AJA KONA LHI Operating instructions

www.aja.com
Installation and Operation
Guide
Because it matters.
LHi
Published: 5/4/11

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Trademarks
AJA
®
, KONA
®
, Ki Pro® and XENA
®
are registered trademarks of AJA Video, Inc.Ki Pro™, Io HD
™
and Io
™
are trademarks of AJA Video, Inc.
Apple, the Apple logo, AppleShare, AppleTalk, FireWire and Macintosh are registered
trademarks of Apple Computer, Inc. Final Cut Pro, QuickTime and the QuickTime Logo are
trademarks of Apple Computer, Inc.TASCAM is a registered trademark of TEAC Corporation.
All other trademarks are the property of their respective holders.
Notice
Copyright © 2011 AJA Video,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 Inc.
FCC Emission Information
This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference when the equipment is operated in a
commercial environment.This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instruction manual, may cause
harmful interference to radio communications.Operation of this equipment in a residential
area is likely to cause harmful interference in which case the user will be required to correct
the interference at his own expense. Changes or modifications not expressly approved by
AJA Video can effect emission compliance and could void the user’s authority to operate
this equipment.
Contacting Support
To contact AJA Video for sales or support, use any of the following methods:
180 Litton Drive, Grass Valley, CA. 95945 USA
Telephone: [phone] or 530.274.2048
Fax: [phone]
Web: http://www.aja.com
Support Email: suppor[email protected]
Sales Email: [email protected]
When calling for support, first read the Chapter on Troubleshooting at the back of this
manual.You can often save time and effort by looking there first for simple remedies and
information on how to get support from AJA and Apple Computer Inc.

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KONA LHi Installation and Operation Manual — Limited Warranty
Limited Warranty
AJA Video warrants that this product will be free from defects in materials and
workmanship for a period of three years from the date of purchase.If a product proves
to be defective during this warranty period, AJA Video, at its option, will either repair
the defective product without charge for parts and labor, or will provide a replacement
in exchange for the defective product.
In order to obtain service under this warranty, you the Customer, must notify AJA Video
of the defect before the expiration of the warranty period and make suitable
arrangements for the performance of service.The Customer shall be responsible for
packaging and shipping the defective product to a designated service center
nominated by AJA Video, with shipping charges prepaid. AJA Video shall pay for the
return of the product to the Customer if the shipment is to a location within the
country in which the AJA Video service center is located.Customer shall be responsible
for paying all shipping charges, insurance, duties, taxes, and any other charges for
products returned to any other locations.
This warranty shall not apply to any defect, failure or damage caused by improper use
or improper or inadequate maintenance and care. AJA Video shall not be obligated to
furnish service under this warranty a) to repair damage resulting from attempts by
personnel other than AJA Video representatives to install, repair or service the product,
b) to repair damage resulting from improper use or connection to incompatible
equipment,c) to repair any damage or malfunction caused by the use of non-AJA Video
parts or supplies, or d) to service a product that has been modified or integrated with
other products when the effect of such a modification or integration increases the time
or difficulty of servicing the product.
THIS WARRANTY IS GIVEN BY AJA VIDEO IN LIEU OF ANY OTHER WARRANTIES, EXPRESS
OR IMPLIED. AJA VIDEO AND ITS VENDORS DISCLAIM ANY IMPLIED WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. AJA VIDEO’S
RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUCTS IS THE WHOLE AND
EXCLUSIVE REMEDY PROVIDED TO THE CUSTOMER FOR ANY INDIRECT, SPECIAL,
INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER AJA VIDEO OR
THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES.

