit). Component video signals are higher quality than composite.

A Note About RGB

Pro supports it at output. Because Ki Pro’s (and SMPTE SDI) native format is YPbPr, AJA recommends the use of YPbPr whenever possible. Although component video monitors often have RGB inputs, it’s better to use YPbPr when the monitor supports it. The YPbPr format provides “headroom” for “superwhite” and “superblack”—and these video levels will be clipped when transcoding to RGB. Also, the RGB/YPbPr transcoding involves a level translation that results in mathematical round-off error.

—Although RGB is used less frequently in today’s video systems, Ki

A Note About YPbPr

—Component Video, or YPbPr, has been given several names over time. YUV, Y/R-Y/B-Y, and YCbCr, are just some examples. Although these various formats have some differences in levels, they are all basically the same. Ki Pro supports three different types of YPbPr: SMPTE/EBU N10, Betacam (NTSC), and Betacam (NTSC Japan). These three formats differ in level only.

Note About BETA Setting—

Setting the Ki Pro component input and/or output to "Beta" for HD material results in an "Invalid Selection" alarm that must be corrected before recordings or other operations may take place.

CVBS Composite NTSC/PAL Output

One BNC connector supplies composite NTSC or PAL output. Connect the CVBS Out BNC to a monitor, or other Composite video device. Composite video signals are D/A (output) converted (10-bit).

Note: Composite video output follows the settings made for the component video output;

because of this, if a composite output is desired when working with HD, the component video output must be set to SD.

HDMI

Two HDMI connectors provide for input and output of HDMI compatible video and embedded audio. HDCP sources are not supported on the input. The HDMI input is designed to support long cable runs: up to 100 feet (30.48m) when using 22 or 24AWG HDMI cable, or up to 50 feet (15.24m) using 28 or 30AWG HDMI cable. The HDMI output supports standard HDMI cables only.

HDMI formats supported:

525i 29.97 625i 25 720p 50, 720p 59.94 1080i 25, 1080i 29.97, 1080p 23.98, 1080p 24, 1080p 25, 1080p 29.97

Note: When using Ki Pro HDMI connections and attaching it to any HDMI audio or video

accessory, you must use one each of the ferrite beaded HDMI cables, HH-28F-06, between the input and output ports of the Ki Pro and the HDMI accessory to maintain regulatory compliance.

Analog 2 Channel Balanced Audio Input and Output

Four XLRs, 2 female for input and 2 male for output, provide 2 channels of balanced audio. Audio is high-quality 24-bit A/D input and D/A output at 48kHz. Level adjustments are made via software and a switch for line-level inputs. Software level adjustments for analog audio (parameter 4.1) apply to balanced audio (XLR) using the “Line” setting on the switch. The Mic and Mic +48 settings offer a lower input level suitable for microphones and their associated input impedance. Use Mic +48 for microphones with phantom power (condenser mic.), or Mic for microphones without phantom power (dynamic micrphones).

Analog 2 Channel Unbalanced Audio Input and Output

Two RCA connectors provide an unbalanced stereo audio input pair for use with consumer camcorders, VTR/VCRs and other A/V devices. For output, two RCA connectors provide an unbalanced stereo audio output pair for driving inexpensive audio monitoring systems.

9-pin Connector

Ki Pro features a 9-pin serial port that may be used with some RS-422 devices beginning with the 2.0 version of firmware. IMPORTANT: Not all RS-422 devices have been tested with Ki Pro, so AJA cannot definitively say which devices may or may not communicate as expected with Ki Pro when operated under RS-422 remote control. Refer to the latest Release Notes document for which devices or non-linear editors have been tested with Ki Pro operating under RS-422 control.

Ki Pro Installation and Operation Manual — Connector Side

Host (FireWire 800)

IEEE 1394b FireWire connector allows for data transfer to or from an Apple FireWire 800 equipped computer. This connector does not support connection to any other FireWire devices such as cameras or hard drives. This feature is not supported in

firmware versions 1.0 through 2.0, but it is supported in version 3.0 firmware.

