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PAK256
User manual
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AJA PAK256 User manual

Installation & Operation Guide
Version 5.2
Published: October 24, 2013
Table of Contents
Notices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Copyright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Contacting Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Ki Pro Quad Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Mounting Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Stand and Adapter Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Rod Accessory Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
AJA Pak Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
AJA Pak Dock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Apple ProRes 422 and Apple ProRes 444 Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 2: Ki Pro Quad at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Operator Side. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Power Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Formatting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Using Ki Pro Quad Media with Non-linear Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter 3: Ki Pro Quad Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Desktop Mounting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Camera Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Applying Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Remote Network Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Network Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
TCP/IP Information You’ll Need. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Networking via DHCP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Networking Ki Pro Quad using a Static IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Networking Ki Pro Quad using the Factory Default IP. . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Controlling Ki Pro Quad from a web-browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
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Chapter 4: Front Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
TRANSPORT Mode (default) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Recording a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Playing Back a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
STATUS menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Media Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Custom Clip Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
CONFIG Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Signal Routing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Unique Workflow Support for the Canon C500 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Chapter 5: Browser Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Remote Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Resetting Values To Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Web Browser via Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
General Screen Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Config Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Media Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Transport Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Presets Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Network Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Playlists Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Alarms Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Update Firmware Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Advanced Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Controlling Multiple Ki Pro Quads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
All Clips and Media State > Data-LAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Appendix A: Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Removable Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Video Output Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Audio Input Analog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Audio Output Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Audio Output Analog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Physical. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Temperature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
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Appendix B: Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Federal Communications Commission (FCC) Compliance Notices . . . . . . . . . . . . . . . . . . . 86
Class A Interference Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
FCC Caution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Canadian ICES Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
European Union and European Free Trade Association (EFTA)
Regulatory Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Declaration of Conformity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Korea KCC Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Taiwan Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Japanese Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Translated caution statements, warning conventions and warning
messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Before operating your Ki Pro Quad unit, read the instructions in this document . . . . . 89
Warranty and Liability Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
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Notices

Trademarks

Copyright

Contacting Support

Telephone: +1.800.251.4224 or +1.530.271.3190
Web: http://www.aja.com
AJA®, KONA®, Ki Pro®, KUMO® and XENA® are registered trademarks of AJA Video, Inc., Ki Pro Mini™, Io Express™, Io HD AirPort, Apple, the Apple logo, AppleShare, AppleTalk, FireWire, iPod, iPod Touch, Mac, and Macintosh are registered trademarks of Apple Computer, Inc. Final Cut Pro, QuickTime and the QuickTime Logo are trademarks of Apple Computer, Inc. Avid, Avid Media Composer and Avid DNxHD are trademarks of Avid Technology, Inc. All other trademarks are the property of their respective holders.
Copyright © 2013 AJA Video, Inc. All rights reserved. All information in this manual is subject to change without notice. No part of the document may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying or recording, without the express written permission of AJA Inc.
When calling for support, have all information at hand prior to calling.
To contact AJA Video for sales or support, use any of the following methods:
™
, Io™ and “Work. Flow.” are trademarks of AJA Video, Inc.
Support Email: support@.aja.com
Sales Email: sales@aja.com
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Chapter 1: Introduction

Overview

This manual covers Ki Pro Quad installation, operation and optional accessories.
Ki Pro Quad is a small portable field recorder capable of creating ready-to-edit professional digital video at HD, 2K, Quad HD, and 4K resolutions. Ki Pro Quad supports a file-based workflow by recording Apple ProRes 422 and Apple ProRes 444 QuickTime files on SSD media. The SSD media is used with a media reader; the media reader features Thunderbolt and USB 3.0 for connection to a host computer. Ki Pro Quad supports digital video I/O and analog audio input and analog audio monitoring.
Ki Pro Quad’s light weight and small form factor allow it to be attached to cameras and production equipment in a wide variety of ways.
Internally, Ki Pro Quad natively supports the Apple ProRes 422 and Apple ProRes 444 codecs in hardware, allowing real time capture directly to QuickTime files. In fact, while the camera is recording to its own tape or file-based memory, Ki Pro Quad can simultaneously capture the media as ProRes so it's instantly ready to edit when the media is connected to a computer via the media reader. With this kind of flexibility, you can save time, steps, and get your project done more quickly and with the highest quality.
Within its portable and rugged form factor, Ki Pro Quad offers exceptional quality HD, 2K, Quad HD, or 4K digital I/O, including 3G-SDI BNC I/O connectors, an HDMI 1.4 type A connector, two balanced analog audio XLR connectors with independent line/mic/ phantom selectors, an LTC timecode BNC input connector, and a reference/genlock BNC input connector.
Control options are flexible, with easy-to-use interfaces available via the front panel or via an Ethernet 10/100/1000 RJ45 LAN connection. The Ethernet connection allows web browser remote control and configuration.
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Features

