NASHVILLE, Tenn.—As the founder of TNDV, a Nashville-based live event and broadcast production company specializing in multicamera television, music specials and large-scale live events, I know how recording and capturing content is one of the most crucial tasks we face on any project.

For more than two decades, our team has supported everything from concert broadcasts and awards shows to network television and corporate productions. As our company has grown, our technology choices have always been driven by reliability, efficiency and the ability to scale alongside increasingly complex productions.

Practical and Affordable
My relationship with AJA’s Ki Pro line goes back to the very beginning. I was an extremely early adopter of the original Ki Pro in 2009, and it fundamentally changed the trajectory of my career and my company. At the time, recording HD content meant relying almost exclusively on tape-based HDCAM systems that could easily cost six figures per unit, and it was preventing me from moving beyond an SD-SDI workflow. The Ki Pro introduced a practical, affordable way to record broadcast-quality HD using a file-based, disc-based workflow, arriving at exactly the moment our industry was ready for change.

We quickly recognized that the Ki Pro was not only just a recorder, it was a workflow solution. As our young company expanded from a single HD production truck to three and eventually to 12, we purchased as many Ki Pro units as we could. They became a core part of our technical infrastructure and a key differentiator when pitching new clients.

As the industry transitioned away from tape formats, we were already prepared to deliver file-based media that quickly entered postproduction pipelines in file formats our clients were asking for, like ProRes.

Deployment was straightforward. Ki Pro units integrated cleanly into our trucks, worked seamlessly with a wide range of cameras and switchers and proved themselves reliable in demanding live environments. On a typical production, we use Ki Pro recorders for ISO recording, program capture, backup recording and deliverables. The ability to hand off high-quality media immediately after a show without real-time tape transfers saved hours on every production and helped our clients move faster.

When AJA introduced the Ki Pro Rack, we immediately began purchasing dozens of units. The rack-mounted form factor was a natural evolution for mobile production and control-room environments. It allowed us to consolidate recording systems, improve cable management and expand channel counts without increasing complexity. The Ki Pro Rack was built upon everything we appreciated about the original Ki Pro while offering greater flexibility for larger shows.

Ready for the Future
A few years later, we were just as eager to adopt the Ki Pro Ultra, followed closely by the Ki Pro Ultra Plus. As our productions moved into higher frame rates and 4K workflows, these units provided the performance and consistency we needed. Today, we own and operate over 100 different Ki Pro recorders across our fleet. They are trusted tools for both HD and 4K shows, whether we are covering a live concert, televised awards show or high-profile corporate event.

Over 15 years after the original Ki Pro was introduced, the Ki Pro family remains a crucial part of our workflow. We have evaluated and tested many alternative recording solutions over the years, but the Ki Pro continues to stand out for its reliability, image quality and ease of use. In live production, failure is not an option, and AJA’s recorders have consistently delivered dependable performance show after show.

For our team, Ki Pro is not just a piece of gear—it represents a turning point in how we work and how we serve our clients. From our earliest HD productions to today’s multi-truck, multiformat broadcasts, AJA Ki Pro recorders have helped us grow, adapt and stay competitive in an ever-evolving industry.

More information is available on the AJA Video Systems website.

AJA Video Systems has joined the RAVENNA community, a network of partners devoted to advancing the RAVENNA standard for distributing real-time audio over internet protocol (AoIP).

AJA’s DANTE-12GAM and OG-DANTE-12GAM audio embedder/disembedder products support RAVENNA. The products make it easy to bridge between SDI and AoIP infrastructures. Both include dual 12G-SDI input and outputs, providing up to 32 channels of audio embedding and 32 channels of disembedding simultaneously for a total I/O capacity of 64 channels.

“As the transition to IP accelerates, interoperability is essential for our customers, many of whom are working with a combination of SDI and IP tools,” AJA President Nick Rashby said. “Joining the RAVENNA community underscores our ongoing commitment to meet customers where they are in their IP journey, broadening AJA product support for the larger AoIP ecosystem. RAVENNA is a powerful AoIP option, and now our customers can take advantage of it.”

Welcoming the company to the RAVENNA community, Lawo RAVENNA Evangelist Andreas Hildebrand said RAVENNA support in select AJA products will “unlock seamless interoperability with a range of AoIP protocols—and that benefits all professionals looking to make the most out of AoIP.”

More information is available on the AJA Video Systems and RAVENNA websites.

