AJA Ki Pro Ultra Plus . 4Camera . / 4 Channel Record Test . @ . DUNK
AJA Ki Pro Ultra Plus . 4Camera . / 4 Channel Record Test . @ . DUNK
โพสต์โดย Amorn Aroonwechkul เมื่อ วันศุกร์ที่ 1 กุมภาพันธ์ 2019
AJA Ki Pro Ultra Plus
Product Highlights
- Simultaneous 4-Channel 1080p60 Recording
- 1-Ch DCI/UHD 4K/2K/HD Recording/Playback
- 4 x 3G-SDI and 1 x HDMI Input/Output
- Optional Fiber Modules Supported
- Records to ProRes (up to 4444) and DNxHD
- Dual AJA Pak Media SSDs Slots (Rollover)
- 4.8″ 720p LCD (Playback & More)
- Dual Redundant XLR Power Inputs
- RS-422 and Ethernet Control
- Half-Wide 2 RU Rack Size
AJA Ki Pro Ultra Plus allows for four channels of simultaneous recording in up to 1080p60/50, as well as single channel recording and playback of DCI 4K, Ultra HD 4K, 2K, and HD signals. Ki Pro Ultra Plus features four 3G-SDI inputs and one HDMI input, and the same number of outputs, and also supports optional fiber modules for extended distances.
Recording to ProRes codecs up to ProRes 4444 and to Avid DNxHD, and offering familiar VTR-style front panel controls, the Ki Pro Ultra Plus is simple to use and records to robust, edit-ready formats. It records to optional AJA Pak Media SSDs. Two AJA Pak slots are available and allow for rollover recording without dropping frames.
Ki Pro Ultra Plus has a 4.8″, 720p LCD screen that delivers a clear playback image. Dual redundant 4-pin XLR power inputs provide you with security against accidental power loss. One power supply is included.
Ki Pro Ultra Plus can be used desktop-mounted or installed in a 2 RU rack. It has a half-rack width, and two units fit in a single compatible rack shelf, sold separately. It also has a handle on top for easy transport.
- Multi-Channel HD Recording
- Record 1, 2, 3, or 4 channels of HD up to 1080p60/50 in Apple ProRes simultaneously. Simplify your multi-camera productions by running up to four cameras, and save power, space, time, and effort on set, in the studio, and when setting up OB trucks.
Ki Pro Ultra Plus even allows independent profile support per channel in Multi-Channel mode. Select high-resolution Apple ProRes HQ for high-quality finishing and use a second input to record ProRes (proxy) for an efficient editing pipeline.
Starting with input 1, add channels as needed in order when utilizing like raster sizes and frame rates, and record your HD Apple ProRes files on the same AJA Pak media, sold separately. (Pak Media 1000 modules with an -R0 module designation and all Pak Media modules with -R1 designations are supported for multi-channel recording.) Ki Pro Ultra Plus even allows rollover to a second Pak for hours of uninterrupted multi-channel recording.
- Edit-Ready, Independent ProRes Files
- Multi-channel recording with Ki Pro Ultra Plus provides individual, discrete recordings for each input that are timecode-accurate and ready to be imported directly into a multi-channel editing sequence. No additional conversion or software is required. Just drag and drop the files directly from the Pak media into your edit. The clip naming convention is yours to customize to suit your needs, but each multi-channel file is always appended with .1, .2, .3, or .4, making it very easy to track assets in post.
- Continuous Record and Rollover, Even in Multi-Channel Mode
- Losing one or even several feeds during a multi-channel shoot can cause major sync issues during the editing process that can be lengthy to resolve, if they can be resolved at all. But Ki Pro Ultra Plus is designed so that as soon as a loss in signal is detected on any of the inputs, a color bar frame with the legend “Loss of Signal” is recorded until the input is restored or the shoot ends. In this way, all multi-channel clips have the same timecode duration and will align perfectly within any NLE. The editor then just simply cuts away from any recording that lost signal, without any heavy lifting to insert frames, or adjust audio to compensate. This function works with each input to Ki Pro Ultra Plus and will even function in Rollover mode, meaning that a loss of signal that spans separate media will pose no issues in editing, the timecode of each file recorded being equal.
- Ki Protect
- Ki Pro Ultra Plus includes Ki Protect, a feature that helps to ensure data integrity if a media drive is accidentally removed or loses power during recording. The Ki Protect feature automatically pre-allocates recording space on the media drive for video, audio, and timecode when the record button is pressed.
While recording, the file header is then continuously updated every time new data is written. That way, the only loss that should be incurred is the last few frames that were in transit to the media drive to be recorded when the operation was interrupted. Frames that are already recorded will be preserved and are recoverable, providing greater peace-of-mind on set and in the studio, essential for multi-channel recording.
