AJA KiPro Mini: DTE or Direct-To-Edit option for R1-MX, Epic & Scarlet

[Sanjin Jukic]

AJA KiPro Mini: DTE or Direct-To-Edit ProRes 422 recording option for R1-MX, Epic and Scarlet.

AJA KiPro Mini is an ideal additional ProRes 422 recording option (module) for existing R1-MX and upcoming Epic and Scarlet.

AJA KiPro Mini workflow explained.

 

[jonnycom]

That's cool but I wish they would've made something for stereo. The KiPro does not seem that much bigger.

 

[Vico Martin]

Save the whales... sorry.
Save the CompactFlash!!!!!!

 

[Vinit Borrison]

this thing reads r3d's off a CF and converts them to prores?

 

[Shane Kelly]

Sanjin, take a look here http://atomos.com/ as well.

 

[Albert C Martin]

this thing reads r3d's off a CF and converts them to prores?

If it's exactly like its big brother it will connect via HD-SDI or HDMI and record the video signal off that way.

Which means for Red One at least you are limited to 720P during record.

 

[Sanjin Jukic]

Which means for Red One at least you are limited to 720P during record.

You don't need bigger size and even Walter Murch is editing @ 720p on FCP.

For the master file recording you still have CF or 1.8" SSD @ max 4.5K REDCODE RAW recording on R1-MX.

Quite impressive combo that you don't get from competitor A, or B, or C, etc...

 

[Albert C Martin]

Don't get me wrong, I'm not complaining, just bringing it up. I think it's a great option for the Red One as sort of a "Proxy Module" ala Epic. There are times where this is a perfect solve.

In my experience the 720p live signal from the Red doesn't seem as sharp as it could be. It might have just been my settings though.

 

[Paul Leeming]

It's funny just how many workarounds people will buy into to stay with FCP.

Really though, all these sorts of DTE announcements etc should be looked at more as being a crutch for the lack of format-agnostic, online workflows that almost every other NLE offers today (and in most cases, for years!).

I'm biased here since I use it, but really, every FCP editor should download a 30 day demo copy of Adobe CS5 Production Premium, update it to the newly released 5.0.2 patch, and see what they've been missing out on. Hell, it even gives you an easy FCP keyboard customisation one-click setting so you can keep using the same keyboard shortcuts you're used to.

Bonus is that it's platform agnostic so Apple lovers and PC enthusiasts can use and share files with ease.

And it's probably cheaper than a Ki Mini as well (though I don't know the price of the Ki so correct me if I'm wrong).

Give it a try. You might be surprised....

Cheers,

Paul

 

[Peter Matthes]

If the AJA KiPro Mini is anything like its bigger brother, the problem will arise in frame rate, and timecode issues.

As Sanjin has said, 720 would be more than acceptable for an offline editor.

If you want to finish on ProRes and you don't care about the Red's incredible ability to manipulate the raw files in post, this might be useful.

However, the whole point of the Red is giving you the freedom to color correct and conform from an offline edit.

The proxy or lower res editing footage needs to have preserved the timecode, and correct frame rate. Then, it needs to allow you to take your offline EDL and flawlessly relink to your master R3Ds files for CC and conforming.

Without that, I don't see any great improvement here. :sad:

 

[Rudi Herbert]

Paul,

Couldn't agree more with you. I remember the days when whenever I was asked what I edited on, I would weigh the consequences of telling potential customers that I worked on Adobe on a PC, heresy! And now, invariably I get the same answer: yeah, that's cool, we're thinking of moving to Premiere soon too Ironies of destiny. BUT, together with all the format agnostic goodness that Premiere brings, it also needs an online high quality unified format like ProRes IMMEDIATELY! Being able to work on AVCHD, XDCAM or H-264 does not mean that you should. Cineform comes to mind, a great codec, far better than ProRes or even REDRAW for that matter. Adobe can call it whatever they want, but they need a mastering 10 bit format NOW, and the objection of loosing the quality of ProRes will disappear...