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KONA LHi Installation and Operation Manual — Table of Contents
Table of Contents
Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
FCC Emission Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Contacting Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Limited Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 1: Introduction
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
KONA LHi Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
What’s In The Box? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Minimum and Recommended System and Software Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Understanding Disk Storage Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About RAIDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Software For Striping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
AJA KONA LHi and Fibre Channel RAID (Xserve or other) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Storage capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Cable Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Using the Breakout Cable and 3 BNCs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Using KLHi-box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
About BNC Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Connector Descriptions—Cables and KLHi-Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3G/HD/SD SDI Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
HDMI Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2 Channel Digital AES/EBU Audio Inputs And Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Analog 2 Channel Balanced Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Analog 2 Channel Unbalanced Audio (KHLi-box only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
RS422 Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Analog Monitor Out (Component/Composite HD/SD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Reference Video and LTC Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
In This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Chapter 2: Getting Started—Workflow
KONA LHi And Your Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Understanding Typical Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
PhotoJPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
DV (DV25) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
DV50 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
DVCPRO HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Apple ProRes 422 and Apple ProRes 422 HQ (SD or HD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Uncompressed 8-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Uncompressed 10-bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Mixing and Matching Formats in Final Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter 3: Installation
Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Unpacking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Shipping Box Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Installing the KONA LHi Card in a Mac Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Installing the KONA LHi Card in a G5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Cabling the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
System Video/Audio Cable Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
System Cabling When Using The Breakout Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2
Typical System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Installing KONA LHi Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Software Installation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Genlock and Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 4: Final Cut Pro and Other Application Software
Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Using The KONA LHi Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Control Panel Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Input Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Input Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Formats Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Format Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Digital Out Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Digital Out Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Analog Out Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Analog Out Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
HDMI Tab Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
HDMI Tab Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Control Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Control Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Playback Timing (greyed-out when in Input Passthrough) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Setup Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Setup Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Codec Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Codec Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Timecode Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Timecode Screen Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Timelapse Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Info Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Saving Your Control Panel Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Who is Controlling KONA LHi? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
QuickTime Application—1st Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Mac Desktop Video—2nd Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
KONA Control Panel—3rd Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Control Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using Multiple AJA Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Easy Setups for Typical Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Easy Setups Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Easy Setups For Use With KONA LHi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Audio/Video Settings Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
To Create A New Easy Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
The Sequence Presets Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
The Capture Presets Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Capture Presets Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
The Device Control Presets Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
The A/V Devices Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Checking the System with a Simple Test Project of Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Using 8-bit Versus 10-bit Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Chapter 5: Troubleshooting
If You Run Into Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Updating Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Apple Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Appendix A: Specifications
Appendix B: Glossary

1
1
Chapter 1: Introduction
1
Edge Shot Photo Here
LHi
Overview
The AJA KONA LHi brings the highest quality 3G/HD/SD-SDI and analog video/audio to an
Apple Mac Pro running Final Cut Pro software. KONA LHi offers high quality digital and analog
interfaces with support for 8 and 10 bit uncompressed video. DVCPRO HD,HDV, and Apple RT
Extreme are also supported—and even accelerated by onboard hardware. Interfaces are
included for HDMI v1.3a in and out, allowing for use of low-cost cameras and high quality HD
monitoring with your Final Cut system. In addition to digital HD, the LHi also supports analog
HD. Using superb 12 bit video A/D and D/A converters, analog formats like BetaCam SP also
look excellent. Add to that hardware based upconversion from SD to HD, hardware based
downconversion from HD to SD and HD to HD crossconversion between 720 and1080 HD
formats, and you’re covered for realtime conversion at ingest or playout.
In addition to high quality video, KONA LHi also supports balanced analog, AES/EBU, and
embedded audio I/O, all at 24 bits and 48Khz. For simplified system integration, KONA LHi
includes hardware sample-rate conversion for AES inputs (eliminating annoying
synchronization hassles)—and RS-422 machine control.
This manual covers the installation and operation of the LHi and discusses using it with Final
Cut Pro and other applications. Instructions for installing the KLHi-Box are shipped with the
KLHi-Box.
Note: the earlier KONA LHe and LH models are not discussed in this manual—they have a
separate manual covering their installation and operation (available from www.aja.com/
html/support.html).

2
Features
The KONA LHi card offers a large number of unique features for optimum quality, ease of
use, and support for a wide variety of workflows and environments. KONA LHi provides
flexible standard definition and high definition capture and playback, a hardware
downconverter for working in mixed SD/HD environments—and it supports both analog
and digital audio/video I/O—including HDMI.
Hardware
•
10-bit uncompressed QuickTime capture card
•
3G/HD/SD SDI I/O
•
HDMI v1.3a w/Deep Color at 30 bits per pixel input/output
•
12-bit SD and HD Analog Component/Composite/S-Video I/O
•
Broadcast quality hardware based 10-bit upconversion
•
Broadcast quality hardware based 10-bit downconversion
• Broadcast quality hardware based 10-bit crossconversion (1080 to 720 and 720 to
1080)
•
Broadcast quality hardware based 10-bit SD aspect ratio conversion (anamorphic to
letterbox, etc.)
•
DVCPRO HD hardware acceleration
•
HDV hardware acceleration
•
Dynamic RT Extreme hardware acceleration
•
2-channel analog balanced XLR audio I/O
•
2-channel AES XLR audio I/O
•
8-channel SDI embedded audio I/O
•
HD/SD genlock on analog video inputs
•
LTC Input (on Reference input)
•
RS-422 Machine Control
• Final Cut Pro, Motion, After Effects, Combustion, and more
•
Cables standard
•
Optional KLHi-box Breakout Box—provides rack mounting and flexible
easy I/O (KLHi-box cabling is included with the KLHi-box).
•
3-year warranty
KONA LHi Audio
KONA LHi supports 2-channel 24-bit 48kHz or 96kHz AES audio via XLR connections, and 8
channel embedded 24 bit 48kHz audio over HDMI or the same single SDI connection as the
video.If you are using a digital deck—you’ll have the proper connections to the deck.
For analog audio, KONA LHi provides two-channel balanced audio input and output. If you
purchase the optional KLHi-Box breakout box, you also get two-channel unbalanced audio
output (RCA jacks).
KONA LHi also features AES input sample rate conversion; this feature eliminates the
requirement for audio source synchronization. Sample rate converters auto-lock to any AES
or HDMI input, 32-96KHz, and then convert it to 24 bit 48KHz audio, perfectly locked to
internal KONA LHi video.Sample rate conversion is done at very high quality (over 120db
THD). (HDMI audio can be 20 to 24 bit and will be saved as 24 bit samples.)