- HDMI 2.0 – One Cable, Multiple Formats
- Full HDMI 2.0 support offers deep color support all the way up to 4:4:4, 12-bit RGB, perfect for rich color capture from affordable HDMI cameras and beautiful playback on the latest HDMI 2.0 displays.
A single cable can affordably transport both Ultra HD or HD video and clean 24-bit, 48 Hz 8-channel audio to or from common HDMI 2.0 devices for a simple setup; perfect for independent producers, editors, ProAV, and anyone seeking to utilize the latest affordable capture and monitoring tools.
- 4K, 12-Bit Full Raster Workflows
- Next generation DCI 4K/Ultra HD 4K at 50/60p recording and playback are attainable all the way up to Apple ProRes HQ when using optional AJA Pak1000 SSD media with Ki Pro Ultra Plus.
DCI/Ultra HD is supported through 4 x 3G-SDI, HDMI 2.0, or optional fiber inputs and outputs.
Ki Pro Ultra Plus not only supports true 4K at 4096 x 2160p for digital cinema and high-quality Ultra HD for broadcast production, it also offers the color depth to match.
Any shoot or project benefits from the fabulously rich colors and smooth gradations across the luminance and chroma range that 12-bit makes possible with full 4:4:4 support, including Apple ProRes 4444 XQ.
VFX work benefits from Ki Pro Ultra Plus’ 12-bit support on 4 x 3G-SDI inputs to captured Apple ProRes 444 files, resulting in clean green screen plates across the DCI/Ultra HD/2K/HD raster landscape for easy and detailed post-production manipulation. With full HDMI 2.0, you can monitor it all from 4:2:2 YCbCr to full 4:4:4 RGB in 12-bit.
- ProRes 422 and 444 Recording
- Ki Pro Ultra Plus records DCI/Ultra HD/2K/HD to six quality levels of Apple ProRes, including Apple ProRes 4444 XQ. This lets you choose the balance of image fidelity and file size that’s right for each individual production as well as having the flexibility to record directly to native file formats that are understood by most major editing systems.
Next generation DCI/Ultra HD 60p recording is attainable all the way up to Apple ProRes HQ when using optional AJA Pak1000, or AJA Pak512-R1 and Pak256-R1 SSD media.
By utilizing Apple ProRes, your project will have the best image quality available, with manageable and affordable file sizes.
- Avid DNxHD MXF Recording
- Ki Pro Ultra Plus offers native Avid MXF support for HD workflows. Record and playback DNxHD files with an OP1a profile within an MXF container for DNxHD HQX (220x), DNxHD SQ (145) and DNxHD LB (36) codecs. This provides a native MXF workflow for Avid pipelines, free of transcoding.
DNxHD HQX (220x)*
DNxHD SQ (145)*
DNxHD LB (36)**
1080p23.98, 24, 25, 29.97, 50, 59.94
1080i25, 29.97
1080PsF23.98, 24, 25, 29.97
720p50, 59.94*Avid DNxHD only supported for 1080 and 720 resolutions
**Avid DNxHD 36 only supported for 1080p
- exFAT and HFS+ Support
- Ki Pro Ultra Plus allows you to use the file system that suits your needs. Full flexibility is provided to format your recording media as either exFAT or HFS+ within Ki Pro Ultra Plus itself or from your desktop computer, ensuring wide OS compatability.
- 2SI (Two Sample Interleave)
- Ki Pro Ultra Plus supports both Square Division Quad Split format and Two Sample Interleave giving a wide number of options to both record and playback DCI and Ultra HD.
Set up is easy, with Ki Pro Ultra Plus sensing the format being delivered in its “Follow Input” mode. Ki Pro Ultra Plus also allows you to select separate quad modes for both in and out, giving an additional conversion feature for when you need it.
- Up to 64-Channels of Audio
- Ki Pro Ultra Plus offers up to 16-channels of audio support embedded over SDI or optional fiber per input, bringing a total of 64 channels of high-quality recording. Flexible routing options mean that 8-channel only outputs like HDMI, analog, and digital carry options for selecting the 8-channel group required. Monitoring via the headphone jack on the front of the unit is split into easy 2-channel groupings by input for on-set checks.
- Closed Caption Support
- If you need to record or play out video with Closed Captioning embedded, Ki Pro Ultra Plus is fully compatible with your needs. Ki Pro Ultra Plus recognizes CEA-708 within incoming SDI inputs and encodes the Closed Captioning to your Apple ProRes recorded file. Upon playback, you can utilize the Closed Captioning within a recorded file over Ki Pro Ultra Plus’ 4 x 3G-SDI outputs.
- Reliable Storage Media
- Ki Pro Ultra Plus captures directly to rugged and reliable AJA Pak SSD media, sold separately. Pak media is available in a variety of capacities to best suit the demands of your production.
