AJA Ki Pro Rack User Manual
Installation and Operation Guide
Version 4.2
Published: September 30, 2013
Table of Contents
Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Copyright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Contacting Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Apple ProRes 422 Advantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Avid DNxHD Advantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
In This Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Chapter 2: Ki Pro Rack at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Operator Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Displays and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Other Front Panel Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Connector Side. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Power Connector (back of unit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Removable Storage Modules (HDD or SSD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Formatting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Using Ki Pro Media Rack in Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Using Ki Pro Rack Media with Avid Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Chapter 3: Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
What’s In The Box? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Mounting Ki Pro Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Applying Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Remote Network Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Network Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
TCP/IP Information You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Networking via DHCP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Networking Ki Pro using a Static IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Networking Ki Pro using the Factory Default IP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Test Ki Pro’s Network Connection with “Ping” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Mac Ping Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Controlling Ki Pro from a web-browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 4: Front Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
TRANSPORT Mode (default). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Stop Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Transport Lockout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
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Exiting Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Conversions During Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Recording a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Selecting a Different Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Recording Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Playing Back a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
STATUS menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Record and Play Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Alarm Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
MEDIA menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Media Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
12.1 Media State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Data-LAN Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
14.0 ENCODE MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
14.1 ENCODE TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
15.1 PLAY MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
15.2 LOOP PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
15.3 PLAYLIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
15.4 DROPPED FRAMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
16.1 FORMAT MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
16.2 DELETE CLIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
17.0 REEL NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
17.2 CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Clip Naming—Two Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
17.3 CLIP NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
17.4 CLIP APPEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
17.5 ALPHA APPEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
17.8 TAKE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Custom Clip Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
19.1 USE CUSTOM CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
19.2 CUSTOM CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
19.4 CUSTOM TAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
22.1 GANG CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
CONFIG menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
CONFIG Menu Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
1.1 RECORD TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
1.3 1080p PLAYBACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
1.4 IN CONVERT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
1.5 OUT CONVERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1.6 SDI OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1.6 SDI 2 OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1.7 COMPONENT OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1.8 HDMI OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1.9 SUPER OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
2.1 VIDEO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
2.2 AUDIO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
2.3 AUDIO CHANNELS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
3.1 COMPONENT IN LVL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
3.2 COMPONENT OUT LVL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
3.4 NTSC CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
4.1 ANALOG AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
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4.2 AUDIO LVL L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.3 AUDIO LVL R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
5.1 UPCONVERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
5.2 DOWNCONVERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
6.1 GENLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
8.0 TC IN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
8.1 TC VALUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
8.2 TC TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
8.3 ARM RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
9.0 INTERVAL RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
9.1 INTERVAL FRAMES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
9.2 INTERVAL TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
13.1 CAMERA DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
IMPORTANT Notes About Cameras Supported by 13.1 . . . . . . . . . . . . . . . . . . . . 53
IMPORTANT Note About Using DNxHD Encoding with 13.1 Camera Data . . 54
32.0 LOSS OF VIDEO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
35.2 REMOTE CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
41.1 VIDEO SG FRMT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
41.2 VIDEO SG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
41.3 AUDIO SG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
50.1 IP CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
50.2 IP ADDRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
50.3 SUBNET MASK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
50.4 STATIC GATEWAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
50.5 SYSTEM NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
50.6 MAC ADDRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
50.9 USER AUTHENTICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
55.4 DATE SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
55.6 TIME SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
70.1 SCREEN SAVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
70.2 DISPLAY INTENSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
70.3 FAN SPEED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
80.1 SERIAL NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
80.2 SW VERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
91.1 RECALL PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
92.1 STORE PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
99.0 FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chapter 5: Browser Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Remote Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Resetting Values To Factory Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Web Browser via Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
General Screen Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Config Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Media Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Transport Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Presets Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Network Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Playlists Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Alarms Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Update Firmware Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Preparing to Update Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Upload and Install the Software on Your Ki Pro Rack . . . . . . . . . . . . . . . . . . . . . . 77
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Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Controlling Multiple Ki Pros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Gang Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Example: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
How to Use Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Gang Recording Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Using Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Working with the All Clips Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Creating a Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Playback of a Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Storing a Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Recalling Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
All Clips and Media State > Data-LAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Appropriately Encoded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Appendix A: Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Panel User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Serial Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Hardware Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Physical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Appendix B: Safety and Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Federal Communications Commission (FCC) Compliance Notices . . . . . . . . . . . . . . . . . . 91
Class B Interference Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
FCC Caution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Canadian ICES Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
European Union and European Free Trade Association (EFTA)
Regulatory Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Declaration of Conformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Korea KCC Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Taiwan Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Japanese Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Chinese Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Translated Caution Statements, Warning Conventions and Warning Messages . . . . . 94
Before Operation Please Read these Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Warranty and Liability Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Limited Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Limitation of Liability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
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Notices
Trademarks
Copyright
Contacting Support
Tel ep hon e: +1.800.251.4224 or +1.530.271.3190
Web: http://www.aja.com
AJA®, KONA®, Ki Pro®, KUMO® and XENA® are registered trademarks of AJA Video, Inc.,
Ki Pro Mini™, Io Express™, Io HD
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. Avid, Avid
Media Composer and Avid DNxHD are trademarks of Avid Technology, Inc. All other
trademarks are the property of their respective holders.
