EXTERNAL VIDEO RECORDER SUMMARY

Posted on January 6, 2013 by HDSLR NOW

As you probably are aware of by now, the upcoming April firmware upgrade for the Canon 5D MK III will enable clean HDMI output from their flagship HDSLR.

In anticipation of this release, we examined four External Video Recorders, each of which offer different capabilities at multiple price points in order to identify the most appropriate product for a 5D MK III HDSLR post production workflow.

The four External Video Recorders reviewed were:

Sound Devices PIX 220i ($2395)
AJA Ki Pro Mini ($1695)
Atomos Ninja 2($995)
Blackmagic Design HyperDeck Shuttle 2($345)

While these four represent a fairly broad spectrum of devices on the lower end of the pricing scale, there are other alternatives on the market. One of the higher end devices is Convergent Design’s Gemini 4:4:4 model, with a similarly high end price tag of $6000. Add another $2k and the unit becomes a functioning 3-D Recorder.

Although there are many factors one should take into consideration (other than price) prior to purchasing a Recorder, this discussion would be incomplete without reviewing some of the principal issues at hand:

Compression

Obviously, there are multiple positive aspects in recording video externally from your HDSLR; Most notably, the ability to record in an edit friendly, quality codec best suited for your needs is certainly at the top of the list.

According to Wikipedia:

“In the field of video compression a video frame is compressed using different algorithms with different advantages and disadvantages, centered mainly around amount of data compression.”

The Canon 5D MK II offered only the single IPP “Intraframe” method, where each group of 15 frames (at 30 fps) is stored in what is known as a Group of Pictures (GOP).

The 5D MK III changed that approach and instead now offers the “Interframe” IPB and the ALL-I formats. In both codecs, the video file is wrapped within a H.264 Quicktime (.mov) container in 4:2:0 color space.

Unlike the IPP method, IPB (“B” in IPB stands for Bidirectional compression) is designed around “frame predictors”; In other words, the prediction of the content of future frames — with reference to both previously captured frames and subsequent frames — resulting in a more efficient compression format.

In the ALL-I or “Intra-coded” Frame method, each frame is compressed and treated as a separate, single image.

There are benefits to using either IPB or ALL-I compression configurations. For one, IPB results in a file size of approximately 1/3 of an ALL-I file and is most suitable for static shots, such as locked-down, documentary style interviews.

ALL-I compression lends itself to faster editing on the typical NLE compared to the IPB format as it requires less processing power … not to mention the fact that it replays smoother on lower end computers.

ALL-I is best suited for is high-end editing systems with higher storage capacities, as well as users looking for the highest quality possible.

IPB compression: 1080p results in approximately 13 minutes of video for 4GB file
ALL-I compression: 1080p results in approximately 5 minutes (for each 4GB file)

Courtesy Sareesh Sudakaren

However, when choosing to record a video signal on an External Recorder, compression alternatives are usually greatly increased (depending upon the Recorder), such as:

• ProRes 4444 – 330Mbps: Faithfully preserves motion images sequences originating in either 4:4:4 RGB or YCbCr color spaces
• ProRes HQ – 220Mbps: Visually lossless preservation (through multiple generations of encoding and decoding) of the highest quality professional HD video that a single link HD/SDI signal can carry
• ProRes 422 – 150Mbps: Offers nearly all the benefits of “HQ” but at a significantly lower data rate
• ProRes LT – 100Mbps: Ideal for productions which require a large amount of video storage

• Avid DNxHD – 220X: (220Mbps 10-bit 1920×1080 30fps) Superior quality in YCbCr color spaces
• Avid DNxHD – 220: (36 Mbps 8-bit) Highest quality in 8-bit color sources
• Avid DNxHD – 145: (36 Mbps 8-bit) High quality mastering when using lower 8-bit data sources
[Note: Data rate is dependent upon image size, complexity, frame rate and quality settings]

Some may argue a significant increase in image quality when recording with one of the above codecs compared to the native ALL-I or IPB formats, but in reality the improvement is ultimately dependent upon the intended workflow.

Typically, if the footage will be used for the purpose of multi-pass VFX or green screen chroma key production, a high quality intermediate codec would be beneficial.

