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AJA Ki Pro Ultra Plus

Ki Pro Ultra Plus is a Multi-Channel Apple ProRes recorder offering up to 4-Channels of simultaneous HD recording, or in Single-Channel mode a 4K/UltraHD/2K/HD Apple ProRes® or Avid DNxHD® MXF recorder and player supporting the latest connectivity including 3G-SDI, Fiber and HDMI 2.0, as well as large raster high frame rate workflows, including 4K 60p.

Designed to be both portable with a built-in carry handle or rackmountable with half rack wide 2RU high dimensions, Ki Pro Ultra Plus suits a wide range of production and post environments.

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Tech Specs


Video Formats

 Single Channel Mode:
• (4K) 4096 x 2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• (4K) 4096 x 2160PsF 23.98, 24, 25, 29.97*
• (UltraHD) 3840 x 2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• (UltraHD) 3840 x 2160PsF 23.98, 24, 25, 29.97*
• (2K) 2048 x 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• (HD) 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• (HD) 1080i 25, 29.97, 30
• (HD) 1080PsF 23.98, 24, 25**, 29.97**
• (HD) 720p 50, 59.94, 60

 

Multi-Channel Mode:
• (HD) 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• (HD) 1080i 25, 29.97, 30
• (HD) 1080PsF 23.98, 24, 25**, 29.97**
• (HD) 720p 50, 59.94, 60

 

*Only 4 x 1.5G-SDI, 10-bit 4:2:2 YCbCr, Square Division
**25 and 29.97 requires Record Type>PsF selection


Codec Support

 Single Channel Mode:
• Apple ProRes 4444, up to 30 fps
• Apple ProRes 422 (HQ)
• Apple ProRes 422
• Apple ProRes 422 (LT)
• Apple ProRes 422 (Proxy)
• Avid DNxHD HQX (220x)*
• Avid DNxHD SQ (145)*
• Avid DNxHD LB (36)**

 

Multi-Channel Mode:
• Apple ProRes 4444, up to 30 fps
• Apple ProRes 422 (HQ)
• Apple ProRes 422
• Apple ProRes 422 (LT)
• Apple ProRes 422 (Proxy)

 

*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


Removable Storage

• 2 x slots, AJA Pak SSD media Pak256, Pak512, Pak1000
• Pak-Adapt-eSATA*, Pak-Adapt-CFast*

 

*Only with AJA qualified media


Video Input Digital

• 4x 3G-SDI, SMPTE-292/296/424, 10-bit (12-bit input supported)
• 4x Fiber LC*,  3G-SDI, SMPTE-297, 10-bit
• 4K/UltraHD 4:2:2 or 4:4:4 (4 x BNC or Fiber LC*)
• Dual Link 4:2:2, 4:4:4 (2 x BNC or Fiber LC*)
• Single Link 4:2:2, 4:4:4 (1 x BNC or Fiber LC*)
• 1x HDMI standard type A connector
• HDMI v2.0
• 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 Digital

• 4 x 3G-SDI, SMPTE-292/296/424, 10-bit
• 4x Fiber LC* 3G-SDI, SMPTE-297, 10-bit
• 4K/UltraHD 4:2:2 or 4:4:4 (4 x BNC or Fiber LC*)
• Dual Link 4:2:2 or 4:4:4 (2 x BNC or Fiber LC*)
• Single Link 4:2:2 or 4:4:4 (1 x BNC or Fiber LC*)
• 1x HDMI standard type A connector
• HDMI v2.0
• 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
• 8-Channel, AES/EBU via (1/2 x DB-25 TASCAM pinout)


Audio Input Analog

• 8-Channel, 24-bit A/D analog audio, 48 kHz sample rate (1 x DB-25 TASCAM Pinout)
• +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
• 8-Channel, AES/EBU via (1/2 x DB-25 TASCAM pinout)


Audio Output Analog

• Stereo unbalanced headphone jack (1 x 3.5mm jack) with volume control
• 8-Channel, 24-bit D/A analog audio, 48 kHz sample rate (1 x DB-25 TASCAM pinout)
• 2-Channel unbalanced 2 x RCA connectors


Recording Mode

• Multi-channel HD Apple ProRes recording
• Single channel 4K/UltraHD/2K/HD recording


Playback Mode

• One channel of 4K/UltraHD/2K/HD at a time


Timecode

• SDI RP188/SMPTE 12M via SDI BNC
• LTC input (1 x BNC)
• LTC output (1 x BNC)


Reference Input

• External, 2 x BNC
• 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 Captioning Support

• CEA-708, CEA-608


File System Support

• HFS+, exFAT


Size (w x d x h)

• 8.64″ x 9.34″ x 3.31″ (219.46mm x 237.24mm x 84.08mm)


Weight

• 5.6 lbs (2.6 kg)


Power

• Dual, redundant, 5.4A max, 35W-60W typical-65W Max
• 100-240 VAC 50/60 Hz (adapter)
• 12-18Vdc 4-pin XLR (chassis)


Environment

• Safe Operating Temperature: 0 to 40 degrees C (32 to 104 degrees F)
• Safe Storage Temperature (Power OFF): -40 to 60 degrees C (-40 to 140 degrees F)
• Operating Relative Humidity: 10-90% noncondensing
• Operating Altitude: <3,000 meters (<10,000 feet)

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Multi-Channel HD Recording

Record 1, 2, 3 or 4-Channels of beautiful HD up to 1080p 50/60 in Apple ProRes simultaneously with Ki Pro Ultra Plus.

Simplify your multi-camera productions by running up to four cameras per Ki Pro Ultra Plus 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 Apple ProRes (Proxy) for an efficient editing pipeline.

Starting with input 1, add channels as needed in order when utilizing like raster size and frame rate, and record your HD Apple ProRes files on the same AJA Pak media*. Ki Pro Ultra Plus even allows rollover to a second Pak for hours of uninterrupted multi-channel recording.

*Pak Media 1000 modules with an -R0 module designation and all Pak Media modules with -R1 designations supported for 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 time code 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 or RAID storage 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 bars 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 time code 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 time code 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 on Ki Pro Ultra Plus 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 UltraHD or HD video and clean 24-bit 48hz 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 for Professionals

Next generation 4K/UltraHD 50/60p recording and playback are attainable all the way up to Apple ProRes HQ when using AJA Pak1000 SSD media with Ki Pro Ultra Plus.

4K/UltraHD is supported through 4x 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 UltraHD 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 4x 3G-SDI input to captured Apple ProRes 444 files, resulting in clean green screen plates across the 4K/UltraHD/2K/HD raster landscape for easy and detailed postproduction 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.

Big on quality - but not on file size.

Ki Pro Ultra Plus records 4K/UltraHD/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 UltraHD 60p and 4K 60p recording is attainable all the way up to Apple ProRes HQ when using
AJA Pak1000, or AJA Pak512-R1 and Pak256-R1 SSD media.

By utilizing Apple ProRes, your project will have the best image quailty available, with manageable and affordable
file sizes.