Copyright © 2013 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.
When calling for support, have all information at hand prior to calling.
To contact AJA Video for sales or support, use any of the following methods:
™
, Io™ and “Work. Flow.” are trademarks of AJA Video, Inc.
Support Email: support@.aja.com
Sales Email: sales@aja.com
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Chapter 1: Introduction
Overview
Ki Pro Rack satisfies the broadcast video requirement for a compact, 1 RU rack-mounted
digital video recorder designed for creating “ready-to-edit” professional digital video
files. Supporting a file-based workflow, Ki Pro Rack records Apple ProRes 422 or Avid
DNxHD files on industry-standard media. Features include analog and digital audio/
video I/O and recording to 2x removable SATA storage modules. When removed, the
storage modules function as standard FireWire 800 drives.
With Ki Pro Rack you can acquire video using the same codecs that you use for editing—
Apple ProRes 422 or Avid DNxHD. Ki Pro Rack supports all four types of Apple ProRes 422
(including HQ, LT and Proxy) as well as Avid DNxHD 220x, Avid DNxHD 145 and for 1080p
formats, Avid DNxHD 36. Ki Pro Rack simplifies the link between production and post by
acquiring on the best codecs for use with Apple Final Cut Pro X or Avid Media Composer
from virtually any SDI or HDMI camera, regardless of format. With its extensive analog
and digital connectivity, virtually any video and audio source can feed into Ki Pro Rack,
and 10-bit realtime up/down/cross conversion, allows you to record in the format you
want to edit and deliver.
Internally, Ki Pro Rack natively supports the Apple ProRes 422 or Avid DNxHD
hardware, allowing realtime capture directly to
is recording to its own tape or file -based memory, Ki Pro Rack can simultaneously capture
the media as ProRes or DNxHD so it’s instantly ready to edit when the removable storage
module is connected to a computer. 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 other Ki Pro products, Ki Pro Rack offers unparalleled
connectivity. Within its 1 RU form factor, Ki Pro Rack offers SD/HD analog I/O, SD/HD
digital I/O, HDMI I/O, two channels of balanced analog audio I/O, RS-422 machine control,
and LTC timecode in/out.
Control options are also varied and flexible. An Ethernet 10/100/1000 LAN connection via
an RJ45 connector allows remote control and configuration from a Mac or PC web
browser.
This manual covers installation and operation of Ki Pro Rack and its options.
QuickTime files. In fact, while the camera
codecs in
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Features
Ki Pro Rack 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 Rack provides
flexible standard and high definition recording, with hardware up/down/crossconversion for versatile operation in a mixed SD/HD environment, plus a wide variety of
control methods and storage options.
Hardware
• Apple ProRes 422, Apple ProRes 422 (HQ), Apple ProRes 422 (LT), and Apple ProRes 422
(Proxy)—SD, HD 720/1080, full-raster
• Avid DNxHD 220x, Avid DNxHD 145 and for 1080p formats, Avid DNxHD 36-HD 720/
1080, full-raster 10-bit 4:2:2 for Avid DNxHD 220x and 8-bit 4:2:2 for Avid DNxHD 145
and Avid DNxHD 36, implemented in hardware
• Up/down/cross-conversion, 10-bit, realtime, implemented in hardware
• Digital HD/SD SDI I/O, 1-channel selectable input and output (4 BNC)
• Digital HDMI I/O (2 HDMI)
• Component HD/SD analog video I/O, SMPTE/EBU/Betacam/RGB/YPrPb (6 BNC)
• Composite analog input NTSC/NTSC-J/PALvideo (1 Component Y BNC)
• Composite analog output NTSC/NTSC-J/PALvideo (1 Component Y BNC)
• AES audio, 8-channel, 24-bit, 48 kHz audio (8 BNC); 8-channel SDI embedded
• 2-channel balanced analog audio input and output (4 XLR)
• Timecode, LTC I/O (2 BNC); SDI embedded RP188 with onscreen display
• RS-422 9-pin D connector machine control port for interactivity with editors
• 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
• Available Storage Modules (HDD) for use with Apple Mac® computers (HFS+ file
system) equipped with a Firewire 800 port.