1
3
KONA LHi Installation and Operation Manual — What’s In The Box?
Software
•
KONA control panel for source selection and controlling KONA LHi within the
overall MacOS environment (Macintosh Desktop, Input Pass through, and more).
• AJA QuickTime™ drivers for tightly integrated hardware/software operation.
•
Supports all popular standard definition formats: 8/10 bit uncompressed, JPEG,
DV25/50, and 3:2 pulldown for 24Hz support.
•
Support for Apple Final Cut Pro™ (application software not included).
•
Support for After Effects, Combustion, Motion, and Other Applications
(application software not included).
AJA’s KONA LHi software and hardware were developed for use with Final Cut Pro for
powerful integrated video/audio capture, editing, and video production.With an Apple
Mac Pro, FCP, and KONA LHi, you have an ideal high-quality cost-effective system for
standard definition, high definition, and analog video production workflows. Software is
supplied on CD, including the KONA Control Panel, drivers for the card itself, and all files
necessary for Final Cut Pro and other application support (Final Cut Pro software
application not included).
What’s In The Box?
When you unpack your AJA KONA LHi, you’ll find the following components:
•
AJA KONA LHi Software and Documentation CD-ROM—this CD contains the
software installer to place KONA LHi drivers and the Control Panel on an Apple
MacPro. Install the software as discussed in this manual in Chapter 3: Installation and
Configuration. The CD also contains a wide variety of useful information, including
this manual you’re reading (PDF format).
•
KONA LHi PCI Express card.
•
Cable, KONA LHi Standard Breakout, with Analog video, audio, AES, Reference Input,
and RS-422 Machine Control.
3G/HD/SD-SDI (1 in and 1 out) and HDMI In/Out connectors (1 in and 1 out) are on
the LHi card itself—not on the breakout cable.
• Read Me First Notice—Contains late-breaking news and/or errata related to KONA
LHi and the documentation.
•
Registration Sheet—allows you to register your card by mail or online (details
provided).
Please save all packaging for shipping the KONA LHi should you wish to do so when
moving or sending it in for service.

4
KONA LHi Shipping Box Contents
Installation Software CD
Installation and Operation Manual
in electronic form on the CD (PDF)
Read Me First Notice
and Registration Sheets
Standard Cable
AJA KONA LHi Card
RS422 Machine Control to VTR
(9-pin)
Analog Audio Channel 1 Input
Analog Audio Channel 2 Input
Analog Audio Channel 1 Output
Analog Audio Channel 2 Output
Digital AES Input Channels 1 & 2
Digital AES Output Channels 1 & 2
Multiple-pin connector
To KONA LHi
Y/CVBS In BNC
Pb/Y In BNC
Pr/C In BNC
Y/G/CVBS Out BNC
Pb/B/Y Out BNC
Pr/R/C Out BNC
green
blue
red
green
blue
red
6 BNCs (Analog Connections): Can be
Configured for Component, Composite, or Y/C
Reference Input or LTC Input BNC
Balanced Audio
Analog Video

