Specialist suppliers of pro audio/video equipment to the film,
post-production, broadcast and music recording industries.

AJA Video Systems Ki Pro Rack

For video facilities transitioning from tape to file-based workflows for recording and playback, Ki Pro Rack offers high-quality, ‘ready-to-edit' file capture, designed to get material from source to editorial as quickly as possible.
£108.00 £90.00 ex VAT
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£108.00 £90.00 ex VAT

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AJA Video Systems

Product Description

Details

For video facilities transitioning from tape to file-based workflows for recording and playback, Ki Pro Rack offers high-quality, ‘ready-to-edit' file capture, designed to get material from source to editorial as quickly as possible. With a wealth of professional connections, Ki Pro Rack will fit right into your existing cabling and routing system and record 10-bit Apple ProRes and Avid DNxHD files direct to removable hard disk or SSD Storage Modules, eliminating the need for time-consuming logging and capturing. The files can be used in most editing systems without the need for additional transcoding or importing processes.

Features

Transition to file-based workflows: For video facilities transitioning from tape to file-based workflows for recording and playback, Ki Pro Rack offers high-quality, ‘ready-to-edit' file capture, designed to get material from source to editorial as quickly as possible. With a wealth of professional connections, Ki Pro Rack will fit right into your existing cabling and routing system and record 10-bit Apple ProRes and Avid DNxHD files direct to removable hard disk or SSD Storage Modules, eliminating the need for time-consuming logging and capturing. The files can be used in most editing systems without the need for additional transcoding or importing processes


10-bit, full raster recording: Big on quality - but not on file size. Recording 10-bit, full raster files, Ki Pro Rack gives you high quality images that easily stand up to post processing requirements - and client scrutiny. Compared to 8-bit recording devices, 10-bit 4:2:2 recording provides greater dynamic range, giving a superior representation of the original scene and allowing for more flexibility in post production when adjusting color and balance. By utilizing efficient ProRes and DNxHD codes, file sizes are kept in check so you won't need to blow your production budget on extra storage


RS-422 Control: Ki Pro Rack features RS-422 control, enabling it to be easily integrated with editing systems, external controllers and even other tape decks, and fulfill all the functions of a traditional VTR. Systems can perform assemble edits direct to the Ki Pro Rack Storage Modules, often faster than rendering to ProRes or DNxHD files within an editing system. Ki Pro Rack's RS-422 connection can also be used to directly capture tape-based media into Ki Pro Rack as ProRes footage ready for editing or archiving


Familiar controls and operation: Anyone familiar with the operation of a tape deck will feel immediately at home with Ki Pro Rack. Just like a traditional tape deck, Ki Pro Rack features straightforward dedicated Record, Play, Rewind and FastForward buttons making the transition easy to with minimal training time. The current status of the Ki Pro Rack and all configuration information is clearly displayed on the built-in screen. The embedded OS uses a fast, flat menu structure that allows full configuration to be done directly on the device with no need to connect to a laptop to access operational parameters


Professional connections: The video and audio connections on the back of the Ki Pro Rack are the same type as found on traditional tape decks, allowing Ki Pro Rack to fit right into your current cabling and routing. The rear connections include SDI, HDMI, component analog, balanced audio connectors, LTC input/output, RS-422 control and LAN

 

Dual media drives: The twin media drive bays on the Ki Pro Rack allow extremely fast media changes - you can switch drives and start recording straight away, without having to wait to eject the first one. All Ki Pro models capture 10-bit footage direct to reliable storage media. Ki Pro and Ki Pro Rack use AJA Storage Modules, available in spinning disk or SSD variants that connect directly to your editing system via a built-in FireWire 800 connection. Backed by a 1-year warranty, AJA Storage Modules are engineered with reinforced connections and thoroughly tested, ready for intensive use. Record times are longer than standard tapes as well, minimizing the number of media changes needed

 

Ethernet file transfer: Because of its network connectivity, media can be copied to and from the Ki Pro Rack over the Ethernet connection. This allows for fast file transfers without the need to physically remove the media from the Ki Pro Rack, which can be especially useful in larger facilities and cuts down dramatically on the number of people that have to enter the machine room, minimizing the risk of unintentional interference with equipment. Like all other Ki Pro's, multiple Ki Pro Racks can be networked together for control via a single interface


Integrated AJA hardware conversion: Ki Pro Rack has AJA's industry-leading conversion technology built in so you can perform high-quality up/down/cross conversion during recording or playback without having to use a second device

 

Remote configuration and control: Ki Pro Rack can be connected to your data network and accessed via a web browser from any network computer. This remote access means you can control and configure Ki Pro Rack without having to be physically in front of the unit, perfect for managing large installations or multiple physical locations from a central point

Specifications

Additional Information

Specification

Video Formats

  • 525i 29.97
  • 625i 25
  • 720P 23.98, 25, 29.97, 50, 59.94, 60 (Note: 720p 23.98 (24), 720p 25 and 720p 29.97 require a valid camera source and the use of the Record Type>VFR selection)
  • 1080i 25, 29.97, 30
  • 1080PsF 23.98, 24, 25*, 29.97* (Note: 25 and 29.97 require a valid camera source and the use of the Record Type>PsF selection)
  • 1080p 23.98, 24, 25, 29.97