Pak1000 is the ideal companion for Ki Pro Ultra Plus, offering 1TB of fast SSD media for up to 4K recording at 60p in ProRes HQ. Pak512-R1 and Pak256-R1 models offer equal performance in smaller capacities when needed.
The twin media drive bays on the Ki Pro Ultra Plus allow extremely fast media changes and rollover recording even for multi-channel recording, which allows a recording to start on one media module and seamlessly continue onto the second module once the first has reached capacity.
Pak media may also be used with the optional Pak Dock, which features USB 3.0 and Thunderbolt connectors for lightning-fast data transfers from and to your desktop or laptop.
- Pak-Adapt-eSATA
- Pak-Adapt-eSATA, sold separately, is a Pak Media-sized adapter with an eSATA connector that allows you to attach a qualified RAID or single volume storage via an eSATA cable so that it may be used as a recordable drive. eSATA connectivity provides the bandwidth needed for 4K 4:2:2 HQ at up to 30 fps. You can even connect two Pak-Adapt-eSATAs to the Ki Pro Ultra Plus for more flexibility in the field.
Note: Multi-channel mode on the Ki Pro Ultra Plus is not supported by Pak-Adapt-eSATA.
- High-Quality LCD with Onscreen Intuitive UI
- Ki Pro Ultra Plus features a beautiful high-resolution HD display for pristine monitoring of your material, and serves as your interface to Ki Pro’s familiar and intuitive menu system. The detailed overlay UI includes onscreen keyboard functionality and a clear view of the powerful yet simple-to-operate UI, all presented on the 4.8″, 720p LCD display.
The large LCD provides detailed playback and monitoring for onset use, the OB truck, a helicopter, or the studio, and its transparent menu overlays can be set at just the level the user prefers. Ki Pro Ultra Plus offers control over brightness of the display for flexible control to suit your working environment.
- Familiar Controls
- Anyone familiar with the operation of a tape deck will feel immediately comfortable when working with Ki Pro Ultra Plus.
Just like a traditional tape deck, Ki Pro Ultra Plus features straightforward and dedicated transport buttons — record, play, stop, rewind, and fast forward — making the device easy to operate with minimal training time.
The current status of the system and key configuration information are clearly displayed on the built-in LCD screen. Additional operational information can be found in the status menu, which can be accessed even when recording or playing back.
The Ki Pro Ultra Plus operating system offers users a logical menu structure that is easy to navigate with menu parameters presented in clear and understandable language.
- Professional Connectivity
- The video and audio connections on the rear panel of the Ki Pro Ultra Plus offer next generation connectivity with 3G-SDI, fiber, and HDMI inputs and outputs, AES and analog XLR balanced audio, LTC, RS-422, and LAN.
- 4K and HD Monitoring
- Ki Pro Ultra Plus provides full resolution outputs for 4K, Ultra HD, and HD over 3G-SDI, optional fiber, and HDMI, including the latest affordable Ultra HD monitors using HDMI for on-set quality checks. An additional dedicated 2K and HD-SDI monitor output can be fed to any affordable and existing HD-SDI display.
- Fiber Connectivity
- With optional fiber inputs and outputs, Ki Pro Ultra Plus can be integrated directly to a dedicated fiber network alongside many other fiber products. Fiber allows outgoing and incoming video signals to be transmitted as far as 6 miles away.
Optional Fiber SFP Modules Supported:
Dual LC 3G Fiber Tx SFP AJA – Part # FIBERLC-2-TX
Dual LC 3G Fiber Rx SFP AJA – Part # FIBERLC-2-RX
- CWDM Fiber Options
- The below optional fiber transmitters let you to choose from multiple wavelength CWDM SFPs, allowing advanced multiplexing of signals over a single fiber connection.
Possible CWDM Options:
Dual TX 1271/1291
Dual TX 1311/1331
Dual TX 1351/1371
Dual TX 1391/1411
Dual TX 1431/1451
Dual TX 1471/1491
Dual TX 1511/1531
Dual TX 1591/1611
Dual TX 1551/1571
- RS-422 Control
- RS-422 control allows Ki Pro Ultra Plus to integrate easily with supported editing systems and external controllers, allowing it to fulfill several of the functions of a traditional VTR. Supported NLEs can even perform assemble edits directly to the Ki Pro Ultra Plus.
- Remote Configuration and Operation
- In a truck or a machine room, Ki Pro Ultra Plus is equipped for advanced remote control and configuration. With a standard Ethernet LAN connection to a host computer and any Web browser, all Ki Pro Ultra Plus parameter settings, clip selections, and transport controls can be controlled. No additional or special software installation is required on the host computer. Multiple Ki Pro Ultra Plus units can even be controlled from a single web interface, making Ki Pro Ultra Plus an ideal solution for multi-camera recordings.