• 100-240 VAC 50/60 Hz redundant power connectors
• 3-year warranty
10-bit 4:2:2, realtime, implemented in hardware
Software
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• Remote Browser control software. When a Mac® or PC are connected via the Ki Pro Rack
Ethernet port, the device can control the Ki Pro Rack via a web browser
• 20 Preset registers for storing and recalling system preset configurations
• Embedded internal web server for remote control via LAN
• Gang recording using a master Ki Pro to control other units (CONFIG 35.4)
• RS422 serial port control of Ki Pro Rack 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
8
Apple ProRes 422 Advantages
Quality using Apple ProRes 422 is 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 saturatedcolor boundaries.
• 10-bit sample depth. Preserves subtle gradients of 10-bit sources (perfect for greenscreen 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.
Data rates: • 220 Mb/second Apple ProRes 422 (HQ)
• 145 Mb/second Apple ProRes 422
• 100 Mb/second Apple ProRes 422 (LT)
• 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.
Avid DNxHD Advantages
Quality using Avid DNxHD is excellent—HD quality encoding without high bandwidth
requirements. Avid DNxHD was designed for non-linear post-production and
broadcastmto withstand multi-generational processing.
• Full-size 1920-by-1080 and 1280-by-720 HD resolutions.
• 4:2:2 chroma sampling.
• 10-bit sample depth (for DNxHD 220x) or 8-bit.
• Every frame of encoding is independent.
• Variable bit-rate (VBR) encoding.
• Low data rate requirements.
Data Rates: • 220 Mb/second
• 185 Mb/second or 175 Mb/second when DNxHD 220x has been selected (Mb/second
varies depending upon the format and frame rate)
• 145Mb/second
• 120 Mb/second or 115Mb/second when DNxHD 145 has been selected (Mb/second
varies depending upon the format and frame rate).
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In This Manual
Chapter 1 Introduces the Ki Pro Rack briefly, listing features, box contents, and system
Chapter 2 Presents a product overview, showing front and rear panel controls, connectors, and
Chapter 3 Explains how to install Ki Pro Rack and set up the initial configuration.
Chapter 4 Provides complete instructions for operating the Ki Pro Rack from the front panel.
Chapter 5 Discusses remote web browser control of Ki Pro via Ethernet.
Appendix A Provides specifications for various aspects of the system.
Appendix B Contains important caution, warning, and compliance statements.
Back Matter Contains copyright, trademark, and warranty information.
• Avid DNxHD 36 is for high-quality offline editing at the original frame size, frame rate,
and aspect ratio and is only offered when working with 1080p format video.
NOTE: SD video encoding using Avid DNxHD is not supported.
requirements.
options.
Index Provides an index for subjects covered in this manual.
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Chapter 2: Ki Pro Rack at a Glance
Overview
When using Ki Pro Rack, you’ll make media cable connections to a variety of equipment
based on how the system is being used. Chapters 2 and 3 discuss Ki Pro Rack
configurations, options, 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.
Learning about the front panel indicators will be useful in selecting operational modes
and monitoring what is happening on Ki Pro Rack as well as troubleshooting. Becoming
familiar with the Ki Pro Rack 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 Rack 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.
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Operator Side
Figure 1. Ki Pro Operator Side (front panel)
Controls and Displays
Power ON/OFF Button: Controls system power on/off and shows whether power is ON (when illuminated) or
Buttons
The Operator Side or front panel of Ki Pro Rack features a variety of buttons, knobs, jacks,
and indicators for operating the product. Each of these items is described briefly on the
following pages. Additionally, all display menus and front panel operations are
described in Chapter 3.
The front panel of Ki Pro Rack operates in two modes:
• TRANSPORT mode (default) for controlling play, record, clip selections, etc.
• MENU mode for configuring the Ki Pro Rack system
Some controls have different functions in these two modes. For example, the SELECT
buttons select clips in Transport mode and select menus in Menu mode.
In the Transport mode, the transport buttons below the display and the SELECT and
ADJUST buttons on the right of the display control playback and recording.
In the Menu mode, there are three menu group buttons on the left side of the display:
STATUS, CONFIG, and MEDIA. These menu group buttons access corresponding display
menu groups that allow you to check status, configure the system, or perform mediarelated tasks. The SELECT and ADJUST buttons allow you to scroll menus and make
selections and adjustments.
Each pushbutton on the front panel is listed and described below.
OFF. To turn power on, press the button once, and watch power-up progress on the
display. To power down, hold the power button down for 2 seconds. This action prevents
accidental power-off during normal operation. You can abort the power-down process
by releasing the power button before 2 seconds have elapsed. It isn’t necessary to
depress the button or press hard—it’s a “soft” button sensed by the processor inside.
STATUS Button: Pressing the STATUS button, when it is 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
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12
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.
CONFIG Button: Pressing CONFIG when it is 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 re-entered.
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, described below, 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 Rack'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 fast-forwarding, 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 Rack 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 Rack “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 Rack 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.