Ki Pro Quad offers many unique features for optimum quality, ease of use, and support for a wide variety of workflows and environments. Ki Pro Quad provides flexible HD/2K/ Quad HD/4K recording, for versatile operation in mixed format environments, with a very small form factor and solid state storage.

Hardware • Thunderbolt I/O (1x Thunderbolt connector)

• 3G-SDI input (4x BNC connectors)
•3G-SDI output (4x BNC connectors)
• HD-SDI monitor output (1x BNC connector)
• HDMI v1.4a monitor output (1x HDMI Type A connector)
• 2-channel balanced analog audio input with independent line/mic/phantom (2x XLR connectors)
•LTC input (1x BNC connector)
• Reference/Genlock input (1x BNC connector)
• Headphone jack (1x mini TRS connector)
• 10/100/1000 Ethernet LAN (1x RJ45 connector)
• LCD display (for UI information and confidence monitoring)
• 12 Volt AC/DC power (1x 4-pin XLR connector)

Software • Internal web server for remote control and configuration via LAN

• Thunderbolt I/O for connecting Ki Pro Quad to a host computer for RAW file transfers
• HFS+ file system
• Download and upload of QuickTime files via LAN
• 20 Preset registers for storing and recalling system preset configurations
• Alarms to alert users to conditions that may need attention

System Requirements

The Ki Pro Quad records and plays Apple ProRes 422 and Apple ProRes 444 QuickTime files to/from SSD media. Files are stored on the media using the HFS+ file system. This makes the media readable on any Mac OS computer natively (using the associated media reader) and PCs using 3rd-party software that can read HFS+ formatted drives (MediaFour's MacDrive for example).

Ki Pro Quad Options

Mounting Plate Ki Pro Quad has exactly the same side dimensions as the Ki Pro Mini product which

allows both models to share accessories such as the Mounting Plate. This optional plate allows you to mount Ki Pro Quad to 3rd-party devices. The plate is attached via 4
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supplied 1/4-20 screws; plates can be attached to either or both sides of Ki Pro Quad. A large number of screw holes in the plate allows you to mate Ki Pro Quad to 3rd-party articulated arms, battery plates and other mounting applications.

Stand and Adapter Cable

This stand securely holds the Ki Pro Quad upright on a desk, shelf, or any flat surface. A right angle power cable is provided for easy connection between the standard Ki Pro power supply and the Ki Pro Quad.

Rod Accessory Plate This option provides an accessory plate that can attach to a Mounting Plate (sold

separately) so Ki Pro Quad can be attached to user-supplied 15mm camera accessory rods. The accessory plate includes knobs for adjusting the height of the rods relative to the Mounting Plate, as well as a set of knobs for securing the rods in the bracket.

AJA Pak Media Ki Pro Quad lets you record edit-friendly 4K, 2K, or HD ProRes files directly to removable

AJA Pak Media. Once removed from the Ki Pro Quad, the Pak can be inserted in the AJA Pak Dock which connects directly to your computer via Thunderbolt or USB 3.0, allowing you to rapidly transfer ProRes files that are ready for use immediately in your non-linear editing system.

AJA Pak Dock The AJA Pak Dock option is an external media reader with Thunderbolt™ and USB 3.0

connections for fast transfer of media to a host computer.
AJA Pak256 and Pak512: The Pak256 and Pak512 options are high-capacity Solid State Drives encased in a
protective housing with rugged connection engineered to handle the rigors of repeated use in the field.

