FEED Issue 15


off stage, they want a fresh cut of their performance, too. “Artists and their producers take their businesses seriously and will request a copy of a performance they can immediately play back at the venue or take to their bus or hotel to review what might have worked well that night, or an area of concern,” Button explains. “Since H.264 is so portable and cross-platform, it’s easy to deal with. Clients love it.” Producers wanting to provide quick feedback before the edit in fast turnaround scenarios might want access to multicam ISO feeds alongside the line cut (programme feed). That’s possible by connecting three cameras directly to a vision mixer with the camera ISO feeds, as well as the programme feed from the vision mixer, to the Ki Pro GO. All four of the recording channels can be captured directly to USB sticks or drives in each of the five USB slots on the unit, including configurations for ISO records, plus redundant recordings. The Ki Pro GO’s H.264 is also useful for lightweight proxy editing, while recording high-quality Apple ProRes on a Ki Pro Ultra Plus. Additionally, with on-the-road productions like concerts being physically demanding environments, the potential for a master file to corrupt or drop out in places is fairly high. Having a backup recording is simply a sensible precaution, and the Ki Pro GO’s half-rack wide, 2RU- high dimensions make it transport friendly. That’s multiple recordings, discrete camera capture to H.264, with redundancy, all in real time. But there’s a lot more packed into the little box: its multichannel recording provides individual, discrete recordings for each input that are time code accurate and ready to be imported directly into a multichannel editing sequence. There’s no additional conversion or software required – you just


drag and drop the files directly from the USB drive into your edit software. The Ki Pro GO supports up to 25Mbps at 8- or 10-bit and 4:2:0 or 4:2:2 colour depth for any channel assignment depending on the delivery need or eventual bandwidth allocation for the file’s playback stream. Choose from three variable bit rate recording profiles: • Low: Suitable for talking heads, conference backups, security backups and more. Time is always tight, especially for live events. Genlock-free recording on the Ki Pro GO eliminates the need to synchronise the input sources, which might include SDI cameras, DSLRs or HDMI cameras to the appropriate recording channel. A MASSIVE INSTALL BASE “It’s really flexible and all about giving people a file format they can utilise immediately, with access across a huge range of software and editing platforms,” Button says. Built-in multi-matrix monitoring also provides a cost-effective means to view all four chosen recording channels on a single HDMI and/or SDI • Medium: For higher detail and more complex content. High: For fast-moving, detailed content like sports or live events. •

monitor simultaneously, with the ability to focus on a single recording channel when desired as well. There’s a great deal of noise in the industry about how H.265 (or HEVC) is the successor as the standard compression scheme. The reality is that the bulk of the industry still works with the massive install base of H.264 equipment, from NLE software to playback monitors and devices. While HEVC has a lot of potential, its specifications have been implemented a little too broadly for universal compatibility of encoders and decoders. All of which adds up to H.264 remaining the most widely accepted file standard at this time. It’s platform and software agnostic – and that gives H.264 legs. “People love to watch content on phones and tablets, making easy H.264 capture attractive to video professionals, as it simplifies distribution to a range of devices,” explains Button. “The examples we’ve shared are just some of the possibilities enabled with Ki Pro GO’s focus on pass out, pass around and handout media. Hit stop on the device and the recording is ready to give to your clients

right there and then.”

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