AJA KiPRO rack installation Guide

www.aja.com

Published: 4/26/2012

Installation and Operation

Guide

Because it matters.

2

Trademarks

Notice

Contacting Support

Limited Warranty

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

To contact AJA Video for sales or support, use any of the following methods:
Telephone: [phone] or 530.274.2048
Fax: [phone]
Web: http://www.aja.com
Support Email: [e-mail]
Sales Email: [e-mail]

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

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

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

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

™

,Io™ and “Work. Flow.” are trademarks of AJA Video, Inc.

Ki Pro Rack Installation and Operation Manual — Limited Warranty

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

3

Limitation of Liability

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

1

4

Ki Pro Rack Installation and Operation Manual — Table of Contents

Table of Contents

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

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

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

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

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

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

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

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

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

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

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

What’s In The Box?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

System Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Apple ProRes 422 Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Avid DNxHD Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

In This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1

5

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

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

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

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

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

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

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

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

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

Ethernet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RS-422 Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

HDMI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SDI Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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

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

Ref Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

LTC Timecode Input And Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

AES Digital Audio Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

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

Power Connector (back of unit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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

Removable Storage Modules (HDD or SSD). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Formatting Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Using Ki Pro Media in Final Cut Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using Ki Pro Rack Media with Avid Media Composer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

6

Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Mounting Ki Pro Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Applying Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Using AC Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Remote Network Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Network Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

TCP/IP Information You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Networking via DHCP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Networking Ki Pro using a Static IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Networking Ki Pro using the Factory Default IP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Test Ki Pro’s Network Connection with “Ping” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Mac Ping Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Controlling Ki Pro from a web-browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Chapter 3: Front Panel Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

TRANSPORT Mode (default) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Stop Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Transport Lockout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Exiting Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Conversions During Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Recording a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Selecting a Different Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Recording Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Playing Back a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

STATUS menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Record and Play Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Alarm Status. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

MEDIA menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Media Menu Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

12.1 Media State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Data-LAN Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

14.0 ENCODE MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

14.1 ENCODE TYPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

15.1 PLAY MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

15.2 LOOP PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

15.3 PLAYLIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

16.1 FORMAT MEDIA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

16.2 DELETE CLIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

17.0 REEL NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

17.2 CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Clip Naming—Two Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

17.3 CLIP NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Ki Pro Rack Installation and Operation Manual — Table of Contents

17.4 CLIP APPEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

17.5 ALPHA APPEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

17.8 TAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Custom Clip Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

19.1 USE CUSTOM CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

19.2 CUSTOM CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

19.4 CUSTOM TAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

22.1 GANG CLIP NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

CONFIG menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

CONFIG Menu Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

1.1 RECORD TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

1.3 1080p PLAYBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

1

1.4 IN CONVERT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

1.5 OUT CONVERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

1.6 SDI OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

1.6 SDI 2 OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

1.7 COMPONENT OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

1.8 HDMI OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

1.9 SUPER OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

2.1 VIDEO INPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

2.2 AUDIO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

2.3 AUDIO CHANNELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

3.1 COMPONENT IN LVL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

3.2 COMPONENT OUT LVL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

3.4 NTSC CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

4.1 ANALOG AUDIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

5.1 UPCONVERSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

5.2 DOWNCONVERSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

6.1 GENLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

8.0 TC IN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

8.1 TC VALUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

8.2 TC TYPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

8.3 ARM RECORDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

13.1 CAMERA DATA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Important Notes About The Various Cameras Supported by 13.1 . . . . . . . . . . . . . . . . . . . 60

Important Note About Using DNxHD Encoding with 13.1 Camera Data . . . . . . . . . . . . . 60

32.0 Loss of Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

35.2 REMOTE CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

41.1 VIDEO SG FRMT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

41.2 VIDEO SG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

41.3 AUDIO SG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

50.1 IP CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

50.2 IP ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

50.3 SUBNET MASK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

50.4 STATIC GATEWAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

50.5 SYSTEM NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

50.6 MAC ADDRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

7

8

55.4 DATE SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

55.6 TIME SET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

70.1 SCREEN SAVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

70.2 DISPLAY INTENSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

70.3 FAN SPEED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

80.1 SERIAL NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

80.2 SW VERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

91.1 RECALL PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

92.1 STORE PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

99.0 FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Chapter 4: Browser Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Remote Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Resetting Values To Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Web Browser via Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

General Screen Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Config Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Media Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Transport Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Presets Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Network Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Playlists Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Alarms Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Update Firmware Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Preparing to Update Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Upload and Install the Software on your Ki Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Controlling Multiple Ki Pros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Example: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