Apple ProRes 422 and Apple ProRes 444 Advantages

Captured media using Apple ProRes 422 or Apple ProRes 444 is virtually indistinguishable from uncompressed HD/2K/4K sources. Better yet, Apple ProRes maintains the quality during editing, surviving multiple encoding/decoding generations without degradation. It was designed by Apple specifically for editing. Some of the advantages include:
• Resolution support for 4096-by-2160 (4K), 3840-by-2160 (Quad HD), 2048-by-1080 (2K), 1920-by-1080 (HD), and 1280-by-720 (HD).
• 4:2:2 or 4:4:4 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 green­screen compositing, graphics or color correction) with no visible banding artifacts.
NOTE: Ki Pro Quad can accept 12-bit inputs but processes and encodes at 10-bit.
• 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.
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Workflow

The following illustration shows a typical workflow for Ki Pro Quad.
Figure 1. Ki Pro Quad Workflow—Ingest, Edit, Monitor, and Master in 4K, 2K, or HD

In This Manual

Chapter 1 is the introduction you’re reading, listing features, box contents, and system
requirements.
Chapter 2 gets you started with Ki Pro Quad, introducing the operator side controls and connector side features. Chapter 3 provides complete instructions for operating the Ki Pro Quad from the Operator side controls and LCD display.
Chapter 4 discusses remote web browser control of Ki Pro Quad via Ethernet. Appendix A lists specifications. Appendix B provides safety and compliance information.
Warranty Information & Index
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Chapter 2: Ki Pro Quad at a Glance

Overview

When using Ki Pro Quad, you’ll make cable connections to a variety of equipment based on how it’s being used. Chapters 2 and 3 discuss how to operate and use the Ki Pro Quad in its many configurations—this chapter introduces the operating configurations, power supply options, plus all indicators, controls, and connections so you’ll have a working knowledge of how it can be used to tie together the worlds of acquiring media (production) and post-production.
Learning about the front panel indicators will be useful in selecting operational modes and monitoring what is happening on Ki Pro Quad as well as troubleshooting problems that can occur. Becoming familiar with the Ki Pro Quad 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!
The AJA Ki Pro Quad contains a lithium battery soldered in place permanently (it is not user replaceable). If you ever dispose of the Ki Pro Quad, 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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Controls

Figure 2. Ki Pro Quad Operator Side Controls

Operator Side The Operator Side of Ki Pro Quad features a variety of buttons, knobs, jacks, and

indicators for operating Ki Pro Quad directly. Each of the items found on the Operator Side are described here and on the following pages. This side is referred to as the “Operator Side” because when mounted to a camera, it matches the operator side of the camera. When controlling camera features, you’ll also be looking at all the Ki Pro Quad control features.
The front panel of Ki Pro Quad operates in two modes: the “TRANSPORT” mode (default), and the “MENU” mode. Some controls have different functions in these two modes. The TRANSPORT mode controls basic play, record, clip selection, and other functions. The MENU mode is for setup and configuration of the Ki Pro Quad. There are three menu groups: STATUS, CONFIG, and MEDIA. These menus are accessed by pressing the corresponding front panel Menu buttons.
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Buttons