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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. 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.”
Disk Storage Module Release
Button:
Head Phone Volume Knob: To adjust headphone listening level, press the knob inward and the knob will then pop
Displays and Indicators
Alphanumeric and Graphics
Display:
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 media, the
corresponding slot LED must be unlit.
Caution!
Removing any media with the slot LED lit, or while flashing, can result in corrupted
media or potential damage to the media.
out for easy adjustment.
The displays and indicators consist of an alphanumeric and graphics display, analog
audio level VU meters, and LED status indicators for the media slots. Display and indicator
details are as follows:
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 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.).
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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: The VU meters are 7-segment LEDs show audio input levels for the 2 analog audio
channels (respectively).
Green: Indicates that the 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: Indicates that the audio source signal levels are at the peak edge of the safe area before
clipping will occur.
Red: Indicates that the 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).
Slot LED: This is the Disk Storage Module Status Indicator and indicates the following media
statuses:
LED lit/on: selected media
LED unlit/off: inactive media, okay to eject or no media inserted
LED flashing: recording in progress
Other Front Panel
Features
Head Phone Jack: 1/8” (3.5mm) miniature stereo TRS connection for standard stereo headphones.
Connector Side
The following additional features are also present on the front panel.
The connector side of Ki Pro Rack contains the available audio/video connections.
Connect any camcorder, camera, or audio source—digital or analog—regardless of
brand or format, to Ki Pro Rack’s many connectors. On the back side of the unit, two AC
line cords provide redundant 100-240 VAC 50/60 Hz power to the dual power connectors
(see Installation later in this chapter).
The function of Ki Pro Rack’s inputs and outputs depends on the operational mode. Ki Pro
Rack’s active input (the one to be recorded) is selected by the front panel or web browser
interface. Ki Pro Rack’s outputs are active all the time. In other words, the same output
video appears simultaneously on the HDMI, SDI, component, and composite outputs.
This method of operation allows simultaneous connection to source devices, onset
monitoring displays, and audio equipment.
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.
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Figure 2. Ki Pro Connector Side and Rear Panel
Connections
RS-422 Connector: K
• 10/100/1000 Ethernet LAN
• RS422 9-pin serial port for control of Ki Pro Rack via external editing systems
• HDMI video with embedded audio, 2 channel input and recording support, 1x
connector for input and 1x connector for output.
• 2 HD/SD-SDI Inputs and Outputs, with 2 or 8 channel embedded audio (2x BNC)
• HD/SD Component YPbPr/RGB Video, 3x BNCs for input, and 3x BNCs for output.
• Composite video output (1x BNC—Component Y)
• Ref Loop genlock input and output (looping)
• LTC input and output (2 BNC, non-looping output during recording)
• AES 8-channel digital audio input and output (8x BNC)
• Analog Audio 2-channel balanced input and output (4x XLR)
Ethernet: An RJ45 connector provides a 10/100/1000 Ethernet port for connecting Ki Pro
Rack directly to a computer or Ethernet hub or switch for connecting to a LAN.
Ki Pro Rack is compatible with CAT-5 straight-through or cross-over Ethernet
cables, automatically detecting which is used. Once connected and properly configured,
Ki Pro Rack can then be controlled by a web browser on the LAN.
i Pro Rack features a 9-pin serial port that may be used with some RS-
422 devices.
IMPORTANT: Not all RS-422 devices have been tested with Ki Pro Rack, so AJA cannot definitively say which
devices may or may not communicate as expected with Ki Pro Rack when operated under RS422 remote control. Refer to the latest Release Notes document for which devices or nonlinear editors have been tested with Ki Pro operating under RS-422 control.
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.
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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: To maintain regulatory compliance, when attaching any HDMI audio or video accessory to Ki
Pro Rack HDMI, you must use one each of the ferrite beaded HDMI cables, HH-28F-06,
between the input and output ports of the Ki Pro Rack and the HDMI accessory.
SDI Inputs and Outputs: Four BNC connectors are provided for two SDI inputs and outputs. The SDI
inputs and outputs support 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.
NOTE: Although RGB is used less frequently in today’s video systems, Ki Pro Rack supports it at
output. Because Ki Pro Rack’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.
NOTE: 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 Rack supports three different types of YPbPr:
SMPTE/EBU N10, Betacam (NTSC), and Betacam (NTSC Japan). These three formats differ in
level only.
NOTE: Setting the Ki Pro Rack 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.
Composite NTSC/PAL Output: One BNC connector (Component Y) supplies composite NTSC or PAL output. Connect the
output BNC to a monitor, or other composite video device. Composite video signals are
D/A (output) converted (10-bit).
Ref Loop: Two looping BNCs allow genlock signal input and output connections. If the
genlock output is unused, it must be terminated using a 75-ohm termination cap.