AMSTERDAM—AJA Video Systems is previewing its Virtual KONA software-defined virtualized video capture/playback solution being developed in collaboration with Amazon Web Services (AWS) here at IBC 2024.

The solution integrates the AJA NTV2 Software Development Kit (SDK), which is deployed by developers to build workflow solutions with AJA video I/O cards, and the AWS Cloud Digital Interface (CDI).

AWS CDI is a network technology for transporting high-quality, uncompressed video inside the cloud with high reliability and latency as low as 8 milliseconds. Combined, the technologies break down the barriers between on-premises and cloud for media production. Together, they enable third-party developers to build solutions across both environments for applications in broadcast, live streaming and post, it said.

Virtual KONA and the AJA SDK provide a direct plugin to AWS CDI, making it possible for any software application that supports KONA to connect to the cloud for I/O. This eliminates the need for developers to code an integration from scratch, while retaining all of the capabilities of AJA’s audio and video I/O cards in a virtual environment, it said.

Third-party applications will be able to input and output uncompressed, high-resolution, high dynamic range (HDR) video between the cloud and local workstations nearly anywhere in the world to support visual effects, color correction, editorial, broadcast graphics and playout as well as streaming, it said.

“As creative and live production workflows grow more distributed, there’s increasing demand for hybrid cloud and on-premises workflows. Virtualizing workstations and the third-party applications that run on them while still being able to stream that work down to local workstations for production stakeholders is crucial for remote teams,” shared AJA Video Systems president Nick Rashby.

“AWS CDI provides the network technology to transport live content with extremely low latency in the cloud, while Virtual KONA and the AJA SDK provide the reliable, fast I/O required to move media and metadata in and out of that network to and from local workstations, making the technologies highly complementary. Collaborating with AWS on this integration has been an incredible experience, and we’re excited to preview it at IBC.”

See AJA Video at IBC 2024 Stand 7.B19.

More information is available on the AJA Video and AWS websites.

More on the AJA NTV2 Software Development Kit is available online.  

More on the AWS Cloud Digital Interface is available online.

It’s hard to imagine that color and television have been inseparable since most major networks and stations transitioned from black-and-white some 60 years ago.

However, the nature of that long-standing relationship has been far from static. To the contrary, color is evolving right alongside picture quality. The latest development is the wider color gamut (WCG), available for television produced with High Dynamic Range (HDR).

Capable of displaying far more colors than those available in Standard Dynamic Range (SDR), HDR brings a more lifelike experience to viewers—at least those with HDR-enabled TVs. While most high-end and mid-range TVs support HDR, millions of viewers still have no way to watch it on their older sets.

Producing live and episodic television for an audience of mixed SDR and HDR viewers requires  a highly efficient approach to color management because you’re often working with a range of sources and equipment, each with their own color science, which can make it tough ensure a consistent color and look as content moves between production gear. And, this matters for audiences, as Tim Walker, senior product manager at AJA Video, says, “if it looks wrong to the viewer at home sometimes people can get frustrated and change the channel.”

TVTech contributing editor Phil Kurz recently interviewed Walker about all things color management, including working in today’s mixed environment, maintaining control over color at every stage of the production chain, the role and types of color Look Up Tables (LUTs), and tips for streamlining  color management workflows for live and episodic production.

As Tim noted in the interview, color monitoring and analysis also takes on added importance in today’s mixed SDR/HDR production environment. Having the right image analysis tools, such as a quality waveform monitor and vectorscope, is a good place to start to ensure proper camera setup and that all cameras match in a multi-camera shoot, he says.

Monitoring at each point in the production through to delivery is important to maintaining color integrity, adds Walker.

These are among the many concepts and recommendations Walker covers during this highly informative chat. Click here to watch.

AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of powerful, flexible video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools. All AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com. 

GRASS VALLEY, Calif.—In the run-up to the 2024 NAB Show, AJA Video Systems has released a new Stream Deck plug-in for its compact HELO Plus H.264 streaming and recording device. 

The software allows streamers, AV professionals, churches, schools, and gamers to use the popular Elgato Stream Deck desktop controller for simple, immediate hardware-based control of HELO Plus. Compatible with Elgato’s entire line of Stream Deck devices on Windows and macOS, the plug-in is available at no cost to HELO Plus and Stream Deck users on the Elgato Stream Deck Marketplace, the company reported. 