Power ON/OFF Button: Controls system power ON/OFF and shows whether power is ON (when illuminated) or
OFF. To turn power on, press the button once. It isn’t necessary to press hard—it’s a “soft” button sensed by the processor inside. When OFF, and the button is touched, it will begin powering up and display start-up progress on the alphanumeric display.
To power down, you must press and hold the power button down for 3 seconds while the display counts down. This action prevents accidental power-off during normal operation. When the unit is powering down you can abort the power-down process by simply removing your finger from the power button before 3 seconds have elapsed.
STATUS Button: Pressing the STATUS button, when not lit, enters the Status menu and displays an Idle,
Record or Play display. 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. The ALARM state displayed on the display shares functionality with STATUS. The Select buttons can be used to cycle through alarms and I/O status. All menus and front panel operations are described in Chapter 3.
CONFIG Button: Pressing CONFIG when not lit, enters the CONFIG menu. Pressing CONFIG when it is lit
turns Off the CONFIG menu (returning you to the default TRANSPORT menu). The CONFIG menu can only be entered from the STOP mode. The CONFIG menu remembers which parameter it is set to when exited, and will return to that same parameter when the menu is 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 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 Quad'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 RECORD button to begin recording. Once in RECORD mode, all other transport buttons are locked-out except the STOP button.
FFWD >>: Press this 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.
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SELECT (up/down):: The SELECT up/down buttons operate differently depending on whether
Ki Pro Quad 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 Quad “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 Quad is
in TRANSPORT mode or MENU mode. In TRANSPORT mode, and in the “Pause” mode (single push of STOP from PLAY mode), the ADJUST buttons “single step” the current clip at a rate of one frame per button push (up=forward, down=reverse). In the MENU mode, the ADJUST buttons adjust the selected parameter. Holding down either of the ADJUST buttons causes them to repeat
DELETE CLIP Button: This is a dedicated button that when pressed, deletes the currently selected clip. When
pressed, the system displays a precautionary “ARE YOU SURE?” prompt. Press the up­arrow ADJUST button to say “Yes” and delete the clip, or the down-arrow ADJUST button to abort the deletion. When a clip is deleted, the next clip is then cued for deletion. Pressing DELETE CLIP, STOP or any other button—while the “ARE YOU SURE” prompt is displayed—cancels the delete operation. Pressing any button other than up-arrow ADJUST 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 media slot is accessed by the
system—either Slot 1 or 2. Second, the SLOT button is used to unmount the currently selected media.
Caution!
Not using the SLOT button to unmount media can damage the media. 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” 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 (media physically removed or replaced), 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 Unformatted.”
Caution!
Removing media with the Slot LED lit, or while flashing, can result in corrupted media or potential damage to the media.
NOTE: On power up, Slot 1 is the initial storage system accessed by Ki Pro Quad.
Analog Audio Input Level
Adjust Knobs:
NOTE: Digital audio via embedded SDI is not affected by the adjustment knobs.
Ki Pro Quad v5.2 www.aja.com
These knobs underneath the VU meters allow you to adjust the analog input levels for each of the two audio channels.
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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.

Displays and Indicators

Alphanumeric and Graphics
LCD Display:
VU Meters and knobs: 7-segment LEDs show audio input levels for the 2 analog audio channels (respectively).
Slot LED Status Indicator: These LED 1 and 2 states indicate the status of the media slots, S1 and S2:
Shows menus, status, alerts and other information. Some words in the menus may be truncated to fit the display limits. The LCD displays not only UI information, but also a scaled version of the incoming signal or playback of recordings. When the monitoring outputs are set to crop a signal to 1920x1080, a graticule is applied to the scaled image on the LCD to alert the user.
Knobs underneath the VU meters allow you to adjust the input levels independently to prevent clipping and ensure proper signal amplitude.
Green—audio source signal level is in the “safe” area (no clipping). Vertically, the green LEDs also show the signal strength, so you can see if the signal level is low. Generally, it’s preferred to have the signal near the top of the green or even occasionally peaking into the yellow LEDs.
Yellow—audio source signal levels are at the peak edge of the safe area before clipping will occur.
Red—audio source amplitude is too hot and the signal is clipping at its signal peaks. You should reduce the input gain at its source (camera, mixer or source equipment supplying the signal).
• LED lit/on: selected media
• LED unlit/off: inactive media, okay to eject or no media inserted
• LED flashing: recording in progress
• On power up, slot S1 is the initial selection.
Head Phone Jack: 1/8” (3.5mm) miniature stereo TRS connection for standard stereo headphones.