When the output connects to downstream equipment, the last piece of
equipment in the series must be terminated in 75 ohms.
LTC Timecode Input And
Output:
Ki Pro Rack v4.2 www.aja.com
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 Rack LTC output does not provide output during EE or recording
17
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 Rack
units, the use of a timecode generator and a timecode distribution amplifier is
recommended.
AES Digital Audio Inputs and
Outputs:
Analog Audio 2-Channel
Balanced Input and Output:
AES digital audio connections consist of four BNC input connectors,
two channels per connector (1/2, 3/4, 5/6, 7/8). AES outputs also
consist of four BNC connectors with the same two channels per
connector.
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. Software level adjustments for analog audio
(parameter 4.1) apply to balanced audio (XLR).
Power Connector (back of unit)
Ki Pro Rack includes two redundant 100-240 VAC 50/60 Hz input connectors. The
power inputs are auto-sensing and will adjust to any voltage within the 100-240
VAC range. Use the supplied power cords to connect either connector to an AC
source for non-redundant power or use both connectors/cords for redundancy. If
redundancy is desired, connect the two power cords to different AC branch
circuits in case one circuit shuts off.
Storage
Record hours of media to portable removable hard-drive storage modules with built-in
FireWire 800. Ki Pro Rack media may also be used with Windows OS editing systems
when third party software, such as MediaFour’s MacDrive, is installed. Both media types
mount on your OSX desktop for immediate editing and file access.
Caution!
Failure to properly mount or dismount media, or an unexpected loss of power while
recording, can result in an unrecoverable data loss.
Removable Storage Modules (HDD or SSD)
Ki Pro Rack v4.2 www.aja.com
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. For non-mobile applications you can also use 250GB HDD
Storage Modules.
You may also choose to purchase extra SSD or HDD Storage Modules so you can quickly
load and unload media from the Ki Pro Rack unit while on set.
Storage Modules can be powered via the FireWire 800 cable, or via an AC adapter
(available separately).
Check with your AJA dealer or the AJA website for Storage Module offerings as capacities
and models may change.
18
Firewire 800
Connector
Power connector
(AC Adapter)
Figure 3. Storage Module
NOTE: HDD and SSD storage modules look identical—see label underneath for type.
Formatting Media
Using Ki Pro Media Rack 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 Rack will display “FORMAT”. Press the ADJUST up
arrow button. Ki Pro Rack will display “CONFIRM ERASE”—press and hold the ADJUST
up arrow button for 2 seconds or longer and then formatting will begin. Ki Pro Rack
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 is mounted, each clip recorded by Ki Pro Rack 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 Rack 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 7's browser window you will see some of the information Ki Pro Rack
saved as data to describe the media. Ki Pro Rack saves the “Name”, “Media Start”, “Media
End” and “Reel” for Final Cut Pro 7. Ki Pro QuickTime clips can also be directly imported
into Final Cut Pro X, which relies on Apple ProRes encoded media.
NOTE: From the Storage Module, Ki Pro Rack 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.
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Using Ki Pro Rack Media with Avid Media Composer
NOTE: While Ki Pro Rack recorded files can be directly accessed from Avid Media Composer via AMA
Avid DNxHD QuickTime files produced on the Ki Pro Rack system are designed for use
with Avid Media Composer. While these QuickTime files can be read in a variety of other
non-linear edit systems (when the appropriate Avid QuickTime codec package has been
installed), AJA cannot verify the behavior or performance of DNxHD QuickTime files in
these other non-linear edit systems.
To use the Avid DNxHD files produced by the Ki Pro products in Avid Media Composer,
AJA recommends using the "Link to AMA File(s)" feature provided in Avid Media
Composer.
for editorial, AJA advises transferring/copying media to a local drive or disk array for editing.
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20
Chapter 3: Installation
Overview
The installation and set up of a Ki Pro Rack is straight-forward. If you’ll be controlling the
unit from the front panel buttons and display, it’s ready right out of the box. Just cable
the system’s audio and video sources, VTR(s), monitors, and audio equipment, mount the
Ki Pro Rack unit as desired, and begin recording. However, if you wish to control Ki Pro
Rack from a web browser, there are additional configuration steps.
The following topic details set up and installation of Ki Pro Rack. Choices you will make
include how Ki Pro Rack will be controlled (front panel 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.
Warning!
Read and follow all warning notices and instructions marked on the product or
included in the documentation.
Warning!
Only use attachments and accessories specified and/or sold by the manufacturer.
Warning!
Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including amplifiers) that produce heat.
Warning!
Do not block any ventilation openings. Install in accordance with the manufacturer's
instructions.
Warning!
Do not use this device near water and clean only with a dry cloth.
Warning!
Unplug this device during lightning storms or when unused for long periods of time.