1
5
KONA LHi Installation and Operation Manual — System Requirements
System Requirements
AJA Video recommends that your system meet minimum hardware and software requirements
to achieve a satisfactory level of performance when operating it.Here, we provide minimum
and recommended requirements and then discuss disk storage issues that should be
understood for proper system configuration.
Minimum and
Recommended
System and
Software
Requirements
The following table outlines the system hardware and software needed.
Understanding Disk
Storage Methods
The KONA LHi card, a MacPro, and Final Cut Pro, together offer an unprecedented level of
features and performance for audio/video post production applications. However, to ensure
performance and quality, the disk storage system used with the Apple computer must be able
to meet the demands of the media.
For uncompressed SD, AJA recommends that at a minimum, the disk storage system must be
able to provide and maintain a consistent 50 MB/sec transfer rate from the Apple computer to
disk (read/write).There are a variety of system configurations and peripherals that can provide
this level of performance.
For uncompressed single link HD, AJA recommends that at a minimum, the disk storage system
must be able to provide and maintain a consistent 200 MB/sec transfer rate from the Apple
computer to disk (read/write).There are a variety of system configurations and peripherals that
can provide this level of performance.
Item Recommended
Recommended KONA Driver for
Mac OSX and Final Cut Pro:
Note: always consult the release
notes for the AJA software
version you are running
(included with installer)
FCP 7.0.x - KONA driver version 9.0.1 (Snow Leopard and Leopard OS
compatible version)
FCP 7.0.x - KONA driver version 7.5.1 (Snow Leopard and Leopard OS
compatible version)
FCP 7.0.x - KONA driver version 7.1 (Snow Leopard and Leopard OS
compatible version)
FCP 7.0.x - KONA driver version 7.0 (Snow Leopard and Leopard OS
compatible version)
FCP 7.0.x - KONA driver version 6.5 (Leopard OS compatible version)
FCP 6.0.x - KONA driver version 6.0.3 (Leopard and Tiger OS
compatible version)
For the latest appropriate match for your software and hardware, visit:
http://www.aja.com/support/kona/kona-lhi.php
Macintosh Tower: Recommended KONA LHi System: Apple Mac Pro with Dual-Core
Intel Xeon Processors (2 GHz or better) with a minimum of 2GB RAM
for uncompressed SD or 4GB RAM for uncompressed HD.Use a Fibre
Channel or SCSI external RAID for uncompressed SD/HD storage.
Minimum KONA LHi System: Power Mac G5 (dual) PCI-Express,2GHz
with 2GB RAM minimum for uncompressed SD or 4GB RAM for
uncompressed HD. Ensure your Macintosh has a PCI-Express slot for
compatibility. Use a Fibre Channel or SCSI external RAID for
uncompressed SD/HD storage.
Slot Placement: Visit our website and view this regularly updated
slot placement document:
http://www.aja.com/support/kona/kona-system-configuration.php
Internal Storage (SATA inside
Mac):
Best suited for compressed SD/HD formats only
External Storage:
Note: see Storage Methods topic
that follows later in this Chapter
Ideally a RAID configuration with Fibre Channel or SCSI connection to
the Mac via qualified host bus adapter

