If your church uses video cameras for IMAG, overflow, or streaming, then chances are you have done some research in the video recorder market. In doing so you would discover that there are lots of options based on resolution, recording codecs, and media type. One of the consistent brand names on the list is AJA, and their Ki Pro line up of recorders. These recorders have become a staple in the live production world, gracing the systems of many churches, including my own. When AJA releases anything in the Ki Pro family, I get excited for the opportunity to test it. The newest member of the family, the Ki Pro Ultra Plus, is no exception.
Similarities
The Ultra Plus records at resolutions up to 4K, which is not unique in the Ki Pro line. The Ki Pro Quad is also capable of recording resolutions up to 4K. Like the Quad, the Ultra Plus features four 3G-SDI inputs and outputs via BNC. It also has AES and DB-25 audio inputs. It also features one HDMI 2.0 in and one HDMI 2.0 out, --- a feature that distinguishes the Ultra from the Ki Pro Quad
Like the rest of the Ki Pro line, the Ultra Plus records media as one of two industry-standard, edit-ready codecs, either Apple ProRes or Avid DNxHD, with DNxHR to come in a free firmware update in 2018. It uses the .MOV standard for ProRes and the .MXF standard for DNxHD. While having the choice of two formats may not seem impressive, the compression options inside those formats are enough to cause decision paralysis. On the ProRes side it will record 4444 XQ all the way to 422 proxy, and basically everything in between. On the DNxHD side it will record HQX, SQ, and LB, giving you a file size to match every storage device. If I were to list all the resolution, format, and compression settings, the chart would encompass my entire word quota for this article.
The Ultra Plus also shares some other features that are standard through the entire Ki Pro line, including an intuitive menu system. While that might not initially seem like a big deal, it really is because of the amount of menu-driven options available on this device. The individual menu pages are numbered, making it easy to find what you are looking for. Scrolling through the menus is achieved via a rotatory selector knob located on the front of the device. Also, located on the front are transport controls and a large 4.8-inch 720p LCD display, which provides playback and monitoring.
The transport controls are not the only control option; the Ultra Plus also has an RS-422 port, and an optional web GUI that can also control the device, easily accessed from any web browser on any platform. Flanking the transport controls on the other side of the front face are the dual recording slots. These can record to AJA Pak Media SSD’s or utilize the optional Pak-Adapt-eSATA or Pak-Adapt-CFast. These adapters turn the drive bays into an eSATA output or a CFast card slot, extending the variety of recording options.
The last common feature through the Ki Pro family is Ki Protect. This is an often overlooked, but very important feature. While the device is recording, it’s also continuously updating the file header every time new data is recorded. A sudden power outage would only result in the loss of the last few frames that were in transit to the drive bay. Everything already recorded would be protected and recoverable. If you have ever suffered a critical failure in the middle of recording, you know the peace of mind this feature offers.
Differences
While the Ultra Plus shares many features with the rest of the Ki Pro line of recorders, it also has several unique features that really make it stand out. The Ultra Plus offers four 3G-SDI, HDMI or optional fiber inputs and outputs. While video-over-fiber isn’t a terribly new option, the idea of having an entire video eco-system without bulky external fiber converters is one step closer to being a real possibility.
The second feature that really separates the Ki Pro Ultra Plus from the rest of the family --- and the one that really got my attention, is multi-channel recording. The Ki Pro Ultra can record up to four individual HD cameras simultaneously. The list of devices on the market that are capable of doing this is not terribly long. This is a great feature for those churches that are doing postproduction on their live services.
Use cases
Many churches record their IMAG feed, after some post work, release it as their online worship service. In that circumstance, this recorder is a great solution, because the individual files from the Ki Pro Ultra Plus can be made into a multi-cam sequence easily in most NLEs. This could speed up most standard workflows substantially. This is also a great option for churches that just want to record isolated cameras separately so they can edit an entirely different feed.
The last use case is primarily for churches with larger post-production departments, that regularly do multi-cam videos. Having all your footage synced and edit ready as soon as it’s shot is a major time saver. The build quality and style of the Ultra Plus lends itself to this use. The integrated handles on the side encourage it to be moved from place to place, however there is also an optional rack shelf.
What most excited me about this device was the opportunity to record four cameras in and play back four cameras out. Unfortunately, because each camera is recorded to a separate file, that is not an option. However, this is a big step in the right direction and while that specific functionality maybe missing, it may be just about the only thing that is.
If 4K/UltraHD is in your future or recording independent cameras is something that you are considering, look no further than the new AJA Ki Pro Ultra Plus.