Connectors

Connect any SDI-equipped digital camera or A/V source, regardless of brand or format, to Ki Pro Quad’s SDI connectors. The connector side of Ki Pro Quad contains all the connectors except for power. On the bottom of the unit is a single power connector for supplying the 12-Volt DC operating voltage (see Installation later in this chapter).
The functions of Ki Pro Quad’s inputs and outputs depend on the operational mode. Ki Pro Quad’s active input (the one to be recorded) is selected by front panel or web browser control. Ki Pro Quad’s outputs are active all the time.
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Figure 3. Ki Pro Quad Connectors

Connections • HD/3G-SDI Inputs and Outputs 1-4, with 8-channel embedded audio (8x BNC)

• HD-SDI Monitor Output (1 BNC) with embedded audio.
• HDMI v1.4a Monitor Output for monitoring video with embedded audio
•LTC Input (BNC)
• Reference Input for connection to a stable source of genlock video or sync.
• 2 channel balanced analog audio Inputs (2x XLR)
• Line/Mic Level Switch (analog XLR audio input level)
• 10/100/1000 Ethernet LAN

LTC Timecode Input One BNC provides connection to the house LTC timecode generator or source. This

connection is high impedance.

SDI Input and Outputs Eight BNC connectors are provided for inputs and outputs supporting HD/3G-SDI video

and embedded 24-bit digital audio.

HDMI One HDMI connector provides for monitor output of HDMI compatible video (version

1.4a) and multi-channel embedded audio. HDCP is not supported on the output. The
HDMI output supports standard HDMI cables only.
HDMI formats supported:
720p 50, 720p 59.94, 720p 60
1080i 25, 1080i 29.97, 1080i 30
1080p 23.98, 1080p 24, 1080p 25, 1080p 29.97, 1080p 50, 1080p 59.94
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2Kx1080p 23.98, 2Kx1080p 24, 2Kx1080p 25, 2Kx1080p 29.97, 2Kx1080p 50, 2Kx1080p 59.94
NOTE: When using the Ki Pro Quad HDMI connection and attaching it to any HDMI audio or video
accessory, you must use a ferrite-beaded HDMI cable, HH-28F-06, between the HDMI output port of the Ki Pro Quad and the HDMI accessory to maintain regulatory compliance.
Analog 2-Channel
Balanced Audio Input

Ethernet An RJ45 connector provides a 10/100/1000 Ethernet port for connecting Ki Pro Quad

Power Connector

Two XLRs, (female), provide two channels of balanced audio. Audio is high-quality 24-bit A/D input at 48kHz. Level adjustments are made via software and a switch for line-level inputs. Software level adjustments for analog audio (parameter 4.1) apply to balanced audio (XLR) using the “Line” setting on the switch. The Mic and Mic +48 settings offer a lower input level suitable for microphones and their associated input impedance:
•Use Mic +48 for microphones with phantom power (condenser mic.)
•Use Mic for microphones without phantom power (dynamic microphones)
directly to a computer or Ethernet hub or switch for connecting to a LAN. Ki Pro Quad is compatible with CAT-5 straight-through or cross-over Ethernet cables, automatically detecting which is used. Once connected and properly configured, Ki Pro Quad can then be controlled by a web browser on the LAN.
On the underside of Ki Pro Quad is a standard 4-pin male XLR connector for supplying 12-Volt DC power to the unit. You can use either the supplied AC Adapter or furnish your own battery source. Since the connector is an industry standard pinout, choices are varied and flexible. Many 3rd party vendors offer products using this standardized power connector.
Pin 1: ­Pin 4: + Pins 2 and 3: not used
Warning !
Ki Pro Quad has no user-serviceable parts. To remove power from the unit, remove the 4-pin XLR power connector to ensure disconnection. Refer all servicing to qualified service personnel. Servicing is required when the device has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the device, the device has been exposed to rain or moisture, does not operate normally, or has been dropped.
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.
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Storage

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.
Record to Pak media, a form of removable SSD media. The media is formatted as HFS+ and is native to the Mac OS file system. Media can be mounted on the Mac OSX desktop for immediate editing and file access when used with the Pak Dock. To work with media on Windows OS systems, third-party software such as Mediafour's MacDrive is recommended.
Caution!
Failure to properly mount or dismount media, or an unexpected loss of power while recording, can result in an unrecoverable data loss.