“Stream Deck workflows are extremely popular, whether it’s gamers producing live events, volunteers in houses of worship, student operators in educational settings, or tape operators in traditional media organizations,” AJA President Nick Rashby said. “This plug-in gives them quick, easy hardware-based control of HELO Plus via a familiar control system – plus higher levels of operational flexibility and features that help boost production quality.”

AJA’s new, feature-rich Stream Deck plug-in will be on display with HELO Plus at the AJA NAB 2024 booth (SL3065) from April 14-17, 2024, at the Las Vegas Convention Center. In addition to providing the ability to start and stop HELO Plus recording, it enables users to: 

• Select the input for use in a streaming/recording session – SDI, HDMI, internal test signal, and/or layout engine (allowing simultaneous use of the HDMI and SDI inputs), providing a higher level of operational flexibility
• Lock stream and record functions for simultaneous operations
• Initiate AV Mute mode on HELO Plus for manual ‘live’ stream start/stop 
• Recall up to 10 layouts, helping to improve production value

The Stream Deck plug-in for AJA HELO Plus can be downloaded for free from the Elgato Stream Deck Marketplace, and a HELO Plus Stream Deck Plugin Guide is available here to assist with configuration and setup. See a demo of it at NAB 2024 at the AJA booth (SL3065). HELO Plus is available through AJA’s worldwide reseller network for $1869 MSRP. For more information, visit www.aja.com/helo-plus. 

GRASS VALLEY, Calif.—AJA Video Systems has announced that media and entertainment (M&E) industry veteran John Miller has joined its team as vice president of global sales where he will guide international sales teams across the AJA product lines, 

Miller brings to the new role three decades of experience growing revenue for software as a service, media asset management, and integrated hardware and software development at companies like Vizrt Group, BeBop, Brightcove, Avid, and Autodesk. 

“John Miller is a seasoned professional with an exceptional track record, and we’re thrilled to have him on board,” shared AJA president Nick Rashby. “He’s well-known and well-respected within the industry we serve and has steered teams through many complex emerging technologies and sales models, and mergers and acquisitions. His extensive market knowledge, experience working with worldwide reseller channels, and strong leadership qualities are invaluable, and we’re excited to continue growing AJA sales globally with him at the helm.” 

“As a company, AJA has established an impressive global footprint, with a reputation for building tools that address real-world challenges and providing world-class support,” Miller said. “I’m excited to work with AJA’s incredible team and apply my knowledge and unique skill set to increase sales and grow the business.” 

Miller joins AJA from visual storytelling tools provider Vizrt, where he spent more than two years overseeing major broadcast accounts as enterprise sales director, exceeding sales quotas and bringing teams together to successfully execute projects. Prior, Miller led worldwide sales and marketing efforts and third-party strategic partner relationships for cloud-based M&E SaaS provider BeBop Technology, and also acted as vice president of Americas media sales at Brightcove, an online video platform developer. 

Miller also spent seven years at Avid, where his leadership as senior sales director for the US and Canada helped increase sales year on year, and he played an integral role in driving revenue growth at Maximum Throughput, a media management and storage technology developer acquired by Avid in 2009, in the role of vice president of worldwide sales and marketing. Previously, Miller served as vice president of worldwide sales and marketing for Autodesk’s M&E division and also worked for Discreet Logic in regional sales and general management roles before Autodesk’s acquisition of the company. He earned a Bachelor of Arts degree in Business Management from Assumption University in Worcester, MA. 

LOS ANGELES—There is no shortage of entertainment today, yet consumers always seem to want more. As content providers create and package content for live and on-demand viewing at an unprecedented rate, they face new challenges – from handling sizable data-rich media files to managing cybersecurity threats. 

To this end, secure digital media processing and post production workflows like those we develop at IDC have never been more crucial. On average, we process and deliver more than 20,000 files globally each month, using custom workflows built on tools like AJA Diskover Media Edition. 

 IDC launched in New York in 1984 and, in 2019, strategically expanded to Los Angeles, where I’m currently based.Being an end-to-end post facility, we handle massive volumes of media processing for projects that run the gamut from film and episodic series to other content and services. AJA Diskover Media Edition software has been integral to helping automate and streamline our media processing business since, for most projects, our job is to find any issues with files in post and fix the content before it reaches the client.

