AJA Ki Pro Ultra 12G Operating instructions

Ki Pro Ultra 12G
File Based Recorder/Player
Version 1.0
Published May 27, 2020
Installation and Operation Guide

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Notices
Trademarks
AJA® and Because it matters.® are registered trademarks of AJA Video Systems, Inc.
for use with most AJA products. AJA™ is a trademark of AJA Video Systems, Inc. for
use with recorder, router, software and camera products. Because it matters.™ is a
trademark of AJA Video Systems, Inc. for use with camera products.
Corvid Ultra®, lo®, Ki Pro®, KONA®, KUMO®, ROI® and T-Tap® are registered trademarks of
AJA Video Systems, Inc.
AJA Control Room™, KiStor™, Science of the Beautiful™, TruScale™, V2Analog™ and
V2Digital™ are trademarks of AJA Video Systems, Inc.
All other trademarks are the property of their respective owners.
Copyright
Copyright © 2020 AJA Video Systems, Inc. All rights reserved. All information in
this manual is subject to change without notice. No part of the document may be
reproduced or transmitted in any form, or by any means, electronic or mechanical,
including photocopying or recording, without the express written permission of AJA
Video Systems, Inc.
Contacting AJA Support
When calling for support, have all information at hand prior to calling. To contact AJA
for sales or support, use any of the following methods:
Telephone [phone]
FAX [phone]
Web https://www.aja.com
Support Email suppor[email protected]
Sales Email [email protected]

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Contents
Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Copyright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Contacting AJA Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Chapter 1 – Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
12G/6G SDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Multi-Channel HD Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Ki Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Media Formatting Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Ki Pro Ultra 12G Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
AJA Pak Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
AJA Pak Dock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
AJA Fiber Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
KPU-Shelf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Apple ProRes 422 and Apple ProRes 444 Advantages . . . . . . . . . . . . . . . . 8
Avid DNxHD/HR Advantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
In This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 2 – Ki Pro Ultra 12G at a Glance . . . . . . . . . . . . . . . . .10
Front Panel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Rear Panel Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Power Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Formatting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Using Pak Media with Final Cut Pro and Premier Pro . . . . . . . . . . . . . . 17
Using Ki Pro Ultra 12G Media with Avid Media Composer . . . . . . . . . . . 18
Closed Captioning Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter 3 – Ki Pro Ultra 12G Installation . . . . . . . . . . . . . . . . .19
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
What’s In The Box?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Applying Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Remote Network Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Network Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
TCP/IP Information You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Networking via DHCP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Networking Ki Pro Ultra 12G using a Static IP Address. . . . . . . . . . . . . . 21
Networking Ki Pro Ultra 12G Using the Factory Default IP . . . . . . . . . . . 23
Controlling Ki Pro Ultra 12G From a Web Browser . . . . . . . . . . . . . . . . 23
Installing Optional SFP I/O Modules. . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Chapter 4 – Front Panel Operation . . . . . . . . . . . . . . . . . . . . 25
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Control Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
User Control Knob Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Overlay Display Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Transport Mode (default) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Automatic 12G Signal Detection and Conguration . . . . . . . . . . . . . . . 29
Recording a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Playing Back a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Status Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

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Media Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Media Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Custom Clip Naming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Cong Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Cong Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Signal Routing Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chapter 5 – Browser Remote Control . . . . . . . . . . . . . . . . . . 64
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Operations Unique to the Web UI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Playing, Jogging and Selecting Clips . . . . . . . . . . . . . . . . . . . . . . . . 68
Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Gang Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Data Transfer via LAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Updating Firmware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Chapter 6 – Ki Pro Ultra 12G Accessories . . . . . . . . . . . . . . . . 77
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Ki Pro Ultra 12G Handle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
KPU-Shelf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
SFP Modules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Appendix A – Specications . . . . . . . . . . . . . . . . . . . . . . . . 79
Ki Pro Ultra 12G Tech Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Appendix B – Safety and Compliance . . . . . . . . . . . . . . . . . . 86
Warranty and Liability Information . . . . . . . . . . . . . . . . . . . .95
Limited Warranty on Hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Limitation of Liability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Governing Law and Language; Your Rights . . . . . . . . . . . . . . . . . . . . . . 95
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

