The editor then just simply cuts away from any recording that lost signal, without any heavy lifting to insert frames, or adjust audio to compensate. In this way, all multi-channel clips have the same timecode duration and will align perfectly within any NLE. ![]() But Ki Pro Ultra 12G is designed so that as soon as a loss in signal is detected on any of the inputs, a color bars frame with the legend “Loss Of Signal” is recorded until the input is restored or the shoot ends. Losing one or even several feeds during a multi-channel shoot can cause major sync issues during the editing process that can be lengthy to resolve, if they can be resolved at all. Internal frame synchronizers eliminate the need for sources to be genlocked, which can be especially useful when setting up live events. Ki Pro Ultra 12G even allows rollover to a second PAK for hours of uninterrupted multi-channel recording. 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*. 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. 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. ![]() ![]() Record 1, 2, 3 or 4-Channels of beautiful HD up to 1080p 50/60 in Apple ProRes simultaneously with Ki Pro Ultra 12G – without the need to genlock the sources.
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