6
For uncompressed 3G or HD, AJA recommends that at a minimum, the disk storage system
must be able to provide and maintain in excess of 300 MB/sec transfer rate from the Apple
computer to disk (read/write). There are a variety of system configurations and peripherals
that can provide this level of performance. KONA LHi users wishing to configure a storage for
a system should also be aware that raw benchmark numbers alone do not necessarily reflect
the performance of a drive solution. Other factors, such as drive seek time and controller
cache can also affect performance especially with regard to the bandwidth requirements of
3G, HD, and SD files.
About RAIDs
Redundant Array of Independent Disks, or RAID, is a group of hard drives that appears to the
host Power Mac as a single high-speed storage unit. RAID systems enable you to increase
storage capacity and get the performance, reliability, and data protection needed for video
production, but not possible from a single hard drive. RAID drives inside the array operate
simultaneously, increasing overall throughput. RAID technology is comprised of these
techniques (some or all):
•
Striping data across multiple drives for storage performance (RAID 0).
•
Mirroring for redundancy (RAID 1).
•
Parity for data protection (RAID 5 [plus others]).
Most RAID configurations, or RAID levels, combine these to provide a balance of protection
and performance.
Striping divides a logical drive into data blocks, or stripes, that are distributed across an array
of physical drives. Striping a set of disks improves storage performance because each drive
operates concurrently. However, striping alone, known as RAID level 0, offers no data
protection.
Mirroring involves writing identical copies of all data to a pair of physical drives.This results in
very high data reliability: If one drive fails, the data is still available on the remaining disk drive.
However, it also results in a storage efficiency of only 50 percent, because two physical drives
are required to achieve a single drive’s capacity. Mirroring alone is known as RAID level 1.
Parity provides data protection without requiring complete duplication of the drive contents.
In the event of a drive failure, parity information can be used with data on surviving drives to
reconstruct the contents of a failed drive. Parity data can be stored on a dedicated drive, as in
RAID 3, or distributed across an array of drives, as in RAID 5. Parity provides much greater
storage efficiency than mirroring—up to 85 percent for a set of seven drives.
Software For Striping
AJA recommends the Disk Utility software provided by Apple with OS X for creating and
striping RAIDs, including 3rd-party, SCSI, and Xserve RAIDs. It is very easy to use and has been
tested to work well.The utility can be found in Macintosh HD/Applications/Utilities, where
“Macintosh HD” is the name of the system drive.
AJA KONA LHi and Fibre Channel RAID (Xserve or other)
For the optimum in disk storage with Final Cut Pro and AJA KONA LHi, we recommend a Fibre
Channel or SATA RAID array. Apple’s Xserve RAID, for example, holds up to 14 hot-swap Apple
Drive Modules—5.6TB of storage—in a rack-optimized 3U enclosure. Each 7200-RPM hard
drive connects to a dedicated ATA/100 drive channel, eliminating a traditional source of
bottlenecks and maximizing the 2Gb/s Fibre Channel host connection(s). By adding more
Xserve RAID systems, you’ll have very large expansion capabilities: A standard 42U rack can
hold over 78TB of Xserve RAID storage.
Note: When creating and striping an Xserve RAID for KONA LHi using the Apple Disk Utility
provided with OS X,use RAID 50 : in other words,the internal Xserve RAID drives are set up
as RAID 5; the Xserve RAID then shows up in Disk Utility as two drives (regardless of the
number of internal drives) which must be configured together as RAID 0. Apple calls this
configuration“RAID 50.”

1
7
KONA LHi Installation and Operation Manual — System Requirements
Storage capacity
No matter which storage system you choose, pick one that can scale to meet your needs over
time. Ideally, you should be able to increase storage capacity or switch to a RAID level offering
increased data protection in the future.Balance current and future storage needs with your
budget and choose accordingly.
Note: for uncompressed formats, PAL and NTSC transfer rates and storage requirements are
about the same because PAL has a lower frame rate, but more lines.
FORMAT Transfer Rate in
MB/sec
Storage
Requirement in
GB/Hour
Hours of Storage
Per Terabyte of
Disk
10 bit Uncompressed
Standard Definition
28 101 9.9
8 bit Uncompressed
Standard Definition
21 76 13.1
DV50 Standard Definition 6.3 23 43.4
DV25 Standard Definition 3.1 11 90.0
Photo JPEG
Standard Definition
2.5 9 111
8-bit Uncompressed 1080i @59.94/
60Hz
124 448 2.2
10-bit Uncompressed [email protected]/
60Hz
166 597 1.7
8-bit Uncompressed 1080i @50Hz 104 373 2.7
10-bit Uncompressed 1080i@50Hz 138 498 2.0
8-bit Uncompressed [email protected]/
24Hz
100 358 2.8
10-bit Uncompressed
[email protected]/24Hz
133 478 2.1
8-bit Uncompressed [email protected]/
60Hz
100 358 2.8
10-bit Uncompressed [email protected]/
60Hz
133 478 2.1
DVCPRO HD 12.5 45 22.2
MB = MegaBytes
GB = GigaBytes

8
Cable Connections
KONA LHi offers unsurpassed cable connectivity for a video/audio capture card. Connections
are made via a supplied breakout cable, plus two BNCs and two HDMI connectors on the
KONA LHi Card endplate.
Using the Breakout
Cable and 3 BNCs
The breakout cable supports:
• Reference or LTC input (BNC)
• Component/Composite/S Video Input (3x BNC)
• Component/Composite/S Video Output (3x BNC)
• AES In (1x XLR)
• AES Out (1x XLR)
• Balanced Audio In (2x XLR)
• Balanced Audio Out (2x XLR)
• RS-422 Machine Control (9 pin D)
Four connectors on the KONA LHi Card endplate additionally provide:
• HDMI v1.3a input and output (2x HDMI)
• 3G-, HD-, and SD-SDI input (1x BNC)
• 3G-, HD-, and SD-SDI output (1x BNC)
KONA LHi Breakout Cable
Standard Cable
RS422 Machine Control to VTR
(9-pin)
Analog Audio Channel 1 Input
Analog Audio Channel 2 Input
Analog Audio Channel 1 Output
Analog Audio Channel 2 Output
Digital AES Input Channels 1 & 2
Digital AES Output Channels 1 & 2
Multiple-pin connector
To KONA LHi
Y/CVBS In BNC
Pb/Y In BNC
Pr/C In BNC
Y/G/CVBS Out BNC
Pb/B/Y Out BNC
Pr/R/C Out BNC
green
blue
red
green
blue
red
6 BNCs (Analog Connections): Can be
Configured for Component, Composite, or Y/C
Reference Input or LTC Input BNC
Balanced Audio
Analog Video