Apple ProRes 422 (HQ) typically offers more robust footage which is better suited in productions where heavy compositing or color correction will be performed in post.

In most cases, I-frame codecs such as Apple ProRes generally produce better results at data rates of 100Mbps and higher. Apple ProRes HQ (as well as 422) are typically classified as “visually lossless”.

In general, the more frames tends to change, the higher the data rate that most likely would be required in order to faithfully reproduce the scene.

Record Duration

One of the current limitations of HDSLR’s is the maximum file length of :30 minutes. This artificial ceiling of duration was established by the World Trade Organization (WTO).

In essence, it requires HDSLR manufacturers to pay a surcharge on devices which record in excess of :30 minutes.

Nikon and Canon, for example, have avoided the tariff by restricting their HDSLR’s to stop recording at :29 minutes, 59 seconds. As a result, they sidestep a fairly significant 5.4% tax. However, if the WTO’s Information Technology Agreement is revised (a proposal which is currently under consideration), this problem would go away.

Subsequently, abolishing this tax would prompt camera manufacturers to eliminate any length restriction which they currently apply to their HDSLR’s.

In any event, an External Video Recorder workflow makes this a non-issue, since video files are not internally captured by the HDSLR but rather on the external device (not limited by the camera’s configuration).

Media

External Video Recorders also pave the way for longer record times by virtue of higher capacity and cheaper media.

Both Hard Disc Drives (HDD) and Solid Sate Drives (SDD) are available in larger storage capacities, usually at more cost efficient scales (per gigabyte) compared to high capacity, high definition video qualified Compact Flash (CF) or Secure Digital (SD) cards used in HDSLR’s.

In addition, the necessary process of transferring (and sometimes transcoding) files from internal SD or CF cards onto the editing system’s hard drive would also not be necessary. Files recorded to HDD or SSD media can be accessed immediately as NLE externally mounted drives.

And those same files can be recorded in an edit-friendly, intermediate codec such as Avid DNxHD or ProRes, depending upon the model of recorder used.

Connectivity

This is one feature that separates the men from the boys, so to speak.

HDMI is, was, and always will be a consumer grade connector, never intended for use in professional workflows. SDI, on the other hand, is designed for professional video applications due to its locking mechanism and its’ ability to deliver timecode signal.

Timecode via HDMI connectivity is not a given, although the Ninja-2, for example, can see the added timecode in the HDMI stream on Canon and Sony cameras that have it.

Although HDMI and HD-SDI will pass along identical video signals, the differences between the two are primarily centered around:

• Versatility with other devices
• Whether the connection supports 8 channels of audio as well as SMPTE timecode
• The physical configuration of the connector itself: Locking SDI vs. Fitted HDMI

No Audio to Video Syncing Required

Another post production benefit in using an External Recorder is the simultaneous mastering of audio with the video signal in one single file. The formerly necessary, cumbersome step of matching a separately recorded audio track to a video file suddenly becomes a non-issue. Audio can be passed along with video through the HDSLR’s output to the Recorder, or the camera can be bypassed altogether by plugging audio source(s) directly into the Recorder.

The higher priced Recorders typically include professional XLR mic inputs and contain advanced audio circuitry compared to a HDSLR. Feeding directly to the recorder also eliminates the need for a mic preamp (such as Sound Devices MixPre-D, Juiced Link, or Beachtek) which are typically used when recording sound direct-to-camera.

Elimination Of The External Monitor

Although adding an External Video Recorder also adds the amount of hardware to deal with (and also increases your battery, mounting and cable inventory), there is another heretofore necessary device you may be able to do away with.

Models such as the Atomos Ninja-2 and the Sound Devices Pix 220i include on-board monitors which have the professional calibration features typically available on high quality, stand-alone monitors (features such as false color, zebras, peaking etc.).

If you have yet to invest in a stand alone monitor, you can apply the savings towards the Recorder. For example, the MSRP of the smallHD DP4 is $499. Purchase the Ninja-2 instead and you are effectively paying half price for the Recorder, while still gaining the important asset of a confidence monitor.