How to Use Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Gang Recording Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Using Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Working with the All Clips Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Creating a Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Playback of a Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Using Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Storing a Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Recalling Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Appendix A: Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Video Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Digital: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Ki Pro Rack Installation and Operation Manual — Table of Contents

Video Outputs (all simultaneously active). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Digital:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Audio Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Audio Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Network. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Panel User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Serial Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Hardware up-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Hardware down-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Hardware cross-conversion - 10-bit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

1

Physical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Federal Communications Commission (FCC) Compliance Notices . . . . . . . . . . . . . . . . . . . . . . . . . 99

Canadian ICES Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Appendix B:

Safety & Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

European Union and European Free Trade Association (EFTA)

Regulatory Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Korea KCC Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Taiwan Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Japanese Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Translated Caution Statements, Warning Conventions and Warning Messages. . . . . . . . . . . . 101

Before Operating Ki Pro Rack, Please Read the Instructions in This Document . . . . . . . . . . . . . 102

9

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

10

Edge Shot Photo Here

Overview

Chapter 1: Introduction

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 supporting 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 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 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 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.

1

1

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12

Features

Like AJA’s famous KONA and other Ki Pro products, Ki Pro Rack offers unparalleled
connectivity. Within its portable and rugged form factor, Ki Pro 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.

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 provides
flexible standard and high definition recording, with hardware
up/down/cross-conversion for versatile operation in a mixed SD/HD environment,
plus a wide variety of control methods and storage options.

Hardware

• 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 NTSC/NTSC-J/PALvideo output (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

Ki Pro Rack Installation and Operation Manual — 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

13

Software

What’s In The Box?

• Remote Browser control software. When a Mac® or PC are connected via the

Ki Pro Ethernet port, the device can control the Ki Pro via a web browser

• 20 Preset registers for storing and recalling system preset configurations

• Embedded internal web server for remote control via LAN

• Gang recording using a master Ki Pro to control other units (CONFIG 35.4)

• RS422 serial port control of Ki Pro for VTR-like interaction with edit

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

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

1

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 should you wish to do so when
moving or sending it in for service.

Ki Pro Shipping Box Contents

14

System Requirements

AJA Video recommends that the Mac Pro or MacBook Pro used with the Ki Pro
support Firewire 800 and Apple ProRes 422 with a satisfactory level of performance.
Consult Final Cut Pro documentation when setting up and configuring your system
for editing; ensure you have an adequate storage system (RAID array) and any
needed video/audio interfaces.

Warning!

Only use attachments and accessories specified and/or sold by the
manufacturer.

War ning!

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

War ning!

Do not use this device near water and clean only with a dry cloth.

Apple ProRes 422 Advantages

Data rates: 220 Mb/second Apple ProRes 422 (HQ), 145 Mb/second Apple ProRes
422, 100 Mb/second Apple ProRes 422 (LT), and 36 Mb/second Apple ProRes 422
(Proxy).

Note: Apple ProRes 422 (Proxy) is for high-quality offline editing at the original
frame size, frame rate, and aspect ratio.

Quality: Excellent, broadcast quality

Captured media is virtually indistinguishable from pristine uncompressed sources.
Better yet, ProRes maintains the quality during editing, surviving multiple
encoding/decoding generations without degradation. It was designed by Apple for
editing, rather than as a transmission/distribution codec as are most popular
codecs. Some of the advantages include:

• Full-size 1920-by-1080 and 1280-by-720 HD resolutions.

• Full-size 720-by-486 and 720-by-576 SD resolutions.

• 4:2:2 chroma sampling. Provides precise compositing and blending at sharp

saturated-color boundaries.

• 10-bit sample depth. Preserves subtle gradients of 10-bit sources (perfect for

green-screen compositing, graphics or color correction) with no visible
banding artifacts.

• I frame-only encoding. Ensures consistent quality in every frame and no

artifacts from complex motion.

• Variable bit-rate (VBR) encoding. “Smart” encoding analyzes the image and

allocates more bits to complex frames.

• Low data rate requirements make for more storage options and require less

drive space to store high quality video.

• Optimized for efficient Real-Time effects.

Avid DNxHD Advantages

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).

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.

Quality: Excellent, broadcast quality?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.

Ki Pro Rack Installation and Operation Manual — Avid DNxHD Advantages

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15

In This Manual

• Low data rate requirements.

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

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

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

Chapter 4 discusses remote web browser control of Ki Pro via Ethernet.

Appendix A provides specifications for various aspects of the system.