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Chapter 1 – Introduction
Overview
Ki Pro Ultra 12G is a Multi-Channel Apple ProRes recorder offering up to
4-Channels of simultaneous HD recording, or in Single-Channel mode a 4K/
UltraHD/2K/HD Apple ProRes® or Avid DNxHD® MXF recorder and player.
Ki Pro Ultra 12G supports the latest connectivity, as well as large raster high frame
rate workflows, including 4K 60p.
12G, 6G, 3G, 1.5G-SDI and fiber and full HDMI 2.0 digital video connectivity and a
wealth of analog and digital audio connectivity answers any project’s demand for
efficient, powerful and flexible workflows.
Designed to be either portable or rack-mountable with half rack wide 2RU high
dimensions, it’s well suited for use in studio/truck environments in addition to
on-set and even digital signage applications. The Ki Pro Ultra 12G is designed to
meet the growing demand for 4K and UltraHD capable recorder products with
full support for current HD projects.
Ki Pro Ultra 12G enables manageable large raster workflows with the efficiencies
of Apple ProRes, supporting a broad range of video formats and frame rates
recorded directly to AJA’s proven and reliable Pak Media, offering the lowest cost
per GB available today.
Next generation pristine UltraHD 60p and 4K 60p recording in Apple ProRes HQ
is offered utilizing Pak 2000, Pak 1000, Pak 512 and Pak 256 SSD media, complete
with full rollover capabilities from drive to drive. This ensures long recording
times for the most demanding projects.
Remote playback can be obtained easily with full control via the RS-422 serial
connection or through the simple and intuitive on unit menu system and through
the Ki Pro Ultra 12G web interface.
Menus and images are beautifully rendered on a new high resolution LCD display
enabling detailed playback and monitoring in all environments.
Features
12G/6G SDI
The Ki Pro Ultra 12G BNC 1 input and output connectors each support up to 12G
SDI on a single link. The SDI Fiber 1 input and outputs also support 12G SDI video.
When configured for a Single Encode Channel and selecting one of these video
inputs or outputs, Ki Pro Ultra 12G becomes able to record and playback single-
link 6G and 12G signals.

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Multi-Channel HD Recording
Record 1, 2, 3 or 4-Channels of beautiful HD up to 1080p 50/60 in Apple ProRes
simultaneously with Ki Pro Ultra 12G. 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.
IMPORTANT: The Ki Pro Ultra 12G recording inputs must be genlocked together, or multi-
channel recording and monitoring failures may occur.
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.
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. Ki Pro Ultra 12G even allows rollover to a second Pak Media for hours of
uninterrupted multi-channel recording.
IMPORTANT: Multi-channel recording is only supported on Pak 2000, Pak 1000 (all
versions), and on Pak512and Pak 256 (R1 or later).
Ki Protect
Ki Pro Ultra 12G includes Ki Protect, a feature that helps to ensure ProRes data
integrity if a media drive is accidentally removed or loses power during recording.
The Ki Protect feature automatically pre-allocates recording space on the media
drive for video, audio and timecode when the record button is pressed. Whilst
recording, the file header is then continuously updated every time new data is
written. That way, the only loss that should be incurred is the last few frames
that were in transit to the media drive to be recorded when the operation
was interrupted. Frames that are already recorded will be preserved and are
recoverable, providing greater piece-of-mind on set and in the studio.
Hardware
• Supports 12G, 6G, 3G and 1.5G-SDI BNC and Fiber input and output (Single
Channel mode)
• Up to 4-Channels of simultaneous HD recording
• Apple ProRes 444 (XQ), Apple ProRes 444, Apple ProRes 422, Apple ProRes
422 (HQ), Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy) implemented in
hardware
• Avid DNxHR HQX, Avid DNxHR SQ, and Avid DNxHR LB—implemented in
hardware
• Avid DNxHD HQX, Avid DNxHD SQ, and Avid DNxHD LB—implemented in
hardware
• MXF with OP1A support for DNxHD encoded files, bringing true Avid MXF
compatibility
• 12G-SDI input (1x BNC connector)
• 3G-SDI input (3x BNC connectors)
• 12G-SDI output (1x BNC connector)
• 3G-SDI output (3x BNC connectors)
• 12G-SDI Fiber or HD-BNC input (1x connector, optional SFP module)
• 3G-SDI Fiber or HD-BNC input (3x connectors, optional SFP modules)
• 12G-SDI Fiber or HD-BNC output (1x connector, optional SFP module)
• 3G-SDI Fiber or HD-BNC output (3x connectors, optional SFP modules)
• HD-SDI monitor output (1x BNC connector)