Timecode

Depending upon their price point, External Recorders can also record timecode, making multi-camera shoots easier to assemble in post. In addition, timecode allows for more accurate clip logging as well as more accurate frame editing.

Another advantage is syncing independently recorded, timecode matched video and audio sources.

Other Uses

In addition to recording video direct from your camera, External Recorders typically accept other HDMI or HD/SDI sources, such as hand-held devices like an iPhone and iPad. This extends your investment and broadens potential applications for multimedia production.

[The perfunctory word to the wise: Please be sure you are recording non-copyrighted material in order to respect the rights of other content creators.]

And don’t forget that an External Recorder also comes in very handy for replaying finished productions on projection devices. The ability to feed content from a recorder onto a projector or monitor for client review is an added bonus.

Conclusion

Needless to say, these are exciting times in the External Video Recorder product sector, with many companies upgrading their units and pushing the industry forward regarding product development.

For instance, Sound Devices improved the functionality of their on-board monitors in the latest “i” series of recorders (the 220i and the 240i).

Of course, the big news from Sound Devices most recently is opening up access to 3G-SDI by offering 12-bit ProRes 4:4:4:4 (rgb/a) codec up to 30fps — with an image quality that is said to be “indistinguishable” from the source material.

This is a significant step forward for such an economically priced device: This free firmware upgrade gives the 240i a “leg up” upon other 4:4:4 units like the Convergent Design Gemini 10-bit recorder (retailing at double the price).

And not to be overlooked is Sound Devices’ recent change in their warranty policy … from one year to two years. The company made this change retroactive for all of their Recorders, demonstrating an impressive commitment to their entire product line.

Other Recorder manufacturers are also busily innovating: Atomos’ latest iteration of the Ninja — the Ninja-2 — added HDMI output, improved its’ on board monitor capabilities, and added Avid DNxHD codec.

Not to be left behind, Black Magic’s bargain basement HyperDeck Shuttle 2 added ProRes HQ which significantly reduces the size of uncompressed HD video files while preserving full frame, 10-bit 4:2:2 signal quality allowing users to record up to six times longer than before.

Not bad for a unit which sells for $327.

As technologies continues to advance and move forward, high quality acquisition devices will become more and more accessible, making for a much more level playing field in the world of digital video production.

Daniel Freytag’s comparison of the Ki Pro and the HyperDeck Shuttle 2

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Posted in Atomos Ninja-2, Black Magic, Cameras, Canon, Canon 5D Mk III, External Video Recorder, Hyperdeck Shuttle 2, Sound Devices | Comments Off

BLACKMAGIC DESIGN HYPERDECK SHUTTLE 2

Posted on January 2, 2013 by HDSLR NOW

In Part V of our series analyzing External Video Recorders, we will next turn our attention to Blackmagic Design’s economical entry, the HyperDeck Shuttle 2 .

Blackmagic Design’s market positioning statement for this little gadget reads “The World’s Smallest Solid State Disc 4:2:2 Recorder With SDI and HDMI”. The company also claims their product dramatically improves the quality of any typical video camera, while asserting the unit is the “perfect” field recorder.

Weighty claims for such a small, lightweight piece of gear — to say the least.

Let’s take a look:

CHASSIS

The HyperDeck Shuttle 2 is machined out of a solid block of “aircraft grade” aluminum.

The device certainly fits into the “compact” category … the dimensions of the unit:

• 155mm (6.1 inches) height
• 110mm (4.3 inches) width
• 27mm (1.0 inches) thick

The weight of the HyperDeck Shuttle 2 also extends its portability:

• 1.15 lbs.

For direct camera mounting, HyperDeck Shuttle Mounting Plate can be added to provide multiple pre-drilled 1/4” and 3/8” mounting holes.

One aspect the Blackmagic Design team obviously took into serious consideration when creating the HyperDeck Shuttle was the goal of creating the simplest, most ergonomic product possible.

It is certainly fair to say they succeeded in this regard.

