AJA RACK User manual

www.aja.com

Version 4.1 Published: 11/7/2012

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. F

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

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
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
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 ser vice 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 contactin
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

and labor, to effectuate repair. Customer shall pack and ship the defective product to

parts
a service center designated by AJA Video, with shipping charges prepaid. AJA Video shall
pay to return the product to Customer but
the AJA Video ser vice center is located.

This warranty shall not apply to any defect, failure or damage caused by negligent,
inadequate or improper use, handl
Video shall not be obligated to furnish ser vice 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 ot
modification or integration increases the time or difficulty of servicing the product, or (e)
resulting from being dropped or otherwise subjected
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
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 LIMITAT ION 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.

specified operating range, or otherwise failing to treat the product in

™

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

inal Cut Pro, QuickTime and

holders.

mechanical, including photocopying or recording,

this warranty period, AJA

g AJA Video support through the channels set forth on

only if to a location within the country in which

ing or maintenance. Without limiting the foregoing, AJA

her products when the effect of such a

to undue force, exposure to moisture

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
APPROPRIAT E.

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 CONNECTIO N
WITH THE PRODUCT, WHETHER RESULTING FROM DEFECTS IN THE PRODUCT, SOFTWARE OR
HARDWARE FAILURE, OR ANY OTHER CAUSE WHATSOEVER, EVEN IF AJA VI
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.

DEO HAS BEEN

1

4

Ki Pro Rack Installation and Operation Manual — Table of Contents

Table of Contents

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

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

Contacting Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Limited Warranty . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

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

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

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

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

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

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

Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Avid DNxHD Advantages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

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

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

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

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. . . . . . . . .

Using Ki Pro Rack Media with Avid

Media Composer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

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

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

Applying Power . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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

6

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

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

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

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

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

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

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

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

Controlling Ki Pro Rack 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

15.4 DROPPED FRAMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

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

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

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

17.2 CLIP NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

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

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

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

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

17.8 TAKE. . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Ki Pro Rack Installation and Operation Manual — Table of Contents

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

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

. . . . . . . . . . . . . . . . . . . . . . . . 49

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

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

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

22.1

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

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

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

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

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

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

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

1.6 SDI 2 OUT. . . . .

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

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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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

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

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

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

4.2 AUDIO LVL L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

4.3 AUDIO LVL R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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

9.0 INTERVAL RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

9.1 INTERVAL FRAMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

9.2 INTERVAL TIME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

13.1 CAMERA DATA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Important Notes About The Various Cameras Supported by 13.1 . . . . . . . . . . . . . . . . . . . 61

Important Note About Using DNxHD Encoding with 13.1 Camera Data . . . . . . . . . . . . . 62

32.0 Loss of Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

35.2 REMOTE CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

41.1 VIDEO SG FRMT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

41.2 VIDEO SG. . . . . .

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

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50.1 IP CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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

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

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50.4 STATIC GATEWAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

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8

50.5 SYSTEM NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

50.6 MAC ADDRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

55.4 DATE SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

55.6 TIME SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

70.1 SCREEN SAVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

70.2 DISPLAY INTENSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

70.3 FAN SPEED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

80.1 SERIAL NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

80.2 SW VERSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

91.1 RECALL PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

92.1 STORE PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

99.0 FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Chapter 4: Browser Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Remote Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Resetting Values To Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Web Browser via Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

General Screen Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Config Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Media Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Transport Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Presets Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Network Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Playlists Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Alarms Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Update Firmware Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Preparing to Update Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Upload and Install the Software on your Ki Pro Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Controlling Multiple Ki Pros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

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

Example: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

How to Use Gang Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Gang Recording Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Using Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Working with the All Clips Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Creating a Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Playback of a Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Using Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Storing a Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Recalling Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

All Clips and Media State>Data-LAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Appropriately Encoded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Ki Pro Rack Installation and Operation Manual — Table of Contents

Appendix A: Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Video Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Digital:. . . . . . . . . . . . . . . . . . .

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Video Outputs (all simultaneously active). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Digital:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Analog: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Audio Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Audio Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Network. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Panel User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Serial Port . . . . .

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1

Hardware up-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Hardware down-conversion - 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Hardware cross-conversion - 10-bit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Physical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

9

Appendix B:

Safety & Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Federal Communications Commission (FCC) Compliance Notices . . . . . . . . . . . . . . . . . . . . . . . . 103

Canadian ICES Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

European Union and European Free Trade Association (EFTA)

Regulatory Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Korea KCC Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Taiwan Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Japanese Compliance Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Translated Caution Statements, Warning Conventions and Warning Messages. . . . . . . . . . . . 106

Before Operating Ki Pro Rack, Please Read the Instructions in This Document . . . . . . . . . . . . . 106

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

10

Overview

Chapter 1: Introduction

Edge Shot Photo Here

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

App

le 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
driv

es.

With Ki Pro Rack you can acquire video using the same codecs that you use for
editing—Apple ProRes 422 or Avid DNxHD. Ki Pro Rack supports all four types of

Apple ProRes 422 (including HQ, LT and Proxy) as well as Avid DNxHD 220x, Av
DNxHD 145 and for 1080p formats, Avid DNxHD 36. Ki Pro Rack simplifies the link
between production and post by acquiring on the best codecs for use with Apple
Final Cut Pro X or Avid Media Composer from virtually any SDI or HDMI camera,

reg

ardless 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

Internally, Ki Pro Rack natively suppor ts the Apple ProRes 422 or Avid DNxHD codecs
in hardware, allowing realtime capture directly to QuickTime files. In fact, while the
camera is recordin
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 k

flexibility, you can save time, steps, and get your project done quicker and with the
highest quality.

g to its own tape or file-based memory, Ki Pro Rack can

want to edit and deliver.

id

ind of

1

1

1

12

Features

Like AJA’s famous KONA and other Ki Pro products, Ki Pro Rack offers unparalleled
connectivity. Within its 1 RU form factor, Ki Pro Rack offers SD/HD analog I/O, SD/HD
digital I/O, HDMI I/O, two channels o
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 b

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 Rack
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.

rowser.

f balanced analog audio I/O, RS-422 machine

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

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

• Digital HD/SD SDI I/O, 1-channel selectable input and output (4 BNC)

• Digital HDMI I/O (2 HDMI)

• Component HD/SD analog video I/O, SMPTE/EBU/Betacam/RGB/YPrPb (6 BNC)

• Composite analog input NTSC/NTSC-J/PALv

• Composite analog output NTSC/NTSC-J/PALvideo (1 Component Y BNC)

• AES audio, 8-channel, 24-bit, 48 kHz audio (8 BNC); 8-channel SDI embedded

• 2-channel balanced analog audio input and output (4 XLR)

• Timecode, LTC I/O (2 BNC); SDI embedded RP188 with onscreen display

• RS-422 9-pin D connector machine control port for

• 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

hardware

ideo (1 Component Y BNC)

interactivity with editors

• Available Storage Modules (HDD) for use with Apple Mac® computers (HFS+

file s

ystem) 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 — Apple ProRes 422 Advantages

13

Software

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

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

• 20 Preset registers for storing and recalling system

• Em bedded internal web server for remote control via LAN

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

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

controllers or non-linear
Chapter 3)

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

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 si

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
by Apple for editing, rather than as a transmission/distribution codec as are most
popular codecs. Some of the advantages include:

ze, frame rate, and aspect ratio.

preset configurations

editors (see CONFIG parameter 35.2 explained in

1

without degradation. It was designed

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

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

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

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

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

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

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

• 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

resolutions.

saturated-color boundaries.

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

artifacts from complex motion.

and

allocates more bits to complex frames.

drive space to store high quality video.

and frame rate).

14

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, broadc

ast 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 sam pling.

• 10-bit sam ple depth (for

DNxHD 220x) or 8-bit.

• Every frame of encoding is independent.

• Variable bit-rate (VBR) encoding.

• Low data rate requirements.

What’s In The Box?

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

When you unpack your Ki Pro Rack, you’ll find the following comp onents:

• Ki Pro CD-ROM—contains docume ntation, including this manu a l (PDF).

• Ki Pro Rack Recorder.

• BNC termination—place on the Ref Loop output at the end of the l

oop.

• 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).

1

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

15

Ki Pro Rack Shipping Box Contents

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.

16

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 Rack, introducing the front and rear panel
features, connections and indicators, and all the options available.

Chapter 3 pro
front panel.

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

Appendix A provides specifications for various aspects of the system.

Appendix B incl

Index provides an index to topics covered in this manual.

vides complete instructions for operating the Ki Pro Rack from the

udes cautions, warnings, and compliance information

Ki Pro Rack Installation and Operation Manual — In This Manual

1

17

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 ha

working knowledge of how it can be used to tie together the worlds of acquiring
media (production) and post-production.

ve a

Learning about the front panel indicators will be useful in selecting operationa
modes and monitoring what is happening on Ki Pro Rack as well as troubleshooting.
Becoming familiar with the Ki Pro Rack operator-side and connectors will simplify

installation, setup, and operation of the system.

On the foll
summarize all of the connectors and indicators. Detailed descriptions of each of the
connectors and indicators follow afterward.

owing pages are front and rear panel illustrations with notations that

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
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
The lithium battery shall not be exposed to excessive heat, such
as sunshine or fire.

follow local regulations for safe disposal.

correct the interference at their own

l

1

2

1

18

Operator Side

Ki Pro Rack 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
operations are described in Chapter 3.

The front panel of Ki Pro Rack operates in two modes:

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

• MENU mode for configuring the Ki Pro

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
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, C
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

ONFIG, and MEDIA. These menu group buttons access

make selections and adjustments.

Rack system

the display and the SELECT

and front panel

Buttons

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

ON (when illuminated) or OFF. To turn power on, press the button once, and
watch power-up progress on the display. To 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

button or press hard—it’s a “soft” button sensed by the processor inside.

down, hold the power

necessary to depress the

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 mach

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.

ine is in an active transport mode (PLAY, RECORD,

19

CONFIG Button—Pressing CONFIG wh

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 CONF
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
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 t

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 ac
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 Ra
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
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

FFWD : Press button to begin fast playback of the cu rrent clip at 2x

speed. Successive pushes increase the speed to 4x, 8x, and 16x. (Pushing
the button after 16x speed

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.
When playing in reverse, audio is mut ed for all speeds.

SELECT (up/down): The SELECT up/down buttons operate differently

depending on whether Ki Pro Rack is in
mode. In the TRANSPORT mode, the SELECT buttons select clips and
operate like “previous” and “next” keys. When a clip is selected, Ki Pro Rack

“cues” it to the beginning. Note
based on timestamp order (creation date), not clip name. Howe ver, in a
playlist, ordering and playback is determined by playlist order. In the
MENU mode, the SELECT buttons select parameters for
Holding down either of the SELECT buttons causes them to repeat.

ADJUST (up/down): ): The ADJUST up/down buttons operate differently

depending on whether Ki Pro Rack is in TRANSPORT mode or MENU mode .
In TRANSPORT mode, and in the “Pause” mode (single pus
PLAY mode), the ADJUST buttons “single st ep” 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 t

ck's outputs into an E to E mode (the currently selected inputs

(Pushing the button after 16x speed is reached has no further effect.)

he ADJUST buttons causes them to repeat.

will turn Off the MEDIA menu (returning to the default

hat same parameter when the menu is re-entered.

transport buttons are locked-out except the STOP button.

IG menu remembers which parameter it is set to

en not lit, enters the CONFIG menu.

1

ts as a pause mode: the playback

is

is reached has no further effect.) When fast-

the TRANSPORT mode or the MENU

that ordering and playback of clips is

adjustment.

h of STOP from

20

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

selected clip. When pressed, the system displays a precauti onary “ARE YOU
SURE?” prompt. Press the up-arrow ADJUST button to delete the clip, or the
down-arrow ADJUST b

utton 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 piec

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.

e of 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 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), t

hen 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 S

torage 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.

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

inward and the knob will then pop out for easy adjustment.

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:

21

Alphanumeric and Grap

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
limits.

Operational note: The display power consumption is directly related to t he number
of pixels that are turned on and the intensity. Therefore, the default brightness is
an intensity value
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
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-se

(respectively).

Green—audio source signal level is in the “safe” area (no clipping). Vertically, the
green LEDs also show t

Generally, it’s preferred to have the signal near the top of the green or even
occasionally peaking into the yellow LED

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
equipment supplying the signal).

gment LEDs show audio input levels for the 2 analog audio channels

should reduce the input gain at its source (camera, mixer or source

hics Display—Display details: The display is a 140x16 Graphics

the display

of 6 (on a scale of 1-8) and users will be able to diminish this

1

unit (play, select up,

he signal strength, so you can see if the signal level is low.

s.

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.
AC line cords provide redundant 100-240 VAC 50/60 Hz power to the dual power
connectors (see Installation later in this chapter).

The function of Ki Pro Rack’s inputs and outputs depends on the operational mode. Ki

ro Rack’s active input (the one to be recorded) is selected by the front panel or web

P
browser interface. Ki Pro Rack’s outputs are active all the time. In other words, the
same output video
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 o
SD signal, so it will not output HD. The HDMI output is by definition an HDMI­compatible signal, so 1080PsF formats cannot be output via HDMI; instead use a true

progressive format for the HDMI

appears simultaneously on the HDMI, SDI, component, and

f each output. The composite output is by definition an

output.)

On the back side of the unit, two

Connections

Ki Pro Rack Connector Side and Rear Panel

• 10/100/1000 Ethernet LAN

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

• HDMI video with embedded audio, 2 channel input and recording support, 1x

connector for input and 1x connector for output.

• 2 HD/SD-SDI Inputs and Outputs, with 2 or 8 channel embedded

• 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 bal

anced input and output (4x XLR)

audio (2x BNC)

Ethernet

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

Ki Pro Rack Installation and Operation Manual — Connector Side

RS-422 Connector

Ki Pro Rack features a 9-pin serial port that may be used with some RS-422
devices. IMPORTANT: Not all RS-422 devices have been tested with Ki Pro
Rack, so AJA cannot definitively say which devices may or may not communicate as
expected with Ki Pro Rack when operated under 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 HDM

I 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 Rack HDMI, you must use one each of the ferrite beaded HDMI cables, HH-28F-06,
between the input and output ports of the Ki Pro R

ack and the HDMI accessory.

1

23

SDI Inputs and Outputs

Four BNC connectors are provided for two SDI inputs and outputs. The SDI
inputs and outputs supp ort 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 possibl

e 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 signa
component output video signals are D/A converted (10-bit). Component video signals
are higher quality than composite.

A Note About RGB

—Although RGB is used less frequently in today’s video systems, Ki
Pro Rack supports it at output. Because Ki Pro Rack’s (and SMPTE SDI) native format
is YPbPr, AJA recommends the use of YPbPr whenever possible. Although
component v

ideo 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

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

Betacam (NTSC Japan). These three formats differ in leve l only.

ls are A/D (input) converted (10-bit). Similarly,

ck

Note About BETA Setting—

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

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 ou tput 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

eq

uipment 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 Rack LTC output does not provide output during EE or
recording operations
dubbing content to another device with matching timecode. For timecode to
multiple Ki Pro Rack units, the use of a timecode generator
distribution amplifier is recommended.

; the output is only for use during playback, as might be used for

and a timecode

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 adjustment s 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
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 Rack has no user-serviceable parts. To remove power from the unit, remove
the power connector to ensure disconnection. Refer all servicing to qualified
service personnel. Servicing is
way, such as power-supply cord or plug is damaged, liquid has
been spilled or objects have fallen into the device, the dev
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
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
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

non-redundant power or use both connectors/cords for

required when the device has been damaged in any

ice has been exposed to

wider than the other. A grounding type

and operable.

25

1

outlet,

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 MediaF

our’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 Rack unit whil

e 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 ch

ange.

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 Rack will display “FORMAT”. Press the ADJUST up
arrow button. Ki Pro Rack will display “CONFIRM ERASE”—press and hold the
ADJUST up arrow button for 2 seconds or l

onger and then formatting will

begin. Ki Pro Rack will display progress, and when it is done, “Format D1
Complete” will be displayed; press the stop button to begin using the newly
formatted media.

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 med ia th

at will appear mounted on the OSX

desktop.

Once a Ki Pro storage device is mounted, each clip recorded by Ki Pro Rack will be a file
on its file system that can be opened in Final Cut Pro. Because

the clips were recorded
as Apple ProRes 422, Apple ProRes 422 (HQ), Apple ProRes 422 (LT), or Apple ProRes
422 (Proxy) with proper Final Cut Pro metadata, they’re instantly ready to edit. While
the Ki Pro Rack clips can be accessed

and used by Final Cut Pro directly from the Ki Pro

media, AJA recommends backing up your clips to your local storage for editorial.

In Final Cut Pro 7's browser window you will see some of the information Ki Pro Rack
saved as

data to describe the media. Ki Pro Rack saves the “Name”, “ M edia Start”, “ M edia

1

End” and “Reel” for Final Cut Pro 7. Ki Pro QuickTime clips can also be directly imported
into Final Cut Pro X, which relies on Apple P

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

ProRes 422 (HQ), Apple ProRes (LT) and Apple ProRes (Proxy) QuickTime files with
appropriate 24-bit 48kHz audio in formats and frame rates noted
firmware release. Files created in other codecs or at other frame rates or frame sizes will not
result in p layback if placed in the "AJA" folder on the Ki Pro Storage M
Apple ProRes QuickTime files in the "AJA" folder can lead to problematic issues when

attempting "Play All" operation of clips; if media other than Apple ProRes QuickTime files
must be kept on th
folder on the drive.

e Ki Pro Storage Module, they should be placed outside of the "AJA"

roRes encoded media.

as supported by the latest

odule. Placing non-

Using Ki Pro Rack
Media with Avid
Media Composer

Avid DNxHD QuickTime files produced on the Ki Pro Rack system are designed for use
with Avid Media Composer. While these QuickTime files can be read in a variety of other
non-linear edit systems (when the

appropriate Avid QuickTime codec package has

been installed), AJA cannot verify the behavior or per formance 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 Rack will be controlled (front panel or Ethernet & web-

browser) and the physical system requirements for

your application (camera mount

or not, video and audio monitoring choices, and media workflows). First we’ll discuss
mounting methods and then follow up with software configuration and setup.

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'

War ning!

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

s instructions.

Mounting Ki Pro
Rack

War ning!