CTRL/TC (FireWire 400)

IEEE 1394a FireWire™ connector for connecting Ki Pro to a camera for timecode control. This connector does not support data transfer of compressed audio/video signals nor does it support connection to hard drives. This

feature is not supported in firmware versions 1.0 through 2.0, but it is supported in version

3.0 firmware.

Ethernet

An RJ45 connector provides a 10/100/1000 Ethernet port for connecting Ki Pro directly to a com pu ter or Ethernet hub or switch for connecti ng to a LAN. Ki Pro is compatible with CAT-5 straight-through or cross-over Ethernet cables, automatically detecting which is used. Once connected and properly configured, Ki Pro can then be controlled by a web browser on the LAN.

LANC Loop

This connector accepts a LANC plug (2.5mm 3-conductor TRS jack) and then loops it through to a second connector (loop). LANC or Local Application Control Bus System (sometimes called Control-L) is a Sony protocol for synchronizing cameras. Available on many brands of cameras, LANC enables accessories to control camera and Ki Pro record/stop functions. This feature is not supported in firmware

versions 1.0 through 2.0, but it is supported in version 3.0 firmware.

Lens Tap

This connector supports an optional “Lens Tap” kit AJA offers for controlling Ki Pro. A proprietary AJA cable connects between the camera body and the lens, intercepting the camera’s own interconnecting cable. This enables Ki Pro transport control (record/ stop) by simply operating the shutter/record button on the camera. Lens tap is not

supported in versions 1.0–3.0, but may be supported by a future version.

LED Indicator for IEEE 802.11 Radio

This LED shows the status of the internal 802.11 radio used to transmit and receive data. When illuminated, the LED shows the radio is ON.

Power Connector (back of unit)

On the back of Ki Pro is a standard 4-pin male XLR connector for supplying 12-Volt DC power to the unit. You can use either the supplied AC Adapter or furnish your own battery source. Since the connector is an industry standard pinout, choices are varied and flexible. Many 3rd party vendors offer products using this standardized power connector.

Pin 1: Pin 4: + Pins 2 and 3: not used

War ning!

Ki Pro has no user-serviceable parts. To remove power from the unit, remove the 4-pin XLR power connector to ensure disconnection. Refer all servicing to qualified service personnel. Servicing is required when the device has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the device, the device has been exposed to rain or moisture, does not operate normally, or has been dropped.

War ning!

Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

War ning!

Since the Mains plug is used as the disconnection for the device, it must remain readily accessible and operable.

Storage

ExpressCard/34 Memory Cards

War ning!

Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the device.

Record hours of media to a portable removable hard-drive storage module with built-in FireWire 800, or to flash-based ExpressCard/34 cards (not available in firmware versions 1.0/2.0; only Slot 1 is functional in version 3.0). Both media types mount on your OSX desktop for immediate editing and file access. Ki Pro ships with a 250GB hard disk that can store up to 2 hours of 1080i Apple Pro Res 422 HQ media or 3 hours of standard 1080i Apple Pro Res 422 (more for standard definition).

Caution!

Failure to properly mount or dismount media, or an unexpected loss of power while recording, can result in an unrecoverable data loss.

Although AJA doesn't manufacture or sell ExpressCard/34 memory cards, Ki Pro accepts qualified ExpressCard media beginning with firmware version 3.0. (Only Slot 1 is functional in version 3.0.) AJA will post on the Ki Pro support web page which brands AJA has tested and found to work acceptably. Since cards have to be fast enough to sustain throughput without dropping frames, not all ExpressCard/34 cards will qualify for Ki Pro usage. Also note that some supported ExpressCard/34 memory

Ki Pro Installation and Operation Manual — Storage

Firewire 800 Connector

Power connector (AC Adapter)

cards have a PCIe connector on one end and a USB connector on the other end. Only the PCIe connector is functional on such cards when they are used with Ki Pro; do not connect the USB connector to any device while the card is inserted in the Ki Pro.