Formatting Media To format SSD media, the media must first be inserted into an empty slot on Ki Pro Quad

and/or selected using the SLOT button. Once the media is selected, follow these steps:
1. For media that has never been used in a Ki Pro Quad before, the “Warning Media
Unformatted” prompt may appear.
2. Press the STOP button
3. Press the MEDIA button
4. Press SELECT (up or down) repeatedly until you see the menu 16.1 Format Media.
5. Press ADJUST up arrow. Ki Pro Quad will display “FORMAT”.
6. Press the ADJUST up arrow button. Ki Pro Quad will display “ERASE S1” (or S2).
7. Press and hold the ADJUST up arrow button for 2 seconds or longer and then
formatting will begin. (Select any other key to abort the format operation.) Ki Pro Quad will display formatting progress, and when done, will display a
completion confirmation.
8. Press STOP to return to regular operation and use the newly formatted media.
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Using Ki Pro Quad Media with Non­linear Editors
When Ki Pro Quad media is removed and connected to a computer via the AJA Pak Dock, the media will mount as a normal HFS+ file system. The REEL NAME parameter is the name of the media that will appear when the media is mounted.
Once the media is mounted, each clip recorded by Ki Pro Quad will be a file on its file system, which can be opened in non-linear editors such as Final Cut Pro, Adobe Premiere Pro, etc. The clips will be instantly ready to edit because they were recorded as one of the following formats:
•Apple ProRes 422
• Apple ProRes 422 (HQ)
• Apple ProRes 422 (LT)
• Apple ProRes 422 (Proxy)
• Apple ProRes 4444
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Chapter 3: Ki Pro Quad Installation

Installation

This section describes set up and installation of Ki Pro Quad. Choices you will make include how Ki Pro Quad will be controlled (front panel or Ethernet and web-browser) and the physical system requirements for your application.
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 !
Unplug this device during lightning storms or when unused for long periods of time.

What’s In The Box?

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.
Warning !
Only use attachments and accessories specified and/or sold by the manufacturer.
Warning !
Read and follow all warning notices and instructions marked on the product or included in the documentation.
Warning !
Do not use this device near water and clean only with a dry cloth.
When you unpack your Ki Pro Quad, you’ll find the following components:
• Ki Pro Quad Recorder.
• AC Adapter 110/220 with industry standard 4-pin XLR connector for powering the Ki Pro Quad. A standard North American line cord with 3-prong plug is included.
• Registration Sheet—allows you to register by mail or online (details provided).
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Please save all packaging for shipping the Ki Pro Quad should you need to do so.
Figure 4. Ki Pro Quad Shipping Box Contents

Desktop Mounting When using Ki Pro Quad on a desktop or flat surface a Ki Pro Quad Stand may be used.

The stand comes with a power adapter cable having a 90-degree connector so the power cord can run underneath the Ki Pro Quad, exiting to the rear of the stand. The optional stand comes with 2 mounting screws as well as the 90-degree power cord adapter.
Figure 5. Optional Ki Pro Quad Stand Kit

Camera Mounting Camera mounting is made possible by using one or more of AJA's optional Ki Pro Quad

mounting plates. The AJA mounting plate option is a single aluminum plate with recessed mounting holes that have been matched for mating with a wide array of 3rd­party mounts, battery plates, and accessories.
To extend your mounting options and use the Ki Pro Quad itself as a mounting point for other devices like batteries or wireless mics, simply order a second Ki Pro Quad mounting plate and attach your third party device to it. (The plate shown below has the Ki Pro side facing down, the screw insertion side facing up.)
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Figure 6. Optional Ki Pro Quad Mounting Plate, with Screws (supplied)
Figure 7. Camera Mounting Example Using Optional Mounting Plate

Applying Power The following Warnings are provided as good practices and should always be considered

when Ki Pro Quad is used in a desktop application.
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.
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Plug 4-pin XLR into 12Vdc Ki Pro Quad power socket.
Line CordDC supply

Using AC Power To begin using Ki Pro Quad, plug the 4-pin XLR on the supplied AC adapter into the XLR

power socket on the back of Ki Pro Quad. Then plug the AC adapter line cord into 110 VAC or 230 VAC (the supply is autosensing). As mentioned earlier, if you’re using the optional desktop mounting stand, you’ll also use the supplied 90 degree power cable adapter with the Ki Pro Quad AC adapter.