Refer all servicing to qualified service personnel. Servicing is required when the

ce has been damaged in any way, such as power-supply cord or plug is

devi
damaged, liquid has been spilled or objects have fallen into the device, the
device has been exposed to rain
been dropped.

or moisture, does not operate normally, or has

Ki Pro Rack is a rack-mountable or standalone box that connects to the video and
audio output connector(s) from a ca mera, camcorder, or other professional source to
record the media from that device. H

ere are some typical workflows and applications:

• Recording a live video feed from a camera; Ki Pro Ra ck is rackmounted, receiving

component video input.

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

a computer

work desk receiving HDMI audio and video input.

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

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

decks, formats and

sources, converting dissimilar media to standardized Apple

Pro Res for archival.

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

feed from a wall mounted remot e 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 Rack is straight-forward. If you’ll be controlling the
unit from the front panel buttons and display, it’s ready right out of the box. Just cable
the system’

s audio and video sources, VTR(s), monitors, and audio equipment, mount
the Ki Pro Rack unit as desired, and begin recording. However, if you wish to control Ki
Pro Rack from a web browser, there are additional configuration steps.

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

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 th

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

Do not defeat the safety purpose of the grounding-type plug.

e chassis. There are no user-serviceable parts inside. Opening the

1

plugs,

moving the unit.

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 Ra ck. Then plug the AC line cord into 100-240
VAC 50/60 Hz (the supply is autosensing).
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.

For redundancy, connect both AC cords to

30

10/100/1000 Base-T

Firewall

& Router

WAN/ISP

Hub

Ki Pro Rack Connection

10/100/1000 Base-T

LAN

Remote Network Control

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

Laptop

w/Web Browser

for Remote

Control

100-240V-

P/S 1

50/60Hz

SDI 1 SDI 2 Analog Audio Out

HDMI Component

A

www.aja.com

ID

In

In

LAN

RS-422

In

Out

Out

Out

Y/G

Pr/R

Pb/B

LTCRef Loop AES 1/2 AES 3/4 AES 5/6 AES 7/8

In
Out

Analog Audio In

Out 2

In

In

Out

Out

Right

Left

Ki Pro Rack Networking Example

100-240V-

P/S 2

50/60Hz

Right

Left

Ki Pro Rack Installation and Operation Manual — Remote Network Control

31

Network
Connections

Ki Pro Rack can be networked directly to a MacBook Pro or Mac using a single Ethernet
cable (straight or cross-over)—or it can be connected to a local area network (LAN). In
hard-wired configurations, K

i Pro Rack connects via its 10/100/1000 Base-TX Ethernet
connector. In a direct connection, you simply connect the Ki Pro Rack to an Ethernet-
equipped computer having a browser using a Category-5 cable. If connecting via a
LAN, you

then connect the Ki Pro Rack’s Ethernet connector to a hub or switch on the
LAN. A LAN is a shared network that includes other Ethernet devices all attached via a
hub or digital switch

. LANs may be divided into zones separated by software or

hardware routers.

Devices on a LAN have IP addresses which may be fixed and permanent, or dynamically
assigned by the network (DHCP). When attaching Ki Pro Rack to a LAN, you

should first
talk to your network administrator and find out how they want it connected (static IP or
DHCP). Your IT depar tment will be able to supply the information you need to install Ki

1

Pro Rack on a LAN.

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
expense.

Caution!

The 802.11b/g radio is disabled by default and can be enabled only in the presence
of an authorized access point.

to correct the interference at their own

TCP/IP Information
You’ll Need

War ning!

Intentional radiators, such as the AJA Ki Pro cl
operated with any antenna(s) other than those furnished by AJA. An intentional
radiator may only be operated with the antenna(s) with which it is authorized.

War ning!

Do not touch the Ki Pro Rack radio
transmitting or receiving.

War ning!

Install this device in such a manner as to maintain a minimum of 5 cm (2 inches)
separation distance between the radiating element(s) and all persons. This safet
warning conforms with FCC radio frequency exposure limits.

or antenna cover when the antenna is

ient adapter, are not intended to be

y

If your LAN has a DHCP server that assigns IP addresses dynamically, then you don’t
have to configure anything (Ki Pro Rack defaults to DHCP). If for some reason your IT

administrator prefers an assigned IP

address that is fixed (called a “static IP”), then get
the IP address—you’ll be entering it in the “IP CONFIG parameter.” If your LAN requires
static IP addresses, then also ask your IT administrator for the Subnet Mask and default

gateway

IP address (your LAN’s internet router). The following two topics discuss two

different ways to set up Ki Pro Rack: via DHCP or via a static IP address.

32

Networking via
DHCP

The default configuration (from the factory) automatically looks for a DHCP server to
issue an IP address. So, as long as your network has a DHCP server (usually part of

your router—e.g. an Airport base station wireless router), t

hen you need to do

nothing other than plugging the Ki Pro Ra ck 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 Rack after choosing the DHCP
selection:

1. Use the Select buttons to navigate to parameter 50.2. Note

on a piece of paper

the DHCP supplied IP address shown.

2. With your laptop or desktop computer connected to the same LAN and DHCP
enabled, type the IP address you noted in step 1 into the browser address bar.

You should

now see Ki Pro Rack’s browser status screen.

If Ki Pro Rack cannot get an address from the DHCP server on the LAN while Ki Pro
Rack is set to DHCP via parameter 50.1, it will then automatically drop back to a preset
fa

ctory IP address of 192.168.0.2. In this instance you can follow these alternate steps

to communicate with Ki Pro Rack:

1. Set the computer’s Ethernet IP address to 192.168.0.n (where n is not 2).

the computer’s Subnet mask to 255.255.255.0 (most computers default to

2. Set
the proper netmask when the address is set).

3. Run a browser on the computer and type “192.168.0.2” (the factor y fallback IP
address

Note: If

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
so you’ll be prepared in the event your DHCP server fails.

). You should now see Ki Pro Rack’s browser status screen.

Ki Pro Rack

fails to find a DHCP server via its network connection, it will fall back to

IP address with parameter 50.2

Ki Pro Rack Installation and Operation Manual — Remote Network Control

Note: for parameters 50.2,

50.3, and 50.4, you will be
setting IP addresses that
consist of “octets” separated
by a period (i.e., 10.0.180. 0).

For these par ameters, 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.

33

Networking Ki Pro
Rack using a Static
IP Address

To set a static IP address for Ki Pro Rack, you’ll have to make some simple Parameter
menu selections. The illustration below shows the four menu selections you need to
make, while entering the inf

ormation provided to you by your IT administrator (as

discussed earlier).

1

Configuring Ki Pro Rack with a Static IP Address

34

Networking Ki Pro
Rack using the
Factory Default IP

Tes t Ki Pro Ra ck’s
Network
Connection with
“Ping”

If you don’t want to use DHCP to network Ki Pro Rack and also don’t want to set your
own static IP address, you can simply use a Default setting to use a factory setting of

10.65.74.65. This might be usef
laptop or computer to Ki Pro Rack and want to get networking quickly. Here are the
steps to set up this method of commu nication:

1. Use the Selec
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

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
address). You should now see Ki Pro Rack’s browser status screen.

After setting the IP address and ot her TCP/I P sett ings and connecting Ki Pro Rack’s
Ethernet connection to a LAN or directly to a computer, ensure that you have a valid
connection by “Pinging” the Ki Pro Rack
network, or a computer directly attached to it, can see it. Simply run the Ping utility
from a computer on the same LAN as Ki Pro Rack, or one attached direc
Rack. Here’s how to Ping a Ki Pro Rack from a Mac OSX computer:

t buttons to navigate to parameter “50.1 IP CONFIG”, and then use

on the computer and type “10.65.74.65” (the Default factory IP

ul for an application where you directly connect a

74).

. Pinging ensures that other devices on the

tly to Ki Pro

Mac Ping Procedure

1. Find the Applications Folder, and then find the Utilities Folder inside of the

Applications Folder.

2. Locate the “Terminal” utility application and double-click it.

3. On the Ki Pro Rack, go

4. At the Terminal prompt, enter the IP address noted in step 3. For example: ping

192.168.0.2

5. If successful, the ping utility will respond that packets were sent
how long it took. For example:

64 bytes from 192.168.0.2: icmp_seq=0 ttl=64 time=0.590 ms

6. If unsuccessful, check Ki Pro Rack’s network settings and resolve the problem
with your IT administrator.

to parameter menu 50.2 and read the IP address.

, received and

Controlling Ki Pro
Rack from a web­browser

To control Ki Pro Rack from a web-browser on a network attached computer, you
must enter Ki Pro Rack’s IP address as a URL in the browser. For example, if Ki Pro

Rack’s IP address were “10.0.6.31”, you would then

10.0.6.31

This topic is explained in greater detail in Chapter 4: Browser Remote Control.

type into the web browser: http://

Overview

Select

Chapter 3: Front Panel Operation

There are two ways to control Ki Pro Rack: from the front panel or remotely from a
web browser connected via ethernet. This chapter discusses controlling and using Ki
Pro Rack from its front panel. Remote control via browser is discussed in

In Chapter 2 we covered the panel controls overall, so ensure you read and
understand that material first. Here in this chapter we introduce each of the front
panel's modes and menus as well as Clips and Reels, with procedures

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.

Adjust

The TRANSPORT mode is the default mode—it controls basic PLAY, STOP, FF, REV, REC
and oth
through the clips in the currently selected storage slot (like previous/next), and the
Adjust buttons allow single-stepping, f
shows the display for the TRANSPORT mode:

er functions. In the TRANSPORT mode, the Select buttons (up or down) cycle

rame for ward or backward. The following

Chapter 4.

for basic use.

Clip SC12BTK1 D1 47%
Reel 212 01:02:22:14

TRANSPORT Mode

The MENU mode allows you to use the display to view system status, setup or adjust
the system configuration, or modify media settings. Certain parameters set in the
menus are stored in non-volatile memory so that th

between power cycles, for example: system name and date/time.

To enter the MENU mode to view menus in the display, press one of the 3 MENU
buttons: STATUS, CONFIG, or MEDIA.

e parameter is remembered

3

1

1

36

In the STATUS menu, the Select buttons cycle through the various STATUS screens.
The Adjust buttons have no effect on the STATUS menu. The following shows the
display for the STATUS menu:

Input Format Input selected
Recording Format Audio input selected

STATUS Menu (Record Mode)

Media Format
Output Co nversion

STATUS Menu (Play Mode)

In the CONFIG or MED

IA menus, the Select buttons select various adjustable
parameters, and the Adjust buttons adjust the selected parameter. When you enter
into a parameter of a menu, the system remembers and returns to the last se lected
parameter. The following shows the displays for the CONFIG and MEDIA menus.

Parameter number Parameter Name

Parameter setting (chosen by Adjust buttons)

CONFIG Menu

Parameter number Parameter Name

Parameter setting (chosen by Adjust buttons)

MEDIA Menu (like CONFIG)

Ki Pro Rack Installation and Operation Manual — TRANSPORT Mode (default)

TRANSPORT Mode (default)

TRANSPORT mode is the default mode for Ki Pro Rack operation. When you power up
Ki Pro Rack, the first display you’ll see is the TRANSPORT mode menu. Any clip that

previously was recorded is referenced in the

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

y. A second press, or a first press if the screen saver is already off, immediately

displa
takes action and causes the display to change to the TRANSPORT mode if it is not
already displayed. Settin gs you’v
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 “

Stop Mode

When in the “STOP” mode, the CONFIG and MEDIA set-up menus can be accessed to
adjust various parameters that control Ki Pro Rack's operation. Note that you must be in

STOP, not PAUSE to access these menus—if you try to
having stopped playback, a “PRESS STOP” prompt will appear on the VFD display. You
can tell if the STOP button is in “pause” if the button is flashing.

37

display and can be played.

e made in the MEDIA menus are observed (more on

menu”.

1

access these menus without first

Transport Lockout

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
controls.

not lock out the transport

Exiting Menus

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 send s the
display into the TRANSPORT default menu.

Confirmation Messages

Several operations may result in an “ARE YOU SURE” interaction; for example, FORMAT
MEDIA. This protects you from inadver tent acti ons and ensures that accidental button

presses don’t have negative repercussions. When you an swer yes to an
prompt, the display then changes to an “in progress display”, and automatically returns
to the menu when the operation is complete.

ARE YOU SURE

Conversions During Recording

When recording, Ki Pro Rack is in an E-to-E state. However, any conversion s selected (on
input or output) will be applied. This means you can specify the type of recording via
the In Convert as “None”, l eaving the in
another format for your recording.

coming signal as is, or convert the signal to

Recording a Clip

There is more than one way to record a clip, since you can control Ki Pro Rack in
numerous ways. The MEDIA and CONFIG menus presented later in this chapter detail
the parameters available to control recording. Bef
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

2. If these settings are acceptable, push the red RECORD button below the display.

ore we get into that level of detail,

and audio input (line 2).

38

3. The green LED next to the storage module release button blinks to show that a
recording is in process, and you’ll see the timecode changing on the display.
The RECORD button is also b

acklit while recording.

4. When you’ve finished recording, press the STOP button (left of RECORD).

You can customize your configuration via the CONFIG and MEDIA menu parameters.

Note: To change Apple ProRes 422 settings prior to recording:

(1) Press MEDIA
(2) Repeatedly press SELECT until you see 14.1 Encode Type.
(3) Press ADJUST up or down to select “ProRes 422LT”, “ProRes 422PX”, “ProRes 422HQ” or
“ProRes 422”.
(4)Press MEDIA or STOP to e

xit the menu.

Selecting a Different Video Input

To select a different video input before recording, follow these steps:

1. Press CONFIG.

2. Repeatedly press SELECT until you see 2.1 Video In.

3. Then press ADJUST up or down to choose a desired video input connector.

4. To select a

see 2.2 Audio In.

5. Press ADJUST up or down to chose a desired audio input connector.

different audio input, use the SELECT up arrow button and you will

Note: You cannot select HDMI audio unless you have an HDMI video source, nor can you

select an SDI audio source if you have not selected an SDI video source. If you attempt to
mismatch these settings

, a warning will alert you to the mismatch on the front panel.

These are just a few menu parameters that you might wish to change before you

make your recordings. To learn all the ways to convert formats on input or output
read the CONFIG menu and MEDIA menu parameter

topics later in this chapter.

Recording Notes

• Ki Pro Rack may take a few seconds to close longer files (files over 20 minutes).

For these longer recordings, you may see a "Closing File" prompt on the display.

• Ki Pro Rack alerts

15% of the remaining capacity. At 10% of the total capacity of the media, the
"Media Full" prompt will appear. Any recordings that have been

once 10% is reached and no further recordings can be performed using this
media until it is formatted again or a MEDIA>Delete Clips>DELETE ALL has been
performed. Deleting clips to produce more than 10% free space
recording to resume.

• To change Apple ProRes 422 settings prior to recording: press MEDIA, and then

repeatedly press SELECT until you see 14.1 Encode Type. Next, press ADJUST up
or down to select "ProRes 422LT", "ProRes 422PX", "ProRes

422". Press MEDIA or STOP to exit the menu. To change to Avid DNxHD, select

14.0 Encode Mode in the MEDIA menu; use the ADJUST up button to select
"DNxHD", and then ADJUST up again, and hold
reboot for DNxHD. Once the Ki Pro Ra ck system is rebooted, navigate to 14.1
Encode Type and press the ADJUST up or down to select "DNxHD 220x", "DNxHD
145" or "DNxHD 36" (if using 1080p).

you when the media is nearly full with a "Media Low" prompt at

started will stop

will allow

422HQ" or "ProRes

ADJUST up for two seconds to

Ki Pro Rack Installation and Operation Manual — TRANSPORT Mode (default)

39

Playing Back a Clip

To playback recorded media, you simply select the clip desired and press PLAY. If the
clip you wish to playback is not currently selected, use the SELECT up/down buttons

until the clip name appears on the
to initiate playback (front panel, web browser). From the front panel these are the basic
steps:

1. Press the STOP button to get to the TRANSPORT mode (
the clip name in the display (it shows the current clip/reel).

2. Press the SELECT up or down arrow button repeatedly until you find the clip you
are looking for.

3. Press the PLAY button

4. 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 will flash. A sec

and Ki Pro Rack's outputs will go into an “E to E” mode (the currently selected
inputs will be bypassed to the outputs). When a playback reaches the end o

clip, it will automatically pause on the last frame o f the clip.

During playback you can use the FFWD, REV, SELECT, or ADJUST buttons as follows:

FFWD >>: Press button to begin fast playback of the current clip at 2x speed.
Successiv

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
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.

e pushes increase the speed to 4x, 8x, and 16x. (Pushing the button

display. Like recording, there is more than one way

if not already there). Find

(>).

1

ond push of STOP will completely stop the playback

f a

in reverse

Deleting Clips

SELECT (up/down): wh

and operate like “previous” and “next” keys. When a clip is selected it is “cued” to
the beginning of the clip. Note t hat ordering and playback o
timestamp order, not clip name. If you have paused playback (the STOP button is
flashing), you can use the SELECT down button to jump back to the beginning of
the clip. If the STOP button is not
will select the previous clip.

ADJUST (up/down): while in TRANSPORT mode, and in either a “STOP” or
“pause” state, the ADJUST buttons will “single step” the current clip at a rate of
one frame per b

To delete a previously recorded clip:

1. In TRANSPORT mode, use the SELECT up and down arrow buttons to browse
through the clips on the current storage device.

2. When you find a clip you want to delete, press the

3. Ki Pro Rack will ask “Are you sure”—press the ADJUST up arrow button to confirm

deletion. Pressing the down arrow, or any other button, will abort the deletion.

utton push (up=forward, down=reverse).

ile in TRANSPORT mode, the SELECT buttons select clips

f clips is based on

flashing, depressing the SELECT down button

DELETE CLIP button.

40

Media Format
Output Co nversion mode

IN 720p 59.94 SDI

REC 1080i 29.97 XLR

Play ModeRecord Mode

TC In TC Value
01:00:00:00

Second STATUS page: Timecode setting prior to recording

STATUS menus

The STATUS menus display I/O status and Alarm information. The STATUS menu can
be accessed almost anytime and will not change any active transport modes. Like the
CONFIG and MEDIA menus, STATUS display screens can be viewed by push

ing the
SELECT up or down buttons. Pressing STATUS will exit the screens and return to
TRANSPORT mode, where an action could still be occurring (like playback or even
recording).

Record and Play Modes

Line 1: Status (Record) displays the input format; the 4 characters on the right display

the selected input video format: SDI, CMP, HDMI. Status (Play) displays the media

format.