Warning!
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.
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What’s In The Box?
Ki Pro Documentation CD
Read Me First Notice
and Registration Sheets
Ki Pro Rack Recorder
AC Line Cords
Four Adhesive Feet
Ref Loop BNC Termination
Ki Pro
Installation and Operation Manual
in PDF format on CD
Documentation
When you unpack your Ki Pro Rack, you’ll find the following components:
• Ki Pro CD-ROM—contains documentation, including this manual (PDF).
• Ki Pro Rack Recorder.
• BNC termination—place on the Ref Loop output at the end of the loop.
• Four Rubber adhesive feet for placing on the bottom of Ki Pro Rack.
• Two AC power cords for redundant 100-240 VAC 50/60 Hz power.
• Read Me First Notice—late-breaking news and errata related to Ki Pro Rack.
• Registration Sheet—register by mail or online (details provided).
Please save all packaging for shipping the Ki Pro in case you need to do so.
Figure 4. Ki Pro Rack Shipping Box Contents
Mounting Ki Pro Rack
Ki Pro Rack is a rack-mountable or standalone box that connects to the video and audio
output connector(s) from a camera, camcorder, or other professional source to record the
media from that device. Here are some typical workflows and applications:
• Recording a live video feed from a camera; Ki Pro Rack is rackmounted, receiving
component video input.
• Recording a corporate video live from a camera; Ki Pro Rack sits on a computer work
desk receiving HDMI audio and video input.
• Recording on location, Ki Pro Rack 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.
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• Recording live house-of-worship services, Ki Pro Rack sits on a shelf receiving a feed
from a wall mounted remote camera and audio feed from the house mixer.
Applying Power
To begin using Ki Pro Rack, plug at least one of the supplied AC line cords into one of the
power sockets on the back of Ki Pro Rack. Then plug the AC line cord into 100-240 VAC
50/60 Hz (the supply is autosensing). For redundancy, connect both AC cords to the Ki
Pro Rack, and connect the cords to separate AC branch circuits. A power switch on the
front panel turns unit power on and off.
Warning!
Since the Mains plug is used as the disconnection for the device, it must remain
readily accessible and operable.
Warning!
Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the device.
Warning!
Unplug this device during lightning storms or when unused for long periods of time.
Warning!
Do not open the chassis. There are no user-serviceable parts inside. Opening the
chassis will void the warranty unless performed by an AJA service center or licensed
facility. Remove the supplied AC line cord from mains power when moving the unit.
Do not defeat the safety purpose of the grounding-type plug.
Warning!
Ki Pro Rack has no user-serviceable parts. To remove power from the unit, remove the
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.
Warning!
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.
Warning!
Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the device.
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Remote Network Control
10/100/1000 Base-T
Firewall
& Router
WAN/ISP
Hub
Ki Pro Rack Connection
10/100/1000 Base-T
LAN
Laptop
w/Web Browser
for Remote
Control
Out 2
RS-422
LAN
HDMI Component
P/S 2
In
Out
In
Out
In
Out
100-240V-
50/60Hz
LTCRef Loop AES 1/2 AES 3/4 AES 5/6 AES 7/8
Y/G
Pb/B
Pr/R
In
Out
In
Out
SDI 1 SDI 2 Analog Audio Out
Left
Right
Left
Right
Analog Audio In
ID
A
www.aja.com
In
Out
P/S 1
100-240V-
50/60Hz
The following diagram and text explain how to interface to Ki Pro Rack using an Ethernet
direct connection or LAN.
Figure 5. Ki Pro Networking Example
Network Connections
Ki Pro Rack can be networked directly to a MacBook Pro or Mac using a single Ethernet
cable (straight or cross-over)—or it can be connected to a local area network (LAN). In
hard-wired configurations, Ki Pro Rack connects via its 10/100/1000 Base-TX Ethernet
connector. In a direct connection, you simply connect the Ki Pro Rack to an Ethernetequipped computer having a browser using a Category-5 cable. If connecting via a LAN,
you then connect the Ki Pro Rack’s Ethernet connector to a hub or switch on the LAN. A
LAN is a shared network that includes other Ethernet devices all attached via a hub or
digital switch. LANs may be divided into zones separated by software or hardware
routers.
Ki Pro Rack v4.2 www.aja.com
Devices on a LAN have IP addresses which may be fixed and permanent, or dynamically
assigned by the network (DHCP). When attaching Ki Pro Rack to a LAN, you should first
talk to your network administrator and find out how they want it connected (static IP or
DHCP). Your IT department will be able to supply the information you need to install Ki
Pro Rack on a LAN.
24
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 802.11b/g radio is disabled by default and can be enabled only in the presence of
an authorized access point.
Warning!