- AJA Data Calc
- Calculate your storage needs before digitizing even begins and keep your team on track. Gatekeeper certified for OS X.
AJA Ki Pro Ultra Plus Specs
| Video Formats | Single Channel Mode:
4096 x 2160p 23.98/24/25/29.97/30/50/59.94/60 Multi-Channel Mode: 1080p 23.98/24/25/29.97/30/50/59.94/60 *Only 4 x 1.5G-SDI, 10-bit 4:2:2 YCbCr, Square Division **25 and 29.97 require Record Type>PsF selection |
| Codec Support | Single Channel Mode:
Apple ProRes 4444, up to 30 fps Multi-Channel Mode: Apple ProRes 4444, up to 30 fps *Avid DNxHD only supported for 1080 and 720 resolutions **Avid DNxHD 36 only supported for 1080p |
| Codec Container | Apple ProRes .MOV Avid DNX MXF or .MOV |
| Video Input | 4 x 3G-SDI, SMPTE-292/296/424, 10-bit (12-bit input supported)
1 x HDMI standard type-A connector, HDMI 2.0, 4:4:4 RGB 8/10/12-bit (deep color), 4:2:2 YCbCr 8/10/12-bit, 4:2:0 YCbCr 8-bit Optional SFP Modules: |
| Video Output | 4 x 3G-SDI, SMPTE-292/296/424, 10-bit
1 x HDMI standard type-A connector, HDMI 2.0, 4:4:4 RGB 8/10/12-bit (deep color), 4:2:2 YCbCr 8/10/12-bit, 4:2:0 YCbCr 8-bit Optional SFP Modules: |
| Audio Input Digital | 16-channel, 24-bit SDI/Fiber embedded audio, 48 kHz sample rate, synchronous
8-channel, 24-bit HDMI embedded audio, 48 kHz sample rate, synchronous 1/2 x DB-25 TASCAM pinout, 8-channel, AES/EBU |
| Audio Input Analog | 1 x DB-25 TASCAM pinout, 8-channel, 24-bit A/D analog audio, 48 kHz sample rate
+24 dBu full scale digital ±0.2 dB 20 Hz to 20 kHz frequency response |
| Audio Output Digital | 16-channel, 24-bit SDI/Fiber embedded audio, 48 kHz sample rate, synchronous
8-channel, 24-bit HDMI embedded audio, 48 kHz sample rate, synchronous 1/2 x DB-25 TASCAM pinout, 8-channel, AES/EBU |
| Audio Output Analog | 1 x 3.5 mm unbalanced stereo headphone jack with volume control
1 x DB-25 TASCAM pinout, 8-channel, 24-bit D/A analog audio, 48 kHz sample rate 2 x RCA connectors, 2-channel unbalanced |
| Recording Mode | Multi-channel HD Apple ProRes recording (Pak1000/Pak512 R1/Pak256 R1 only) Single channel DCI 4K/Ultra HD 4K/2K/HD recording |
| Playback | One channel of DCI 4K/Ultra HD 4K/2K/HD at a time |
| Timecode | SDI RP188/SMPTE 12M via SDI BNC 1 x BNC LTC input 1 x BNC LTC output |
| Reference Input | 2 x BNC (external) Looping, nonterminating Blackburst or tri-level sync |
| Network Interface | 10/100/1000 Ethernet (RJ-45) Embedded web server for remote control via REST Video Confidence Monitor via Web Interface Clip upload/download via Web Interface in DATA-LAN mode Configuration and Transport Control via WEB Interface |
| Machine Control | RS-422, 1 x DE-9 female connector, Sony 9-pin protocol
9-Pin D-Connector Pinout is as Follows: |
| User Interface | Rotary selector knob Dedicated, backlit transport controls and menu buttons Large 1280 x 720 TFT LCD display with Video Monitor and Menu/Status Overlays |
| Closed Caption Support | CEA-708, CEA-608 |
| File System Support | HFS+, exFAT |
| Power | Dual, redundant, 5.4 A max, 35-60 W typical / 65 W max
100-240 VAC, 50/60 Hz (adapter) 12-18 VDC, 4-pin XLR (chassis) |
| Operating Temperature | 32 to 104°F (0 to 40°C)
With Power Off: -40 to 140°F (-40 to 60°C) |
| Operating Relative Humidity | 10-90% non-condensing |
| Operating Altitude | <10,000 ft (<3000 m) |
| Dimensions | 8.6 x 9.3 x 3.3″ (22 x 23.6 x 8.4 cm) |
| Weight | 5.6 lb (2.6 kg) |
| Packaging Info | |
|---|---|
| Package Weight | 8.85 lb |
| Box Dimensions (LxWxH) | 13.5 x 9.7 x 6.4″ |
