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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

AJA Ki Pro

J

Jim Perry Jr.

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Ki Pro - $3995 - Shipping June
http://www.dvcreators.net/aja-ki-pro/
http://www.aja.com/products/ki-pro/
http://www.aja.com/products/ki-pro/ki-pro-videos.php

Has anyone looked at Aja's Ki Pro?
I think the concept is innovative.
But the price\product does not seem
cost effective for me.

- I'd rather invest the money in a new MacPro
and convert my footage from scarlet's drive.

- Is anyone aware if some one is developing some
thing similar but with RedCode? Imaging a $250
fireStore but with RedCode.

-Now that im thinking of it, anyone using red's SDK
to work on streaming media with redCode or content
delivery with redCode to an IP TV (with built in RedCode decoder)?
 
The only reason I can see red/scarlet/Epic owners using the Ki Pro is for playback. Redcode is better than ProRes (especially when it's 720p), so why would you want to downconvert? (If you're interested you can check out the Ki Pro on finnerknowsbest.com)

Red already has a "firestore" for redcode and it costs $900.

RED is focusing on using Red Ray as their delivery method/format.



Colin
 
The Ki will record red meta data off the sdi out of the red (according to aja at NAB). You could record as you shoot then edit the pro-res files rather than transcode. You would then do a R3D conform to finish.

Bob Torrance
 
However Baab, if RED Rocket will allow us to edit "native" R3D files on Final Cut Pro (and others), then transcoding will be a thing of the past...
 
jonPlancey said:
- Is anyone aware if some one is developing some
thing similar but with RedCode? Imaging a $250
fireStore but with RedCode.
Click to expand...

Redcode is not a general purpose compression codec. It is designed to compress RAW Bayer information from the Red's Mysterium sensor, which means the only device you would use it to record with is the camera itself. To do that, you need access to the uncompressed RAW data stream. Since Red does not provide that, there is no way to design an external Redcode based recorder.
 
jdcineaste said:
However Baab, if RED Rocket will allow us to edit "native" R3D files on Final Cut Pro (and others), then transcoding will be a thing of the past...
Click to expand...

Not if you are using a laptop. And not if you don't have slots available because they're taken up by things like a Kona card, or an HBA for either fibre channel or other type of external storage, or Avid equipment. And not if you want to do multiple tracks of video in real time. And not if you want to do real time effects. And, in general, not if you want relatively light flies for fluid editing.
To me, using the Rocket is potentially a very good solution for either file transcoding or finishing. It is not necessarily a desirable way to do creative editing.
 
Colin Sheldon said:
The only reason I can see red/scarlet/Epic owners using the Ki Pro is for playback. Redcode is better than ProRes (especially when it's 720p), so why would you want to downconvert? (If you're interested you can check out the Ki Pro on finnerknowsbest.com)

Red already has a "firestore" for redcode and it costs $900.

RED is focusing on using Red Ray as their delivery method/format.

Colin
Click to expand...

I was thinking along the lines of a
portable device that records to redCode.
You can attach the device to any camera,
HV30 (HDMI out of HV20) to a VR phantom.
- I believe RedRay is playback only.
 
mmost said:
Redcode is not a general purpose compression codec. It is designed to compress RAW Bayer information from the Red's Mysterium sensor, which means the only device you would use it to record with is the camera itself. To do that, you need access to the uncompressed RAW data stream. Since Red does not provide that, there is no way to design an external Redcode based recorder.
Click to expand...

It was worth a try, I couldn't remember
if Red's SDK gave developers access to
the recording and playback algorithms.
 
i agree with mmost. although Final Cut Studio 3 may change that for the 'independent editor', and allow for real-time editing of multiple layers of footage without the need to transcode (eg. edit at 1/2 rez, then flip to 4K for finishing).

But for the larger projects, the traditional offline-edit with lower rez files to conform back to 4K files for color grading will still go on for a while.
 
mmost said:
Not if you are using a laptop. And not if you don't have slots available because they're taken up by things like a Kona card, or an HBA for either fibre channel or other type of external storage, or Avid equipment. And not if you want to do multiple tracks of video in real time. And not if you want to do real time effects. And, in general, not if you want relatively light flies for fluid editing.
To me, using the Rocket is potentially a very good solution for either file transcoding or finishing. It is not necessarily a desirable way to do creative editing.
Click to expand...

Seems kind of obvious that if you aren't using a redrocket that you could still be transcoding.

However, 3 out of the last 5 red show I worked on did edit primarily on with the redcode proxies so it's safe to assume redrocket would just improve that workflow.
 
Ariana said:
However, 3 out of the last 5 red show I worked on did edit primarily on with the redcode proxies so it's safe to assume redrocket would just improve that workflow.
Click to expand...

Just waiting to see if the Red Rocket improvements in transcoding to justify the price. I'm guessing they probably will but in the end it's about turn around time. If you need to deliver asap then I'm hoping the RR will do that. But I'll wait to see performance figures before deciding I need it. I may not but then I'm a one man band at the mo so I might not be the target market.
 
How would you use it for Video Assist?
 
well, it won't be as quick to navigate as a dedicated video assist unit, or be able to edit/composite, etc. etc.

It will be able to provide a video assist kind of service to smaller shoots, but it won't be a primary device on a bigger video assist job, as those jobs are more demanding, and have the budget to get a better service.....
 
thanks Chris I primarily do National TV commercials, but even with large budgets we will end up running and gunning with bad clamshell units. I am trying to find a way out of downconverters that don't work feeding 5 year old clamshells that break down all thwe time. We spend a lot of money as a production company renting gear from our playback guys and I was hoping that Ki Pro Might solve some of these issues (Along with feeding my editors Pro ReZ Files at the end of the shoot day!)
 
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