AJA Ki Pro Rack User Manual

0 (0)

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

AJA®, KONA®, Ki Pro®, KUMO® and XENA® are registered trademarks of AJA Video, Inc., Ki Pro Mini™, Io Express™, Io HD™, Io™ and “Work. Flow.” 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. Avid, Avid Media Composer and Avid DNxHD are trademarks of Avid Technology, Inc. All other trademarks are the property of their respective holders.

Copyright

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.

Contacting Support

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:

Telephone: +1.800.251.4224 or +1.530.271.3190

Web: http://www.aja.com

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 codecs in hardware, allowing realtime capture directly to QuickTime files. In fact, while the camera 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.

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Features

Hardware

Software

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.

•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

•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

•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

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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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•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.

In This Manual

Chapter 1 Introduces the Ki Pro Rack briefly, listing features, box contents, and system requirements.

Chapter 2 Presents a product overview, showing front and rear panel controls, connectors, and options.

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.

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

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.

Buttons Each pushbutton on the front panel is listed and described below.

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, 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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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 Press and hold to physically release a storage module from the unit; you must pull out Button: 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.

Head Phone Volume Knob: To adjust headphone listening level, press the knob inward and the knob will then pop out for easy adjustment.

Displays and Indicators 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:

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 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 The following additional features are also present on the front panel.

Features

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

Connector Side

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

•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.

RS-422 Connector: Ki Pro Rack features a 9-pin serial port that may be used with some RS422 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	Two BNCs provide connections to the house LTC timecode generator or source.
Output:	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

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AES Digital Audio Inputs and

Outputs:

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 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.

Analog Audio 2-Channel

Balanced 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. 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		The Ki Pro Solid State Storage Module (SSD) is recommended for mobile environments
	Modules (HDD or		where shock-proof sturdiness may be needed. The Ki Pro SSD Storage Module offers the
	SSD)		ultimate in media reliability. For non-mobile applications you can also use 250GB HDD
	SSD)		Storage Modules.
			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.

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Figure 3. Storage Module

Firewire 800

Connector

Power connector

(AC Adapter)

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:

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.

While Ki Pro Rack recorded files can be directly accessed from Avid Media Composer via AMA for editorial, AJA advises transferring/copying media to a local drive or disk array for editing.

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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?

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

Ki Pro Rack Recorder

AC Line Cords

Four Adhesive Feet

Ref Loop BNC Termination

Documentation

Mounting Ki Pro

Rack

	Ki Pro Documentation CD	Ki Pro
Read Me First Notice		Ki Pro
Read Me First Notice		Installation and Operation Manual
and Registration Sheets		in PDF format on CD

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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Applying Power

•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.

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

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

Laptop

w/Web Browser

for Remote

Control

Ki Pro Rack Connection

P/S 1

100-240V-

HDMI

SDI 1

SDI 2

Component

Ref Loop LTC

AES 1/2 AES 3/4

AES 5/6 AES 7/8

Analog Audio In

Analog Audio Out

P/S 2

100-240V-

50/60Hz

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LAN

RS-422

Out

Hub

10/100/1000 Base-T

LAN

Network

Connections

WAN/ISP

Firewall

& Router

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.

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.

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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.

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.

TCP/IP Information If your LAN has a DHCP server that assigns IP addresses dynamically, then you don’t have

You’ll Need 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.

Networking via DHCP

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:

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.

NOTE: If Ki Pro Rack fails to find a DHCP server via its network connection, it will fall back to using 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.

Networking Ki Pro using a Static IP Address

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).

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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

Controlling Ki Pro from a web-browser

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.

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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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.

Select Adjust

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:

Clip SC12BTK	D1 47%
Reel 212	01:02:22:14

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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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:

Input Format	Input selected
Recording Format	Audio input selected

STATUS Menu (Record Mode)

Media Format

Output Conversion

STATUS Menu (Play Mode)

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.

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)

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 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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