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• HDMI v2.0 Input and Output
• 8-ch AES Audio Input (1/2x DB-25 TASCAM pinout)
• 8-ch AES Audio Output (1/2x DB-25 TASCAM pinout)
• 8-ch Analog Audio Input (1x DB-25 TASCAM pinout)
• 8-ch Analog Audio Output (1x DB-25 TASCAM pinout)
• LTC Input (1x BNC connector)
• LTC Output (1x BNC connector)
• Reference Loop (2x BNC connectors)
• RCA Audio output (2x mono RCA connectors)
• Headphone jack (1x 3.5mm Jack)
• 10/100/1000 Ethernet LAN (1x RJ-45 connector)
• RS-422 Machine control (1x DB9)
• 1280 x 720p TFT LCD display (for UI information and confidence monitoring)
• Dual 12 Volt AC/DC power converter included (2x 4-pin XLR connectors)
Software
• Internal web server for remote control configuration via LAN
• Both HFS+ and exFAT file systems supported
• Continuous rollover record only limited by the size of your media
• Capture and playback of CEA 708 Closed Captioning data as QuickTime movie
tracks
• Download and upload of files via LAN
• 20 Preset registers for storing and recalling system preset configurations
• Alarms to alert users to conditions that may need attention
Media Formatting Requirements
The Ki Pro Ultra 12G records and plays Apple QuickTime ProRes 444, Apple ProRes
422 and DNxHD files to/from SSD media.
Files can be stored on the media using the HFS+ file system. This makes the
media readable on any Mac OS computer natively (using the associated media
reader) and PCs using 3rd-party software that can read HFS+ formatted drives
(MediaFour’s MacDrive for example).
Ki Pro Ultra 12G can also store files on media using the ExFAT file system, for
native macOS and PC operation.
Ki Pro Ultra 12G Options
AJA Pak Media
Ki Pro Ultra 12G lets you record edit-friendly 4K, 2K, or HD files directly to
removable AJA Pak Media. Once removed from the Ki Pro Ultra 12G, the Pak
Media can be inserted in the AJA Pak Dock which connects directly to your
computer via Thunderbolt or USB 3.0, allowing you to rapidly transfer ProRes or
DNxHD files that are ready for use immediately in your non-linear editing system.
NOTE: When you order your Pak Media you can choose the formatting, either HFS+ or
ExFAT.

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AJA Pak Options
The Pak 256, Pak 512, Pak 1000, and Pak 2000 options are high-capacity Solid
State Drives encased in a protective housing with rugged connection engineered
to handle the rigors of repeated use in the field.
NOTE: The newer Pak 256 and Pak 512 (R1 and above), and the Pak 1000 and Pak 2000
media support recording all formats and frame rates up to and including 4K/
UltraHD 50, 59.94,60 at ProRes 422 (HQ). Legacy Pak 256(R0) and Pak 512(R0)
media have slightly lower capabilities, and are able to record up to 4K/UltraHD
30.
AJA Pak Dock
The AJA Pak Dock option is an external media reader with Thunderbolt™ and USB
3.0 connections for fast transfer of media to a host computer.
AJA Fiber Modules
Fully integrated fiber inputs and outputs means Ki Pro Ultra 12G can be
integrated directly to a dedicated fiber network alongside many other fiber
products.
See https://www.aja.com/software/configurator for an online tool you can use to
select compatible SFP modules.
KPU-Shelf
Ki Pro Ultra 12G can be mounted side by side using the optional KPU-Shelf for
rackmount applications. Using the four channel HD recording capability and
front panel quad display, two rack mounted Ki Pro Ultra 12G units can record and
monitor eight HD signals in only two rack units of space.
Apple ProRes 422 and Apple ProRes 444 Advantages
Captured media using Apple ProRes 422 or Apple ProRes 444 is virtually
indistinguishable from uncompressed HD/2K/4K sources. Better yet, Apple ProRes
maintains the quality during editing, surviving multiple encoding/decoding
generations without degradation. It was designed by Apple specifically for
editing. Some of the advantages include:
• Resolution support for 4096-by-2160 (4K), 3840-by-2160 (UltraHD), 2048-by-
1080 (2K), 1920-by-1080 (HD), and 1280-by-720 (HD).
• 4:2:2 or 4:4:4 chroma sampling. Provides precise compositing and blending at
sharp saturated-color boundaries.
• 10/12-bit sample depth. Preserves subtle gradients of 10/12-bit sources
(perfect for green-screen compositing, graphics or color correction) with no
visible banding artifacts.
• Intra-frame encoding. Ensures consistent quality in every frame and no
artifacts from complex motion.
• Variable bit-rate (VBR) encoding. “Smart” encoding analyzes the image and
allocates more bits to complex frames.
• Low data rate requirements make for more storage options and require less
drive space to store high quality video.