Using DC Power To run Ki Pro Quad on DC power, simply plug a 3rd-party industry standard 12 volt

battery pack with a 4-pin female XLR connector into the power connector on Ki Pro Quad (underneath unit). The battery should be capable of supplying a sustained 3.3 A (just like the supplied AC Adapter provides). Such battery packs are available from a variety of sources.
NOTE: To operate Ki Pro Quad properly, batteries should not have voltage lower than 12 volts and
should not have voltage that exceeds 18 volts.
Ki Pro Quad is a low-wattage device so many batteries can power Ki Pro Quad for several hours at a time.
In the event of sudden power loss, recordings that are in progress will not be written properly to the media. Note that there is a “Low Battery” warning prompt that users should take note of and stop recordings in progress if at all possible before battery failure. Ki Pro Quad can sometimes manage to close the file before the battery stops providing sufficient power, but this is not always possible due to the nature of some batteries and the duration of some recordings. It is best to be mindful of remaining battery life. The use of batteries with metering or remaining power indications is highly recommended. For very long recordings, it is advisable to use the supplied AC power supply instead of battery power.
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Remote Network Control

Figure 8. Ki Pro Quad Networking Examples

Network Connections

Ki Pro Quad v5.2 www.aja.com
Ki Pro Quad can be networked to a computer using a single CAT-5 Ethernet cable (straight or cross-over) or using an Ethernet 10/100/1000 local area network (LAN) connection to the Ethernet RJ45 connector.
If connecting via a LAN, connect the Ki Pro Quad’s Ethernet connector to a LAN hub or switch. 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, and devices on a LAN may have
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fixed or dynamically assigned (DHCP) IP addresses. Before connecting Ki Pro Quad to the LAN, talk to your network administrator to find out how they want it connected (static IP or DHCP).

TCP/IP Information You’ll Need

Networking via DHCP

If your LAN has a DHCP server that assigns IP addresses dynamically, you don’t have to configure anything (Ki Pro Quad defaults to DHCP). If for some reason your IT administrator prefers an assigned IP address that is fixed (called a “static IP”), get the IP address—you’ll be entering it in the “IP CONFIG parameter.” If your LAN requires static IP addresses, 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 Quad: via DHCP or via a static IP address.
The default configuration (from the factory) automatically looks for a DHCP server to issue an IP address. So, as long as your network has a DHCP server (usually part of your router), you need to do nothing other than plugging the Ki Pro Quad 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!
Here are the steps to communicate with Ki Pro Quad 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 Quad’s browser status screen.
If Ki Pro Quad cannot get an address from the DHCP server on the LAN while Ki Pro Quad 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 Quad:
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 Quad’s browser status screen.
NOTE: If Ki Pro Quad 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.
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Networking Ki Pro Quad using a Static IP Address

To set a static IP address for Ki Pro Quad, 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).
Figure 9. Configuring Ki Pro Quad 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). 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 Quad using the Factory Default IP

Controlling Ki Pro Quad from a web­browser
If you don’t want to use DHCP to network Ki Pro Quad 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 Quad 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 Quad’s browser status screen.
To control Ki Pro Quad from a web browser on a network attached computer, you must enter Ki Pro Quad’s IP address as a URL in the browser. For example, if Ki Pro Quad’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 “Browser Remote Control” on page 60.
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Chapter 4: Front Panel Operation
Select Adjust
Clip SC26ATK1 S1 47%
Reel 001 01:00:23:14
TRANSPORT Mode