RECORD FORMATS

Standard Definition:

• 625/25 PAL and 525/29.97 NTSC
• 480p60 and 576p50 via HDMI only

High Definition:

• 1080i50, 1080i59.94, 1080i60, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30, 080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 720p50, 720p59.94, 720p60

CODEC SUPPORT

In November of 2012, Blackmagic Design announced the availability of HyperDeck software version 3.6, an update which added support for the Apple ProRes 422 (HQ) codec providing users the freedom to work in either compressed or uncompressed formats.

Blackmagic Design chose not to include other flavors of ProRes (422, 422LT, or 422 Proxy) which would have added additional licensing costs and most likely increased the retail price of the unit.

In any event, the deck also offers the following additional formats:

• Uncompressed QuickTime
• Avid DNxHD QuickTime
• Avid DNxHD MXF

The software upgrade also included full closed caption support for all HyperDeck models. Closed caption support works in 1080HD video formats and allows closed caption data to be read from the SDI input when recording and saved into .mcc type files.

I/O

A notable capability of this unit lies in its’ SDI/SD-HD connectivity.

The HyperDeck Shuttle 2 includes digital input / output functionality through either a single SDI connection (10-bit, 3 Gb/s SD/HD switchable via DIN 1.0/2.3 connector) or HDMI (type A connector).

From the standpoint of SDI audio, the HyperDeck Shuttle 2 can record 16 channels embedded in SD or HD in QuickTime files, or two channels in Avid DNxHD file format.

HDMI audio-out comes in the form of two channels embedded in both SD and HD signals.

DATA STORAGE

The Hyperdeck Shuttle 2 records onto Solid State Drives (SSD) only.

Obviously, the benefit of this media is that SSD’s are more robust and efficient in read/write performance due to a solid state design.

The following SSD’s are recommended by Blackmagic for use with the unit:

• OCZ 240GB Vertex 3 (VTX3-25SAT3-240G)
• OCZ 480GB Vertex 3 (VTX3-25SAT3-480G)
• Crucial 256GB C300 (CTFDDAC256MAG-1G1)
• Crucial 512GB M4 (firmware 009) (CT512M4SSD2)
• Kingston 64GB SSDNow V+100 (SVP100S2/64G)
• Kingston 128GB SSDNow V+100 (SVP100S2/128G)
• Kingston 240GB SSDNow V+200 (SVP200S3/240G)
• Kingston HyperX 240GB (SH100S3/240G)
• Sandisk Extreme 480GB (SDSSDX-480G-G25)

The following SSD’s are recommended for compressed video capture:

• Crucial 25GB M4 (firmware 000F) (CT256M4SSD2)
• OCZ Agility 3 240GB (AGT3-25SAT3-240G)
• Sandisk Extreme 120GB (SDSSDX-120G-G25)

According to Blackmagic Design, a 128 GB SSD will store about 12.5 minutes of captured material in HD, while a 512 GB SSD will archive about 50 minutes of uncompressed HD video capture.

The Disc Utility application on a Mac can format SSD drives in either ExFAT or HFS+ formats, while a Win/PC can also format in ExFAT for cross-platform compatibility (for a detailed “how-to”, click here).

When it is time to begin editing, you will also need an external dock which will allow you to drop in a 2.5 inch SATA hard drive. One viable candidate is the Thermaltake BlacX eSATA docking station which accepts 2.5″ (as well as 3.5″ SATA drives) and is available in USB 3.0 and eSATA flavors.

MENU

During production, the HyperDeck Shuttle 2 is operated without on-board menu control, but instead relies upon physical buttons.

In order to designate a codec format, the unit must be connected to a computer and then set up via the “HyperDeck Shuttle Utility”. Note that setting the record format also establishes the playback format.

All outputs are available when recording, so the end-user can be recording and simultaneously monitoring the feed on an external display.

POWER

The built-in batteries will last for about one hour when recording and about 1.5 hours in playback mode. The HyperDeck Shuttle’s battery performance also depends on the power consumption of the SSD drives used: Some models consume twice as much power as similar capacity drives from other manufacturers.

Blackmagic Design provides a 12V power adapter with the unit, but it can also be powered from an external power supply such as a camera battery. The HyperDeck Shuttle supports an input voltage range of 12V to 18V.

PRICE & CUSTOMER SERVICE

Blackmagic Design offers technical assistance on their site in the form of FAQ pages, Support Notes, and online inquiry forms, as well as phone support (408-954-0500).