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Avid DNxHD/HR Advantages
Quality using Avid DNxHD and DNxHR is excellent— high quality encoding
without high bandwidth requirements. Avid DNxHD and DNxHR were designed
for non-linear post-production and broadcast to withstand multi-generational
processing.
• Full-size 4K, UltraHD, 1920-by-1080 and 1280-by-720 resolutions.
• 4:2:2 chroma sampling.
• 10-bit sample depth (DNxHR HQX or DNxHD HQX), or 8-bit.
NOTE: Ki Pro Ultra 12G can accept 12-bit inputs but processes and encodes at 10-bit.
• Every frame of encoding is independent.
• Constant bit-rate (CBR) encoding.
• Low data rate requirements.
Table 1. Data Rates (Mb/sec) for DNxHR and DNxHD Formats
Codec Format 23.98 24 25 29.97 50 59.94
DNxHR HQX 4K 711 711 741 880
UHD 666 666 695 833
SQ 4K 470 470 490 587
UHD 441 441 459 551
LB 4K 146 146 152 183
UHD 137 137 143 171
DNxHD HQX 1080p 175 175 185 220 365 440
1080i 185 220
720p 175 220
SQ 1080p 115 115 120 145 240 290
1080i 120 145
720p 115 145
LB 1080p 36 36 36 45 75 90
NOTE: Blank format/frame rate combinations are not currently supported.
NOTE: 4K, UltraHD, and SD video encoding using Avid DNxHD is not currently
supported.
In This Manual
Chapter 1 provides an overview of hardware and software features and options.
Chapter 2 gets you started with Ki Pro Ultra 12G, introducing the front panel
controls and rear connector features.
Chapter 3 gives detailed installation information.
Chapter 4 provides complete instructions for operating the Ki Pro Ultra 12G from
the front-panel controls and LCD display.
Chapter 5 discusses remote web browser control of Ki Pro Ultra 12G via Ethernet.
Chapter 6 provides details of AJA accessories available.
Appendix A lists specifications.
Appendix B provides safety and compliance information.
Warranty Information & Index complete the manual.

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Chapter 2 – Ki Pro Ultra 12G at a Glance
Front Panel Controls
Figure 1. Ki Pro Ultra 12G Operator Side Controls
Two PAK
Media Slots
User
Control Knob
Headphone
Output
PAK Media
Cartridges
Media Slot
Selector Button
Power
On/O
VTR-style Transport
Control Buttons
Display
Conguration
& Menu Access
Buttons
Headphone
Volume
High Res. Display
Video Sources & Menu Overlay
Caution! The AJA Ki Pro Ultra 12G contains a lithium battery soldered in place
permanently (it is not user replaceable). If you ever dispose of the Ki Pro Ultra 12G,
ensure you follow local regulations for safe disposal. The lithium battery shall not
be exposed to excessive heat, such as sunlight or fire.
Front Panel
The Ki Pro Ultra 12G front panel includes:
• Power button
• Two Pak Media slots and a Slot Selector button
• Transport controls
• Menu selection buttons
• Headphone volume control and headphone jack
• Multi-purpose User Control Knob for jog and selection functions
• Large 1280 x 720 TFT LCD display with Video Monitor and Menu/Status
Overlays
Power ON/OFF Button
Controls system power ON/OFF and shows when power is ON (when illuminated)
or OFF.
NOTE: When power is first applied to Ki Pro Ultra 12G, the unit powers up immediately
(without pressing the button). This facilitates a quick return to operation if there is
a power interruption.
NOTE: Upon power up with both slots populated, Slot 1 is the initial storage system
accessed by Ki Pro Ultra 12G.

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In normal operation to turn power on, press the button once. It isn’t necessary
to press hard—it’s a “soft” button sensed by the processor inside. Pressing the
button will begin power-up and display start-up progress on the alphanumeric
display.
To power down, press and hold the power button down for 3 seconds while the
display counts down. This process prevents accidental power-off during normal
operation. You can abort the power-down process by simply removing your
finger from the power button before the 3 seconds have elapsed.
SLOT Button
The SLOT button serves two purposes. It selects which media slot is accessed
by the system (either Slot 1 or 2) and is used to unmount the currently selected
media. When the Pak card LED is extinguished, it is unmounted and can be
removed.
Caution! Always use the SLOT button to unmount media or it may be damaged
when removed.
Caution! Pushing the slot button cycles between unmounting media and selecting
media. This function is only active when in transport STOP mode. If it is not
highlighted, press the stop button. After you select a slot, the system returns to
the last selected clip and timecode for that slot. If the media has been changed
since the slot was last selected (media physically removed or replaced), the “first”
clip on the media will be “cued” to its start point. If inserted media has any issues,
additional prompts may be displayed as appropriate such as: “Warning: Backup
and Reformat” or “Warning: Media Unformatted.
Caution! Removing media with the Slot LED highlighted, or while flashing, can
result in corrupted media or potential damage to the media.
Transport Control Buttons
The transport buttons are always active.
STOP - The square symbol STOP button has a dual function. When playing back
a clip (PLAY, FFWD, or REV) the first push of STOP acts as a “pause” mode: the
playback is paused, the current point of the clip is displayed, and the STOP
button flashes. A second push of STOP completely stops the playback and
directs Ki Pro Ultra 12G outputs into an “idle” mode (the currently selected
inputs are passed to the outputs). To determine at a glance if the STOP button
is in a “pause” mode, note that the stop button will flash if media playback is
paused. The STOP button is fully illuminated in “stop” mode.
PLAY > - Press PLAY to begin forward playback of the current clip at normal
speed.
RECORD- Press the round red RECORD button to begin recording. Once in
RECORD mode, all other transport buttons are locked-out except the STOP
button.
FFWD >> - Press FFWD to begin fast playback of the current clip at 2x speed.
Successive pushes increase the speed to 4x, 8x, and 16x. (Pushing the button
after 16x speed is reached has no further effect.) When fast-forwarding, audio
is muted.
REV << - Press REV when not highlighted to begin playback of the current clip in
reverse at 1x speed. Successive pushes increase the speed to 2x, 4x, 8x, and
16x. (Pushing the button after 16x speed is reached has no further effect.)
When playing in reverse, audio is muted for all speeds.

