AJA’s Ki Pro “family” is a lineup of file-based, video recording and playback devices. With a form factor and controls reminiscent of a traditional tape deck, the original Ki Pro was popular with broadcast and post-production professionals because it enabled SD and HD video recording in the edit-friendly ProRes 422 format.
If you gather ten sound engineers in a room and ask them what’s the best way to record something, don’t be surprised when you get ten different answers. One thing that makes sound engineering such a fun field is that all ten answers will probably be right.
Every so often, a piece of audio gear is released that quickly builds a loyal base of users to the point that it becomes almost ubiquitous, just an obvious choice for a given application because it works so well. The rise in popularity of the Zoom H4n is such an example.
Convergent Design ranks among industry leaders in the manufacture of the portable video recorder, a type of device that offers better image quality than the built-in recorder in most camcorders. Convergent Design has recently announced the Odyssey7 and Odyssey7Q monitor and recorder.
Way back—five years ago—if you shot video, you used a video camera, and if you shot photographs, you used a still camera. Today, that distinction is all but meaningless. Almost every video camera today captures stills, and virtually every still camera now shoots video.
When most people record audio in stereo, they usually go to the most common mic configurations, such as a matched pair of microphones arranged in an X/Y pattern, or possibly those same matched mics in an ORTF pattern for a wider stereo field.
The AJA Ki Pro family of tapeless recorders is built around four different models designed to optimize workflow, making it possible to record analog or digital footage from any device and have it ready to edit without the need for conversion or transcoding.