Their technical support team also participates in online user forums and engage their customer base directly.

It should also be noted the HyperDeck Shuttle manual is perhaps one of the better written and easily understood technical documents available. The device is backed by a 12 month limited warranty.

At time of publication, the unit sells for $327.

SUMMARY

The HyperDeck Shuttle 2 is theoretically “future proof” due to a dedicated USB connection for software updates.

The following list some of the key features found in the unit:

• Record and play back to Apple ProRes 422 (HQ), Avid DNxHD MOV, Avid DNxHD MXF or 10-bit uncompressed QuickTime formats.
• Uses high speed, off-the-shelf Solid State Disks (SSDs) available from computer resellers at low cost.
• SSD is removable for editing and changing to blank disks.
• 3 Gb/s SDI input using mini coax SDI connector and HDMI input.
• Power supply connection also recharges battery.
• USB connection for software updates and settings.
• Machined out of solid block of aluminum for maximum strength and attractive design.
• File compatibility with Media Composer, Final Cut Pro, Premiere Pro, DaVinci Resolve.

Although light on features due to its low price tag in comparison to other External Recorders on the market, nevertheless this unit would certainly fit the requirements of a variety of workflows, including a streamlined, low budget HDSLR scenario.

Perhaps the most impressive aspect to HyperDeck Shuttle 2 is its’ price point. Adding an External Video Recorder to your hardware arsenal for around $330 is certainly a significant upgrade to your technical capabilities.

We invite you to follow us on Twitter ~ Images Courtesy Blackmagic Design

Posted in Accessory, Atomos Ninja-2, Black Magic, Canon 5D Mk III, Hyperdeck Shuttle 2, Ki Pro Mini, Sound Devices | 2 Comments

ATOMOS NINJA-2

Posted on December 22, 2012 by HDSLR NOW

Up next in Part IV of our series analyzing External Video Recorders is the versatile, ever popular Atomos Ninja-2.

Announced at NAB 2012 and first shipped several months later in July, the Ninja-2 replaced the original Ninja (which had been in production for approximately one year).

CHASSIS

The Ninja-2 is built with “aircraft grade” aluminum which allows for the dissipation of heat on both the top and bottom of the unit. As such, those surfaces may become hot to the touch but – according to Atomos – this is a natural and expected result of the product design and typically occurs under warm or extended run times. And since it is fanless, the unit operates silently.

Built into the chassis is a 4.3″ diagonal touchscreen monitor with an HD friendly, 16:9 aspect ratio and a 170° viewing perspective (albeit with a non-HD resolution of 800×480).

The dimensions of the unit are:

• 115mm wide (4.52″)
• 87mm high (3.42″)
• 41mm deep (1.61″)

The device by itself weighs in just shy of one pound at only 13 ounces. Add a hard disk drive (HDD) & battery and the weight is one pound, 7 ounces.

RECORD FORMATS

The Ninja-2 storage media in the ExFat file system format and which makes it compatible with both Windows and Mac.

• 1080i 60, 1080i 59.94, 1080i 50

• 1080p 30, 1080p 25, 1080p 24, 1080p 23.98, 1080p 30(60i), 1080p 25(50i), 1080p 24(60i), 1080p 23.98(60i)

• 720p 60, 720p 59.94, 720p 50

• 480i, 576i

CODEC SUPPORT

Recording is always in 10-bit, even from an 8-bit source. The unit records in 4:2:2 color space, while intermediate codec support includes:

• ProRes HQ – 220Mbps
• ProRes 422 – 150Mbps
• ProRes LT – 100Mbps

The release of AtomOS 4.0 firmware last fall opened up the unit’s compatibility with Windows PC’s by virtue of the Avid DNxHD codec:

• Avid DNxHD – 220X (220Mbps (10-bit)
• Avid DNxHD – 220 (36 Mbps 8-bit)
• Avid DNxHD – 145 (36 Mbps 8-bit)

DIGITAL VIDEO I/O

In short, the Ninja-2 takes any uncompressed HD or SD source and encodes it in real-time to 10-bit, 4:2:2 Apple ProRes or Avid DNxHD up to 220Mbps.