Line 2: Status (Record) displays the

record format; the 4 characters on the right

display the selected audio input: SDI, XLR, or HDMI.

Second STATUS page—shows the timecode setting prior to recording. With the

STATUS button selected, press SELECT up to

see the second page.

Here are some STATUS display examples:

Alarm Status

The Alarm menu displays warnings and alarms. Some alarms will automatically be
shown on the display. Others will only be seen by checking the STATUS displays

(press Select up/down to cycle through t
NORMAL” message will be seen when you cycle through the STATUS displays.

hem). If everything is OK, a “SYSTEM

SYSTEM NORMAL

You will be alerted to an alarm condition by having all backlit keys and the display
fl

ash to full intensity for 2 seconds. If more than one alarm state is active, the display
holds each alarm notification for 3 seconds before cycling to the next alarm. These
alarm notifications
TRANSPORT or STATUS menus. Once there is a Ki Pro Rack alarm active (e.g. Invalid

Selection) the STATUS button light blinks for as long as the al
alerts you so you’ll know the reasons for the alarm condition are still active. You can
then press the STATUS button to d etermine what the alarm condition is.

override whatever the display is currently showing for the

arm is present. This

Ki Pro Rack Installation and Operation Manual — STATUS menus

CONFIG and MEDIA menus, once entered after an alarm notification, will cause the
alarm display to go away. Pushing any button always returns Ki Pro Rack to its pre-alarm
state—however, if the

alarm condition still exists after this initial button push (i.e., the
reason for the alarm), the alarm notification will reappear on the display. Note: the
STATUS button will blink if there is an activ

e alarm condition.

Examples of ALARM displays are shown following this page. WARNING appears on the
first line and the prompted action item on the second line.

WARNINIG

INVALID SELECTION

1

WARNING

UNRECOGNIZED MEDIA

WARNING

MEDIA IN USE

41

Ki Pro Rack features a variety of alarms to h

elp you diagnose the condition of the unit,
possible configuration issues, or possible signal issues. Here is a list of warning
messages and their meanings:

"WARNING Input Format Changed" prompt appears if a recording is

started and
the signal is lost or changed. If this occurs, Ki Pro Rack stops the recording in
progress unless the Loss of Video CONFIG parameter is set to continue recording.

"WARNING Record Format" may appear

if there is no video input to Ki Pro Rack.

No recording will be performed in this state.
"WARNING A/V Mismatch" may appear if SDI video is selected and HDMI audio is

selected or vice versa. Embedded audio, via

SDI or HDMI, must be matched to

the video source. Analog audio can be used with any video input.
"WARNING Dropped Frames" may appear if media is underperforming and

cannot keep up with the data rate required to make a re

cording or perform a

playback. If you see this prompt during recording, you might consider backing
up your current recordings and formatting the media. For playback, you might
simply re-attempt playback.

"WARNIN

G SDI VFR Mismatch" will appear if you have set the video input to
something other than SDI when parameter 1.1 is set to “VFR”—as only the SDI
input provides the appropriate data for VFR support.

"WARNING Media Low" will appear when

the media only has 15% of capacity
remaining. Media must be switched out when it reaches 10% of capacity. With
10% of media remaining, the "WARNING Media Full" prompt will appear.

"WARNING Media in Use" may appear if you try to remo

ve the media by pushing
the SLOT button while an operation is still taking place. Wait for the operation to
finish and then try again.

"WARNING Media Not Present" may appear if media has been physically

remo

ved and the user pushes the slot button.

"WARNING Media Invalid" may appear if the media could not be formatted or
contained errors the Ki Pro Rack was not able to correct. To resolve this issue

mount the drive on an Apple computer under Mac OSX, copy the clips from the
media, then re-insert the media into Ki Pro Rack. If it does not read properly, you
will need to format the media.

,

42

"WARNING Storage Removed" will appear if the media is removed without first
hitting the SLOT button to properly unmount media. In the event this
happens, media immediately re-inserted into the Ki Pro Rack may show clips

as

"N/A" and subsequent recordings may not be possible. To resolve this issue,

mount the drive on an Apple computer under Mac OSX, then re-insert the
media. If it does not read properly, you will need to format

the media.

"WARNING Backup and Reformat" may appear if media has issues being
mounted by the Ki Pro Rack. As the prompt indicates, it is best to back up the
media by copying it to another drive or disk array and

then reformat the media.

Some signs that the media is in a read-only state: even though clips have been

recorded to the media, "N/A" appears in the clip area of the UI, "Loading"
appears in the

clip area of the UI but does not eventually load a clip, or hitting
the record button with all settings correctly configured for the Ki Pro Rack does
not result in a recording.

"WARNING Media Unformatted"

appears when media was inserted that

contains no filesystem recognized by Ki Pro Rack. Ki Pro Ra ck recognizes HFS+
filesystems; media with other types of filesystems may appear unformatted to
Ki Pro Rack

. Unformatted media or media with other types of filesystems

(FAT32, etc.) may be formatted by the usual means.
"WARNING Change Encode Type" appears because ProResHQ is not supported

on ExpressCard/34. Select another flavor

of ProRes (normal, LT or Proxy)

before attempting to record to an ExpressCard/34.
"WARNING Invalid Selection" appears when Ki Pro Rack receives conflicting

configuration requests, such as selecting component in/out

"Beta" for HD.

"WARNING Name In Use" appears when an attempt was made to record over a

previously existing clip. This can happen when the take number rea ches its
maximum, 999. To resolve it change one

of the clip naming parameters to

eliminate the naming conflict.
"WARNING No Video Input" appears when an attempt was made to record but

no video was detected on the input. Check connections and sources to make
sure v

alid video is being fed to the input selected in 2.1 Video Input.

"WARNING 2 Channel Format" appears when the number of channels selected
in 2.3 Audio Channels is eight, but the selected audio input on

ly supports two

channels. Only SDI supports eight channels.
"WARNING Genlock Missing" appears when 6.1 Genlock has been set to INPUT

or Component Y but there is no signal detected on the chosen genlock input.
"WARNING Genlock Mismat

ch" appears when 6.1 Genlock has been set to

INPUT or Component Y but the signal detected on the selected genlock input
is incompatible with the video format on the selected video input.

"WARNING Non VFR Form at"

appears when 1.1 Record type is set to VFR

(variable frame rate), but the video to record is not a valid VFR type. This can
happen because the video format on the selected video input doesn't support

isn't carrying VFR ancillary data, or the video signal generator is enabled in

or

41.2 VIDEO SG or 1.4 Input Conversion is enabled.
"WARNING No Clip Name" appears when an attempt was made on a ganged

slave

unit to set the clip name to use from a master, but the name was empty.

The custom clip name on the master may be empty.
"WARNING Unsupported Media" appears when a USB-only or SxS card was

inserted into the Ki Pro Ra

ck's ExpressCard/34 slot. These types of media are
not supported by Ki Pro Rack. Choose an ExpressCard/34 from the approved
list on AJA's website.

"WARNING Please Reboot" appears when media was removed without using
the slot

button and the Ki Pro cannot continue operating without rebooting.

MEDIA menus

Ki Pro Rack Installation and Operation Manual — MEDIA menus

As the name implies, the MEDIA menus display choices related to media storage, the
type of encoding, and how Ki Pro Rack behaves when recording and playing back.

There are also menus

for naming reels, clips and takes.

43

Media Menu
Parameters

12.1 Media State

This parameter applies to using the Ki Pro Rack to transfer data. For normal video
operation, select Record-Play. For data transfer using an Ethernet LAN, choose Data-
LAN.

12.1 MEDIA STATE Record-Play (default)

*See “Data-LAN Considerations” on page 43.

Data-LAN*

If the state is designated as Data, the Transport functions are locked; in other words,
media cannot be recorded or played back as video. You can still access MEDIA menu
parameters, however, so you can reset the parameter. I
record while in the Data mode, a “CHANGE MEDIA STATE” prompt alerts you that you
cannot use the transport functions. Additionally, the front panel UI states that the unit
is in

a “DATA MEDIA STATE” in an obvious way as opposed to presenting the typical clip,

reel, timecode, etc. usually seen on the front panel.

After you select the Data state, you can connect the Ki Pro Rack to a h
the Ethernet connection. When using Data-FW, the Ki Pro Rack mounts the selected
volume, designated by the lit LED. In other words, if the Storage Module is selected on
the Ki P

ro Rack, that is the volume mounted by the host operating system.

The Data Media State allows valid media to be copied to or from the Ki Pro Rack. These
are the valid media files that can be copied

Use media to record and play video.
LAN data may be uploaded/downloaded from the Ki Pro.

1

f the you attempt to playback or

ost computer via

to Ki Pro Rack:

QuickTime files that are full raster (720x486, 720x576, 1280x720 or 1920x1080)

•

•

QuickTime files that are encoded as:

Apple ProRes 422
Apple ProRes 422 (Proxy)
Apple ProRes 422 (LT)
Apple ProRes422 (HQ)
Avid DNxHD 220x
Avid DNxHD 145
Avid DNxHD 36
(Support for SD video is not provided by Avid DNxHD, and DNxHD 36 only provides

support for the 1080

p format)

Files must be Ki Pro Rack supported frame rates and must use 24-bit 48kHz audio (2 or 8
channel), if audio is included. Files copied to Ki Pro Rack that do not meet these criteria
may not appear in the web UI or front pa nel UI w

hen you review clips.

The DATA MEDIA STATE does not survive reboots or power cycles of the device. After
such an event, this parameter returns to the default Record-Play mode.

Data-LAN Considerations

When the Ki Pro Rack Media State, Data-LAN is used, only the web UI for control and
configuration of the Ki Pro Rack may be used for data transfer. The web UI will present
"Upload+" and "Download+" buttons in the All Cl

state is not active, these buttons do not appear in the web UI.

ips portion of the UI. If the Data -LAN

44

14.0 ENCODE MODE

This parameter determines whether the Ki Pro Rack will encode Apple ProRes 422 or
Avid DNxHD QuickTime files.

14.0
ENCODE MODE

14.1
ENCODE TYPE

14.1
ENCODE TYPE

ProRes (default)
DNxHD

Encoder will produce Apple ProRes 422 files.
Encoder will produce Avid DNxHD files.

Note: After selecting the desired encoding mode, a reboot is required to switch to the new

encoding mode. To accomplish the reboot, hold down the ADJUST up button for 2
seconds as instructed by the displa

y.

14.1 ENCODE TYPE

This parameter defines the Apple ProRes encoding method if ProRes has been
selected as the encoding mode.

ProRes 422 (default)
ProRes 422HQ
ProRes 422LT
ProRes 422PX

Or the following appears if 14.0 Encode Mode has been set to DNxHD. (These
selections are valid

only if an HD source is used—1080p for DNxHD 36.)

DNxHD 220x (default)
DNxHD 145
DNxHD 36

Record media as Apple ProRes 422 files.
Record media as Apple ProRes 422 (HQ) files.
Record media as Apple ProRes 422 (LT) files.
Record media as Apple ProRes 422 (Proxy) files.

Record media as Avid DNxHD 220x files.
Record media as Avid DNxHD 145 files.
Record media as Avid DNxHD 36 files.

Note: Note: Unlike Apple ProRes 422, Avid DNxHD encoding does not provide support for

standard definition video. If standard definition video is input and an Avid DNxHD
encode type has been selected, a warning prompt will appear: "WARNING Change

E

ncode Input not HD."

15.1 PLAY MEDIA

This parameter determines behavior during playback.

15.1 PLAY MEDIA One (default)

All
Playlist

15.2 LOOP PLAY

This parameter turns looped playback on and off.

15.2 LOOP PLAY OFF (default)

ON

Plays one clip and then stops playback
All/Playlist—Plays the current clip and then continues
playing the next clip on the Ki Pro media or the playlist.
Note that with this setting, Ki Pro Rack will play clip s back
regardless of format or framera te, but yo u may no tice the
video monitor reset for format/framerate changes. If all
clips are the same format and framerate or conversion is
applied to the outpu t for clip s with the s ame Hz, then c lips
play out smoothly one after another.

Play clip(s) and then stop playback when complete
Play clip(s) and then loop back and repeat playback

Ki Pro Rack Installation and Operation Manual — MEDIA menus

15.3 PLAYLIST

This parameter displays the name of the selected playlist.

15.3 PLAYLIST variable The name of the selected playli st appears. If no playlist is

selected via the web UI controls, then no name appears.
The user cannot select or create playlists from the front
panel UI; these tasks are handled using the web UI.

15.4 DROPPED FRAMES

This parameter determines how playback handles dropped frames.

1

15.4 DROPPED FRAMES CONTINUE

STOP

16.1 FORMAT MEDIA

This parameter is used to format the currently selected storage device.

In the unlikely event that the playback of a clip(s) begins
to drop frames, this parameter allows users to define
whether the playback continues or stops.

45

16.1 FORMAT MEDIA KEEP MEDIA (default)

FORMAT MEDIA

16.2 DELETE CLIPS

This parameter can be used to delete all of the clips on the media.

16.2 DELETE CLIPS KEEP CLIPS (default)

DELETE ALL

The Ki Pro Storage Module can be used to hold data other than Apple ProRes 422
QuickTime recordings. If other files
be placed outside of the "AJA" folder. Any material inside of the "AJA" folder will be
erased if a MEDIA>Delete Clips>DELETE ALL is performed.

17.0 REEL NAME

This parameter determines the reel name associated with all clips generated while
using this setting. The reel name is a number between 001 and 999. It is historically
linked to the naming conventions used for film and tape-based
is an incrementing three digit value that works with EDLs. For this reason, the
parameter does not have a “NONE” selection—all clips will be associated with a REEL
NAME. The REEL NAME parameter is also the
the storage module is mounted on a com puter desktop (and media was formatted by
the user). Note: the REEL NAME cannot be changed once a recording session starts on
the storag

e unit without reformatting the drive.

No action (do not format the media device selected)
Format the selected media device (you will be prompted
Y/N?). If no media is inserted in the Ki Pro Rack, the
message “No Storage” is displayed.

No action (do not delete clips)
Delete all clips on the storage device when DELETE
CLIPS is pressed or Adjust up arrow is pressed and held
for 2 seconds. If no media is inserted in the Ki Pro Rack,
the message “No Storage” is displayed.

are saved to the Ki Pro Storage Module, they should

media. The REEL NAME

name of the media as it will appear when

17.0 REEL NAME 001 to 999

(default = 001)

Press ADJUST button up or down to change the REEL
NAME value from 001 to 999.

46

Example 1: using the factory default AJA parameter settings:

REEL NAME 001
CLIP NAME SC
CLIP NUMBER 1
CLIP APPEND ALPHA
ALPHA APPEND A
TAKE 1

The resulting clip would be named and displayed as: “SC1ATK1”. The media
would be named “001” if mounted on the OS X desktop as a volume.

17.2 CLIP NAME

This parameter determines the clip name associated with all clips generated while
using this setting. The clip name is either “Clip” or “SC”.

17.2 CLIP NAME SC (default)

Clip

Clip Naming—Two Examples

The following two examples show how resulting clip names are generated. Each
example is based on the collective settings for these parameters:

•

REEL NAME

•

CLIP NAME

•

CLIP NUMBER

•

CLIP NUMBER APPEND

•

ALPHA APPEND VALUE

In both examples that follow, “TK” is a default append to t he naming convention just
prior to the auto-incrementing TK value (which can be manually overridden via
parameter 17.8 Take).

Ki Pro Rack offers these
files, so that the names can logically match the shooting script, and are acceptable
when imported into the Final Cut Pro 7 Browser window, Final Cut
Avid Media Composer Bins. The Final Cut Pro 7 Browser window provides columns of
data used to describe the media. In the most minimal form, "Name", "M edia Start",
"Media End" and "Reel" are the required pieces of

to be properly perceived as "valid" media. Additional information or "QuickTime
metadata" is useful and can be mapped into the myriad choices provided in the Final
Cut Pro Browser column h
provide even more support for QuickTime file metadata. Avid Media Composer Bins
provide "Name", " Creation Date", "D uration", " Tracks", " Start", " Video", "A udio SR" and

"Field Ordering" information when working
Avid's AMA.

Clips generated will have filenames beginning with “SC”
Clips generated will have filenames beginning with “Clip”

parameter choices for easy identification of the QuickTime

Pro X's Events or

information for a Final Cut Pro clip

eadings. Final Cut Pro X also uses such information and can

with DNxHD Ki Pro created media and

Ki Pro Rack Installation and Operation Manual — MEDIA menus

E

xample 2: using customized settings:

REEL NAME 002
CLIP NAME Clip
CLIP NUMBER 12
CLIP APPEND NONE
ALPHA APPEND B
TAKE 1

The resulting clip would have the following naming convention: “CLIP12TK1”.
The media would be named “002” if mounted on a desktop as a volume.

1

17.3 CLIP NUMBER

This parameter determines the clip number, from 1 to 999, that follows the CLIP NAME,
and is associated with all clips generated while using this setting.

47

17.3 CLIP NUMBER 1 to 999

(default = 1)

17.4 CLIP APPEND

This parameter is used with parameter 17.5 ALPHA APPEND to append a text value
after the CLIP NUMBER or have no text appended.

17.4 CLIP APPEND ALPHA (default)

NONE

17.5 ALPHA APPEND

This parameter is used with parameter 17.4 CLIP APPEND to append a text value after
the CLIP NUMBER.

17.5 ALPHA APPEND A to Z

(default = A)

Press ADJUST button up or down to change the
CLIP NUMBER value from 1 to 999.

The text value entered in ALPHA APPEND is appended
to the CLIP NAME and CLIP NUMBER
No text is appended to the CLIP NAME and CLIP
NUMBER

Press ADJUST button up or down to change the ALPHA
APPEND value from A to Z. Alphabetic values increment
with A and Z wrapping around.

48

17.8 TAKE

This parameter determines the TAKE number, from 1 to 999, that follows the CLIP
NAME and CLIP NUMBER, followed by any ALPHA APPEND (if selected), generated for
all clips while using this setting.

17.8 TAKE 1 to 999

(default = 1)

There are rules that Ki Pro Rack observes in

1. Ki Pro Rack will not overwrite an existing clip when using standard clip naming.

2. The Take number will auto-increment past existing numbers for the “prefix” as

defined by the
Append, and Take settings.