Accelerated Workflows
As client projects arrive, they go through a series of standard steps. First, we need to know where project files live and what they contain. We use AJA Diskover Media Edition and MediaPulse to help determine a file’s path until a person is needed to develop profiles, create files, or complete QC. As we receive files, the technologies clue us into the folder where they will land, and we create proxies. Successful proxies are automatically sent to another folder and second proxies are made, but if any proxies fail, the system stops.

 To accelerate the workflow, our team also creates profiles for each file that we can access from our Telestream Vantage System, in addition to using the Colorfront Transkoder. Depending on the file locations, our workflow might generate an automated cloud backup for disaster recovery. AJA Diskover Media Edition then helps our producers confirm files have arrived, signal to the team that it’s time to move the files and alert the team when it’s completed. 

It’s been an excellent addition to our media processing workflow with built-in automation tools and ties to MediaPulse. The software also automatically indexes our file systems every half hour and makes file scanning quick and straightforward. 

 ElasticSearch Backend
Automating these processes has helped give our customer service reps the data insights they need to better serve clients. The ElasticSearch backend in AJA Diskover Media Edition lets us look for just about anything, from tags to file names or parts of file names—our team doesn’t have to bug the client constantly about file locations. Plus, we can access and review all the file metadata we could ever need in one central location—from the audio configuration to run time, bit depth, frame rate, and more. 

It’s quite the contrast to our previous setup, which required a lot of manual labor and back and forth to find the necessary info. The software also scans our cloud for disaster recovery, so our client service reps can search the cloud index, and easily find an asset they might need to pull back down from the cloud.

Automating our workflow where possible in such a way has become increasingly crucial in recent years, as more companies are leaning on us for remote editorial sessions and spot checks. In terms of operation, having an efficient, secure infrastructure built on technology like AJA Diskover Media Edition allows us to take on more work, and focus on the aspects of the job we love most, vs. wasting time and energy tracking down file information and extracting the necessary info. l 

For more information about AJA Diskover Media Edition, visit
www.aja.com/aja-diskover-media-edition.

GRASS VALLEY, Calif.—AJA Video Systems has launched Mini-Config v2.26.4, a free software update for AJA’s line of Mini-Converters covering a broad range of 4K, HD, and SD conversion needs spanning broadcast, production, post, and proAV. The release brings several user-requested enhancements to AJA’s HA5-12G, HA5-4K, HA5-Plus, HA5-Fiber, Hi5-12G, Hi5-4K-Plus, 4K2HD, 12G-AM, and 12G-AMA Mini-Converters. 

HA5-12G and HA5-4K
AJA Mini-Config v2.26.4 adds input signal preprocessing controls to HA5-12G and HA5-4K Mini-Converters, allowing professionals to accept sources with high jitter. All HA5-12G Mini-Converters now also support 12-bit SDI output, include Genlock controls for “HDMI In” and “Free Run” selections, and automatically mute the SDI output if no valid signal is detected on the HDMI cable or it is removed. 

HA5-Plus and HA5-Fiber
AJA has added a simple Frame Rate Converter (FRC) to HA5-Plus and HA5-Fiber Mini-Converters that uses a frame drop/frame repeat methodology to convert integer input video frame rates to non-integer (e.g. p60 to p59.94) or non-integer to integer (e.g. p59.94 to p60). Newly added EDID Emulation allows users to specify a video format for the EDID, and the information is then sent to the source video device. The feature can indicate whether YCbCr formats are supported as well as the number of supported audio channels (2 or 8).

Hi5-12G and Hi5-4K Plus
AJA Mini-Config v2.26.4 adds 12-bit support to AJA Hi5-12G and Hi5-4K-Plus Mini-Converters.

12G-AM and 12G-AMA
Rounding out Mini-Config v2.26.4, a 1.5G-SDI Internal Signal Generator enables 12G-AM and 12G-AMA Mini-Converters to allow the embedder path to function without the need to connect a source to the SDI input. HDR and Colorimetry metadata are now also displayed for these models in Mini-Config.

“Media and entertainment professionals need to be able to seamlessly move signals between various equipment in the field, which requires reliable, high-quality conversion. AJA develops a broad range of Mini-Converters to support these needs, and we continue to advance our Mini-Converter feature set to help professionals adapt to whatever scenario the job might pose,” shared AJA President Nick Rashby. “AJA Mini-Config v2.26.4 brings a host of powerful new features and improvements that we’re excited to share with users.” 