Video input is fed via standard HDMI cable with simultaneous display on the Ninja screen. An optional Atomos Connect SDI > HDMI converter can be enabled with SDI connectivity.

An HDMI timecode start/stop trigger is supported for the Canon C100 and 1Dx cameras. Choose between on-board, time of day, record run or auto restart time code modes — or use timecode direct from camera (if supported).

The digital video output is also HDMI (1.4), “ultra low jitter professional grade”.

DATA STORAGE

As opposed to the AJA Ki Pro Mini which records exclusively to CF cards, the Ninja-2 offers storage through the use of removable, 2 ½ inch hard disks (either traditional Hard Disc Drives or Solid State Drives). The obvious benefit here is that hard drives can hold much more data than CF cards, typically at a lower price per gigabyte.

Currently, the unit is compatible with:

• Western Digital HDD
• Toshiba HDD
• Seagate HDD
• Samsung HDD
• Hitachi HDD
(Note: 7200rpm HDD’s are recommended for stationary use)

• Intel SSD
• Kingston SSD
• OWC SSD
• PNY SSD
• SandDisk SSD
(Note: The smaller the capacity, the slower the drive will perform)

And while other external recorder makers sell caddies and docks at additional cost, Atomos promotes the “edit ready” aspect of the Ninja-2 and subsequently provides a pair of “Master Caddies” — as well as docking stations — with every purchase.

SOUND

Although the unit lacks professional XLR inputs, audio can be fed independently of video through a 3.5mm stereo line-in, with the option to switch between analog audio line-in and HDMI as the source in the GUI. The analog line level is adjustable; Touch audio meters are displayed onscreen providing adjustment of 4 audio channels (more about this later).

Atomos has announced a new model called the Ronin which supports 2-channel stereo XLR connections. The Ronin reportedly will be available in early 2013.

Also included is a standard 3.5mm out that functions as either a line-out or headphone out with its own independent level control (adjustable in the user interface).

As noted in previous blog posts, audio/video synchronization can be a potential problem within the framework of an external recorder workflow. This roadblock is alleviated in the Ninja-2 by virtue of its’ “audio offset” function.

MENU

The AtomOS firmware includes mission critical features for image calibration, including:

• Peaking (designed to prevent over-exposing highlights)
• Adjustable Zebra (for exposure control)
• False Color (proper exposure,particularly of skin tones)
• Blue Only (exposure check across the entire scene)

These functions pertaining to image quality control can potentially eliminate the need for an external monitor for image capture calibration.

In addition, Atomos actively promotes their touchscreen menu controls, claiming that it provides one-touch access “to all of the Ninja-2′s menu operations via a fast, responsive interface.”

The two types of screens on the Ninja-2 — the home screen and the video monitor screen — both permit control over the unit, making overall operation very accessible. The home screen includes the option of naming your Ninja “by camera” or “by project”, titles which are then reflected in the recorded video file names.

The unit also computes “time remaining” with regard to capacity levels and also handily displays that data as well.

And with the Ninja-2, the end user can instantly review footage, navigate to different clips, and mark / tag those clips using the “SmartLog” function. In essence, the early stages of the post production process of determining I/O points would naturally improve and expedite the overall post production workflow.

POWER

Included in the purchase of the Ninja-2 is a pair of 7.4 volt batteries; The unit does not come with an AC adapter, which Atomos sells as an accessory for $79.

While the chassis includes mounts for 2 batteries, only one is in use at any given time. The following lists 7.4V run times utilizing NP series battery power:

• 2600mAh – Up to 10hrs
• 5200mAh – Up to 20hrs
• 7800mAh – Up to 30hrs

The Ninja-2′s power consumption is extremely low, with a peak at just under six watts in full operating mode, and just three watts in standby mode.

PRICE & CUSTOMER SERVICE

The Ninja-2 MSRP is $995 USD (€795 / £625). Additional accessories are also available, including a necessary sunscreen for outdoor viewing.

The Atomos team follow public forums and host their own forum as well. There are also social sites including Facebook and Twitter where customers can obtain tech support.

