AJA Ki Pro Go Multi-Channel H.264 Recorder
External recording devices are nothing new in the video world. More than a few manufacturers make dozens of products that will record a video input. However, AJA has taught a new trick to one of its old dogs. The new Ki Pro Go is a multi-channel HD/SD H.264 recorder and while recording multiple inputs is not hugely new in the external recorder world, being able to record those inputs to multiple off the shelf USB thumb drives is.
In the multi-cam production world recording isolate camera inputs (ISOs) has always been a tough needle to thread. Ideally, you want something easy to use that doesn’t take up a lot of space and is capable of dealing with an abundance of genlock free sources in today’s cost-conscious environment. Also, if it doesn’t require hitting record in multiple places or ganging recorders together and hoping they sync that would be great. Enter the Ki Pro Go.
Features we know & love
Like all previous iterations of the Ki Pro, the Go is a video recorder. Unlike all previous versions, it records multiple channels, each to a dedicated USB flash drive. If you have used any of the Ki Pro family of products, the Ki Pro Go will be immediately familiar. For those not familiar with the Ki Pro line you will find an easy to navigate interface which features numbered menus accessible from the front of the unit as well as a built in web server for a sleek GUI available to access from any web browser. This continues to be a favorite feature of mine because it makes explaining to volunteers or troubleshooting over the phone as snap because all menus can be referenced by menu number.
In addition to four SDI inputs and four HDMI inputs, there are also four SDI outputs for loop outs to other devices, and dedicated monitor outs for both SDI and HDMI, which can monitor any single channel or a quad split of all the inputs during record.
Familiar VTR-style transport controls adorn the front of the device, beneath the large high-rez monitor which displays a quad split display of all four of the Ki Pro Go recording channels. The Ki Pro Go continues the family tradition on inputs featuring both HDMI and SDI inputs, four of each. Recording inputs can be assigned from any of the eight input channels to four recording channels. Important note, all inputs have to have the same rate and raster, there is no scaling or cross converting. But, the genlock free feature allows those different sources to be timed together internally, removing the need for external frame syncs. Also, on the front of the device are a control knob and a few configuration buttons for quick tactile access for key items; the front of the Ki Pro Go is not overly complicated or unnecessarily covered with buttons. The rear of the device has standard L/R balanced XLR audio in that are mic/line/+48v switchable. Those XLR audio inputs can be assigned to override audio channels from embedded SDI and HDMI audio when you want to include a master stereo audio feed from a mixer, for instance. On top of 4x SDI in and 4x HDMI in, there are also 4x SDI out for loop outs to other devices and dedicated monitor outs for both SDI and HDMI, which can monitor any single channel or a quad split of all the inputs during record.
New Features
The first new feature I discovered when powering up the Ki Pro Go, the device will automatically start to power up. While a little confusing at first, in the event of a power outage, it makes sense. As soon as power is restored the device will try to return to normal function as fast as possible, an essential need in live environments. Speaking of power, the Ki Pro Go has a redundant power input, via two standard 12-volt, 4-pin XLR ports. You can use either the supplied AC adapter or furnish a battery source. Thanks to the industry standard pinout there are a wide range of options available to power this recorder. If the power redundancy wasn’t enough there is also a USB port on the back of the device that can be used for a redundant recording of all primary channels as well.
Use cases
I can see a few ways this recorder could be used in the house of worship market. The first and most obvious is just to record isolated cameras. I could see adding audio program feed and an intercom audio feed into these recordings and giving them to the camera operators so they could do a real-time post-mortem of the event. They can see what they were doing and hear what was happening on stage and the intercom and relive the entire event. Also, because recording media is so cheap the volunteers can take the thumb drives home and if they don’t make it back, it’s not a huge loss. Alternatively, for four simultaneous recordings of an upstream switched master, four USB sticks could be handed off to recipients immediately after recording and the fifth redundant recording preserved for any further editing needs.
Another way I can see this working is as an 8x4 matrix that genlocks the outputs. Working with consumer/prosumer cameras that do not have genlock it would be possible to run all the cameras to the Ki Pro Go; looping the now genlocked feeds out to a switcher. There is a minor caveat to this use case if the Go is recording: there is a three to six frame latency depending on the resolution. However, it stands to reason that you could skip the recording and remove the latency but preserve the genlock. Meaning for small churches with a consumer HDMI camera or a DSLR that do not have genlock, you could genlock four cameras with one device for the cost of a frame sync, or mix genlocked sources with genlock-free sources for recording. I’m always a huge fan of getting the most of out a piece of gear by repurposing it and the Ki Pro GO allows you to do just that.
That last use case is the most obvious, simply record all your cameras raw isolated inputs, and then edit them in post. You could speed this process up by recording a program feed from a switcher as well as cameras that work for broadcast but may not work for IMAG. For example, you could input a program feed to start with and three other cameras getting crowd reaction shots, wide room shots, and stage wide shots to cover with. This would be a quick and easy way to produce a broadcast mix suitable for the web that looks radically different than the program IMAG feed.
In Conclusion
If you are in the market for a video recorder of any kind, from SD to 4K, with Apple ProRes, Avid DNxHD, Avid DNxHR or H.264 support, I can suggest the AJA Ki Pro family of products. AJA has many recorders in the Ki Pro line to fit many different needs, there is one suited for whatever it is you are looking for. While it is a solid device and something the industry needed there were some missed opportunities. I would have liked to see a use case where the Ki Pro Go could playback all four recorded channels to the individual outputs simultaneously. I think this would be a good tool for training IMAG directors and be the video version of a virtual sound check. However, on playback, you need to choose a single channel to play out. Despite all of that, I think the Ki Pro Go is a great recorder coming in at $3,995 MSRP. Meaning you can record four channels of video for roughly $1,000 each, and that’s a good deal no matter how you slice it.