Search here to find list of qualified cards: http://www.aja.com/support/ki-pro/ki-pro.php

ExpressCard/34 Memory Card

Removable Storage Modules (HDD or SSD)

Although the Ki Pro comes standard with a removable 250GB HDD Storage Module, an optional SSD Storage Module is also available. The Ki Pro Solid State Storage Module (SSD) is recommended for mobile environments where shock-proof sturdiness may be needed. The Ki Pro SSD Storage Module offers the ultimate in media reliability.

You may also choose to purchase extra HDD or SSD Storage Modules so you can quickly load and unload media from the Ki Pro unit while on set.

Storage Modules can be powered via the FireWire 800 cable, or via an AC adapter (supplied).

Check with your AJA dealer or the AJA website for Storage Module offerings as capacities and models may change.

Storage Module (HDD and SSD look identical—see label underneath for type)

Formatting Media

Using Ki Pro Media in Final Cut Pro

To reformat storage media, it must first be selected using the SLOT button (see previous topic). After selecting the media, follow these steps:

1. Press the STOP button

2. Press the MEDIA button

3. Press SELECT (up or down) repeatedly until you see the menu 16.1 Format

Media.

4. Press ADJUST up arrow. Ki Pro will display “FORMAT”. Press the ADJUST up arrow button. Ki Pro will display “CONFIRM ERASE”—press and hold the ADJUST up arrow button for 2 seconds or longer and then formatting will begin. Ki Pro will display progress, and when it is done, “Format D1 Complete” will be displayed; press the stop button to begin using the newly formatted media.

When a Ki Pro storage module (HDD or SSD) is removed and connected to a Mac via a FireWire 800 cable, the module will mount as a normal Apple HFS+ filesystem. The REEL NAME parameter is the name of the media that will appear mounted on the OSX desktop.

Once a Ki Pro storage device (storage module or ExpressCard/34) is mounted, each clip recorded by Ki Pro will be a file on its file system that can be opened in Final Cut Pro. Because the clips were recorded as Apple ProRes 422, Apple ProRes 422 (HQ), Apple ProRes 422 (LT), or Apple ProRes 422 (Proxy) with proper Final Cut Pro metadata, they’re instantly ready to edit. While the Ki Pro clips can be accessed and used by Final Cut Pro directly from the Ki Pro media, AJA recommends backing up your clips to your local storage for editorial.

In Final Cut Pro's browser window you will see some of the information Ki Pro saved as data to describe the media. Ki Pro saves the “Name”, “Media Start”, “Media End” and “Reel” for Final Cut Pro.

Note: From the Storage Module, Ki Pro supports the playback of Apple ProRes 422, Apple

ProRes 422 (HQ), Apple ProRes (LT) and Apple ProRes (Proxy) QuickTime files with appropriate 24-bit 48kHz audio in formats and frame rates noted as supported by the latest firmware release. Files created in other codecs or at other frame rates or frame sizes will not result in playback if placed in the "AJA" folder on the Ki Pro Storage Module. Placing non-Apple ProRes QuickTime files in the "AJA" folder can lead to problematic issues when attempting "Play All" operation of clips; if media other than Apple ProRes QuickTime files must be kept on the Ki Pro Storage Module, they should be placed outside of the "AJA" folder on the drive.

Installation

Ki Pro Installation and Operation Manual — Installation

The following topic details set up and installation of Ki Pro. There are two different ways to set up and use the Ki Pro portable recorder:

• Stand-alone use

• Camera and mounting with optional Exo-skeleton (with or without a tripod)

Software setup is the same for both uses. Choices you will make include how Ki Pro will be controlled (front panel, 802.11 wireless, or Ethernet & web-browser) and the physical system requirements for your application (camera mount or not, video and audio monitoring choices, and media workflows). First we’ll discuss mounting methods and then follow up with software configuration and setup.