1
9
KONA LHi Installation and Operation Manual — Cable Connections
Using KLHi-box
The KLHi-box attaches to the KONA LHi card via cables that attach to the back of the box.These
cables are supplied with the KLHi-Box.When you purchase the optional box, you get two-
channel unbalanced audio output (2 RCA Jacks)—not available with the standard cable.
AJA KLHi -Box Panel Connectors
About BNC
Connectors
Although most video professionals are used to BNC connectors, you may not have seen them if
you’ve been using primarily desktop video equipment. BNC connectors ensure a positive
connection by the act of locking the connectors together via pins in one connector that fit into
slots in the corresponding connector.
To make a BNC connection, slide the cable connector over the panel connector and then when
seated, rotate the barrel of the cable connector 90˚ clockwise until the connectors are locked
together.When properly locked, the cable cannot accidentally be pulled out.
RS422
Machine Control
External
Reference
(loop)
Analog
Audio
Output
Balanced Audio In
Channels 1 & 2
Balanced Audio Out
Channels 1 & 2
Composite/Component
Video In
Composite/
Component
Video Out
AES/EBU Audio
In and Out
SDI
In
SDI
Out
HDMI v1.3a
Out
HDMI v1.3a
In
Pins (2) on BNC Connector
Align slots in
cable connector
barrel with connector
pins, then slide it over the pins
and rotate the barrel
to lock the connectors
(connector on KLHi-Box)
together

10
Connector
Descriptions—
Cables & KLHi-Box
Connectors on the standard cable set are labelled as to their function for easy installation and
maintenance.Similarly, connectors on the optional KLHi-Box are also labelled.
3G/HD/SD SDI Input and Output
BNC connectors are provided on the KONA LHi card endplate for one 3G/HD/SD-SDI input and
one 3G/HD/SD-SDI output.The input and output support video and embedded 24-bit digital
audio.Use SDI wherever possible for the best quality 10-bit uncompressed video input,
capture and output. If peripheral equipment has a variety of inputs/outputs, look to see if it
has SDI I/O, and use it where possible. Most high-end professional broadcast equipment
supports SDI (VTRs, cameras, media storage servers, etc.).
HDMI Input and Output
Two HDMI connectors on the LHi endplate provide for input and output of HDMI compatible
video and multi-channel embedded audio (8 channels). HDMI v1.3a capability at 30 bits per
pixel allows full support of the latest 10-bit monitors.
HDCP is not supported on either input or output.The LHi’s HDMI output does not have HDCP,
and input sources having HDCP are not supported.The HDMI input is designed to support
long cable runs—up to 100 ft when using 22 or 24AWG HDMI cable, or up to 50 ft using 28 or
30AWG HDMI cable.The HDMI output supports standard HDMI cables only.
The KONA control panel allows selection and adjustment of some HDMI parameters; please
see Chapter 4—Final Cut Pro and KONA for more information on Control Panel operation.
2 Channel Digital AES/EBU Audio Inputs And Outputs
One female XLR connector is provided for the channel 1 and 2 inputs, while a male XLR
connector carries channel 1 and 2 outputs. AES/EBU signals are handled internally as 24-bit
digital.The optional KLHi-Box also provides XLR audio connections on the front panel.
Note: AES XLR connections are digital and cannot be used with analog equipment having
XLR connectors.
Analog 2 Channel Balanced Audio
Two sets of analog XLR connectors, one for each channel, support balanced audio
connections. Male XLRs are provided for outputs and female XLRs are provided for inputs.
Balanced audio (differential) connections provide better analog audio quality over longer
cable runs.Most professional quality VTRs and audio equipment have XLR style connectors for
analog audio.Analog audio signals are converted internally to 24-bit digital.
Analog 2 Channel Unbalanced Audio (KLHi-Box only)
On the KLHi-Box are two analog output connectors, one for each channel.These connectors
are RCA-style phono jacks.
RS422 Machine Control
A female DE-9 connector on the breakout cable provides connection for VTRs, camcorders,
disk media servers, and other devices using RS422 SMPTE (Sony) protocol.This connector is
also present on the optional KLHi-Box. (Connector pinout is listed in Appendix A:
Specifications.)
Analog Monitor Out (Component/Composite HD/SD)
Both the standard I/O cable and the optional KLHi-Box feature two groups of 3 BNC
connectors (each) for input and output of component, composite and Y/C functions.The
signals are labelled on both the cable and KLHi-Box connectors.