Intentional radiators, such as the AJA Ki Pro client adapter, are not intended to be
operated with any antenna(s) other than those furnished by AJA. An intentional
radiator may only be operated with the antenna(s) with which it is authorized.
Warning!
Do not touch the Ki Pro radio or antenna cover when the antenna is transmitting or
receiving.
TCP/IP Information You’ll Need
Networking via DHCP
Warning!
Install this device in such a manner as to maintain a minimum of 5 cm (2 inches)
separation distance between the radiating element(s) and all persons. This safety
warning conforms with FCC radio frequency exposure limits.
If your LAN has a DHCP server that assigns IP addresses dynamically, then you don’t have
to configure anything (Ki Pro Rack defaults to DHCP). If for some reason your IT
administrator prefers an assigned IP address that is fixed (called a “static IP”), then get the
IP address—you’ll be entering it in the “IP CONFIG parameter.” If your LAN requires static
IP addresses, then also ask your IT administrator for the Subnet Mask and default gateway
IP address (your LAN’s internet router). The following two topics discuss two different
ways to set up Ki Pro Rack: via DHCP or via a static IP address.
The default configuration (from the factory) automatically looks for a DHCP server to
issue an IP address. So, as long as your network has a DHCP server (usually part of your
router—e.g. an Airport base station wireless router), then you need to do nothing other
than plugging the Ki Pro Rack into the net. To manually select DHCP: use the Select
buttons to navigate to the parameter “50.1 IP CONFIG”, and then use the Adjust buttons
to select “DHCP”. That’s it!
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Figure 6. Ki Pro Networking via DHCP
Here are the steps to communicate with Ki Pro Rack after choosing the DHCP selection:
1. Use the Select buttons to navigate to parameter 50.2. Note on a piece of paper the
DHCP supplied IP address shown.
2. With your laptop or desktop computer connected to the same LAN and DHCP
enabled, type the IP address you noted in step 1 into the browser address bar. You
should now see Ki Pro Rack’s browser status screen.
If Ki Pro Rack cannot get an address from the DHCP server on the LAN while Ki Pro Rack is
set to DHCP via parameter 50.1, it will then automatically drop back to a preset factory IP
address of 192.168.0.2. In this instance you can follow these alternate steps to
communicate with Ki Pro Rack:
NOTE: If
Networking Ki Pro using a Static IP Address
1. Set the computer’s Ethernet IP address to 192.168.0.n (where n is not 2).
2. Set the computer’s Subnet mask to 255.255.255.0 (most computers default to the
proper netmask when the address is set).
3. Run a browser on the computer and type “192.168.0.2” (the factory fallback IP
address). You should now see Ki Pro Rack’s browser status screen.
Ki Pro Rack
the factory default static IP of 192.168.0.2—or whatever IP address you’ve previously defined.
AJA recommends you define a Static IP address with parameter 50.2 so you’ll be prepared in
the event your DHCP server fails.
To set a static IP address for Ki Pro Rack, you’ll have to make some simple Parameter
menu selections. The illustration below shows the four menu selections you need to
make, while entering the information provided to you by your IT administrator (as
discussed earlier).
fails to find a DHCP server via its network connection, it will fall back to using
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26
Figure 7. Configuring Ki Pro with a Static IP Address
NOTE: For parameters 50.2, 50.3, and 50.4, you will be setting IP addresses that consist of “octets”
separated by a period (i.e., 10.0.180.0). For these parameters, the Select button selects the
octet and then the Adjust buttons select the desired number. Pressing Select again advances
to the next octet. At the final octet, the address will flash—pressing Select at that point
confirms the setting.
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Networking Ki Pro using the Factory Default IP
Test Ki Pro’s Network Connection with “Ping”
Mac Ping Procedure
If you don’t want to use DHCP to network Ki Pro Rack and also don’t want to set your own
static IP address, you can simply use a Default setting to use a factory setting of
10.65.74.65. This might be useful for an application where you directly connect a laptop
or computer to Ki Pro Rack and want to get networking quickly. Here are the steps to set
up this method of communication:
1. Use the Select buttons to navigate to parameter “50.1 IP CONFIG”, and then use the
Adjust buttons to select “Default”.
2. Set your laptop or desktop computer Ethernet IP address to 10.m.n.m (where m is not
65 and n is not 74).
3. Also on the computer, set the Subnet mask to 255.0.0.0 (most PCs default to the
proper netmask when the address is set—so you may not have to do anything here).
4. Run a browser on the computer and type “10.65.74.65” (the Default factory IP
address). You should now see Ki Pro Rack’s browser status screen.