Overview

There are two ways to control Ki Pro Quad: from the front panel or remotely from a web browser connected via the Quad’s ethernet RJ45 connector. This chapter discusses controlling and using Ki Pro Quad from its front panel. (See “Browser Remote Control” on
page 60.)
In Chapter 2 we discussed the panel controls overall, so you may want to read and understand that material first. In this Chapter we introduce each of the front panel's modes and the various menu parameters.
First we introduce the two basic front panel modes, TRANSPORT and MENU, followed by how the SELECT and ADJUST buttons operate in each of these two panel modes.
The TRANSPORT mode is the default mode—it controls basic PLAY, STOP, FF, REV, etc. 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.
Line 1: Displays the current clip on the left side and the current slot and percentage of the media
capacity remaining on the right side.
Line 2: Displays the current reel number on the left side and the timecode for the clip being
recorded or played on the right side.
An example display for the TRANSPORT mode (default screen) is shown below:
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Input Format Input selected
Recording Format Audio input selected
STATUS Menu (Record Mode)
Media Format
Output Conversion
STATUS Menu (Play Mode)
Interval Record Enabled
Interval Frames: 1 Time: Second
STATUS Menu (Interval Record))
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)
For the MENU mode, depressing one of the 3 MENU buttons (STATUS, CONFIG, or MEDIA) will enter the corresponding menu.
In the STATUS menu, the Select buttons will cycle through the various STATUS screens. The Adjust buttons have no effect on the STATUS menu.
The first STATUS page shows the status of recording or playing. The second page shows the timecode settings for recording as set in CONFIG parameter 8.0. The third Status page shows Interval Recording status. The following shows the display for the STATUS menu:
In the CONFIG or MEDIA menus, the Select buttons select various adjustable parameters, and the Adjust buttons adjust the selected parameter. When entering a menu, the system remembers and returns to the last selected parameter. The following shows the displays for the CONFIG and MEDIA menus

TRANSPORT Mode (default)

TRANSPORT mode is the default mode for Ki Pro Quad operation. When you power up Ki Pro Quad, the first display you’ll see is 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
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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”.
When in the “Idle” mode, the CONFIG and MEDIA set-up menus can be accessed to adjust various parameters that control Ki Pro Quad'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 LCD display. You can tell if the STOP button is in “pause” if the button is flashing.
There are certain times when transport controls are locked out. For example, when ejecting media, or entering an IP address, the transport controls are locked out until the operation is completed. Most other menu functions do not lock out the transport controls.
At any time you only need to hit any transport button to exit (or “exit” a STATUS, CONFIG, or MEDIA menu by pushing its button). Pressing a transport button sends the display into the TRANSPORT default menu.
Several operations may result in an “ARE YOU SURE” interaction; for example, FORMAT MEDIA. This protects you from inadvertent actions and ensures that accidental button presses don’t have negative repercussions. When you answer yes to an ARE YOU SURE prompt, the display then changes to an “in progress display”, and automatically returns to the menu when the operation is complete.
When recording, Ki Pro Quad is in an E-to-E state.
Certain parameters are stored in non-volatile memory so that the parameter is remembered between power cycles, for example: system name and date/time.

Recording a Clip There is more than one way to record a clip since you can control Ki Pro Quad in

numerous ways. The MEDIA and CONFIG menus presented later in this chapter detail the parameters available to control recording. Before we get into that level of detail, here’s an example of just how simple recording can be:
1. Press the STATUS button. You’ll see the currently selected input and input format (line
1) and the chosen recording format and audio input (line 2).
2. If these settings are acceptable, then push the red RECORD button below the display.
3. The green LED slot indicator (and the green LED on the Pak media) will begin
blinking indicating a recording is in progress. You will also see the timecode changing on the UI display.
4. When you’ve finished recording, press the STOP button.
You can, of course, customize your configuration via the CONFIG and MEDIA menu parameters.
NOTE: To change Apple ProRes settings prior to recording, Press MEDIA, and then repeatedly press
SELECT until you see 14.1 Encode Type. Then press ADJUST up or down to select:
•ProRes 444
• ProRes 422LT
• ProRes 422PX
• ProRes 422HQ
• or ProRes 422
Ki Pro Quad v5.2 www.aja.com
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