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DISP Button
Use the display button to toggle video overlay display modes. Sequential presses
of the button step through these display modes:
1. No overlay – display is video monitor only
2. Top and bottom status overlay
3. In Multi Channel mode only, smaller audio meter overlays for all current
record channels are shown, along with the top and bottom status overlay
4. A larger headphone audio VU meter overly is shown, along with the top
and bottom status overlay and, if in Multi Channel mode, the smaller record
channel audio meters.
The display button can be used to hide the Config or Status overlay if it is active.
User Control Knob
The User Control Knob on the right side of the Ki Pro Ultra 12G front panel is used
to scroll through and select menu items. After scrolling to, and highlighting a
menu item of interest, push the knob to select. To pop out of a selected menu
item, use the rotator knob to highlight EXIT and push the knob to return to the
top level.
When not in a configuration mode and media is mounted with clips available,
you can use the selection knob to scroll through the clips. Press the knob once to
enable JOG mode to step through the clip a frame at a time.
STATUS Button
When it is not highlighted, you can press the STATUS button to display the status
overlay. Status includes video input, format, record format, and audio setup
information. Once selected, the selector knob can be rotated to display either
the Status or ALARM tab. If any ALARMS or WARNINGS are active, they will be
displayed under the ALARMS tab.
When it is highlighted, pressing the STATUS button hides the Status overlay.
A blinking Status button indicates Alarms are present. Press the STATUS button to
immediately display the ALARM tab.
NOTE: When necessary, you can initiate a “safeboot” of the Ki Pro Ultra 12G by holding in
the STATUS button while powering up.
CONFIG Button
When it is not highlighted, you can press CONFIG to access the Ki Pro Ultra 12G
configuration menu overlay. If the transport is active—video is playing or
being recorded—you will be prompted to stop the transport before entering
configuration mode. Use the User Control Knob to respond to system prompts
by rotating and pushing to select. Once in configuration mode the User Control
Knob can be rotated to scroll the menu system. Push the User Control Knob to
enter a selected menu, scroll through the selections, push to select a setting. To
leave a menu, scroll to Exit and press the knob.
MEDIA Button
When it is not highlighted, you can press the MEDIA button to enter the Media
menu. Pressing MEDIA when it is highlighted will turn Off the Media menu
(returning to the default Transport menu). The Media menu can only be entered
from the transport STOP mode. The Media menu remembers which parameter
it is set to when exited and will return to that same parameter when the menu is
re-entered.

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Headphone Volume Knob
To adjust headphone listening level, press the knob inward and the knob will
then pop out for easy adjustment.
Displays and Indicators
Alphanumeric and Graphics LCD Display
This display shows menus, status, alerts and other information. Some words in
the menus may be truncated to fit the display limits. The LCD displays not only
UI information, but also a scaled version of the incoming signal or playback of
recordings. When the monitoring outputs are set to crop a signal to 1920x1080, a
graticule is applied to the scaled image on the LCD to alert the user.
VU Meters
A video overlay is provided on the LCD to display audio VU meters. Meters are
color-coded to report signal strength:
• Green - audio source signal level is in the “safe” area (no clipping). Vertically,
the green LEDs also show the signal strength, so you can see if the signal level
is low. Generally, it’s preferred to have the signal near the top of the green or
even occasionally peaking into the yellow LEDs.
• Yellow - audio source signal levels are at the peak edge of the safe area before
clipping will occur.
• Red - audio source amplitude is too hot and the signal is clipping at its signal
peaks. You should reduce the input gain at its source (camera, mixer or source
equipment supplying the signal).
Slot LED Status Indicator
These LED 1 and 2 states indicate the status of the media slots, S1 and S2:
• LED highlighted/on: selected media
• LED not highlighted/off: inactive media, okay to eject or no media inserted
• LED flashing: recording in progress
Headphone Jack
1/8” (3.5mm) miniature stereo TRS connection for standard stereo headphones.
Rear Panel Connectors
The functions of Ki Pro Ultra 12G inputs and outputs depend on the operational
mode. Ki Pro Ultra 12G active input (the one to be recorded) is selected by front
panel or web browser control. Ki Pro Ultra 12G outputs are active all the time.