 

Codec Support

  • Apple ProRes 422
  • Apple ProRes 422 (HQ)
  • Apple ProRes 422 (LT)
  • Apple ProRes 422 (Proxy)
  • Avid DNxHD 220x
  • Avid DNxHD 145
  • Avid DNxHD 36 (Note: Avid DNxHD 36 only provides support for the 1080p format)


Removable Storage

  • AJA Ki Stor modules – 2 slots


Video Input Digital

  • SD/HD SDI, SMPTE-259/292/296, 10-bit
  • Single Link 4:2:2 (2 x BNC, input selection in software)
  • HDMI v1.3


Video Input Analog

  • SD/HD Component (3 x BNC)
  • SMPTE/EBU N10, Betacam 525 line, Betacam 525J
  • 12-bit A/D, 2x oversampling
  • +/- .25 dB to 5.5 MHz Y Frequency Response
  • +/- .25 dB to 2.5 MHz C Frequency Response
  • .5% 2T pulse response
  • <2 ns Y/C delay inequity Composite (1 x BNC – CVBS on Y)


Video Output Digital (all simultaneously active)

  • SD/HD SDI, SMPTE-259/292/296, 10-bit
  • Single Link 4:2:2 (1 x BNC)
  • HDMI v1.3


Video Output Analog (all simultaneously active)

  • Component (3 x BNC)
  • HD: YPbPr, RGB
  • SD: YPbPr, RGB (component mode)
  • SMPTE/EBU N10, Betacam 525 line, Betacam 525J, RGB
  • 12-bit D/A, 8x oversampling
  • +/- .2 dB to 5.5 MHz Y Frequency Response
  • +/- .2 dB to 2.5 MHz C Frequency Response
  • .5% 2T pulse response
  • <1 ns Y/C delay inequity Composite (1 x BNC – CVBS on Y)
  • NTSC, NTSCJ, PAL
  • 12-bit D/A, 8x oversampling
  • +/- .2 dB to 5.0 MHz Y Frequency Response
  • +/- .2 dB to 1 MHz C Frequency Response
  • .5% 2T pulse response
  • <1% Diff Phase
  • <1% Diff Gain


Audio Input Digital

  • 8-channel, 24-bit SMPTE-259 SDI embedded audio, 48kHz sample rate, Synchronous
  • 2-channel, 24-bit HDMI embedded audio, 48kHz sample rate, Synchronous
  • 8-channel, 24-bit AES/EBU audio, 48KHz sample rate, Synchronous or Non-synchronous, Internal sample rate conversion (4 x BNC)

 

Audio Input Analog

  • 2-channel, 24-bit A/D analog audio, 48kHz sample rate, balanced (2 x XLR)
  • +24dbu Full Scale Digital
  • +/- 0.2db 20 to 20kHz Frequency Response (Note: Line or Mic selection via CONFIG menu parameters)


Audio Output Digital

  • 8-channel, 24-bit SMPTE-259 SDI embedded audio, 48kHz sample rate, Synchronous
  • 8-channel, 24-bit HDMI embedded audio, 48kHz sample rate, Synchronous
  • 8-channel, 24-bit AES/EBU audio, Synchronous or Non-synchronous, Internal sample rate conversion (4 x BNC)


Audio Output Analog

  • 2-channel, 24-bit D/A analog audio, 48kHz sample rate, balanced (2 x XLR)
  • +24dbu Full Scale Digital (0dbFS)
  • +/- 0.2db 20 to 20kHz Frequency Response
  • Stereo unbalanced headphone (1 x ¼” mini jack)


Up-Conversion

  • Hardware 10-bit
  • Anamorphic: full-screen
  • Pillar box 4:3: results in a 4:3 image in center of screen with black sidebars
  • Zoom 14:9: results in a 4:3 image zoomed slightly to fill a 14:9 image with black side bars
  • Zoom Letterbox: results in image zoomed to fill full screen
  • Zoom Wide: results in a combination of zoom and horizontal stretch to fill a 16:9 screen; this setting can introduce a small aspect ratio change


Down-Conversion

  • Hardware 10-bit
  • Anamorphic: full-screen
  • Letterbox: image is reduced with black top and bottom added to image area with the aspect ratio preserved
  • Crop: image is cropped to fit new screen size


Cross-Conversion

  • Hardware 10-bit
  • 1080i to 720P
  • 720P to 1080i


Timecode

  • SDI RP188 via SDI BNC
  • HDMI (when used with compatible cameras)
  • LTC input (1 x BNC)
  • LTC output (1x BNC) (Note: active during playback not during record or EE)


Reference Input

  • Analog Color Black (1V) or Composite Sync (2 or 4V)
  • Looping, non-terminating.


Network Interface

  • 10/100/1000 Ethernet (RJ-45)
  • Embedded web server for remote control


User Interface

  • 2 x 20 character display, with dedicated buttons
 
Power: 100-240 VAC 50/60Hz (Dual, redundant power supplies), 40W typical; 10A Max

 

Dimensions and Weight

  • 48.26cm (W) 37.74cm (D) 4.45cm (H)
  • Weight: 4.0

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