Additional enhancements for AJA 4K2HD, Hi5-12G, Hi5-4K-Plus, and 12GM Mini-Converter models are also available via Mini-Config v.2.26.4. AJA recommends all AJA Mini-Converter users download the free update from the Mini-Config Support Page. 

GRASS VALLEY, Calif.—AJA Video Systems has announced a firmware update for its Ki Pro Go H.264 recorder and player, v2.0. 

The new firmware is designed to offer improved H.264 recording quality and reliability, including recording support for up to 25 Mbps, 10-bit and 4:2:2 color space. There is also expanded timecode capabilities with LTC, enhanced super out and front panel audio monitoring, in-system drive formatting, network file downloads and gang recording support.

Ki Pro Go v2.0 offers up to four simultaneous HD or SD recording from HDMI or SDI sources. Users can select from five recording settings ranging from Low, which can be used for things like talking heads and security recording, Medium for more complex content and High for things like sports (Med-Low and Med-High are the other two options).

The super out and front panel audio monitoring features display the remaining media percentage and audio meters for all four video channels. The LTC timecode option is available for one of the analog audio inputs, enabling the second to function as a mono input.

Additional features include new in-system media formatting that eliminates a need for a second PC; network file downloading for use in live production environments and allows for moving recorded files to a central server on the LAN; and gang support to connect to multiple Ki Pro Go devices over Ethernet and be able to control the entire group using one unit via Ki Pro Go’s web-based user interface or front panel button controls.

The Ki Pro Go v2.0 firmware is now available as a free download. For more information, visit www.aja.com.  

Elite badminton players from around the world congregate each year to compete in the Malaysia Open, an important stop on the circuit of tournaments sanctioned by the Badminton World Federation (BWF). Fans unable to make it to Axiata Arena in Bukit Jalil this year were kept apprised of the latest updates via high-quality YouTube live streams produced by Macking Domain. Over the course of the six-day tournament, more than 12 hours of match footage across four courts were streamed to the Malaysia Open YouTube channel. Macking Domain relied on a host of technology to deliver the action, including four AJA HELO H.264 recording and streaming devices.

Given a straightforward set of video delivery requirements by its client, Macking Domain set out to establish a workflow built on AJA’s HELO. “We needed to deliver 1080/60p video with audio from each of the four courts and get live scoreboard content from each court integrated into the feed, which is why AJA’s HELO made so much sense,” shared Yoke Tee Tan, General Manager, Macking Domain. “It’s an affordable device that makes it incredibly easy to bring audiences a very high-quality viewing experience.”

Four Sony cameras, one on each court, were connected to a Newtek VMC1 digital media production system and captured live match footage. Courtside laptops housing scoreboard feeds were then encoded to NDI, and audio was embedded from each court using AJA Mini-Converters. Embedded audio signals came in as an NDI stereo channel via a network device interface converter and were split into two separate mono channels on a TriCaster video production system. The eight mono channels were routed to the corresponding scoreboard and linked with the associated court stream using 1 M/E; that signal was then routed to each SDI output on the VMC1. All four SDI outputs from the VMC1 were connected to four AJA HELO units for live streaming straight to YouTube; footage was simultaneously recorded to SD cards in HD using the HELOs.

“The results were impressive,” shared Tan. “All four HELO units streamed seamlessly with no delays or setbacks, and the UI presets made it easy to save and recall settings in a single click, which helped ensure a consistent look across streams.”

About HELO

AJA’s HELO allows users to simultaneously stream video signals to Web Content Delivery Networks while encoding and recording H.264 files to SD cards, USB storage or network-based storage with the push of a button. Supporting a range of professional workflows, the H.254 streaming, recording and encoding device includes 3G-SDI and HDMI inputs and outputs and the power to handle up to 1080p recording formats among other features. www.aja.com/products/helo

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional, broadcast and postproduction markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.

Grass Valley, CA (November 14, 2019) – AJA Video Systems released Desktop Software v15.5 for KONA, Io and T-TAP products, featuring additional functionality for both HDR and 8K workflows, plus new performance upgrades enhancing creative freedom and flexibility across Windows, Linux and macOS. New features include Metal support on macOS and full compatibility with macOS Catalina; HDR over SDI via VPID; and HDR Test Patterns for 8K/UHD2/4K/UHD/2K/HD workflows. For the KONA 5 PCIe I/O card, the update also adds full 2SI SMPTE raster support for 8K; RGB support for 8K capture and playback; and 8K to 4K downsample via HDMI.