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Figure 2. Ki Pro Ultra 12G Connectors
Video
Reference
(looping)
Linear Time
Code I/O
Redundant DC
Power Supply
Inputs
SDI BNC
Inputs 1-4
SDI BNC
Outputs 1-4
SFP Input
Ports 1-4 SFP Output
Ports 1-4
HDMI
Input
Rear ID
LED
HDMI
Output
Ethernet
LAN
RS-422
Machine
Control
Analog
Audio
Input
(25-pin)
Analog
Audio
Output
(25-pin)
Digital
Audio
I/O
(25-pin)
Analog Audio
Monitor Out SDI Monitor
Output BNC
Connections
• Reference video loop for connection to genlock video or sync
• LTC Input and Output (2x BNC)
• HDMI v2.0 compatible input and output up to 4K/UltraHD 50/59.94/60 4:2:2
YCbCr or 4:4:4 RGB with up to 8-channel embedded audio
• 10/100/1000 Ethernet LAN
• Dual-channel Fiber Inputs 1-4/Outputs 1-4, with 12G SDI support on the first
input and output port
• SDI Input and Output BNCs, with up to 16-channel embedded audio (8x BNC),
with 12G SDI support on the first input and output BNC
• HD-SDI Monitor Output (1 BNC) with embedded audio.
• Balanced 8-channel Analog Audio Input via one DB-25 TASCAM pinout
• Balanced 8-channel Analog Audio Output via one DB-25 TASCAM pinout
• AES EBU 8-channel Audio Input and Output via one DB-25 TASCAM pinout
• RS-422 DB-9 Machine Control Interface (Sony 9 Pin protocol)
• Dual Mono Analog Audio Output via 2 RCA Connectors
Ref Loop
The Reference Loop BNCs accept an output timing reference signal. The reference
can be analog SD blackburst or HD tri-level sync. Examples of permissible
reference video input signals:
• 525 Color Black
• 625 Color Black
• 1080i Tri-level Sync
• 720p Tri-level Sync
The 2 BNCs are a passive loop: one BNC is for the Input, and the remaining BNC
can be connected to another piece of equipment in the reference chain or
terminated.

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NOTE: For proper operation the input reference signal must be stable and properly
terminated using a 75-ohm terminator on either the unused loop connector
or the last piece of downstream equipment to which the reference video is
connected.
LTC Timecode I/O
Two BNCs provide connections to the house LTC timecode generator or source.
Connections are high impedance. One BNC is for input and the other for output.
SFP In/Out (optional)
Four dual SFP cages (two input, two output) accept optional SFP modules. The
first ports support 12G SDI input and output. All four SFP I/O ports also support
3G SDI operation and embedded 24-bit digital audio.
NOTE: Which audio channels are embedded to the SDI Outputs is determined by the
audio embedding settings being used for the Ki Pro Ultra 12G audio input, or the
audio channels of the clip being played back.
SDI Inputs and Outputs
Eight BNC connectors (four inputs and four outputs) are provided. The first BNC
input and output pair supports 12G-SDI video. All eight BNCs also support 3G SDI
operation and embedded 24-bit digital audio.
IMPORTANT: During recording, an SDI BNC output signal is not a pass-through E-to-E
signal of the input.
SDI Monitor Out
One SDI Monitor Out connector provides for monitoring compatible video and
multi-channel embedded audio.
Analog Audio Monitor Output
Two RCA connectors provide line level analog audio output, carrying the same
signal sent to the front panel headphone output.
HDMI Input and Output
Two HDMI connectors (one input and one output) support HDMI video and multi-
channel embedded audio, and use standard HDMI cables. HDCP is not supported
on the input or output.
NOTE: Which audio channels are embedded to the HDMI Output is determined by the
audio embedding settings being used for the Ki Pro Ultra 12G audio input, or the
audio channels of the clip being played back.
HDMI formats supported
• 720p 50, 59.94, 60
• 1080i 25, 29.97, 30
• 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• 2Kx1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• Ultra HD (3840x2160p) 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• 4K (4096x2160p) 23.98, 24, 25, 29.97, 30, 50, 59.94, 60