SUMMARY

As we noted in our very first “External Video Recorder” blog, Atomos can lay claim to being mega-movie director James Cameron’s first choice for on-board recorders during his epic Deep Sea Challenge project. The famed Avatar director deployed 30 Atomos Samurai recorders (priced at $1595 USD / €1,245 / £995) for his record breaking deep dive.

In comparison with the Ninja-2, the Samurai sports a slightly larger screen. The other advantage lies in its capability of recording at great distance from the source camera by virtue of its HD/SDI connectivity.

By far, the most common complaint concerning the Ninja-2 concerns line input audio metering and more specifically, the lack of precision available in the meters themselves. Without a scale or indication of absolute signal level, calibration is uneven at best.

In review, here’s a list of some of the Ninja-2 features:

● Limitless, low-cost storage
● Better quality video than the camera’s own recording format
● Touch screen for User Interface and monitoring
● Hot-swappable drives
● HDMI input
● Lanc input and output
● Uses standard affordable Sony batteries
● Hot-swappable, “circular use” batteries for limitless battery use

In short, the Ninja-2 is delivered with virtually everything you need to get up and running quickly (with exception of storage media), including a durable, foam fitted carrying case. Combine this economical “all-in-one” strategy with the multiple capabilities of the unit, the Atomos Ninja-2 is a great value and hard to pass up.

We invite you to follow us on Twitter ~ Images Courtesy Atomos

Posted in Accessory, Atomos Ninja-2, External Video Recorder | 2 Comments

EXTERNAL VIDEO RECORDERS: AJA KI PRO MINI

Posted on December 13, 2012 by HDSLR NOW

In Part III of our on-going series concerning external video recorders, we next would like to examine the AJA Ki Pro Mini.

As one of the early manufacturers of digital acquisition devices, AJA has become a benchmark in the “direct from camera” recorder arena. And as a result, the AJA brand carries some significant weight due to its stature throughout the digital recording industry.

In fact, when asked what product he recommended for use with HDSLR’s which offer clean video output, one industry expert did not hesitate in saying rather emphatically “The AJA Pro Mini, hands down!”

Let’s dig a little deeper and find out why this unit received such a strong endorsement.

CHASSIS

The Ki Pro Mini (KPM) is made of lightweight, strong aluminum with a robust construction. It weighs in at a little over one pound and is sized accordingly:

•Width: 4.35” (11.06cm)
•Depth: 1.82” (4.62cm)
•Height: 5.90” (14.998cm)

Its small, low-profile footprint makes this unit highly attractive from the very “get-go.”

However, the option to mount the unit to a HDSLR rig does come with a price. For starters, The “Rod Accessory Plate” is not included with the unit but instead comes with a $150 price tag.

Then, you will also need the “Universal Mount Plate” in order to attach the recorder ($75). It is compatible with both sides of the unit and opens up not only to the rod accessory plate, but also 3rd-Party battery plates, hot-shoe adapters and other mounting applications.

AJA also sells a desk stand for the KPM which includes a right angle, 4-pin XLR cable for access to the analog input (also priced at $75).

However, these costs actually reflect solid investments as they are durable, CNC machine tooled pieces of hardware offering multiple points of adjustments and mounting, thus making it easy to exactly position the recorder and its accessories where you need them.

RECORD FORMATS

•525i 29.97
•625i 25
•720P 23.98, 25, 29.97, 50, 59.94, 60 (Note: 720p 23.98 (24), 720p 25 and 720p 29.97 require a valid camera source and the use of the Record Type>VFR selection)
•1080i 25, 29.97, 30
•1080PsF 23.98, 24, 25*, 29.97* (Note: 25 and 29.97 require a valid camera source and the use of the Record Type>PsF selection)
•1080p 23.98, 24, 25, 29.97

CODEC SUPPORT

The unit records in 10-bit 4:2:2 color space, while intermediate codec support includes:

•Apple ProRes 422
•Apple ProRes 422 (HQ)
•Apple ProRes 422 (LT)
•Apple ProRes 422 (Proxy)
•Avid DNxHD 220x
•Avid DNxHD 145
•Avid DNxHD 36 (Note: Avid DNxHD 36 only provides support for the 1080p format)

DIGITAL VIDEO I/O

Unlike the Sound Devices 220i, the KPM offers both HDMI and SDI (Single Link BNC) I/O and includes several options for timecode recording.