Desktop Software v15.5 introduces new functionality with NLEs, including deeper HDR integration with Avid Media Composer 2019.11 and native 8K or 4K (downsampled from 8K) playback with Adobe Premiere Pro 2020. The update also adds SMPTE ST 2110-40 monitoring via SDI on AJA Io IP and Avid Artist DNxIP and AJA NMOS support for multiple devices connected to a single host. Additionally, Desktop Software v15.5 increases speed and creative support on Mac workstations – including the new Mac Pro – by featuring full compatibility with macOS Catalina, new Metal support on macOS and other optimizations.

Desktop Software v15.5 highlights include:

● Full compatibility with macOS Catalina

● New Metal support on macOS

● HDR over SDI via VPID

● HDR Test Patterns for UHD2/UHD/HD

● Deeper HDR integration with Avid Media Composer

● Full 2SI SMPTE raster support for 8K on KONA 5

● RGB support for 8K capture and playback on KONA 5

● 8K downsample to 4K via HDMI on KONA 5

● Native 8K or 8K to 4K downsampled output with Adobe Premiere Pro

● HDMI input detection improvements

● New countdown functionality to mark out or end of clip in AJA Control Room

● New fan controls and fan speed indicator in AJA Control Panel

● DirectShow updates including addition of support for KONA 5 and KONA IP

● Support for Windows, Linux and macOS

Pricing and Availability

Desktop Software v15.5 is now available as a free download from AJA’s support page.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com. 

Chiba, Japan, Inter BEE Booth #7312 (November 13, 2019) – AJA Video Systems has introduced new upgrades for its Ki Pro Family of production-proven file-based recorders. A new v1.5 firmware update for Ki Pro GO adds timecode recording and playback, expanded primary and backup recording to all USB ports and new clip naming and segment recording. Ki Pro Ultra Plus v5.0 introduces a new Infinite Recording feature that allows the unit to act as an always running backup recorder. Both firmware updates will be available soon to customers as free downloads.

Ki Pro GO is AJA’s new portable, multi-channel H.264 recorder and player, featuring up to 4-channels of simultaneous HD and SD capture to affordable, off-the-shelf USB media. With the v1.5 firmware update, Ki Pro GO now records and plays video with timecode. The timecode can originate from an incoming SDI video’s RP188 data, be recorded as the time of date or be specified to start at a specific hour. For playback, timecode values are automatically embedded as RP188 data on Ki Pro GO’s SDI outputs. The v1.5 update also expands backup and primary recording to all five USB ports, providing users with increased flexibility to choose their desired recording destination. Additionally, the update adds new clip naming and segment recording, automatically creating a unique file name for each clip and identifying each segment of a continuous recording for extended event time needs.

The Ki Pro Ultra Plus is a multi-channel HD Apple ProRes® and single-channel 4K Avid DNxHR and ProRes recorder. The v5.0 firmware update adds numerous performance enhancements and a new Infinite Record mode that automatically captures all footage, providing the ability to run as an always running backup recorder. Infinite Record mode includes automatic formatting and rollover to both AJA Pak Media slots for uninterrupted recording, so there is no downtime when one drive fills up. Ki Pro Ultra Plus offers up to 4-channels of simultaneous HD recording, or 4K/UltraHD/2K/HD recording and playback via SDI and HDMI.

“Following lots of positive feedback from our users, we’ve upgraded Ki Pro GO with even more functionality to streamline H.264 recording and flexibility throughout production,” said Nick Rashby, President, AJA Video Systems. “With our new update to Ki Pro Ultra Plus, we’re delivering even more features that customers have been asking for, like Infinite Recording.”

Pricing and Availability

Ki Pro GO v1.5 and Ki Pro Ultra Plus v5.0 are available soon as free downloads from the on AJA’s website. For more information on the full Ki Pro Family, visit our website.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website.

Chiba, Japan, Inter BEE Booth #7312 (November 13, 2019) –AJA Video Systems has announced new 8K support for HDR Image Analyzer 12G, its powerful real-time HDR and WCG monitoring and analysis platform developed in partnership with Colorfront. The upcoming free software release will feature up to 8K/UHD2 HDR monitoring and analysis for high raster content with 12G-SDI for higher bandwidth workflows with the simplicity of single-cable connectivity.

