Infinite Record allows continuous recording and rollover from PAK Drive to PAK Drive for a variety of needs including multi-day sporting events, conferences, security needs and much more. This function works with each input to Ki Pro Ultra 12G 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.įorced Rollover support allows users to force a rollover recording to the second PAK port at any point, allowing quick extraction of the first PAK drive for fast transfer to editing environments, playout servers and more, while recording continues. 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. In this way, all multi-channel clips have the same timecode duration and will align perfectly within any NLE. But Ki Pro Ultra 12G 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. 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. Internal frame synchronizers eliminate the need for sources to be genlocked, which can be especially useful when setting up live events. Ki Pro Ultra 12G even allows rollover to a second PAK for hours of uninterrupted multi-channel recording. 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*. Simplify your multi-camera productions by running up to four cameras per Ki Pro Ultra 12G and save power, space, time and effort on set, in the studio and when setting up OB trucks. Ki Pro Ultra 12G even allows independent profile support per channel in Multi-Channel mode for example, 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. Simple, predictable pricing.Īn EditReady license is perpetual, works on Mac, and includes a year of updates and support.Record 1, 2, 3 or 4-Channels of beautiful HD up to 1080p 50/60 in Apple ProRes simultaneously with Ki Pro Ultra 12G – without the need to genlock the sources. Use the overlay tool to burn-in timecode, reel names, shoot dates, media names, and other metadata. Layout custom formatted text, including metadata values from the source media. Import images with alpha channels to apply complex bugs or watermarks. Use the overlay editor to position graphical elements for compositing on top of your video. Play back, trim, add LUTsĪnd there's more: screen your camera's original media files before you transcode them, apply a LUT to preview your Log media with or without a specific predetermined look, check your previewed clip in ScopeBox via our integrated ScopeLink connection, and set In and Out points to avoid transcoding unwanted parts of your clips. EditReady's unique color pipeline make this a breeze, translating everything to what you need it to be, without compromises. When a shoot mixes camera formats, you'll end up with a variety of color spaces, Log types, HDR formats, and LUTs. The end result? A high quality proxy that's easy to edit with, with all the flexibility a non-RAW format carries. EditReady uses each vendor's specific RAW decoder, using the vendor preferred Log format to reflect the original shooting intent. Use metadata to automatically rename files, or burn data into overlays. Review and edit metadataĮditReady lets you view and edit all of the metadata associated with your file, including location data, camera settings, and diagnostic information. Every codec gets transcoded as its makers intended it to. No unofficial frameworks, and zero hacks. Using each manufacturers' original SDK wherever possible to ensure the best quality transcodes.
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