War ning!

Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

War ning!

Do not block any ventilation openings. Install in accordance with the manufacturer's instructions.

Stand-alone Usage

War ning!

Unplug this device during lightning storms or when unused for long periods of time.

War ning!

Refer all servicing to qualified service personnel. Servicing is required when the device has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the device, the device has been exposed to rain or moisture, does not operate normally, or has been dropped.

In stand-alone use, Ki Pro is simply a box that connects to the video and audio output connector(s) from a camera, camcorder, or other professional source, recording media that is output. Here are some typical workflows and applications:

• Recording a live video feed from a

camera; Ki Pro is rackmounted, receiving component video input.

• Recording a corporate video live

from a camera; Ki Pro sits on a computer work desk receiving HDMI audio and video input.

• Recording on location, Ki Pro is truck-mounted, receiving an HD-SDI feed.

• Desk mounted in an AV media library, recording legacy material from a variety of

decks, formats and sources, converting dissimilar media to standardized Apple Pro Res for archival.

Ki Pro with Exo-skeleton and camera on mount

Ki Pro with Exo-skeleton and optional endplates with user-supplied accessory rods

• Recording live house-of-worship services, Ki Pro sits on a shelf receiving a feed

from a wall mounted remote camera and audio feed from the house mixer.

• Recording live music at a remote location, Ki Pro receives video feed from event

producer’s switcher and picks up audio from a stereo pair of phantom-powered condenser microphones.

Camera Mounting with Exo-skeleton

Ki Pro’s applications become even wider, when you add in the optional Exo-skeleton that provides for mounting of both a camera and/or a tripod. Here are some typical workflows and applications:

• Handheld camcorder with Ki Pro mounted

underneath and a battery pack used for live sports—recorded media is ready to edit immediately.

• Broadcast usage with Ki Pro’s hardware-

based conversion capability to take camera’s (1080 or 720) input and realtime convert to another format.

• On-set application: the camera operator

controls shooting via optional LANC controller and LANC enabled camera— whenever the LANC controller trigger is pressed, record start/stop occurs for both the camera and the Ki Pro. An assistant remotely names clips and content using an iPhone communicating with Ki Pro wirelessly.

• Multi-camera shoot, with different brands

of cameras, different internal camera codecs, all mounted with Ki Pros and delivering the same format of media: Apple Pro Res 422, ready to edit immediately after filming. No log and capture necessary.

When mounting a camera inside the Exoskeleton frame, all Ki Pro controls will face the same direction as the camera controls, so the camera operator can easily make adjustments. Power to Ki Pro exits on the same side as the camera power supply so cables don’t clutter the lens side of the setup.

+ 85 hidden pages

AJA KiPRO installation Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Trademarks

Notice

Contacting Support

Limited Warranty

Limitation of Liability

Table of Contents

Overview

Chapter 1: Introduction

Features

Hardware

Software

Options

What’s In The Box?

System Requirements

Apple ProRes 422 Advantages

In This Manual

Overview

Chapter 2: Getting Started & Installation

Operator Side

Controls and Displays

Buttons

Displays and Indicators

Other Front Panel Features

Connector Side

Connections

LTC Timecode Input And Output

SDI Input and Outputs

Component YPbPr

CVBS Composite NTSC/PAL Output

HDMI

Analog 2 Channel Balanced Audio Input and Output

Analog 2 Channel Unbalanced Audio Input and Output

9-pin Connector

Host (FireWire 800)

CTRL/TC (FireWire 400)

Ethernet

LANC Loop

Lens Tap

LED Indicator for IEEE 802.11 Radio

Power Connector (back of unit)

Storage

ExpressCard/34 Memory Cards

Removable Storage Modules (HDD or SSD)

Formatting Media

Using Ki Pro Media in Final Cut Pro

Installation

Stand-alone Usage

Camera Mounting with Exo-skeleton