HDR Image Analyzer 12G fuses AJA’s production-proven video I/O technology with powerful HDR and WCG image analysis tools from Colorfront, including waveform, histogram and vectorscope monitoring and analysis of up to 8K content over 12G-SDI for broadcast and OTT production, post, QC and mastering. Within a compact 1RU chassis, HDR Image Analyzer 12G provides users with a comprehensive toolset to monitor and analyze SDR and HDR formats, including PQ (Perceptual Quantizer) and Hybrid Log Gamma (HLG). Additional feature highlights include:

● Up to 8K/UltraHD2/4K/UltraHD/HD 60p over 12G-SDI inputs

● UltraHD UI for native resolution picture display over DisplayPort

● Configurable layouts for placing desired tools in the preferred window

● Remote configuration, updates, logging and screenshot transfers via an integrated web UI

● Remote Desktop support

● Support for display referred SDR (Rec.709), HDR ST 2084/PQ and HLG analysis

● Support for scene referred ARRI, Canon, Panasonic, RED and Sonycamera color spaces

● Display and color processing lookup table (LUT) support

● CIE graph, vectorscope, waveform and histogram support

● Nit levels and phase metering

● False color mode to easily spot pixels out of gamut or brightness

● Advanced out of gamut and out of brightness detection with error intolerance

● Data analyzer with pixel picker

● Line mode to focus a region of interest onto a single horizontal or vertical line

● File-based error logging with timecode

● Reference still store

● SDI auto signal detection

● Three-year warranty

“Driven widely by 8K advances in Japan and across Asia, there is a growing international demand for powerful production tools that facilitate the creation and delivery of ultra-high definition content,” said Nick Rashby, President, AJA Video Systems. “HDR Image Analyzer 12G was developed to support higher bandwidth content and provide customers with pinpoint color accuracy, and the new addition of 8K support will power the highest resolution workflows as 8K adoption advances across the industry.”

Pricing and Availability

HDR Image Analyzer 12G will be available soon through AJA’s worldwide reseller network for $19,995 US MSRP. To order or for more information, visit AJA Video Systems.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website.

With millions of daily visitors, YouTube has become an ideal platform for government agencies to keep the public apprised of breaking legislative developments. Content traditionally reserved for public TV or meeting rooms is now increasingly being live streamed, as the Minnesota House of Representatives is showing. House Public Information Services, a non-partisan office of the Minnesota House of Representatives, broadcasts select meetings live on PBS and cable when the House is in session, but also delivers a live stream of every meeting room to YouTube, relying on AJA’s HELO to stream meeting content to potential viewers 24/7.

Looking to enhance the accessibility and quality of each stream, House Public Information Services Engineering Director Michael Simonds recently modernized the agency’s workflow, bringing streaming in house and upgrading image quality from SD to HD. “HD is everywhere now, and before using HELO, our feeds were downconverted from 1080i and streamed in SD to our website using a third-party service. That level of quality just wasn’t cutting it anymore, especially for the cost, but fortunately technology like HELO has made it easy and affordable to stream HD content to better cater to audience viewing habits,” shared Simonds. “With HELO, we can live stream high quality content straight to YouTube, so anyone who is interested in meetings or debates on important issues can open up the YouTube app, find the stream they want to view and tune in directly from their computers, phones or other portable devices; it’s improved the viewer experience and saved us a ton on streaming costs.”

HELO’s support for closed captioning was another key consideration in the workflow overhaul, as the office strives to be ADA compliant for the public. Latency also played a large factor in the decision. “HELO’s closed captioning support is huge and a major reason we decided to go with it,” noted Simonds. “The devices have also helped us reduce latency by nearly 90 percent– going from one minute to five seconds; that’s a noticeable improvement and perfect for the kind of talking heads content we’re covering.”

The Minnesota House of Representatives campus spans multiple committee rooms with production equipment spread throughout the House Chamber and surrounding buildings. The main production facility is based in the state office building across the street from the House Chamber and features two production control rooms. Since all meetings are considered public, 13 HELOs located in a media hub in the basement of the Minnesota State Capitol, where content is distributed, stream committee room footage 24/7 to allow access to meetings that may not get television coverage. All video typically runs through the media hub and is converted from SDI to fiber for long distance runs, and back to SDI in the main control room. There, it is run through a switcher and graphics system. Audio is distributed back at the House Chamber and submixed down to Simonds’ department. Graphics are then added into the feeds, which are converted back to fiber and transmitted across the street to the Capitol building and back into the media hub. The feeds are then sent across a VLAN to the House IT network, where its Internet connection is used to send the feeds to YouTube.