16

Overview

Chapter 2: Getting Started & Installation

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 as well as troubleshooting.
Becoming familiar with the Ki Pro operator-side and connectors will simplify
installation, setup, and operation of the system.

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

Caution!

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

Caution!

The AJA Ki Pro 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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2

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18

Operator Side

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 operates in two modes:

• TRANSPORT mode (default) for controlling play, record, clip selections, etc.

• MENU mode for configuring the Ki Pro 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 media-related tasks. The SELECT and ADJUST buttons allow you
to scroll menus and make selections and adjustments.

Buttons

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

ON (when illuminated) or OFF. To turn power on, press the button once, 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.

Ki Pro Rack Installation and Operation Manual — Operator Side

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

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

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

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

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

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

Transport Control Buttons—The transport buttons are always active.

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

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

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

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

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

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

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

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19

20

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—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.

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

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

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

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

Ki Pro Rack Installation and Operation Manual — Operator Side

Displays and Indicators

The displays and indicators consist of an alphanumeric and graphics display, analog
audio level VU meters, and LED status indicators for 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.).

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

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

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

1

21

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

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

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

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

indicator denote the media status:

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

Other Front Panel Features

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

headphones.

22

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’s inputs and outputs depend on the operational mode. Ki Pro’s
active input (the one to be recorded) is selected by the front panel or web browser
interface. Ki Pro’s outputs are active all the time. In other words, the same output
video appears simultaneously on the HDMI, SDI, component, and composite outputs.
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.)

Connections

Ki Pro Connector Side and Rear Panel

• 10/100/1000 Ethernet LAN

• RS422 9-pin serial port for control of Ki Pro 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 directly to a computer or Ethernet hub or switch for connecting to a LAN.
Ki Pro is compatible with CAT-5 straight-through or cross-over Ethernet cables,
automatically detecting which is used. Once connected and properly configured, Ki
Pro can then be controlled by a web browser on the LAN.

Ki Pro Rack Installation and Operation Manual — Connector Side

RS-422 Connector

Ki Pro 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, so AJA
cannot definitively say which devices may or may not communicate as expected with Ki
Pro when operated under RS-422 remote control. Refer to the latest Release Notes
document for which devices or non-linear editors have been tested with Ki Pro
operating under RS-422 control.

HDMI

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

HDMI formats supported:

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

Note: To maintain regulatory compliance, when attaching any HDMI audio or video accessory

to Ki Pro 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 and the HDMI accessory.

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23

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.

A Note About RGB

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

A Note About YPbPr

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

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

—Component Video, or YPbPr, has been given several names over

Note About BETA Setting—

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

24

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

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

AES Digital Audio Inputs and Outputs

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).

Ki Pro Rack Installation and Operation Manual — Power Connector (back of unit)

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 100­240 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.

War ning!

Ki Pro 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.

War ning!

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

War ning!

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

25

1

War ning!

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

26

Firewire 800
Connector

Power connector
(AC Adapter)

Storage

Record hours of media to portable removable hard-drive storage modules with built­in 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)

Formatting Media

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 unit while on set.

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

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

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

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

1. Press the STOP button

2. Press the MEDIA button

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

Media.

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

Ki Pro Rack Installation and Operation Manual — Storage

27

Using Ki Pro Media in Final Cut Pro

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

In Final Cut Pro 7's browser window you will see some of the information Ki Pro saved as
data to describe the media. Ki Pro saves the “Name”, “Media Start”, “Media End” and

1

“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 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 non­Apple 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.

Using Ki Pro Rack Media with Avid Media Composer

Avid DNxHD QuickTime files produced on the Ki Pro 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.

Note: 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.

28

Installation

The following topic details set up and installation of Ki Pro Rack. Choices you will
make include how Ki Pro 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.

War ning!

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

War ning!

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

War ning!

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

Mounting Ki Pro Rack

War ning!

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

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 is rackmounted, receiving

component video input.

• Recording a corporate video live from a camera; Ki Pro sits on a computer work

desk receiving HDMI audio and video input.

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

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

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

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

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

Ki Pro Rack Installation and Operation Manual — Installation

29

Applying Power

The installation and set up of a Ki Pro 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 unit as desired, and begin recording. However, if you wish to control Ki Pro from a
web browser, there are additional configuration steps.

War ning!

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

War ning!

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

War ning!

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

War ning!

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.

1

Using AC 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. 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.

30

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

100-240V­50/60Hz

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

100-240V­50/60Hz

Remote Network Control

The following diagram and text explain how to interface to Ki Pro using an Ethernet
direct connection or LAN.

Ki Pro Networking Example