3. If the num ber is at “999” , Ki Pro Rack will not auto-increment; instead it will
register a “Name In Use” alarm. This prompts you to select
Clip Number, Clip Append, Alpha Append, and/or Take settings so that a new
unique “prefix” is created. This action ensures files are unique and
understandable, and that clips are never overwritten.

Custom Clip
Naming

Beginning with Ki Pro 2.0 firmware, users can elect to give their clips names other
than the standard criteria provided by AJA. IMPORTANT: Certain characters may not
be allowed or supported if entered for a clip name. Examples
marks (other than i nternal spaces or periods), special characters (like @), and non­ASCII UTF-8 characters are rejected outright. Note: non-UTF-8 characters appear in
some languages, like Chinese and Japanese, and are not supported.

Custom clip names can be created via the front panel UI menu parameters (19.1, 19.2,
and 19.4) through the use of the select and adjust up/down arrows. Users may find
that the more efficient method to perform c
fields.

Ki Pro Rack automatically generates a TAKE number.
Press ADJUST button up or down to change the
TAKE value from 1 to 999, if a value other than the
automatically generated value is desired.

relation to Clips and Takes:

Reel Name, Clip Name, Clip Number, Clip Append, Alpha

a new Clip Name,

include: punctuation

ustom clip naming is via the web UI entry

Note: when entering characters for a custom clip name, you must scroll through all
characters using the Adjust buttons until you reach the end of the name space before

the name is accepted.

Ki Pro Rack Installation and Operation Manual — MEDIA menus

19.1 USE CUSTOM CLIP NAME

This parameter enables or disables whether a custom clip name can be used via menu
parameters 19.1, 19.2, and 19.4, or via the web UI.

49

19.1 USE CUSTOM CLIP NAME OFF (default)

ON

Enable defining of custom clip name
Disable defining of custom clip name

19.2 CUSTOM CLIP NAME

This parameter defines a custom clip name. The custom clip name is defined via the
front panel select and adjust up/down arrows. The default name is “CUSTOM”.

19.2 CUSTOM CLIP NAMEE variable Using the adjust buttons, enter a custom clip name.

Using the adjust buttons and the top Select but ton, select
the characters for the name. The ad just buttons scroll
through the choices and the top Select button advances
to the next character. While selecting characters, the
character being changed will flash to show its position.
Certain characters may not be allowed or supported if
entered for a clip name. Examples include: punctuation
marks (other than internal spaces or periods), special
characters (like @), and non-ASCII UTF -8 character s are
rejected outright. Note: non-UTF-8 characters appear in
some languages, l ike Chine se and Jap anese, and a re not
supported.
Default: CUSTOM

1

19.4 CUSTOM TAKE

This parameter defines a custom take. The custom take number is defined via the front
panel select and adjust up/down arrows.

19.4 CUSTOM TAKEE1 to 999

(default = 1)

Press ADJUST button up or down to change the
TAKE value from 1 to 999, if a value other than the
automatically gen erat ed val ue is desire d.

22.1 GANG CLIP NAME

This parameter is used when per form ing gan g recording via multiple Ki Pros (refer to
Controlling Multiple Ki Pros later in this manual). If the desire is to have clips named the

same across all Ki
this parameter. If the desire is to have clips named independently on Ki Pro units, then
"Slave Name" should be selected. Sele
take it's name from the individual Ki Pro's parameters and not accept the value pushed
to the Slave by the Master Ki Pro.

22.1 GANG CLIP NAME Master Name (default)

Pro ganged units' recordings, then use the "Master Name" selection in

Slave Name

cting "Slave Name" means that the recording will

Name clips the same across all Ki Pro ganged units
Name clips independently on Ki Pro units

50

Example 1: In this example the incoming video is 1080i29.97. However, we
want our

Ki Pro Rack

recording to match the rest of the footage we have
acquired at 720p59.94. Therefore, we select IN CONVERT>HD 720 to get the
desired result. Here are the parameter settings:

1. Set 1.1 RECORD TYPE>NORMAL

2. Set 1.4 IN CONVERT>HD 720

3. Set 1.5 OUT CONVERT>NONE

CONFIG menus

When we talk about menus, we discuss the Parameter Number and Name on the top
line of the display and the Parameter Setting(s) possible as shown on the bottom line
of the display; remember, t

he current setting is what is shown.

As in the MEDIA menus already presented, pressing one of the parameter Adjust
buttons changes the current CONFIG parameter’s value to a new one from the Ki Pro
Rack’s list

of choices—repeating the list if you continue to press Adjust—or adjusting

a numerical value up or down.

The exact choices displayed varies depending on the parameter. Most adjustment
choices made with the Adjust buttons tak

e effect immediately and are subsequently
stored into the Ki Pro Rack’s non-volatile memory if they remain unchanged for 3
seconds.

CONFIG Menu
Parameters

If a Select or Adjust button is held down continuously, the changes beg

in to happen

automatically - with acceleration if applicable.

Holding down both the Adjust (up) and Adjust (down) buttons—at the same time —
sets that parameter back to its factory default value.

The CONFIG menus are for system set-up

and configuration. Each parameter is

numbered, just like the MEDIA menus.

Note: The composite output on the unit follows the component output; this means that the

composite output only works if either the source format or the convert format is SD.

Many of the CONFIG menu parameters are used together to configure the type of Ki
Pro Rack recording and associated conversion formats used on the input or out put
for a particular workflow.

Before

we begin listing all of the individual CONFIG menu parameters, it’s useful to
see how they can be used for an example application. Here are two examples of
making CONFIG menu selections for spe

cific real world workflows.

Example 2: In this example the incoming video is 1080PsF 29.97, so we
need to configure
understood as interlace). To do this, we’ll set the RECORD TYPE to PsF.
Here are the parameter settings:

1. Set 1.1 RECORD TYPE>PsF

2. Set 1.4 IN CONVERT>NONE

3. Set 1.5 OUT CONVERT>NONE

Ki Pro Rack

for PsF recordings (which would otherwise be

Ki Pro Rack Installation and Operation Manual — CONFIG menus

1.1 RECORD TYPE

This parameter defines the frame recording method of media stored. RECORD TYPE can
be configured to record the incoming video signal in a “NO RMAL” manner, “PsF” signal
if the incoming source is 1080psf 29.97 (for examp

le), or variable frame rate (VFR).

51

1.1 RECO R D TYPE NORMAL (default)

PsF
VFR

Note: A 23.98Hz source is automatically treated as PsF, regardless of this setting. For 29.97 Hz or

25 Hz, “NORMAL” means encode as interlaced and “PSF” means encode as progressive. This
only applies to 1080 formats. The following details clarify each c

•

1080PsF 23.98 incoming video > Normal selected > 1080p 23.98 recorded to disk.

•

1080i 25 incoming video > PsF selected > 1080p 25 recorded to disk.

•

1080i 29.97 incoming video > PsF selected > 1080p 29.97 recorded to disk.

•

1080PsF signal is recorded to disk as progressive; progressive material on disk may be

played back as PsF or progressive on the video outputs; this selection can be made in
parameter 1.3 1080p Playback.

VFR (Variable Frame Rate) recording makes use of meta data embedded in the RP188
data stream on the SD-SDI/HD-SDI input, allowing for the frame rate to change actively.
Examples of cameras offering variable frame rate in
several cameras from the Panasonic HPX line.

Beginning with Ki Pro version 3.0 firmware, select cameras that output 1080p within a
1080i signal are also supported by the VFR selection. For the Canon XH-G1s, 1080p

23.98 may be extracted from the 1080i 29.97 signal when VFR is selected. For the
Canon EOS C300, 1080p 23.98 may be extracted from the 1080i 29.97 signal and 1080p
24 may be extracted from the 1080i 30
1080p 25 and 1080p 29.97, set the Record Type to PsF to produce progressive frame
recordings.

Record standard format as input
Record progressive segmented frame
Record variable frame rate

ase:

1

clude Panasonic AJ-HDC27 and

signal. For the Canon EOS C300 formats of

1.3 1080p P

layback

Note: 720p VFR rates of 23.98, 25 and 29.97fps and 1080p VFR suppor t are not provided when

using the DNxHD encoding mode. VFR support for DNxHD will be added with a future
firmware update.

1.3 1080p PLAYBACK

This parameter defines the format applied when 1080p media is played back from
storage.

PsF (default)
Progressive

Note: HDMI output of progressive material requires the use of 1080p Playback set to

Progressive; HDMI only tends to support true progressive or interlace video, not PsF.

Playback as 1080 progessive segmented frame
(regardless of what was recorded when input)
Playback as standard 1080p progressive frame

52

1.4 IN CONVERT

This parameter defines the type of up, down, cross, or aspect-ratio conversion, if any,
applied to the selected input and stored when recording.

1.4 IN CONVERT NONE (default)

SD
HD 720
HD 1080

Note: There is one converter available for input—if selected, it will be applied to the

currently selected input. Also, input conversion of 1080psf23.98 sources is not supported.

1.5 OUT CONVERT

This parameter defines the type of up, down, cross, or aspect-ratio conversion, if any,
applied to the output when playing media from storage or while recording.

1.5 OUT CONVERT NONE (default)

SD
HD 720
HD 1080

Note: There is one converter available for output—if selected, it will be applied as

appropriate, based on other settings (1.6, 1.7 and 1.8) possibly affecting multiple outputs.
Output conversion of 1080psf23.98 is only suppor ted for SD (

1.6 SDI OUT

This parameter defines whether the SDI output matches the file format or has the 1.5
OUT CONVERT selection applied to it.

No conversion of selected input.
Convert selected input to SD
Convert selected input to HD 720
Convert selected input to HD 1080

No conversion on output.
Convert on output to SD
Convert on output to HD 720
Convert on output to HD 1080.

not 720p).

1.6 SDI OUT FILE FRMT (default)

OUT CONVERT

Note: The “FILE FRMT” (file format) is from the file on playback and is the result of any input

conversion (or none) applied during capture.

1.6 SDI 2 OUT

This parameter defines whether the SDI 2 output matches the file format or has the

1.5 OUT CONVERT selection applied to it.

1.6 SDI 2 OUT FILE FRMT (default)

OUT CONVERT

Note: The “FILE FRMT” (file format) is from the file on playback and is the result of any input

conversion (or none) applied during capture.

1.7 COMPONENT OUT

This parameter defines whether the component video output matches the file format
or has the 1.5 OUT CONVERT selection applied to it.

1.7 COMPONENT OUT FILE FRMT (default)

OUT CONVERT
CVBS ON Y

Output with the same format as the file
Output using the selection in 1.5 OUT CONVERT

Output with the same format as the file
Output using the selection in 1.5 OUT CONVERT

Output with the same format as the file
Output using the selection in 1.5 OUT CONVERT
Forces SD Out Convert if HD

Note: Setting the

Ki Pro Rack

component input and/or output to "Beta" for HD material

causes an "Invalid Selection" alarm requiring correction before operations can continue.

Ki Pro Rack Installation and Operation Manual — CONFIG menus

1.8 HDMI OUT

This parameter defines whether the HDMI output matches the file format or has the 1.5
OUT CONVERT selection applied to it.

53

1.8 HDMI OUT FILE FRMT (defau lt)

OUT CONVERT FRMT

1.9 SUPER OUT

This parameter provides superimposition of timecode and transport state (Record,
Pause, etc.) onto the selected video output.

1.9 SUPER OUT Off (default)

SDI2
SDI
Component
CVBS on Y
HDMI

Note: CVBS on Y must also be selected for 1.7 Component Output in order to use the CVBS on Y

selection with the Super Out.

2.1 VIDEO INPUT

This parameter selects a video input source from the video input connections available.
This is the video that will be recorded and/or passed through.

Note: The message, “WARNING A/V Mismatch” may appear if SDI video is selected and HDMI

audio is selected or vice versa. Embedded audio, via SDI or HDMI, must be matched to the
video source. Analog audio can be used

2.1 VIDEO INPUT SDI 1 (default)

SDI 2
HDMI
COMPONENT
CVBS on Y

Output with the same format as the file
Output using the selection in 1.5 OUT CONVERT

Superimp osition is dis abled
Superimposition is enabled for the SDI2 output
Superimposition is enabled for the SDI1 output
Superimposition is enabled for the component output
Superimposition is enabled for the Y output
Superimposition is enabled for the HDMI output

1

with any video input.

Selects the SDI 1 input connector
Selects the SDI 2 input connector
Selects the HDMI input connector
Selects the Component input connectors
Selects the CVBS on Y input connector

54

2.2 AUDIO INPUT

This parameter selects an audio input source from the audio input connections
available, including embedded SDI audio which requires an SDI video source and
HDMI audio, which requires an HDMI video source.

Note: The message, “WARNING A/V Mismatch” may appear if SDI video is selected and HDMI

audio is selected or vice versa. Embedded audio, via SDI or HDMI, must be matched to the
video source. Analog audio can be used

2.2 AUDIO INPUT SDI (default)

AES
XLR
HDMI

2.3 AUDIO CHANNELS

This parameter selects the use of either two or eight audio channels via SDI
embedded or AES audio. Generally, when working with camera sources, there are
only one or two audio tracks being produced, and therefore 2 ch
appropriate selection. In post production use, there are often more channels of audio
required, so 8 channel audio may be the appropriate choice in such situations. Ki Pro
Rack only allows for the sel
written to the QuickTime file that is recorded. Therefore, if the source has more than 2

channels of audio, but less than 8 channels of aud io
CONFIG Menu parameter 2.3 Audio Channels would need to be set to "8 Channels."

with any video input.

Selects SDI embedded audio from the SDI input
connector (if SDI video input is selected)
Selects the AES BNCs to provide the audio input
Selects the XLR input for audio input
Selects HDMI embedded audio (if HDMI video input is
selected)

annel would be the

ection of either 2 channels or 8 channels of audio to be

that need to be preserved, the

Note: Not all devices support 8 channel audio.

option for 8-channel recordings on output, so be sure to use devices that support 8­channel audio via SDI or AES if the 8 channels recorded are desired.

2.3 AUDIO CHANNELS 2 Channels (default)

8 Channels

Note: if any selection other than SDI or AES is made (XLR or HDMI) when 8 channels is

selected, the

Ki Pro Rack

will provide a warning prompt, “WARNING 2 Channel Format”.

3.1 COMPONENT IN LVL

This parameter selects the input level for signals applied at the component video
input connectors.

3.1 COMPONENT IN LVL SMPTE/N10 (default)

Note: Setting the

result in an "Invalid Selection" alarm that will need correction before recordings or other
operations may take place.

BETACAM

Ki Pro Rack

component input and/or output to "Beta" for HD material will

Ki Pro Rack

Selects recording of 2 SDI embedded or AES audio
channels
Selects recording of 8 SDI embedded or AES audio
channels

Selects SMPTE/N10 input signal levels
Selects BETACAM input signal levels

does not provide a "mixdown"

Ki Pro Rack Installation and Operation Manual — CONFIG menus

3.2 COMPONENT OUT LVL

This parameter selects the output level for signals applied at the component video
output connectors.

3.2 COMPONENT OUT LVL SMPTE/N10 (default)

BETACAM
RGB

55

Selects SMPTE/N10 output signal levels
Selects BETACAM output signal levels
Selects RGB output signal levels

Note: Setting the

Ki Pro Rack

result in an "Invalid Selection" alarm that will need correction before recordings or other
operations may take place.

3.4 NTSC CONFIG

This parameter selects the output level for the composite video output connector.

3.4 NTSC CONFIG NTSC (default)

NTSC JAPAN

4.1 ANALOG AUDIO

This parameter configures the analog audio signal levels for input and output.
Professional audio equipment has much higher levels than consumer equipment: a 0
VU reading corresponds to +4 dBu. Connecting a professional +4 dBu
consumer audio input -10dBV (-7.8 dBu) may cause overloading, whereas the output of

a consumer device probably does not have sufficient power to drive a professional
audio input. With consumer and semi­dB is typically referenced to -10 dBV and 0 dBu = 0.775 VRMS.

4.1 ANALOG AUDIO +24dBu (default)

+18dBu
+15dBu
+12dBu

component input and/or output to "Beta" for HD material will

1

Selects standard NTSC output signal levels
Selects NTSC Japan output signal levels

device to a

professional audio equipment, a VU reading of 0

Selects pro-level USA signal levels of +24dBu
Selects pro-level Europe signal levels of +18dBu
Selects pro-level German signal levels of +15dBu
Selects consumer signal levels of +12d Bu

4.2 AUDIO LVL L

This parameter selects the left channel audio level.

4.2 AUDIO LEVEL L LINE (default)

MIC

4.3 AUDIO LVL R

This parameter selects the right channel audio level.

4.3 AUDIO LEVEL R LINE (default)

MIC

Note: Maximum amplitude (0 dBFS)

Selects level for line level devices, such as mixers and
VTRs
Selects level for microphone sources

Selects level for line level devices, such as mixers and
VTRs
Selects level for microphone sources

56

5.1 UPCONVERSION

This parameter selects the type of upconversion from SD performed, if set up to do so
with parameters 1.6 through 1.8.

5.1 UPCONVERSION ZOOM WIDE (default)

ANAMORPHIC
ZOOM 14X9

ZOOM L TTRBO X
PILLARBOX

Upconvert Illustrations—Ki Pro

4:3 Upconverts To These displays on 16:9

4

3

Using a combination of zoom and stretch, the image is
sized to fit a 16x9 screen
Anamorphic full screen display
Image is zoomed slightly to fill a 14x9 image with black
sidebars
Image is zoomed to fit the full sc reen (this can intro duce a
small aspect ratio change)
Image is not changed; black sidebars surround image

16

Anamorphic

9

Zoom 14x9

Zoom Letterbox

Pillarbox

Zoom Wide

Ki Pro Rack Installation and Operation Manual — CONFIG menus

16

9

Downconvert Illustrations—Ki Pro

Anamorphic

Letterbox

4

3

16:9 Downconverts To These displays on 4:3

Crop

5.2 DOWNCONVERSION

This parameter selects the type of downconversion from HD performed, if set up to do
so with parameters 1.6 through 1.8.

5.2 DOWNCONVERSION LETTERBOX (default)

CROP
ANAMORPHIC

57

Image is reduced with black top and bottom added to
image area, with the aspect ratio preserved
Image is cropped to fit new screen size
HD image is converted to full-screen SD with a 16x9
aspect ratio (anamorphic)

1

6.1 GENLOCK

This parameter selects a source of reference video used for genlocking during playback.

6.1 GENLOCK INPUT

Ki Pro Rack always genlocks to the selected input during capture.