Simonds concluded, “The HELOs pack a lot of punch for such little devices. Lined up vertically in a rack, their power is impressive, especially given the massive workstations traditionally used to achieve the same end result. They’re also super easy to use; plug them in, turn them on and they do exactly what you want. They just keep working, even when running 24/7– true workhorses.”

In addition to using HELOs for live streaming to YouTube, Simonds’ team uses a host of other AJA gear for delivering content to broadcast to public TV stations; these solutions include FS2s for frame synchronization, and Hi5 Mini-Converters for converting SDI to HDMI for large HDMI monitor walls.

About HELO

AJA’s HELO allows users to simultaneously stream video signals to Web Content Delivery Networks while encoding and recording H.264 files to SD cards, USB storage or network-based storage with the push of a button. Supporting a range of professional workflows, the H.254 streaming, recording and encoding device includes 3G-SDI and HDMI inputs and outputs and the power to handle up to 1080p recording formats among other features.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional, broadcast and postproduction markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. 

Few could argue that MPEG-2 has not been a workhorse of professional media compression. Created in 1988, it helped to power the commercial success of DVD disc players and is still used daily by U.S. TV broadcasters as a vital –and mandated—part of their DTV transmission service.

But what if I told you H.264 Advanced Video Compression (AVC) will have a run that matches or exceeds that of MPEG-2? One that ensures AVC will be with us for the rest of our adult lives?

Perhaps, you are raising an eyebrow, smirking skeptically or simply saying to yourself “No way!” But keep an open mind and consider these three reasons why H.264 compression will be with us for a long, long time.

No. 1: Hitting the sweet spot. When you consider factors like processing power and cost, it’s hard to beat H.264 encoding. Sure, H.265, or High Efficiency Video Coding (HEVC), outshines AVC in terms of pure apples-to-apples compression.

A BBC Research & Development blog posting, “H.265/HEVC vs H.264/AVC: 50% Bit Savings Verified,” makes the case for HEVC in the title. The posting discusses subjective comparison testing of the two compression standards based on international recommendations for assessment of video quality.

“The overall average bit rate saving achieved by HEVC compared to AVC of the same subjective quality was found to be 59% as supposed to the 44% gain show with objective quality metrics,” the blog says. It also notes that bit rate savings were greater for larger picture sizes.

While impressive, the blog doesn’t address the cost of encoding. At this point in time, it’s not out of the ordinary for a professional quality HEVC encoder to cost four times as much as a comparable AVC encoder. Although HEVC encoders will likely drop in price with time, as do the vast majority of electronics, so too will AVC encoders.

Thus, in terms of bang for the buck, H.264 encoding occupies, and likely will continue to occupy, the compression sweet spot for a very long time.

No 2: Changing viewing habits. No one could argue that TV viewing hasn’t undergone a major transition. While the living room TV remains important, people now enthusiastically watch television, streaming entertainment and movies on their phones, tablets and laptops—something that would have been unimaginable a few years ago.

Helping to fuel this transition is H.264 compression. Equally adept at powering video streaming on a Raspberry Pi-based IoT device, an iOS platform or Android device, H.264 unlocks a world of possibilities for reaching people with video where they want to consume it.

Further, because of its flexibility, H.264 can be used to simultaneously stream a high school or college basketball game at 360p or 480p while encoding a 720p or 1080p version to be edited later and uploaded to a YouTube channel.

Not only has H.264 evolved into a web delivery format, it is widely used in high-end cameras as one of many supported output formats. It’s also the fuel powering a variety of affordable, yet-powerful production setups used to produce everything from corporate and government events to video game tournaments and club sports—all of which nurture changing consumer viewing habits.

No. 3: Archiving. Perhaps the biggest reason H.264 will remain relevant for decades is its role as an archival format. It’s widespread use for archiving by universities alone ensures H.264 will be around a long time. But it’s also widely used for first-time digitization of content to be archived outside of academia.

All of that HD content shot over the past 20 years –whether 1080i or 1080p— is going to be with us for the rest of our lives regardless of the growing adoption of 4K and maybe 8K. As long as it is, H.264 will remain a vital compression format to archive that content, assuring its longevity one day will challenge and likely surpass that of MPEG-2 as a workhorse compression format.