Ki Pro Ultra 12G File Based Recorder/Player v1.0 16 www.aja.com
NOTE: When using the Ki Pro Ultra 12G HDMI connection and attaching it to any HDMI
audio or video accessory, you must use a ferrite-beaded HDMI cable, HH-28F-06,
between the HDMI output port of the Ki Pro Ultra 12G and the HDMI accessory to
maintain regulatory compliance.
Ethernet
An RJ-45 connector provides a 10/100/1000 Ethernet port for connecting
Ki Pro Ultra 12G directly to a computer or Ethernet hub or switch for connecting
to a LAN. Ki Pro Ultra 12G is compatible with CAT-5 straight-through or cross-over
Ethernet cables, automatically detecting which is used. Once connected and
properly configured, Ki Pro Ultra 12G can then be controlled by a web browser on
the LAN.
8-Channel Balanced Analog Audio I/O
Two DB-25 TASCAM pinout, one input and one output, provide 8-channel
balanced audio. Audio is high-quality 24-bit A/D input and D/A output at 48kHz.
Level adjustments are made via software. Software level adjustments for analog
audio (parameter 4.1) apply to balanced audio.
AES Digital Audio I/O
AES digital audio connections consist of one DB-25 TASCAM pinout for 8 channels
of input and 8 channels of output.
RS-422 Connector
Ki Pro Ultra 12G offers a 9-pin serial port that may be used with compatible
RS-422 devices.
IMPORTANT: Not all RS-422 devices have been tested with Ki Pro Ultra 12G, so AJA cannot
definitively say which devices may or may not communicate as expected with
Ki Pro Ultra 12G when operated under RS-422 remote control.
For details on using RS-422 machine control setup, see "35.2 Remote Control" on
page 55.
Power Connector
On the back of Ki Pro Ultra 12G are two standard 4-pin male XLR connectors
for supplying 12-Volt DC power to the unit. You can use either the supplied AC
Adapter or furnish your own battery source. Since the connector is an industry
standard pinout, choices are varied and flexible. Many 3rd party vendors offer
products using this standardized power connector.
• Pin 1: -
• Pin 4: +
• Pins 2 and 3: not used
Caution! Ki Pro Ultra 12G has no user-serviceable parts. To remove power from the
unit, remove the 4-pin XLR power connector to ensure disconnection. Refer all
servicing to qualified service personnel. Servicing is required when the device
has been damaged in any way, such as power-supply cord or plug is damaged,
liquid has been spilled or objects have fallen into the device, the device has been
exposed to rain or moisture, does not operate normally, or has been dropped

Ki Pro Ultra 12G File Based Recorder/Player v1.0 17 www.aja.com
Storage
Ki Pro Ultra 12G can record to Pak Media, a form of removable SSD media. The
media is formatted either as HFS+ (native to the Mac OS file system,) or ExFAT
(suitable for PCs. Using the Pak Dock, Pak Media with the correct formatting can
be directly mounted on a Mac or PC for immediate editing and file access.
Caution! Failure to properly mount or dismount media, or an unexpected loss of
power while recording, can result in an unrecoverable data loss.
Formatting Media
Pak Media is provided preformatted. However, you may want to format media
that has already been used, or name media and format it during your shoot. To
format Pak Media, the media must be inserted into a Media Slot. Once the media
is mounted:
1. Press the MEDIA button.
2. Rotate the User Interface Control Knob until you see the menu parameter
16.0 File System Formatting:
3. Push in the User Interface Control Knob.
4. Rotate the User Interface Control Knob to choose the type of le system
formatting (HFS+ or ExFAT).
5. Push in the User Interface Control Knob.
6. Rotate the User Interface Control Knob until you see the menu parameter
16.2 Format Media:
7. Push in the User Interface Control Knob.
8. Rotate the User Interface Control Knob until “OK” appears. Push in on the
User Interface Control Knob.
9. Press and hold in the User Interface Control Knob and formatting will begin.
You may select any other key to abort the format operation should you
inadvertently enter this menu parameter. The confirmation process used for
formatting media helps you avoid accidentally formatting media.
WARNING: Once you have formatted media, you will not be able to recover
recordings that were previously made on the media. Always be sure that any
media you format has been properly backed up prior to formatting
Ki Pro Ultra 12G will display formatting progress and will display a completion
confirmation when done. Press any key to clear the completion prompt.
Using Pak Media with Final Cut Pro and Premier Pro
When Ki Pro Ultra 12G media is removed and connected to a computer via the
AJA Pak Dock, the media will mount as a normal HFS+ or ExFAT file system. The
Reel NAME parameter is the name of the media that will appear when the media
is mounted.
Once the media is mounted, each clip recorded by Ki Pro Ultra 12G will be a file
on its file system, which (depending on the file type) can be opened directly in
non-linear editors such as Final Cut Pro, Adobe Premiere Pro, etc. Compatible clips
will be instantly ready to edit because they were recorded as ProRes or DNxHD
QuickTime files, or as native DNxHD files.