CMP Y
FREERUN (default)

REF IN

Use the currently selected input as the Genlock source
Use component Y as the genlock source
Free run mode:

Ki Pro Rack

syncs to its own timebase
and is not locked to an external source
Use the REF Input as the genlock source

58

8.0 TC IN

This parameter selects the source of timecode start from those available.

8.0 TC IN TC VALUE (def ault)

SDI RP188

LTC
TIME OF DAY
RS422

HDMI

Note: Ki Pro Rack, when used with select Sony cameras, only works with HDMI timecode

matched to the recording format and HDMI output: 1080i 29.97 (1080i 59.94) or 1080i 25

(1080i 50). If a 1080p 24 recording on the Sony camera's
HDMI output is produced, the Ki Pro Rack may not respond to HDMI timecode as
expected.

8.1 TC VALUE

This parameter selects the starting hour for timecode

8.1 TC VALUE 00:00:00:00 to

23:00:00:00
(Default: 01:00:00:00)

8.2 TC TYPE

This parameter selects drop frame or non-drop frame timecode.

Use the value specified in parameter 8.1 TC VALUE
Use the timecode read from the embedded RP188

metadata in the SDI input
Use timecode from the LTC input connector
Set TC to “Time of Day” clock (CONFIG parameter 55.6)
RS422 in-point TC value is used for the start value of a

recording (presented only if 35.2 is set to RS422 Only)

Use the timecode from the HDMI inp ut of select Sony and

Canon camcorders

internal media with a 1080i 29.97

when 8.0 is set to TC Value

Use the ADJUST buttons to select a timecode hour.
For example:

01:00:00:00, “02:00:00:00, etc.

.

Note: If the TC In is SDI RP188, LTC, or RS422, the TC Type selection does not apply. TC Type

only applies to the TC Value or the Time of Day value generated by

8.2 TC TYPE NDF (default)

DF

8.3 ARM RECORDING

This parameter selects how recording will begin: either by pressing record button (or
web “Record” button) or via ti mecode. If starting on timecode, parameters 8.0, 8.1.
and 8.2 must be set to qualify the source and type

Note: For TC/REC KEY to operate, a record run timecode with incrementing values and starts/

stops is needed. Freerun timecode does not provide this and is not applicable to the TC/
REC KEY selection.

8.3 ARM RECORDING REC KEY (default)

TC/REC KEY

Ki Pro Rack

Selects Non-d rop Frame timecode
Selects Drop Frame timecode

of timecode.

Start when Record button is pressed
Start on Time Code trigger or Record button

.

Ki Pro Rack Installation and Operation Manual — CONFIG menus

9.0 INTERVAL RECORD

The Ki Pro Rack can be used to create timelapse recordings via the 9.0 Interval Record,

9.1 Interval Frames and 9.2 Interval Time selections. Note that the 9.1 and 9.2 menu
options will not appear unless 9.

0 Interval Record is enabled.

59

9.0 INTERVAL RECORD OFF (default)

ON

Normal recordings are produced.
Timelapse recordings are produced.

Example of timelapse recording selections:

The incoming video signal is 1080i 29.97 fps, the record button is depressed, and the
recording is then stopped 90 seconds later with the fo

9.0 Interval Record > On

llowing settings:

1

9.1 Interval Frames > 1

9.2 Interval Time > Second

The resulting recording would be 90 frames in duration, would have a frame rate of

29.97 fps, and would appear to be "undercranked

" or "sped up" when compared to a

normally created recording.

Note: selecting an interval frame number that exceeds the incoming video frames per
second will result in normal video. "Overcranking" or "slow mo"

is not supported by the

interval recording feature.

9.1 INTERVAL FRAMES

Determines how many frames from the incoming video will be used for the recording.

9.1 INTERVAL FRAMES Incrementing Value Sets number of frames to use for the recording.

9.2 INTERVAL TIME

Determines the time period from which the interval frames are selected.

9.2 INTERVAL TIME Second

Minute
Hour

The second from which interval frames are selected.
The minute from which interval frames are selected.
The hour from which the interval frames are selected.

60

13.1
CAMERA DATA

13.1 CAMERA DATA

Some cameras produce SDI ancillary data that users may want to transfer to their Ki
Pro Rack recordings. Examples include: start/stop commands, timecode, reel name,
clip name and take. The CONFIG menu parameter 13.1 Camera D

address this use of SDI ancillary data. The default for this parameter is “None”; when
this is selected, no camera metadata is passed to any of the Ki Pro Rack parameters
even if a

camera with SDI ancillary data is connected to the Ki Pro Rack. If an
appropriate camera is present and sending appropriate SDI ancillary data and that
camera manufacturer/model is selected from the list, then AJA passes
metadata that is available from the camera (and is viable for AJA to support) into the
Ki Pro Rack’s timecode value, file name, and other applicable parameters.

NONE (default)

RED One 24

RED One 25

RED Epic

Canon XF

Canon C300

Pana AF100

Sony F3

ARRI Alexa

Canon HDMI

Camera metadata is not passed to any of the Ki Pro Rack
parameters even if a camera with ancillary data is
connected to the

Red One 24 Camera met adata avai lable from the came ra
is passed into the
name, and other applicable parameters.

Red One 25 Camera met adata avai lable from the came ra
is passed into the
name, and other applicable parameters.

Red Epic Camera meta data available from the camera is
passed into the
and other applicable parameters.

Canon XF-series with SDI outputs will provide ancillary
data that produces start/s top commands and timecode
values but not clip naming.

Canon C300 cameras provide ancillary data that
produces start/stop commands and timecode values but
not clip naming.

Panasonic AG-AF100 series cameras provide ancillary
data that produces start/s top commands and timecode
values but not cl ip nam ing. I f the c amera is conf igu red for
720p 23.98 (24), 720p 25 or 720p 29.97 (30) recording,
this Camera Data setting will also allow the extraction of
these frame rates for recording on the

Sony PMW-F3 SDI output s will pro vide anci llary dat a th at
produces start/stop commands and timecode values but
not clip naming.

ARRI Alexa cameras provide a ncillary data tha t produces
start/stop com mands an d timecod e values ; clip nam ing is
not yet supported.

Certain Canon HDMI cameras, such as the C100,
provide ancillary data via HDMI that produces start/stop
commands and timecode values but not clip naming.

Ki Pro Rack

Ki Pro Rack

Ki Pro Rack

Ki Pro Rack

ata is designed to

as much of the

.

’s timecode value, file

’s timecode value, file

’s timecode value, fil e name,

Ki Pro Rack

.

This menu parameter has domain over an array of other Ki Pro Rack parameters;
selecting Camera Data supersedes other parameter selections if valid ancillary data is
present and the camera is selected from the menu parameter.

Ki Pro Rack Installation and Operation Manual — CONFIG menus

Example: The RED Epic sends ancillary data from which the reel name, clip name, take
and timecode value are obtained and passed to the Ki Pro Rack recording.

Reel: A230
Clip Name: A230_C001_0714SW
Take: _001
Timecode Value: 20:11:05:12

Within the Ki Pro Rack, the Reel Name that is written to the file is “A230” instead of using
the 17.0 Reel Name that is set to “001” within the menu parameter.”

61

The full file name is “A230_C001_0714SW_001instead of using th

e standard clip
naming convention produced by the MEDIA menu parameters 17.0, 17.2, 17.3, 17.4,
and 17.5 which would have produced a file named “SC1ATK1”.

The timecode value of 20:11:05:12 is produced instead of using the CONFIG menu
parameters

of 8.0, 8.1, and 8.2 which might have produced a timecode value of

1

01:00:00:00 in the recorded file.

Additionally, if a start/stop flag is present in the ancillary data, then instead of the value

lected in CONFIG menu parameter 8.3 Arm Recording, the starting and stopping is

se
produced by the start/stop flag of the camera (the Rec Key is always a viable selection
even when the Camera Data

parameter is selected).

To avoid confusion, the various CONFIG or MEDIA menu parameters do not change; the
changes only affect the file written to the media. If a piece of metadata is missing, such

as Reel Name, the Ki Pro Rack will write all other parameters and use the standard
setting for a value for which no ancillary metadata was found. This means in some cases
that a file could have a clip name

associated to the camera recording, but the reel

number associated with the clip created by the camera and the Ki Pro Rack could differ.

To make camera integration as straightforward as possible, only one se

lection, 13.1
Camera Data, in the CONFIG menu parameters needs to be set as opposed to settings
throughout various menu parameters in CONFIG and MEDIA menu parameters.

Important Notes About The Various Cameras Supported by 13.1

RED Epic: With the RED Epic, AJA recommends sending the camera an appropriate genlock/

reference signal so that the

compared to the RED Epic recordings. RED Epic firmware version 1.6.24 (or later) is required
for proper operation.

RED One 24: This setting is actually designed to extract the 23.98 frame per

RED One 720p 59.94 output. Note that "24" is used as opposed to 23.98 in order to

accommodate the user interface constraints. For the RED One, timecode should be sent to
the camera via a timec
on the

Ki Pro Rack

an accuracy of +/- 1 frame. RED One firmware version 31.6.16 (or later) is required for proper
operation.

RED One 25: For the RED One, timecode should be sent

order to produce corresponding ti mecode recordings on the
with this configuration, the timecode value produced has an accuracy of +/- 1 frame. RED One

firmware version 31.6.16 (or later) is required for proper operation.

Canon XF: Because the Camera Data parameter requires the

that feature SDI outputs can be used with this feature. These cameras provide ancillary data
that produces start/stop commands and timecode values but not clip naming.

; note that even with this configuration, the timecode value produced has

Ki Pro Rack

ode generator in order to produce corresponding time code recordings

recordings will be timecode accurate when

second from within the

to the camera via a timecode generator in

Ki Pro Rack

use of SDI, on ly the XF series cameras

; note that even

62

Canon C300: These cameras provide ancillary data that produces start/stop commands and

timecode values but not clip naming. The Canon EOS C300 outputs 1080i by default, but

can produce tr ue progressive video within this inter laced

23.98 from within 1080i 29.97 and 1080p 24 from within 1080i 30 is autom at ic if the camera

is properly configured and the Camera Data selection is set to Canon C300; users do not
need to manually set t
output as 1080i 25 and 1080p 29.97 that is output as 1080i 29.97 from the camera, users
need to manually select "PsF" in the Record Type (1.1) menu parameter even
selected the Canon C300 in the Camera Data parameter. This selection is required because
there is no ancillary data indi cating these frame rates within the SDI output of the camera.

Canon

HDMI: In order to configure certain menu parameters on the Canon HDMI cameras, the
HDMI cable must not be connected to the camera. Configure the camera's HDMI settings
prior to connecting the HDMI output of t
HDMI selection is not camera specific like the other Camera Data selections, other
parameters must be set manually and are not auto-configured by t
For use with the C100, the following CONFIG menu parameters should be set as follows:

1.1 Record Type > VFR (if the C100 is configured for 2-3 Pulldown on the HDMI output

2.1 Video Input > HDMI
udio Input > HDMI

2.2 A

8.0 TC In > HDMI.

he Record Type para meter separately. However, for 1080p 25 that is

he camera to the Ki Pro Rack. Since the Canon

output. The extra ction of 1080p

if they have

his selection.

Important Note About Using DNxHD Encoding with 13.1 Camera Data

Ki Pro Rack does not provide support for VFR recordings when the DNxHD encoding
mode is used, so some of the functionality of the 13.1 Camera Data is not supported
when DNxHD is selected. While camera start/stop and
produced when a Camera Data selection is made, frame extraction from RED or

Canon cameras is not supported. Users should consider using ProRes encoding if the
Camera Data capabilities are desired. Note

that Apple ProRes QuickTime files may be

used with Avid Media Composer via AMA.

timecode values may be

Ki Pro Rack Installation and Operation Manual — CONFIG menus

32.0 Loss of Video

This parameter selects whether recording continues when valid video is not present.

Note: If CONT Rec is selected, and a loss of video is encountered, a graphic with the text “LOSS

OF VIDEO” superimposed over color bars will appear. Be sure to check your source and
video connections if you are e

32.0 Loss of Video STOP Rec(default)

CONT Rec

35.2 REMOTE CONTROL

Enables or disables Ki Pro Rack remote control by an external device. With the RS422
selection, an external RS422 controller or an NLE may be used to control the Ki Pro Rack.

35.2 REMOTE CONTROL Local Only (default)

RS422 Only

The CONFIG menu parameter 8.0 TC IN is set automatically to correspond to the RS422
Only. When the 8.0 TC IN is set to RS422, it allows Ki Pro Rack to accept an RS422 in­point timecode value as the beginning timecode val

value 01:00:00:00 is received as the in-point; this becomes the first frame of the Ki Pro
Rack recording.

xperiencing a loss of video.

Recording stops when video is lost
Recording continues when video is lost

Selects
Selects RS422 control of

Ki Pro Rack

control via front panel or web UI

ue for the recording. Example: the

63

1

Ki Pro Rack

IMPORTANT: Ki Pro Rack can be used as a pla

yer or a recorder under RS422 operation,
but when used as a recorder, Ki Pro Rack can only perform assemble edits, not insert
edits. This means that Ki Pro Rack creates a new file for each assemble edit performed;
Ki Pro R

ack cannot insert into an existing file.

Ki Pro Rack can operate on a solitary clip under remote control or all of the clips on the
Storage Module. Whether one clip or all clips are active under RS422 is determined by

e MEDIA menu parameter 15.1 Play Media. IMPORTANT: Ki Pro Rack may react

th
erratically if invalid clips or media are present and 15.1 Play Media "All" is selected.

Note:

Ki Pro Rack

obtained in its entirety via non-linear capture. This is made possible because
produces video black/silence prior to the first frame of video for the single clip and after the
last frame of video for the single clip. This means that unlike videotape where you might
not

have sufficient pre-roll to ingest a take into a non-linear editor,
to obtain the whole clip by marking the in-point for ingest as the very first frame of video
recorded.

RS422 device control under a single clip is designed so that the clip may be

Ki Pro Rack

Ki Pro Rack

allows you

64

If MEDIA parameter 15.1 is set to "All", Ki Pro Rack allows the playback of all clips on
the Storage Module in the order they were created, but does not allow for video
black/silence prior to the f

irst clip or after the last clip recorded. In this way, Ki Pro

Rack behaves like a tape recording and a traditional VTR. Like a tape recording, Ki Pro
Rack will display continuous timecode for clips that

were recorded one after another,

but Ki Pro Ra ck will also display timecode for clips that might have been recorded

with differing or non-continuous timecode values. In such cases, the user must be
aware o

f the timecode changes and log and capture material accordingly, just as

would be the case if using a videotape with discontinuous timecode.

There are other important considerations when working with Ki Pro Rack under
remote control. When media

is mounted in Ki Pro Rack, the most recently recorded
clip is displayed. If using the MEDIA parameter 15.1 Play Media in the "All" selection,
this is akin to having a videotape inserted into a VTR "tail out" and not

rewound. Also
note that if using the 15.1 Play Media parameter set to "One", the clips would need to
be stepped through manually via the Ki Pro Rack front panel Select up/down arrows
or via the web UI via th

e Transport page with the same Select up/down arrows to

move between clips that are to be controlled.

Since Ki Pro Rack has a default state of E-to-E when stopped, if both the input and
output of

a non-linear editor are simultaneously connected to Ki Pro Rack, you may
then need to begin playback on Ki Pro Rack to produce a clean picture. After this
initial playback happens under remote control, subsequent pla

yback and stop/pause

will appear as expected as Ki Pro Rack will not re-enter the E-to-E state.

Due to the fact that Ki Pro Rack is file based, when shuttling across clips at high speed,
a "hop"

may be visually perceptible as files close and open; this does not compromise
the operation of Ki Pro Rack under RS422, but may seem different from how a tape­based VTR would respond under similar conditions.

Note: AJA recommends the following for use with Apple's Final Cut Pro 7>Edit to Tape and

Avid's Media Composer>Digital Cut:

Only connect the output signal of the NLE to the
EE feedback loop; if the input and output of both the NLE and the
connected and EE is entered, a feedback loop may occur.

To avoid potential cueing errors during pre-roll for an edit, it is recommended that prior

to attempting the layback, the Edit to Tape or Digital Cut windows show
the timecode value; this means that the

by a solidly backlit STOP button on the front of the unit as opposed to "pause" indicated
by a flashing backlit STOP button.

Ki Pro Rack

Ki Pro Rack

is in a "full stop" which is indicated

to avoid the possibility of an

Ki Pro Rack

are

"00:00:00:00" for

Ki Pro Rack Installation and Operation Manual — CONFIG menus

41.1 VIDEO SG FRMT

This parameter determines the video format output from Ki Pro Rack’s internal test
signal generator. This parameter is used with parameter 41.2 to determine the type of
video test signal output by Ki Pro Rack.

41.1 VIDEO SG FRMT 525i 29.97 (default)

625i 25
720p 50
720p 59.94
1080p 23.98
1080i 25
1080i 29.97
720p 60
1080PsF 23.98
1080PsF 24
1080i 30
1080p 24
1080p 25
1080p 29.97

41.2 VIDEO SG

This parameter determines the video signal output from Ki Pro Rack’s internal test
signal generator. This parameter is used with parameter 41.1 to determine the type of
video test signal output by Ki Pro Rack.

41.2 VIDEO SG OFF (default)

Black
75% Bars

100% Bars

65

Select the video format desired for test signal output.

1

Turn test signal output OFF.
Video test signal output is color black.
Video test signal output is 75% color bars. This 75%
amplitude,100% saturation test signal is useful to check
low frequency response and video tilt as well as the
performance of video clamping.
Video test signal output is 100% color bars. This 100%
white full field bars test signal is helpful to check chroma
amplitude versus overall video level.

41.3 AUDIO SG

This parameter determines the audio signal output from Ki Pro Rack’s internal test
signal generator.

41.3 AUDIO SG OFF (default)

Silence
1 kHz

Turn audio test signal output OFF.
Output an audio test signal containing silence only.
Output a standard 1 kHz test signal tone.

66

50.1 IP CONFIG

This parameter determines the type of TCP/IP network configuration used by Ki Pro
Rack.

Note: With parameters 50.1, 50.2 and 50.3, there is no timeout when editing—changes made

while in these menus are saved and activated when the menu is exited.