After setting the IP address and other TCP/IP settings and connecting Ki Pro Rack’s
Ethernet connection to a LAN or directly to a computer, ensure that you have a valid
connection by “Pinging” the Ki Pro Rack. Pinging ensures that other devices on the
network, or a computer directly attached to it, can see it. Simply run the Ping utility from
a computer on the same LAN as Ki Pro Rack, or one attached directly to Ki Pro Rack. Here’s
how to Ping a Ki Pro Rack from a Mac OSX computer:
1. Find the Applications Folder, and then find the Utilities Folder inside of the
Applications Folder.
2. Locate the “Terminal” utility application and double-click it.
3. On the Ki Pro Rack, go to parameter menu 50.2 and read the IP address.
4. At the Terminal prompt, enter the IP address noted in step 3. For example: ping
192.168.0.2
5. If successful, the ping utility will respond that packets were sent, received and how
long it took. For example:
64 bytes from 192.168.0.2: icmp_seq=0 ttl=64 time=0.590 ms
6. If unsuccessful, check Ki Pro Rack’s network settings and resolve the problem with
your IT administrator.
Controlling Ki Pro from a web-browser
Ki Pro Rack v4.2 www.aja.com
To control Ki Pro Rack from a web-browser on a network attached computer, you must
enter Ki Pro Rack’s IP address as a URL in the browser. For example, if Ki Pro Rack’s IP
address were “10.0.6.31”, you would then type into the web browser: http://10.0.6.31
This topic is explained in greater detail in Chapter 4: Browser Remote Control.
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Select
Adjust
Clip SC12BTK D1 47%
Reel 212 01:02:22:14
TRANSPORT Mode
Chapter 4: Front Panel Operation
Overview
There are two ways to control Ki Pro Rack: from the front panel or remotely from a web
browser connected via ethernet. This chapter discusses controlling and using Ki Pro Rack
from its front panel. Remote control via browser is discussed in Chapter 4.
In Chapter 2 we covered the panel controls overall, so ensure you read and understand
that material first. Here in this chapter we introduce each of the front panel's modes and
menus as well as Clips and Reels, with procedures for basic use.
First we introduce the two basic front panel modes, TRANSPORT and MENU, followed by
how the SELECT and ADJUST buttons operate in each of these two panel modes.
The TRANSPORT mode is the default mode—it controls basic PLAY, STOP, FF, REV, REC and
other functions. In the TRANSPORT mode, the Select buttons (up or down) cycle through
the clips in the currently selected storage slot (like previous/next), and the Adjust
buttons allow single-stepping, frame forward or backward. The following shows the
display for the TRANSPORT mode:
The MENU mode allows you to use the display to view system status, setup or adjust the
system configuration, or modify media settings. Certain parameters set in the menus are
stored in non-volatile memory so that the parameter is remembered between power
cycles, for example: system name and date/time.
To enter the MENU mode to view menus in the display, press one of the 3 MENU buttons:
STATUS, CONFIG, or MEDIA.
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Input Format Input selected
Recording Format Audio input selected
STATUS Menu (Record Mode)
STATUS Menu (Play Mode)
Media Format
Output Conversion
Parameter number Parameter Name
Parameter setting (chosen by Adjust buttons)
CONFIG Menu
Parameter number Parameter Name
Parameter setting (chosen by Adjust buttons)
MEDIA Menu (like CONFIG)
In the STATUS menu, the Select buttons cycle through the various STATUS screens. The
Adjust buttons have no effect on the STATUS menu. The following shows the display for
the STATUS menu:
In the CONFIG or MEDIA menus, the Select buttons select various adjustable parameters,
and the Adjust buttons adjust the selected parameter. When you enter into a parameter
of a menu, the system remembers and returns to the last selected parameter. The
following shows the displays for the CONFIG and MEDIA menus.
TRANSPORT Mode (default)
TRANSPORT mode is the default mode for Ki Pro Rack operation. When you power up Ki
Pro Rack, the first display you’ll see is the TRANSPORT mode menu. Any clip that
previously was recorded is referenced in the display and can be played.
If the screen saver is on, pushing one of the transport buttons in the middle of the front
panel (PLAY, STOP, FF, REV, REC) dismisses the screen saver and returns to the current
display. A second press, or a first press if the screen saver is already off, immediately takes
action and causes the display to change to the TRANSPORT mode if it is not already
displayed. Settings you’ve made in the MEDIA menus are observed (more on that later).
You’ll always know you are in TRANSPORT mode as long as one of the MENU buttons
aren’t lit (STATUS, MENU, or MEDIA)—if one is lit, then you are in a “menu”.
Stop Mode
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When in the “STOP” mode, the CONFIG and MEDIA set-up menus can be accessed to
adjust various parameters that control Ki Pro Rack's operation. Note that you must be in
STOP, not PAUSE to access these menus—if you try to access these menus without first
having stopped playback, a “PRESS STOP” prompt will appear on the VFD display. You
can tell if the STOP button is in “pause” if the button is flashing.
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