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KONA LHi Installation and Operation Manual — In This Manual
Component video signals are generally higher quality than composite,but not as high quality as
serial digital (SDI).
A Note About RGB —Although RGB is used less in today’s video systems, KONA LHi supports
it. However, because the KONA LHi (and SMPTE SDI) native format is YPbPr, AJA
recommends the use of YPbPr whenever possible for analog monitoring. Although
component video monitors often have RGB inputs, it’s better to use YPbPr when the
monitor supports it. The YPbPr format provides “headroom” for “superwhite” and
“superblack”—and these video levels will be clipped when transcoding to RGB. Also, the
RGB/YPbPr transcoding involves a level translation that results in mathematical round-off
error. RGB can be configured in the KONA LHi Control Panel.
A Note About YPbPr —Component Video, or YPbPr, has been given several names over time.
YUV, Y/R-Y/B-Y, and YCbCr, are just some examples. Although these various formats have
some differences in levels, they are all basically the same. KONA LHi uses the modern YPbPr
terminology exclusively. KONA LHi supports three different types of YPbPr: SMPTE/EBU
N10, Betacam (NTSC), and Betacam (NTSC Japan). These three formats differ in level only
and are configured in the KONA LHi Control Panel.
Reference Video and LTC Input
A single BNC on the standard KONA LHi cable—or two BNC connectors on KLHi-Box (it loops
through)—allow you to synchronize KONA LHi outputs to your house analog reference video
signal (or black burst). If you have a sync generator or central piece of video equipment to use
for synchronizing other video equipment in your studio, then connect its analog composite
output here.When KONA LHi outputs video it uses this reference signal to lock to.When
connecting a reference video source, the locking signal should be the same format as the
Primary format selected in the KONA Control Panel. It is possible in some circumstances to use
an alternate format video signal as long as the basic frame rate is compatible.
The Reference Video input can also be used for LTC input.The hardware automatically detects
sync or LTC and acts appropriately.
In This Manual
Chapter 1 is the introduction you’re reading, listing features, box contents, and system
requirements.
Chapter 2 gets you started with using KONA LHi in a typical Video environment.Typical
workflows are discussed.
Chapter 3 provides complete instructions for installing and configuring the AJA KONA LHi card.
The user is guided through unpacking, installing the card into a PowerMac, installing KONA LHi
Mac Software From CD, cabling the system and then getting it up and running. Important
configuration information is also provided on video settings and use of genlock/external
reference.
Chapter 4 discusses operational aspects of KONA LHi when used with Final Cut Pro.
Chapter 5 discusses troubleshooting problems with your system and what to do when there’s a
problem you can’t solve.
Appendix A presents a list of technical specifications for the product.
Appendix B gives a glossary of technical terms and acronyms used in the manual.
The remainder of the manual consists of appendices listing specifications and an index section
to help you rapidly find topics in the manual.