50.1 IP CONFIG STATIC ADDR

DEFAULT ADDR
DHCP (default)

Assign a static IP address manually (parameters 50.2,

50.3, and 50.4 will have to be entered to accomplish
this).
Use the factory default static IP address: 10.65.74.65
Select automatic IP address assignment from DHCP
server on LAN.
Note: if
communicate with, it will select the default factory IP
address of 192.168.0.2.

Ki Pro Rack

cannot find a DHCP server to

50.2 IP ADDRESS

This parameter determines the static IP address used by Ki Pro Rack for TCP/IP
networking.

50.2 IP ADDRESS variable Using the adjust buttons, enter an IP address compatible

with your LAN (if you have one). If direct connecting to a
computer , ente r a legal IP address th at you’ll also ente r in
the computer’s web browser. This is only needed for
Static IP configurations.

If 50.1 is set to DHCP and there is a DHCP failure, then
the default IP address is: 192.168.0.2
If 50.1 is set to Default Addr, the default static IP address
is: 10.65.74.65

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., 90.0.181.0). When editing these, the Select button

selects the octet and then the Adjust buttons sel

ect the desired number. Pressing Select

Up again advances to the next octet. At the final octet, the address will flash—pressing
Select Up at that point confirms the setting.

When these parameters are edited, you can abort the editing process by backing out
(press the Select down arrow button repeatedly until the edit passes the first octet). You’ll
notice that after completing the edit on

the last octet, the display wi ll blink—this is an

indication that the edited IP address is about to be saved. You can save the edited IP
address (press the Select arrow up to save) or ch

oose not to save by pressing the Select

arrow down button.

Ki Pro Rack Installation and Operation Manual — CONFIG menus

50.3 SUBNET MASK

This parameter determines the subnet mask used by Ki Pro Rack for TCP/IP networking.

50.3 SUBNET MASK variable Using the Adjust buttons, enter a subnet mask

compatible with your LAN (if you have one). This is only
needed for Static IP configurations.

If 50.1 is set to DHCP, the default Subnet Mask will be
assigned by the DHCP server

If 50.1 is set to Default Addr, the default Subnet Mask is:

255.0.0.0

67

Please read the “Note” about editing IP addresses in parameter 50.2 as it also applies to

1

parameters 50.3 and 50.4.

50.4 STATIC GATEWAY

This parameter determines the gateway or router used by Ki Pro Ra ck on your LAN for
TCP/IP networking.

50.4 ST ATIC GATEW AY variable Using the Adjust buttons, enter a gateway compatible

Note: Without a properly configured default gateway (whether you have a router/gateway or

Ki Pro Rack

not),
be able to control the

will be unable to see other Ki Pros on the network, although you may still

Ki Pro Rack

defined, the discovery feature “Available Ki Pros—Click to Refresh” on the Network web
page will not work correctly and list other Ki Pros on the network.

with your LAN (if you have one). This is only needed for
Static IP configurations.

If 50.1 is set to DHCP, the default gateway will be
assigned by the DHCP server

If 50.1 is set to Default Addr, the default gateway is:

10.0.0.1

via a web browser. Also, without a proper gateway

50.5 SYSTEM NAME

This parameter defines a name for Ki Pro Rack and gives it a unique identifier. This same
name is used both when displaying systems via the web interface and for display on Ki
Pro Rack’s screen

50.5 SYSTEM NAMEE variable Using the Adjust buttons, enter a name for

saver (if System name is chosen in Parameter 70.1 Screen Saver).

Ki Pro Rack

Using the Adjust button s and the to p Select button , sele ct
the characters for each of the up to 20-character name.
The Adjust buttons scroll th rough the choic es and the top
Select button advances to the next character. While
selecting characters, the character being changed will
flash to show its position. The character set allowed is: 0
through 9, '-','.', A through Z (uppercase) and a through z
(lowercase).
Default: AJA Ki Pro

.

68

50.6 MAC ADDRESS

This parameter is an information-only field showing the MAC address of the Ki Pro
Rack’s ethernet adapter.

50.6 MAC ADDRESS information only display Selecting this parameter allows you to view

’s ethernet MAC address. The MAC address is a

Rack

unique value associated with the internal ethernet
network adapter. MAC addresses are also known as
hardware addresses or physical addresses. MAC
addresses uniquely identify an ethernet adapter on a
LAN.
MAC address format: MM:MM:MM:SS:SS:SS
The value is 12-digit hexadecimal, where the first half
identifies the manufacturer and the second half identifies
the unique serial number.

55.4 DATE SET

This parameter manually sets the calendar date of the internal Ki Pro Rack clock. The
value is defined as YYYY/MM/DD (year/month/day).

Ki Pro

55.4 DATE SET variable Using the adjust buttons, en ter a c alend ar date for

. Using the adjust buttons and the top SELECT

Rack

button, select the characters for each ca tegory (

MM/DD

and the top SELECT button advances to the next
character . While selec ting characters, th e character being
changed will flash to show it s pos ition. Whe n finishe d, the
final press of the SELECT up button will flash th e whole
value. Press SELECT once more to confirm and the nex t
menu parameter will appear.

). The adjust buttons scroll through the choices

YYYY/

55.6 TIME SET

This parameter manually sets the time of the internal Ki Pro Rack clock, when setting
manually (NTP not used).

55.6 TIME SET variable Using the Adjust buttons, enter a time for

clock. Using the Adjus t butto ns a nd the top Select butto n,
select the characters for each digit (h ours/minute s). The
Adjust buttons scroll through the choices and the top
Select button advances to the next character. While
selecting characters, the character being changed will
flash to show its position. When finished, the final press
of the SELECT up button will flash the whole value. Pres s
SELECT once more to confirm and the next menu
parameter will appear. Time is set usin g a 24-ho ur format
(military) and must be set to GMT time.
Note: there are many websites that will assist you in
converting your local regional time to GMT (UTC). AJA
does not endorse any particular one, but here are two
examples:

Ki Pro Rack

Ki Pro

’s

http://tycho.usno.navy.mil/zones.html
http://hurricanes.noaa.gov/zulu-utc.html

Ki Pro Rack Installation and Operation Manual — CONFIG menus

70.1 SCREEN SAVER

When set to “AJA Logo”, a rolling AJA logo screen saver will appear on the alphanumeric
display after 3 minutes of inactivity—defined as no button presses on the front panel.
When the Screen saver is
saver.

70.1 SCREEN SAVER ON (AJA LOGO —

default)

on, the STATUS button or STOP button will exit the screen

69

Display horizontally rolling AJA logo after 3 minutes of

button inactivity
SYSTEM NAME
OFF

Note: The screensaver will not appear if an active transport function is underway (e.g., Play,

Display the

Screen saver is disabled.

Ki Pro Rack

system name (parameter 50.5).

1

Record, etc.).

70.2 DISPLAY INTENSITY

This parameter determines the brightness of the alphanumeric VFD display and front
panel backlit buttons.

70.2 DISPLAY INTENSITY variable Using the Adjust buttons, you can dim or brighten the

alphanumeric display and activ ity indic ator LE Ds in step s
from 1 (dim) to 8 (brightest)

Default: 6

70.3 FAN SPEED

This parameter determines the speed of Ki Pro Rack’s internal cooling fan. In some
environments where audio recording is occurring close to the Ki Pro Rack unit, it may
be desirable to set the fan speed to “QUIET RECORD” for

70.3 FAN SPEED NORMAL (default)

QUIET RECORD
QUIET AUTO

NORMAL AUTO

Fan runs at normal fixed speed for optimum cooling.
Fan runs at a fixed slowe r speed for op timum quiet.
Fan runs at normal speed until recording begins, then the
fan ramps down to a slower speed for optimum quiet.
Fan runs at variable speeds for optimum cooling.

optimum quiet operation.

80.1 SERIAL NUMBER

This parameter displays this Ki Pro Rack’s unique serial number.

80.2 SW VERSION

This parameter displays Ki Pro Rack’s software version level.

70

91.1 RECALL PRESET

This parameter recalls the Ki Pro Rack to a previously saved preset configuration
stored using parameter 92.1.

Use the ADJUST buttons to set the number of the Preset register you wish to recall. To

ll, press the SELECT up (^) button, and then press the ADJUST up (^) button. The

reca
message [COMPLETE] is displayed after a successful recall.

92.1 STORE PRESET

This parameter saves a preset configuration to the selected storage register. Use the
ADJUST buttons to set the number of the Preset register.

To store, press the SELECT up (^) button, and then press the ADJUST up (^) b

utton.

The message [COMPLETE] is displayed after a successful store.

99.0 FACTORY RESET

Selecting this param eter and then pressing the ADJUST (up) button for 2 seconds
recalls Ki Pro Rack’s factory default settings.

Caution!

Selecting this parameter and recalling factory defaults will overwrite the current settings
(with the exception of network settings, which are retained).

Recalling factory defaults does not affect these settings: Encode Mode, Encode Type,
IP Config, IP Address, Subnet Mask, Default Gateway, System Name, or Date and Time.
To clear the network settings and re
(up) and Adjust (down) buttons at the same time.

Note: To set a single parameter to its factory default value, go to that parameter and hold

down both the Adjust (up) and Adjust (down) buttons at the same time.

call factory defaults, hold down both the Adjust

Remote Control Overview

An optimized web server inside Ki Pro Rack allows you to remotely monitor and
adjust parameter settings via a a browser client running on a network wired

computer. The network can be a closed local area network, a straight computer-to-Ki
Pro R

ack cable, or even exposed through a firewall to a broadband WAN (not

generally recommended since anyone on the internet can then access the Ki Pro).

Chapter 4:

Browser Remote Control

The LAN connection on Ki Pro Rack uses a standard RJ45 connector

intelligent and communicates via standard “straight-through” CAT 5 ethernet cables
or null-modem (cross-over) cables without any configuration or strapping required.

Note: Safari is the preferred web browser for Ki P

additionally Chrome and Firefox on Windows. Other web browsers may work, but

AJA cannot guarantee consistent operation for all web browsers or web browser
versions.

Resetting Values To
Factory Settings

Note that when using the web browser to change Ki Pro Rack configurations, you can
easily return to the factory Ki Pro Rack configuration anytime you need to do so. To
perform a global reset of Ki P
CONFIG parameter 99.0 for a reset to factory values. You can also recall factory
settings by selecting the Presets browser menu, scrolling to the b
presets, and clicking Recall Factory Preset.

Web Browser via Ethernet

To control Ki Pro Rack via wired internet, connect a computer to the Ki Pro unit’s LAN
connector, an RJ45 socket, via a CAT5 ethernet cable.

To access the Ki Pro Rack, simply enter its URL in the web browser. The URL will be

IP address defined in Ki Pro Rack’s Network parameter menus (50.2—please note also
that 50.1 through 50.4 must all be configured correctly to access Ki Pro Rack on your
network). If Ki Pro Rack is using DHCP (t

going to parameter 50.2 and reading it there. When Ki Pro Rack is shipped from the
AJA factory, it defaults to DHCP operation.

, but internally it’s

ro control on the Mac, and

ro Rack to factory settings, go to Ki Pro Rack front panel

ottom of the list of

the

he default), the IP address can be found by

If 50.1 is set to DHCP, and the DHCP server on
then Ki Pro Rack will fall back to the static IP address. If 50.1 is set to Default Addr, the
factory default static IP address is: 10.65.74.65. So, if 50.1 is set to
would type the following in the web browser:
http://10.65.74.65 to see Ki Pro Rack’s web interface Main Status screen.

the network fails to grant an IP address,

Default Addr, you

4

1

1

72

S/N, software version

Menu of Ki Pro Screens:
Click one to Display
that Screen

and connection status

Selections and Information

List of Ki Pros on the LAN:

Alarms appear here

Click arrow or gear icon to show/hide
Network list and info.

General Screen
Information

All Ki Pro Rack web screens have certain areas in common. On the left of each
screen is a Menu panel listing all the available Ki Pro Rack screens. Click any of these

links to jump to that

screen. On the right side of each screen you’ll also find a
Connection panel. This area shows the connection status in addition to the Ki Pro
Rack’s serial number and software version. This latter inf

ormation is useful if you
ever have to call AJA Technical Support to discuss a problem or get help. Below the
Connection panel, the Network panel shows the Ki Pro systems on the network and
allows you to switch control between systems. See “Controlling Multiple Ki Pros” on

page 88 at the end of this chapter for additional information on using multiple Ki

Pros. In the middle of each screen are

selections and information pertaining to the

subject matter of that screen (i.e., the “Media” screen has choices about the media

formats you are using).

Ki Pro Rack web screens closely mirror the parameter menus

displayed on its front

panel. In each of the screens presented on the following pages, we’ll list the
parameter menu numbers that are related so you can read the full definitions.

Additionally, the Status s

creen lets you change parameter settings right on the

screen if you right-click the setting.

Ki Pro Web Interface, Main Status Screen

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

73

Config Screen

The Config screen is a general purpose screen used to configure Ki Pro’s I/O
choices, conversion choices, and also set up Ki Pro’s environment (name, clock
settings, display etc.)

1

Ki Pro Web Interface, Config Screen

Note: In the fo

parentheses refers to the Parameter descriptions in Chapter 2—you can
read more information there about the choices and their meanings.

Record Type (1.1): This parameter defines the f

stored. RECORD TYPE can be configured to record the incoming video signal
in a “NORMAL” manner, as a “PsF” signal if the incoming source is 1080psf

29.97 (for example), or VFR for variabl
HD-SDI input (such as Varicam).

1080p Playback (1.8): This parameter defines the format applied when 1080p

media is played bac k off from storage. You can choose Playback as standard
1080p progressive frame
what was recorded when input).

In Convert (1.4): This parameter defines the type of up, down, cross, or aspect-ratio

conversion, if any, applied to the selected input w
are None, SD, HD 720, or HD 1080.

Out Convert (1.5): This parameter defines the type of up, down, cross, or aspect-

ratio conversion, if any, applied to the output. Selections are None, SD, HD
720, or HD 1080.

SDI 2 Output (1.6): This parameter defines w

format or has the 1.5 OUT CONVERT selection applied to it.

llowing web screen control definitions, the number in

rame recording method of media

e framerate recording of the SD-SDI/

or 1080 progessive segmented frame (regardless of

hen recording. Selections

hether the SDI output matches the file

SDI Output (1.6): This parameter defines whether the SDI output matches the file

format or has the

1.5 OUT CONVERT selection applied to it.

74

Component Output (1.7): This parameter defines whether the component video

output matches the file format or has the 1.5 OUT CONVERT selection applied.

HDMI Output (1.8): This parameter defines whether the HDMI output matches the

ormat or has the 1.5 OUT CONVERT selection applied to it.

file f

Super Out (1.9): This parameter enables or disables superimposition of timecode

and transport state (Record, Pause, etc.) onto the SDI, SDI2, Component, HDMI,
and CVBS on Y outputs.

Video Input (2.1): This parameter selects a video input source from the video input

connections available. This is the video that will be recorded and/or passed
through.

Audio Input (2.2): This parameter selects an audio input source from the available

audio input connectors. This audio will be recorded and/or passed through.

Audio Channels (2.3): This parameter selects use of either two or eight audio

channels via SDI embedded audio.

Component In Level (3.1): This parameter selects the input level for

signals applied at

the component video input connectors.

Component Out Level (3.2): This parameter selects the output level for signals

applied at the component video output connectors.

NTSC Config (3.4): This parameter selects the output level for the composite video

output connector.

Analog Audio (4.1): This parameter configures the analog audio signal levels for

input and output. Professional audio equipment has much higher levels than
consumer equipment: a 0 VU reading corresponds to +4 dBu. Connecting

a
professional +4 dBu device to a consumer audio input -10dBV (-7.8 dBu) may
cause overloading, whereas the output of a consumer device probably does
not have sufficient power to drive a professional audio

input. With consumer
and semi-professional audio equipment, a VU reading of 0 dB is typically
referenced to -10 dBV. 0 dBu = 0.775 VRMS.

Audio Lvl L (4.2): This parameter sets left channel audio level for line level devices

such as VTRs and mixers,

or microphone sources.

Audio Lvl R (4.3): This parameter sets right channel audio level for line level devices

such as VTRs and mixers, or microphone sources.

Upconversion (5.1): This parameter selects the type of upconversion from SD

performed, if set up to do so with parameters 1.4 through 1.8.

Downconversion (5.2): This parameter selects the type of downconversion from HD

performed, if set up to do so with parameters 1.4 through 1.8.

Genlock Source (6.1): This parameter selects the

reference video source used for

genlocking during playback.

TC In (8.0): This parameter selects the source of timecode start from those available.

Available timecode sources: TC Value specified in

parameter 8.1, an SDI RP188

input, an LTC input, or the time of day.

TC Value (8.1): This parameter selects a time for start of timecode when 8.0 is set to

TC Value.

TC Type (8.2): This parameter selects drop frame or non-drop frame timecode.
Arm Recording (8.3): This

parameter selects how recording will begin: either by
pressing the Record button (or web “Record” button) or via timecode. If
starting on timecode, parameters 8.0, 8.1. and 8.2 must be set to qualify the
source and type

of timecode. When timecode is selected, the Record button

also remains active and available to start recording.

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

Interval Record (9.0): The Ki Pro Rack can be used to create timelapse recordings via the

9.0 Interval Record, 9.1 Interval Frames and 9.2 Interval Time selections. Note that
the 9.1 and 9.2 menu options will not appear unless 9

Interval Frames (9.1): This parameter determines how many frames from the incoming

video will be used for the recording.

Interval Time (9.2): This parameter determines the time period from which the interval

frames are selected.

.0 Interval Record is enabled.

75

Camera Data (13.1): Th

Some cameras produce ancillary data that Ki Pro Rack users may want to transfer to

their recordings. Examples include: start/stop commands, timecode, reel name, cl
name and take. If a selection other than “NONE” is selected, and an appropriate
camera is present—and sending appropriate ancillary data—then the metadata
available from the camera will be passed into th
name, and other applicable parameters. Please read the discussion on Config

Parameter 13.1 “Camera Data” in Chapter 3 for additional information.

Loss of Video (32.0): This parameter selects whether recording continues when valid

video is not present.

Remote Control (35.2): Enables or disables Ki Pro Rack

device. With the RS422 selection, an external RS422 controller or an NLE may be
used to control the Ki Pro Rack.

The CONFIG menu parameter 8.0 TC IN is set automatically to correspond to the

RS422 Only.
RS422 in-point timecode value as the beginning timecode value for the recording.
Example: the value 01:00:00:00 is received
frame of the Ki Pro Rack recording.