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Using Ki Pro Ultra 12G Media with Avid Media Composer
Ki Pro Ultra 12G can create native DNxHD and DNxHR files, and can also
create DNxHD QuickTime wrapper files. Native DNxHD files on Pak Media can
be accessed, opened and edited directly in Avid Media Composer without
transcoding.
To use the Avid DNxHD QuickTime files produced by Ki Pro Ultra 12G in Avid
Media Composer, AJA recommends using the "Link to AMA File(s)" feature
provided in Avid Media Composer.
NOTE: While Ki Pro Ultra 12G QuickTime files can be directly accessed from Avid Media
Composer via AMA for editorial, AJA advises transferring/copying media to a
local drive or disk array for editing.
NOTE: Avid DNxHD QuickTime files produced on the Ki Pro Ultra 12G are designed
for use with Avid Media Composer. While these QuickTime files can be read
in a variety of other non-linear edit systems (when the appropriate Avid
QuickTime codec package has been installed), AJA cannot verify the behavior or
performance of DNxHD QuickTime files in these other non-linear edit systems.
Closed Captioning Support
With ProRes files, Ki Pro Ultra 12G operating in Single Channel mode supports
the capture and playback of CEA-708 Closed Captioning data as QuickTime
movie tracks. Ki Pro Ultra 12G extracts CEA-708 (including 608 within 708)
packets contained in the vertical ANC data which is embedded in the SDI input
(BNC or Fiber) signal. The packets are processed and inserted into a QuickTime
track (CLCP) as part of the recorded QuickTime container. This track is created
automatically if the CEA-708 packets are present in the VANC of the input SDI
signal. No user configuration is required.
On playback, Ki Pro Ultra 12G will process the QuickTime container file, process
the CLCP track if present and insert/embed closed captioning data on the SDI 1
output (BNC or Fiber) VANC.
When in Idle or Record mode, the Ki Pro Ultra 12G Status display indicates when
closed captioning data is present on the input signal. In playback mode, the
Status display indicates if CC data is being inserted.
Closed captioning is not supported on the Ki Pro Ultra 12G HDMI inputs/outputs,
or the SDI monitor output, or when operating in Multi Channel mode.

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Chapter 3 – Ki Pro Ultra 12G Installation
Overview
This section describes set up and installation of Ki Pro Ultra 12G. Choices you will
make include how Ki Pro Ultra 12G will be controlled (front panel or Ethernet and
web-browser) and the physical system requirements for your application.
Caution! Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat
Caution! Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
What’s In The Box?
When you unpack your Ki Pro Ultra 12G, you’ll find the following components:
• Ki Pro Ultra 12G Recorder
• AC Adapter 110/220 with industry standard 4-pin XLR connector for powering
the Ki Pro Ultra 12G. A standard North American line cord with 3-prong plug is
included.
• Handle Installation Kit
Please save all packaging for shipping the Ki Pro Ultra 12G should you need to do
so.
Applying Power
The following Warnings are provided as good practices and should always be
considered when Ki Pro Ultra 12G is used in a desktop application.
Caution! Do not defeat the safety purpose of the polarized or grounding-type plug.
A polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or the third
prong are provided for your safety. If the provided plug does not fit into your
outlet, consult an electrician for replacement of the obsolete outlet.
Caution! Since the Mains plug is used as the disconnection for the device, it must
remain readily accessible and operable.
Caution! Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the device..
Caution! Unplug this device during lightning storms or when unused for long
periods of time.

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Using AC Power
To begin using Ki Pro Ultra 12G, plug the 4-pin XLR on the supplied AC adapter
into the XLR power socket on the rear of Ki Pro Ultra 12G. Then plug the AC
adapter line cord into 110 VAC or 230 VAC (the supply is auto sensing). Two power
supplies can be used for redundancy.
NOTE: When connected to power, Ki Pro Ultra 12G will immediately begin the power-up
procedure. This automatic start-up allows the unit to return to operation as soon
as an unexpected power interruption is corrected.
Figure 3. Ki Pro Ultra 12G Power Supply Connections
DC Supply Line
Cord
4-pin XLR
Power Sockets
Using DC Power
To run Ki Pro Ultra 12G on DC power, plug a 3rd-party industry standard 12
Volt battery pack with a 4-pin female XLR connector into the power connector
on rear of the Ki Pro Ultra 12G. The battery should be capable of supplying a
sustained max current as supplied by the AC Adapter provided. See "Appendix A
Specifications" for more information.
NOTE: To operate Ki Pro Ultra 12G properly, batteries should not have voltage lower than
12 volts and should not have voltage that exceeds 18 volts.
Ki Pro Ultra 12G is a low-wattage device so many batteries can power it for several
hours at a time. Ki Pro Ultra 12G displays a “Near undervolt” warning prompt to
help you stop recording before battery failure. We also recommend the use of
batteries with metering or remaining power indications. When possible, for very
long recordings, use the supplied AC power supply instead of battery power. Two
power supplies can be used for redundancy
Remote Network Control
Network Connections
Ki Pro Ultra 12G can be networked to a computer using a single CAT-5 Ethernet
cable (straight or cross-over) or using an Ethernet 10/100/1000 local area network
(LAN) connection to the Ethernet RJ-45 connector.
If connecting via a LAN, connect the Ki Pro Ultra 12G Ethernet connector to a LAN
hub or switch. A LAN is a shared network that includes other Ethernet devices all
attached via a hub or digital switch. LANs may be divided into zones, and devices
on a LAN may have fixed or dynamically assigned (DHCP) IP addresses. Before
connecting Ki Pro Ultra 12G to the LAN, talk to your network administrator to find
out how they want it connected (static IP or DHCP).