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Chapter 2: Getting Started
2
KONA LHi And Your Workflow
There are a lot of ways to think about the video/audio workflow you follow.Your setup might
be categorized as corporate video, professional broadcast, or desktop video. Or the workflow
might be categorized by the type of equipment used rather than the nature of work
produced—many systems these days are a mixture of equipment from high-end professional
to desktop video.This chapter hopes to show how Final Cut Pro and KONA LHi can help fit into
whatever workflow you currently have and make it more efficient.
A Workflow Scenarios diagram on the following page shows types of equipment, sorted by
VTR source, and the types of workflow attributes and KONA LHi applications supported.After
the diagram, we also discuss some typical applications.
Workflow Scenarios
KONA LHi captures and outputs
SD-SDI/HD-SDI video with embedded
audio.Use high-quality AES/EBU
and/or embedded 8-channel audio
output.
Using standard desktop video
techniques, video/audio is captured
directly from a camcorder or deck.
KONA LHi is used for playing back
captured media and editing/mastering
to tape or DVD using Final Cut 6
and other tools such as After Effects,
Combustion, Apple Motion, etc.
HDV playback is aided by KONA LHi
onboard hardware scalar.
Using Final Cut Pro, work with
a wide range of old and new SD and
analog sources,and then also
using desktop graphics and video
software for creative power and
flexibility.
Corporate/Industrial
Pro Broadcast
On-site Editing
Corporate/Industrial
Pro Broadcast
Desktop Video
On-site Editing
Post-production
Animation
Compositing
Digital SD-SDI, HD-SDI, or single-link 3G-SDI
Examples: Digibeta, DV50, DVCPRO HD,
HD Varicam and DVcam
Digital capture via Firewire with Output via AJA
KONA LHi.The LHi has Analog HD component in,
which also allows you to bring in HD directly from
an HDV camera head.
Example: MiniDV, HDV
Without even using a deck; use the video monitor
as a second Mac monitor.The KONA LHi
desktop lets you drag graphics from
programs like Adobe Photoshop from
the computer display to the video monitor. You
paint full frame and live onto a broadcast monitor.
Output virtually anything to video—ideal for
animators and compositors.
Workflow Attributes
Source Deck Type(s) Applications
KONA LHi captures and outputs
Y/C, Component, and Composite
Video, with 2-channel audio.
Analog
Examples: Beta, VHS, and U-matic
Corporate/Industrial
Pro Broadcast
On-site Editing
KONA LHi captures HDMI camera
output with embedded
audio.
Corporate/Industrial
Pro Broadcast
On-site Editing
Digital HDMI input from Camera
Examples: Cannon HV30 or
Panasonic AG-HSC1U AVCHD camcorder

14
Understanding Typical Workflows
KONA LHi and Final Cut Pro allow more workflow flexibility than ever before. Users can
independently select different formats for capture and storage media, while also
outputting to an array of analog and digital uncompressed formats—with all outputs active
simultaneously. Capture can range from analog, DV, or SD and HD digital uncompressed.
Media can be stored on disk as:
• offline quality at low bit rates
• on-line quality at moderate bit rates
• or with the highest quality as 8 or 10 bit uncompressed SD and HD
As quality and codecs improve, the lines between offline and online are blurring.For
example, with the Apple ProRes 422 codec, native HD editing in that codec is now possible,
providing very high quality results (true HD editing) at very low data rates.
Following are summaries of the most common workflows, listing data rates and relative
quality levels.Some workflows require a RAID array and some will work using the host Mac’s
internal system drive—it’s noted where this is supported in the following discussions.
PhotoJPEG Data rate: approximately 1-3 MB/second standard definition or high definition—supported
by internal system drive
Quality:Very Good
The Apple PhotoJPEG codec offers an excellent compressed media choice for on-line
quality at low data rates. PhotoJPEG can use the full-raster at 4:2:2 sampling. Final Cut Pro
allows you to adjust quality using a PhotoJPEG control panel. KONA LHi allows for
PhotoJPEG monitoring and/or output in both SD and HD. KONA LHi can capture from
almost any HD or SD input, directly to PhotoJPEG media.
DV (DV25) Data rate: 3.13 MB/second (megabyte/second) standard definition only—supported by
internal system drive
Quality: Good
In this workflow, DV is usually input to a Mac Pro running Final Cut Pro through its FireWire
port. DV offers good quality, but it has lower Chroma resolution when compared to DV50,
JPEG, or uncompressed.You can use KONA LHi to convert DV projects to uncompressed—in
real time—for monitoring and/or output.Alternatively, KONA LHi can capture
uncompressed from any input, directly to DV media.
DV50 Data rate: 6.26 MB/second standard definition only—supported by internal system drive
Quality:Very Good
Like DV25, Final Cut Pro also supports the Panasonic DV50 standard definition codec. DV50
is a 4:2:2 compressed format and therefore has higher chroma resolution when compared
to DV25. Also like DV25, you can use KONA LHi to convert DV50 projects to
uncompressed—in real time—for monitoring and/or output. KONA LHi can capture
uncompressed from any input, directly to DV50 media.
DVCPRO HD Data rate: 12 MB/second high definition—supported by internal system drive
Quality: Excellent
Like DV50, Final Cut Pro also supports the Panasonic DVCPRO HD high definition codec.You
can use KONA LHi to convert DVCPRO HD projects to uncompressed—in real time—for
monitoring and/or output. KONA LHi can capture uncompressed from any input, directly to
DVCPRO HD media.When playing the DVCPRO HD format back, the KONA LHi hardware
handles the work of properly scaling the video for monitoring and output—which provides
for more streams of RT effects, since the Mac processors are freed up to handle the RT.