Operation is described in Chapter 3 under Config Parameter 35.2, Remote Control.

Video SG Format (41.1): This parameter determines the video format output from Ki Pro

ck’s internal test signal generator.

Ra

Video SG (41.2): This parameter determines the video signal output from Ki Pro Rack’s

internal test signal generator. This parameter is used with parameter above (41.1)
to determine the type of video test signal output by Ki Pro R

is parameter controls the use of camera-generated ancillary data.

e Ki Pro Rack’s timecode value, file

remote control by an external

When the 8.0 TC IN is set to RS422, it allows Ki Pro Rack to accept an

as the in-point; this becomes the first

1

ack.

ip

Audio SG (41.3): This parameter determines the audio signal output from Ki Pro Rack’s

internal test signal generator (OFF, silence, or 1 kHz tone).

System Name (50.5): This parameter defines a name for Ki Pro Rack and gives it a unique

identifier. This same
interface and for display on Ki Pro Rack’s screen saver (if System name is chosen in
Parameter 70.1 Screen Saver).

Date Set (55.4/55.6): This parameter manually sets the c

internal Ki Pro Rack clock. Edit the date and time fields and then click Apply to set
the date and time.

Screen Saver (70.1): When set to “AJA Logo”, a rolling AJA logo screen saver will appear

on the alphanumeric display after 3 minutes of inactivity—defined as no button
presses on the front panel.

Display Intensity (70.2): This parameter determines the brightness of the alphanumeric

display and front backlit buttons.

Fan Speed (70.3): This parameter

fan. In some environments where audio recording is occurring close to the Ki Pro

unit, it may be desirable to set the fan speed to “QUIET AUTO” or “QUIET RECORD”.

name is used both when displaying systems via the web

alendar date and time of the

determines the speed of Ki Pro Rack’s internal cooling

76

Media Screen

The Media screen offers settings for a variety of media-related functions, including
formatting storage media, type of Apple ProRes 422 encoding, and reel and clip
definitions.

Ki Pro Rack Web Interface, Media Screen

Media State (12.1): This parameter

recording or data transfer using an Ethernet LAN.

defines whether the media is used for video/audio

Encode Type (14.0/14.1): This parameter defines the Apple ProRes or Avid DNxHD

encoding method. If you change from Apple to Avid or v
appears telling you that a reboot is required. Click “Change Encode Type and
Reboot” to complete the change and reboot the system.

Play Media (15.1): This parameter determines behavior during pla

clip will play when “Play” is selected, or all clips on the media (All) or in the playlist
(Playlist) will be played. See parameter 15.1, Play Media, in Chapter 3 for details.

Loop Play (15.2): This parameter turns

Play List (15.3) This parameter specifies the playlist to be played.

Dropped Frames (15.4) This parameter determines how playback handles dropped

frames.

Format Media (16.1): This parameter is used to format the currently selec

device.

Reel Name (17.0): The reel name is a number between 1 and 999. It determines the

reel name associated with all clips generated using this setting. It is also the name
of the media as it will appear when
desktop. To enter a specific value, click on the number to highlight it, type in a
value, and press Enter to confirm the new va
the slider to make adjustments. To increment by single values using the slider ,
click the slider to highlight it, and then press the "back" arrow or "forward" arrow
on your keyboard. Note: the Reel Name cannot be changed once a recording
session starts on the storage unit without reformatting the drive.

looped playback on and off.

the storage device is mounted on a Mac OSX

lue. You may also click and drag on

ice versa, a message

yback: either one

ted storage

Clip Name (17.2): This parameter determines the clip name associated with all clips

generated while

using this setting. The clip name is either “Clip” or “SC”.

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

Clip Number (17.3): This parameter determines the clip number, from 1 to 999, that

follows the CLIP NAME, and is associated with all clips generated while using this

setting. To enter a specific value, click on the number to highl
and press Enter to confirm the new value. You may also click and drag on the slider
to make adjustments. To increment by single values using the slider, click the
to highlight it, and then press the "back" arrow or "forward" arrow on your
keyboard.

Clip Append (17.4): This parameter is used with parameter 17.5 ALPHA APPEND to

append a text value after the CLIP NUMBER or have no text appended.

ight it, type in a value,

77

slider

Alpha Append (17.5): Th

append a text value after the CLIP NUMBER.

Take (17.8): This parameter determines the TAKE number, from 1 to 999, that follows

the CLIP NAME and CLIP NUMBER, followed by any ALPHA APPEND (if selected),
generated for all cl

Use Custom Clip Name (19.1): This parameter enables or disables whether a custom clip

name can be used. Refer to “Custom Clip Naming” in Chapter 3 for greater detail.

Custom Clip Name (19.2): This parameter allows you to enter a custom clip name. T

enter, click on the default name, “Custom” and type a new name. Once entered,

you’ll have to click the Apply button for it to take effect and be used.

Use Custom Clip Take (19.3): This parameter enables or disables whether

take name will be used. If enabled, takes increment sequentially from the first value
selected.

is parameter is used with parameter 17.4 CLIP APPEND to

1

ips while using this setting.

o

a custom clip

Caution!

If a custom clip name is not changed and the "Use Custom Clip Take"
parameter is not enabled, an e
disk. Example: the first recording made is called "Flying" and the
"Custom Clip Take" parameter is not enabled; additionally, the user
does not enter a new value for the custom
"Flying" entered. As a result, the first recording will be overwritten by
the second recording. AJA does not typically recommend disabling
the use of the custom clip take, but in some situations
existing file may be desirable.

xisting clip can be overwritten on the

clip name and leaves

, overwriting an

Note: the selection of Use Custom Clip Take is only available via the REST interface,
not via the front panel UI or web UI, and it does not surviv

Custom Take (19.4): This parameter allows you to define a custom take number. Once

entered, you’ll have to click the Apply button for it to take effect. To enter a specific
value, click on the num
the new value. You may also click and drag on the slider to make adjustments. To
increment by single values using the sl
press the "back" arrow or "forward" arrow on your keyboard.

Gang Clip Name (22.1): This parameter is used when performing gang recording via

multiple Ki Pros (refer to Controlling Multiple Ki Pros earlier in
want to name clips the same way across all the recordings of Ki Pro ganged units,
then use the "Master Name" pull down selection. If you want to name clips
independently on Ki Pro units
Selecting "Slave Name" means that the recording will take it's name from the
individual Ki Pro's parameters and not accept the value pus

Master Ki Pro. Refer to “Custom Clip Naming” in Chapter 3 for greater detail.

ber to highlight it, type in a value, and press Enter to confirm

ider, click the slider to highlight it, and then

, then select "Slave Name" from the pu ll down.

e reboots.

this Chapter). If you

hed to the Slave by the

78

Transport Screen

The Transport screen offers record, playback, fast forward, rewind and stop controls,
similar to those available on the operator-side of Ki Pro Rack. The screen also
duplicates what is display
what the Ki Pro operator/camera person is seeing.

Ki Pro Web Interface, Transport Screen

ed on the Ki Pro front visual display, so you can see exactly

STOP : Press STOP to end playback or a media operation (PLAY, FF, REV, or

RD). When stopped, Ki Pro displays the current point in the stopped clip.

RECO
STOP can also be considered a “pause” button. A double-press of the STOP
button will return Ki Pro to an E-to-E state.

PLAY >: Press PLAY to begin forward pla

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 button to begin fast pla

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 l

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 play
audio is muted.

SELECT (up/down): While in the TRANSPORT menu, the SELECT buttons select clips

and operate like “previous” and “next” keys. When a clip is selected it is “cued” to
the beginning of
timestamp order, not clip name.

ADJUST (up/down): While in the TRANSPORT menu, and in the “STOP” mode, the

ADJUST buttons will “single step” the current clip at a rate
button push (up=forward, down=reverse).

the clip. Note that ordering and playback of clips is based on

it, begins playback of the current clip in reverse at 1x

yback of the current clip at normal speed.

yback of the current clip at 2x speed.

ing in reverse,

of one frame per

DELETE CLIP: Dedicated button that when pressed, deletes the currently selected clip.

When pressed, the system displays a precautionary “ARE YOU SURE?” prompt.

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

SLOT: This button serves two purposes. First, it selects which storage slot is accessed by

the system. Second, the SLOT button is used to unmount a currently selected piece
of media.

Caution!

79

Not using the SLOT button
problems with the files stored on that media.

Pushing the SLOT button cycles between unmounting media and selecting
media. This function is only active when in the “STO
“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
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
“WARNING FRMT MEDIA” or “WARNING MEDIA LOW.”

Show Gang View: When clicked, the Transport screen expands at the bottom to show

controls for controlling multiple Ki Pros. See “Gang Recording” on page 88 at

end of this chapter for an additional tutorial on using this feature.

since the slot was last selected (physically removed/media replaced),

to unmount media before removal can cause

P” mode and requires a

1

as appropriate such as:

the

Ki Pro Rack Web Interface, Transport Screen Gang View

80

Presets Screen

The Presets screen allows you to save Preset Configurations into 20 separate memory
registers and recall the presets whenever needed. This screen also includes Export
and Import functions that allow exporting one or all
and importing exported preset files from your computer. A displayed message
indicates successful or failed saves, recalls, exports, and imports.

presets to your computer as files

Ki Pro Rack Web Interface, Presets Screen

Recall (91.1): The Recall buttons recall saved preset conf

When you recall a Preset Configuration, the recalled preset immediately replaces the

system’s existing configuration. All previous settings are lost unless you have
previously stored them in another

Store: The Store buttons let you save the current configuration into the preset register
with the associated name and number. A preset is a set of system parameters as they
were

set at the time the preset was stored. Only editable parameters are saved in the

presets. Non-editable parameters are not saved.

preset configuration or an exported file.

igurations.

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

To change a preset name, click in the name's text field and type a new name. Then press
Enter.

Ki Pro Rack Web Interface, Changing Preset Name

Export: The Export buttons save the associated preset contents to a file on your
computer. The file gets e
browser options. The file name is the same as the preset name with the suffix .presets.

If you export multiple files for the same
unique file name. The file size is small, usually less than 10 kilobytes.

Import: The Import buttons let you browse for and import a preset file on your
computer into the preset reg
warns you that the operation will overwrite the current preset contents with the
contents stored in the file.

xported to the default download location specified in your

1

preset, a number gets appended to ensure a

ister associated with the selected button. A dialog box

81

Export Presets 1-20 All: Lets you save the contents of all presets to
computer.

The file gets exported to the default download location specified in your browser

options with the name all.presets. If you export multiple files, a number gets appended

ensure a unique file name.

to

Import Presets 1-20 All: Lets you browse for and import a previously exported all.presets
file from your computer. A dialog box warns you that the operation will overwrite all 20
current preset contents with the contents stored in th

Recall Factory Preset: Recall Factory Preset recalls all editable video and audio
parameters to their factory default settings. Individual presets, user preferences, and

Network settings, such as the IP Address, are not affected.

See “Using Presets” on page 94 at the end of this chapter for an additional tutorial on

working with presets.

e file.

a file on your

82

Network Pane:
Click arrow icon to expand list
Click gear icon to open

Network Menu Link:
Click to open

Network Configuration Screen:

Network Screen

The Network screen contains all of the information required to set up Ki Pro Rack TCP/
IP networking. The screen also shows all Ki Pros that are on the same LAN as the Ki Pro

Rack the web browser

is currently communicating with.

Note: Ki Pro Rack IP Address and netmask fields filter keystrokes and only allow legal

characters. The Ki Pro Rack also checks the format of the entry to ensure it is valid;
if found to be invalid, the background of the IP Address or netmask will turn red. If
you click the Update button while an invalid entry exists in one of the these fields,
Ki Pro Ra

ck will display an error dialog—you must correct the error before

updating.

Ki Pro Rack Web Interface, Network Screen

IP Address Type (50.1): use to set the type of IP address for Ki Pro Rack. You can select a

Static address that you enter in the IP A

ddress field, you can select DHCP for

automatic IP address assignment by your network router, or you can select

Default to set Ki Pro Rack to its default IP address, which is 0.65.74.65.

IP Address (50.2): enter an IP address compatible

When networking Ki Pro Rack to a computer, this is the IP address that you’ll

with your LAN (if you have one).

enter in the computer’s web browser to bring up the Ki Pro Rack’s web interface

from its

embedded web server. You must also click the “Update” button to

update Ki Pro Rack with the IP address entered here. When an IP address is
entered and the Update button is clicked, the IP address will change and the
browser will display a “redirecting to...” page which should send the browser to
the new IP address entered. (You can also click on a link on the redirect page.)

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

Netmask (50.3): enter a subnet mask compatible with your LAN (if you have one). You

must also click the “Update IP Address” button to update Ki Pro Rack with the
changed information entered here.

83

Default Gateway (50.4): enter the IP address for your LAN’s gateway/router (i

one). You must also click the “Update IP Address” button to update Ki Pro Rack with
the changed information entered here.

Apply: pressing this button requests Ki Pro Rack to update its IP information with that

entered on this

Available Ki Pros- The Network panel on the right side of the screen lists the Ki Pro

devices present on the same local LAN as the current Ki Pro Rack (see note below).
The serial numbers of all K
parameter 50.5) are listed—and clicking on any of these will bring up the Status
screen of that Ki Pro. Note: the Ki Pro you control may be running a different
software version so screens may look different. As a rule, it’s wise to have all your Ki
Pro devices running the most current software and the same version. Also, without
a properly configured default
not), the discovery feature “Available Ki Pros—Click to Refresh” on the Network
page may not work.

Note: Ki Pro devices shown are cached and may

Pros on the LAN. As Ki Pros are added or removed from the network they may take
awhile to appear in the Available Ki Pros listing. If,
view of the network (clearing the cache and showing the realtime state), click the

up arrow in the top right corner of the Network panel twice to refresh (close and
reopen)

the list.

screen.

i Pros on the LAN, or their defined “System Names” (see

1

gateway (whether you have a router/gateway or

not reflect the realtime state of all Ki

at any time you want a current

f you have

84

Playlists Screen

The Playlists All Clips screen allows you to see at a glance all of the clips on the
currently selected media as chosen by the SLOT button (see Transport screen). You
can also create new playlists consisting

1. Click add (+) below the Playlists heading and enter a name for the new playlist.

2. Next, to select a clip to be added to a playlist, double-click the clip

Clips list to select it; you will know when it is selected as it will be highlighted in
blue.

3. Next, click and drag the selected clip onto the playlist. You can
multiple clips by clicking the check boxes to the left of the names of the clips
you want to copy before dragging them. Note that while in the click and drag
operation,
disappear once you have added the clip to the list. You will also see the Playlist
being added to highlighted in green when the addition

4. After adding the clips you want, click the playlist name to open the playlist; the
clips you added will be listed.

You can reorder the clips if you want by simply double-clicking to select

dragging them to the order you want. Note again that while clicking and dragging,
the filmstrip icon will appear and the operation will highlight the order in green.

Note: you can

dropping. This means that if you want a clip to appear later in the order, you
need to move the other clips above it.

See “Using Playl
working with playlists.

a filmstrip icon will appear (only in some browsers) and it will

only bring clips up in order, not down in order when dragging and

ists” on page 91 at the end of this chapter for an additional tutorial on

only of the clips you choo se:

in the All

also drag

is made.

and then

Ki Pro Rack Web Interface, Clips Screen

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

85

Alarms Screen

The Alarms display is present on each screen and constantly shows you the state of any
alarms in the system. The Alarms area normally contains a green box displaying, “None”
if there are no alarms. If an alarm
containing text describing the alarm. If multiple alarms are generated, they appear as
multiple red boxes, each one containing text descri bing the

is generated, the Alarms area displays a red box

associated alarm.

1

Ki Pro Rack Web Interface, Alarm Configuration Screen

86

Update Firmware
Screen

The Update Firmware screen allows you to update your Ki Pro Rack to later versions of
software as they are issued by AJA and posted on the website. When software
updates are released, they often contain new features, improvements, and bull
that may be very useful. We suggest checking the website when you have time.

Ki Pro Rack Web Interface, Update Firmware Screen

etins

Preparing to Update Software

Although Ki Pro Rack comes from the factory pre-installed with software, it may not
be as up-to-date as software posted on our AJA website. This topic describes the
steps required to upgrade the soft ware

in your Ki Pro Rack.

1. Download the Latest Ki Pro Software
Current and past releases of Ki Pro software are available on the World Wide

Web from AJA's website. To get the software, point your

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

This link is also available at the bottom of the “Update Firmware” screen
(discussed later on this page). Once you’re at the update pa
files can be selected to download to your Mac or PC for upgrading your
machine.

2. Unpack the Software
Ki Pro software update files are “ZIP” files, which you can open with a numb

of standard and third party uncompressor applications. The software image
that you’ll install on Ki Pro Rack is a file with a name like kipro_ver_2.0.0.99.bin
or similar.

Note: Depending on your PC or Mac operating system settings, the

may not be visible to you in a file directory.

browser to:

ge, Ki Pro software

“.bin” extension

er

Ki Pro Rack Installation and Operation Manual — Web Browser via Ethernet

Upload and Install the Software on your Ki Pro Rack

Uploading and installing the software update only requires a PC or Mac that can “see”
the Ki Pro Rack via its ethernet connection. Follow this procedure to install the software:

87

1. Point your browser at Ki Pro R
Firmware” link at the bottom of the navigation box on the left-hand side of any Ki
Pro Rack web page.

2. Click the “Browse...” button to select
example: kipro_ver_2.0.0.99.bin contained in the zipfile downloaded from AJA.

3. When you have selected a valid Ki Pro image file, cli ck the “Upload” button in the
web browser. The file you select will upload to the Ki Pro Rack and be tested for
validity. Incomplete, corrupted, or non-Ki Pro software files are rejected.

4. Wait for the procedure to complete—
Ki Pro Rack will prompt you to restart your machine. After restart, Ki Pro Rack will
be running the new software. Progress is shown on the front panel.

5. Once these
uploaded until the next time you upgrade it. The configuration of the Ki Pro Rack
prior to the upgrade will be preserved.

Ensure th
again; the software version is displayed at the top of all web screens. If for some
rare reason it didn't update, you can then run

Note:

On some browsers, the Retry page may appear even though the software upgrade
was successful. If this occurs, before clicking on retry, refresh the web pag
check the version number. If the new version number appears at the top of the
page, the software upgrade was successful. If the old version appears, click Retry.