Another compelling feature is built-in DCHP providing a web based GUI for remote control access. The ability to set parameters from a computer keyboard as opposed to strictly relying upon the unit’s on-board, smaller menu is a definite plus.

The web-based interface has an added bonus: programmable playlists. Similar to an iTunes playlist, you can choose which clips you would like to review — in any specific order you wish — when using the KPM as a playback device.

Feed the output of the KPM to a video village and shots can be viewed as they are recorded, or replayed immediately for final review and confirmation.

DATA STORAGE

While the unit is not compatible with hard disc or solid state drives like some of its competitors, slots for a pair of CF cards are built in.

However, CF card operations are not necessarily seamless. When one card is approaching maximum capacity, the user must physically re-assign the recording to the second card and then re-start recording. However, when card capacity reaches 15% remaining, the menu will display a “media low” prompt and at 10% a “media full” warning.

As to be expected, the quality of CF card required by the unit is “high end” which translates to “not cheap”. Currently, there are five cards listed by AJA as compatible with the KPM:

The Sandisk Extreme Pro series … 128gb ($694), 64gb ($280), and 32gb ($139) capacities

The Delkin 1000 series … 128gb ($465) and 64gb ($275) capacities

If you are editing on a PC platform, your current card reader may need to be updated as well. AJA tech support recommends that “on the PC, use an inexpensive card reader that is a CF to SATA type connection to host the card (but then can be connected to the computer by USB) to avoid any issue. The Syba Best Connectivity 2.5″ SATA/USB 2.0 to Compact Flash Adapter has been tested and works under Windows 7 with the HFS+ formatted Ki Pro Mini.”

SOUND

Digital audio in can be fed two ways:

•8-channel, 24-bit SMPTE-259 SDI embedded audio, 48kHz sample rate, Synchronous
•2-channel, 24-bit HDMI embedded audio, 48kHz sample rate, Synchronous

From the standpoint of analog audio, a pair of balanced XLR analog inputs allow you to feed your field mics directly into the unit — with input level of Line, Mic, Mic+phantom 48Vdc. Analog audio out is a standard 1/4 headphone jack.

MENU

The GUI consists of a small, three line character display with dedicated buttons.

POWER

The unit has multiple options for powering. It can handle AC from any 12-18 volt source or battery power, such as an Anton/Bauer Dionic 90 .

PRICE & CUSTOMER SERVICE

Similar to the tech support at Sound Devices, the staff at AJA also frequently posts on HDSLR forums while directly interacting with their customer base, answering questions and solving end-user problems.

The original Ki Pro model has a multitude of professional grade features which is reflective of its price ($3995). Due to the fact this discussion deals with the compatibility of video recorders with HDSLR’s, the large footprint of the original Ki Pro makes even less sense when paired with the small form factor of a 5D MK III.

However, those issues are certainly not the case with the Ki Pro Mini, with its palm-sized design. Although the MSRP of the KPM is $1995, B&H currently lists the unit at $1695.

SUMMARY

One other interesting capability of the KPM is its unique ability to record timelapse sequences, allowing the user to set an interval frame count as well as an interval time resulting in an undercranked (or sped up) playback. Although the file format remains a compiled QuickTime .mov without the typical, more flexible workflows of traditional bitmap sequences, nonetheless it is a nice little feature producing a much more streamlined, playback-ready end product.

If you have already invested in monitoring devices such as a smallHD or Marshall, the KPM would fit into your current workflow. And if your intention is to avoid conventional hard disc or solid state storage, then the CF card storage found in the KPM is the right product design for your needs.

Combine its durability and form factor, the KPM makes even more sense when paired with conventional HDSLR’s.

And with a name like “AJA” behind it, the Ki Pro Mini definitely deserves top consideration for your purchase of an external video recorder.

We invite you to follow us on Twitter ~ Images Courtesy AJA

Posted in Accessory, External Video Recorder, Ki Pro Mini | 1 Comment