If there is a
boot the older software version and the upgrade process can then be re-started by
the user. This happens because Ki Pro Rack has been desig
where an internal “safe” copy of the previous software is retained in the event the
updating process fails.

steps are complete, Ki Pro Rack will be running the software you just

e new software is running by bringing up the Ki Pro Rack web page

power outage or glitch during the software download, Ki Pro Rack will

ack's upgrade page by clicking on the “Update

the file you previously downloaded. For

it will take only a few minutes. When done,

through the update steps again.

ned with a safety feature

1

e and

Caution!

AJA recommends you only update the Ki Pro Rack when on mains power, or
with a fully charged battery.

88

Advanced Features

A few notes and instructions about selected features may help you get more value
out of your Ki Pro Rack. The following topics expand on the information presented
earlier in this chapter.

Controlling Multip le
Ki Pros

Gang Recording

From the Status screen and the other top five screens of the Menu, you can see at-a-
glance all of the Ki Pro systems that are present on the same local LAN. Their system

names
name to switch the browser to the Status screen of that Ki Pro system.

Note: The Ki Pro you control may be runnin

If the Default Gateway (parameter 50.4) is not configured properly, other Ki Pros will
not be listed. If the display shows “No Ki Pros found” then check the

Also, if the Default Gateway (parameter 50.4) is not configured properly, other Ki Pros
will not be visible here. If it displays “No Ki Pros found” then check the gateway
setting.

Multiple Ki Pro units can be used in unison to produce recordings via the Gang
Control feature, beginning with Ki Pro version 2.0 firmware. This feature is only
available via the web UI when Ki Pro units ha
common network and subnet mask and are connected via their LAN connections to

an ethernet switch or hub to a host computer. AJA recommends that all Ki Pro units in
a gang use the same firmware

are shown in the Network panel on the right side of the screen. Click a system

g a different software version so screens
may look different. As a rule, it’s wise to have all your Ki Pro devices running
the most current software and the same version. Also, you must have a
properly conf

igured default gateway to see the Ki Pros.

gateway setting.

ve IP addresses configured under a

version

Example:

You have a Ki Pro "Master" and a Ki Pro "Slave" both attached on a network where
their static IP addresses are 192.168.0.2 and 192.168.0.3 respectively—each with a
subnet mask value of 255.255.255.0. Th
address 192.168.0.1 and subnet mask 255.255.255.0. The host computer uses a web
browser, like Apple's Safari, to access the "Master" Ki Pro by entering 192.168.0.2 in
th

e URL field of the browser. The Ki Pro "Master" unit web UI should appear.

ey are connected to a host computer with IP

Ki Pro Rack Installation and Operation Manual — Advanced Features

How to Use Gang Recording

Navigating to the Transport screen, a "Show Gang Controls"
button appears on the left side of the screen. If "Show Gang
Controls" is clicked, a list of "Available Ki Pros" is presented. If

expected K
then click on "Show Gang View" again to refresh. Ki Pro information can take up to a
few seconds to be displayed. Finally, if Ki Pros are not listed af
that the Ki Pros are on the appropriate network, have the appropriate IP address, etc.

i Pro units do not appear, click on "Hide Gang View"

ter refreshing, confirm

1

89

Ki Pro Rack Web Interface, Transport Screen—Show Gang Control

Parameters for each available Ki Pro will appear

include: System, Input Format, Free Storage, Gang, Master and Settings. Ki Pro units that
may be added to a gang will appear under the System column. The Input Format
column gives information on what type of video format/framerate each s
receiving. Free Storage allows for an "at a glance" view of the capacity of the media in
each unit. Gang is where the units can be added or removed from the gang. Master
allows th
allows for the configuration of clip names on the Master and Slave Ki Pro units.

To add a Ki Pro to a gang, simply se
As a shortcut, if all available Ki Pro units are desired for a gang, select the "All" item
below Gang. Alternately, if you want
the "Clear" option.

IMPORTANT: There can be only one Master in a gang; typically, the IP address for the Ki
Pro unit you entered and are viewing the web UI on
promoted to the "controlling" role. If the unit with the IP address that is currently being
viewed via the web UI is selected, a red capitalized "MASTER" text will
webpage above the columns.

A Master Ki Pro unit can send three items to the slave Ki Pro units within a gang; a
record start command, a stop command and clip naming. The record
commands are controlled from the web UI Transport area above the gang information
on the Master Ki Pro unit or via physical front panel buttons (provided the unit is set to
"Local Only" for

e promotion of a Ki Pro unit to the "controlling" role in the gang. Settings

lect the checkbox for the unit in the Gang column.

to clear units from a gang, deselect them or use

the CONFIG parameter 35.2).

in the Gang Controls area. These

ystem is

is the one which should be

appear on the

start and stop

90

The Settings area is where the Ki Pro clip name for each unit is decided. By default, the
Ki Pro is configured to use the standard clip naming conventions, not the custom clip
naming conventions. The first user

selection is "Use Custom Clip Name"; if the user

wants to use the standard clip naming convention, leave this set to "OFF", but if the
user wants to create a custom clip name, mouse click on the "OFF" to reveal

a

pulldown for "OFF/ON" selection, then click "OK".

If "OFF" was selected, the next parameter would be "Clip Name", again, clicking on the

"SC" or "Clip" presented brings up the pulldown and the "

OK" box. "Clip Number"
must be entered manually with a valid value for Ki Pro of 1 through 999 and then
the enter/return key must be hit. NOTE: If the enter/return key is not entered
after the selection, t

he value will revert to whatever was previously shown.
Clicking on the value next to "Clip Append" and "Alpha Append" both bring up a
pulldown and an "OK" button. "Take" operates like the "Clip Num

ber", w here a
valid value of 1 to 999 can be entered and then the enter/return key needs to be
pressed for confirmation of the value.

For custom clip naming considerations, review the section in this manual on

"Custom Clip Naming."

Caution!

If a custom clip name is not changed and the "Custom Clip Take"
parameter is not enabled, an existing clip can be overwritten on the
disk. Example: the first recording made is called "Flyin

g" and the
"Custom Clip Take" parameter is not enabled; additionally, the user
does not enter a new value for the custom clip name and leaves
"Flying" entered. As a result, the first recording will be overwritten
by the

second recording. AJA does not typically recommend

disabling the use of the custom clip take, but in some situations,
overwriting an existing file may be desirable.

Note that for Slave Ki Pro units, the S

ettings column provides a selection of either Use:
"Master Name" or "Slave Name." Clicking on the default value of "Master Name" offers
a pulldown selection of "Master Name" or "Slave Name" with an "

OK" confirmation
button. If the desire is to have clips named the same across all Ki Pro units'
recordings, then the Use: "Master Name" selection should be made. If the desire is to

have clips

named independently on Ki Pro units, then "Slave Name" should be

selected. Selecting "Slave Name" means that the recording will take its name from
the individual Ki Pro's parameters and not accept th

e value pushed to the Slave by

the Master Ki Pro.

It is important to note that as of firmware 2.0, Ki Pro can initiate recordings among
units quickly, but not all units will begin or end recordings precisely at

the same time
or the same frame. This is not really an issue if matching timecode via SDI embedded
RP-188 or LTC is sent to each unit from a timecode generator via discrete outputs on
the timecode generator or via a distribution

amplifier for the timecode. Note that
many non-linear edit systems, like Final Cut Pro, can sync clips based on timecode
values for multi-clip editorial. Also note that Ki Pro does not provide simultaneous
playback of media; only record start and stop functions are available.

Note: Ki Pro Slave units in a gang do not respond if the Master Ki Pro is being

operated under RS-422 device control. This avoids the potential f

or a Ki Pro
Master left in a gang to accidentally arm other units outside of the defined
parameters of control via the web UI or front panel buttons.

Using Playlists

Ki Pro Rack Installation and Operation Manual — Advanced Features

Gang Recording Summary

1. In the browser menus, select Transport to Navigate to the Transport screen.

2. Click Show Gang View on the Transport screen to see the Gang controls. This

view shows available Ki Pro systems.

3. To

gang systems together, click the checkbox in the Gang column for each

system you want included.

4. Select control of clip naming in the Settings column for each system, either Slave
Name or

5. Select one master system in the Master column to control the gang.

6. For the master system, set the clip naming in the Settings column.

7. Use the master system to control record start and stop and clip naming.

Master Name. For details, see the previous discussion.

1

AJA provides tools for reviewing clips and creating playlists of clips. These clip playlists
can be managed on the web browser Playlists screen, which includes a default All Clips
playlist showing all clips on

Ki Pro media can have both Apple ProRes 422 encoded files and Avid DNxHD encoded
files on the same media. The web UI Playlists, All Clips and user-created playlists, will
denote which Enc
Mode is also represented by the clips which appear in white typeface. If clips appear in
yellow, italic typeface, those clips are
selected. In this example, the first three clips are encoded as DNxHD 220x files and the
last three clips are encoded as ProRes 422. The selected

the last three clips appear in white typeface.

ode Type is used for each clip and the currently selected Encode

the Ki Pro Rack unit.

using the Encode Mode that is not currently

Encode Mode is ProRes since

91

Working with the All Clips Playlist

The default state of the Playlists is to list All Clips available. All Clips represents all of the
recordings made on the Ki Pro Rack or valid files transferred to the Ki Pro Rack.

Ki Pro Rack Web Interface, All Clips Playlist

You can
Note that once you've double-clicked a clip to select it, it will be highlighted in blue in
the list
Rack. To play back the clip, simply open the Transport page of the web UI and begin
playback wit
Media>Play Media>All selection so that as you highlight clips for review, they will
continue playing out of the Ki Pro Rack outputs.

cue up a clip quickly for review by simply double-clicking the clip in the list.

and the first frame of video from that clip will appear on the output of the Ki Pro

h the Play button. You can even quickly scan material by setting the

92

Creating a Playlist

In the Playlists portion of the web UI, there is a "+" symbol and a "-" symbol above the
lists. The "+" symbol can be used to add a playlist. Simply click on this symbol
when prompted, enter a name for the playlist you wish to create.

To add clips to a playlist, select a blue highlighted clip from the All Clips list and click

and drag the clip onto the name o
select a clip and click and drag it, a filmstrip icon will appear. If you do not see this
icon, then you have not selected a clip. Y
playlist because the list you drag the clip to will be highlighted in green and the
filmstrip icon will appear with a "+" symbol on the l
mouse, the clip will be added to the playlist. You may select additional clips using the
same method and add them to the playlist.

f the playlist you created. Note that when you

ou can tell that a clip will be added to a

eft side. When you release the

and,

Note that if you
playlist, an alert prompt will appear. Playlists must contain clips with compatible
encode types. In other words, once a playlist is created and contains

422 encoded clip, then all subsequent clips added to that playlist must use the Apple
ProRes 422 encoding. If the first clips in the playlist are Avid DNxHD encoded, th
subsequent clips added to that playlist must use the Avid DNxHD encoding.

To move a number of clips to a playlist at once, use the column with the checkmark
and tick the

To review your playlist, click on the list in the Playlists area of the web UI.

attempt to add a non-matching encode type clip to a user created

an Apple ProRes

en all

checkboxes of the clips pri or to performing the cli ck and drag to the list.

Ki Pro Rack Installation and Operation Manual — Advanced Features

To reorder clips within a list, just click and drag them. You will notice that the clip is
selected because the filmstrip icon will appear and you will know that a reorder is

happening when you see
be moved to the last position of the playlist. To move a clip to the last position in the

playlist, move it to the next to
above it.

You may create multiple playlists. Playlists are stored as a simple file on the Ki Pro
media alongside t

he clips.

the green highlight appear. Important note: a clip cannot

last position in the list and move the last clip in the list

Playback of a Playlist

If you want to play a playlist you have created, first select Play Media>Playlist in the
Media menu parameters. (Note: depending on whether you have been reviewing clips,
you may first be prompted to "Press Stop" prior
Playlist selections; if this prompt appears, you will be led to the Transport page where
you can depress stop and then enter the Media page.)

to entering the Media page to make

1

93

Select a
selected, you will noticed that a double arrow indication will appear next to the
selected list in the Pla
the web UI, you will now notice that the playlist is cued up, ready for playback of the
first clip in the list. I
and rewind buttons or the select up/down buttons. You can loop playback of a list
using the Media menu parameters as well.

Management of
management of playlists from the front panel is not supported. An indication of a
selected playlist is presented on the front panel UI via menu parameter

The selection of a playlist does not survive reboots of the unit, but the playlists that are
created do survive reboots.

playlist from the Playlist parameter in the Media menu. Once a playlist is

ylists portion of the web UI. If you go to the Transport portion of

f you want to navigate within your list, you may use the fast forward

the Playlists is made possible via the web UI; creation and

15.3 Playlist.

94

Using Presets

Beginning with version 3.0 firmware, Ki Pro offers a simple and efficient way to
configure multiple parameters of the device from a preset. You can store a preset
configuration and then recall th
configuration.

at preset later to return Ki Pro to the stored

Storing a Preset

The easiest way to work with presets is via the web UI. A Presets web UI page is
provided where 20 customizable presets are offered.

Ki Pro Rack Installation and Operation Manual — Advanced Features

To customize presets, you may click on the second column of text fields and name the
preset.

95

After you have entered a name for the preset, press Enter.

The preset is not stored until you save it. Important: be

the parameter settings you want for a particular preset before you save it. By default, all
parameters are stored and recalled.

sure that you have made all of

1

Recalling Presets

To recall a preset, select the Recall button in the row assocated with the desired preset.

You can also export a preset file to your computer or import a preset file from your
computer. Note: AJA recommends

of devices. In other words, only use presets from Ki Pro Racks with other Ki Pro Ra cks ,
not with Ki Pros or Ki Pro Minis.

At any time you may perform
enabled. Important: presets do sur vive reboots of the device. If you want to be sure
that your device does not have someone else's
recall of Factory Settings prior to configuring and working with the Ki Pro Rack.

that presets only be used between the same types

a recall of the Factory Setti ngs if you have presets

settings in place, you can perform a

While the web UI is the preferred method of working with presets
saved and recalled from the front panel UI. Important: custom naming of presets is
not possible from the front panel UI; presets will have their default names of "Preset 1,"
Preset 2," etc. To re
parameter 91.1 Recall Preset. Use the ADJUST up/down buttons to select a preset. Use
the SELECT up button to choose a specific preset and the ADJUST up button
the preset. To abort recalling a preset, press the select down button.

call a preset from the front panel UI, navigate to CONFIG menu

, they may also be

to recall

96

To save a preset, navigate to CONFIG menu parameter 92.1 Store Preset. Use the
ADJUST up/down buttons to select a preset. Use the SELECT up button to choose a

specific preset and the ADJUST up button to store the Preset.
preset, hit the select down button. Hint: in both CONFIG menu parameters 91.1 and

92.1, you can tell if you are navigating through the presets if you see the leading
numeric characters flas
parameters.

For ease-of-use, AJA strongly recommends using the web UI to work with presets;
more options are also available when using the web UI.

hing. Again, use the SELECT down button to exit these menu

To abort recalling a

All Clips and Media
State > Data-LAN

If the Ki Pro Rack is configured for Media State > Data-LAN, appropriately encoded
QuickTime files may be uploaded to the Ki Pro Rack or downloaded from the Ki Pro
Rack via the All Clips portion of the interfa
clip encoding requirements.)

During an upload, useful information about the upload is given: the name of the file
being uploaded, the size of the fil
button. Additionally transfer speed information, remaining time to transfer and

percentage of data transferred are shown.

e being uploaded, a progress bar and a cancel

ce. (See “Appropriately Encoded Clips” for

Ki Pro Rack Installation and Operation Manual — Advanced Features

1

Note that if an upload is cancelled or interrupted for any reason, the transfer may be
resumed by simply selecting the clip that was transferring again and re-starting the
transfer. If you have cance
partial uploads may occupy on them media by choosing the Delete Partial Uploads
option.

lled some uploads, you may regain the space that these

97

To download a clip, select the Download option. Note th
to the particular web browser's selected download location.

at the file will be downloaded

Appropriately Encoded Clips

Appropriately encoded clips must have the following properties:

• A supported codec: Apple ProRes 422 (Proxy), Apple ProRes 422 (LT), Apple ProRes

422, Apple ProRes 422 (HQ), Avid DNxHD 220x, Avid DNxHD 145, or Avid DNxHD

36.

• A supported frame size: 1920x1080 for 1080 HD or 1280x720 for 720 HD or

720x486 for NTSC SD or 720x576 for PAL SD

• A supported frame rate: 23.98, 24, 25 or 29.97 fps for 1080p material, 25 or 29.97

for 1080i material and 50 or 59.94 fps for 720p material.

• Proper interlace setting for interlaced material: for 59.94Hz regions, HD interlaced

material will be top field first and SD
For 50Hz regions, HD and SD are both top field first if interlaced. Note: DNxHD 36
only supports progressive.

• Proper sound settings: Format > Linear PCM, Channels > Stereo (L R) or 2 Discrete

Channels, Rate > 48.000 kHz, Sample siz

interlaced material will be bottom field first.

.

e > 24 bits, and Little Endian.

98

Video Inputs

Appendix A: Specifications

Digital:

Analog:

1 Channel, selectable input SD and HD-SDI (2xBNC), SMPTE-259/292/296 HDMI

SD/HD Component (3xBNCS): SMPTE/EBU N10, Betacam 525 line, Betacam 525J, YPbPr 12-bit
A/D, 2x oversampling

Video Outputs (all simultaneously active)

Digital:

Analog:

SD and HD-SDI, SMPTE-259/292/296 (1xBNC)

HDMI

Composite (1xBNC):

NTSC, NTSCJ, PAL 12-bit D/A, 8x oversampling

SD/HD Component (3xBNCs):

SD: SMPTE/EBU N10, Betacam 525 line, Betacam 525J, RGB, 12-bit D/A, 8x oversampling

HD: YPbPr, RGB, 12-bit D/A, 2x oversampling

Audio Inputs

Digital:

Audio Outputs

AES 24-bit, 8 channel, 48kHz (4xBNC)
SDI embedded audio, 24-bit, 8 channel, 48kHz
HDMI embedded, 2 channel

Analog:

24-bit A/D, 2 channel balanced (2 XLR), 48kHz

Input level: Line

Digital:

AES 24-bit, 8 channel, 48kHz (4xBNC)
SDI embedded audio, 24-bit, 8 channel, 48kHz
HDMI embedded, 2 channel

Analog:

24-bit D/A, 2 channel balanced XLR, 48kHz

1

1

A