Well, you could get the Ninja, which is just $995 before tax, cards and accessories.
True cost of Ki Pro Mini
- Thread starter Mike@AF
- Start date
Sadly, your inability to examine alternatives in the face of Economic adversity is the biggest stumbling block you face.
The battery option, if you looked into it, is the smart way to optimize a camera. You can run the body and accessories from one high capacity battery, this could include focus motors, or any other aks you need. Why waste time with a separate battery.
Next, if you bothered to look at my link, a speedy clamp+ 1/4"-20 headless screw would be the simplest way to attach a ki-mini to a 15mm rod.
So:
Ki pro mini : $2000 @b and h
4 32gb transcend cards: $680
Speedy clamp+screw: $200 max
$100 In hong kong batteries if you insist on being cheap...
Yeah, that's like 3 grand. Your point is?
If you need pro res to make money then you buy it on a credit card, make your money and call it a day.
If you don't, then you don't buy it. I don't see how this is some kind of surprise or revelation.
What exactly is it you are trying to achieve?
That is an option now, but I'll wait to see the feedback after they're actually released. AJA is a well-known and highly reputable company with these kinds of devices. Atomos is a new startup, so I wasn't really considering it, but now I might since the Ki Pro Mini seems cost prohibitive to me.
HKO
Well-known member
http://www.vimeo.com/4083139
Blackmagic Design intensity shuttle - USB3 is only $ 199. Easy HDMI capture to a laptop if you have one with USB3. No USB3?Then just use one of those USB3 to expresscard adaptors.
DIY is your friend if you want to save money.
Blackmagic Design intensity shuttle - USB3 is only $ 199. Easy HDMI capture to a laptop if you have one with USB3. No USB3?Then just use one of those USB3 to expresscard adaptors.
DIY is your friend if you want to save money.
You're assuming I didn't look at alternatives. I'm going to go with my personal experience and what I've heard from other people. I've heard of more issues with Transcend than Sandisk, so I'm going with Sandisk. Typically, you get what you pay for. No reason to insult me.
I did look at the link. You assume everyone is going to understand what you're suggesting by just throwing out a link and saying nothing else. I don't see how the power interface from the "Step 2" link is going to connect to the Ki Pro Mini. I know a single battery or battery belt configuration exists that would power the camera and the Ki Pro Mini and other accessories. I have my reasons for not wanting to do that, such as possibly not wanting to run all of them at once or in the same configuration, and then dragging around a special battery power configuration in those instances.
And with your mention of the Speedy Clamp even you said you weren't sure it would work, so you don't know for sure if it's the simplest way to mount the KPM.
I think I stated my point above in a previous post.
Maybe I don't want to buy something with a credit card. Maybe I don't like being in debt, but you go right ahead.
Everyone is talking about the KPM being only $2000, and no one seems to be considering what else will need be needed to actually make it functional with the AF100 or any other camera for that matter. It's unfortunate that AJA doesn't include a battery solution and rail mounting solution of their own. They know very well this is how it will be used, yet they don't offer the complete solution so even they are missing out on extra bottom line $$$ on it.
But you're in the same boat whatever route you go: Ninja, Ki Pro Mini, NanoFlash, Cinedeck...
Of course the accessories and media cost extra.
Actually, the Ninja includes batteries. You just have to supply the hard drives and you can get 2 500GB drives for about $50-60 each. So the Ninja becomes a $1200-$1300 solution if you decide to buy more batteries than what comes with it and a mount. A more reasonable solution (vs. $3000-$5000 for KPM) if it works...
But you still have to deal with mounting it, etc.
True, but do you really want to deal with the hassle of taking the caddie apart and removing the drive from the caddie every time you want to download the footage?
I have no knowledge beyond the detail at the Atomos site, but it appears the drive caddy 'houses' the drive but the standard SATA connector protrudes and interfaces with the Ninja ... at a minimum the SATA connector looks easily accessible to the $20 connector I reference.
heavyG
Underwater Giraffe Member
Let's b**ch and moan 'cause we have unrealistic expectations.
Let's b**ch and moan 'cause we have unrealistic expectations.
Wow for 5 grand this camera should have come with an integrated robot that could shoot / edit / and submit the finished short to film festivals. In 10bit with servo zooms that are faster than *T1 with a 2-500mm zoom- all without me having to lift a finger... I can't believe they've taken advantage of us like this.
I like monkeys & cheese.
Let's b**ch and moan 'cause we have unrealistic expectations.
Wow for 5 grand this camera should have come with an integrated robot that could shoot / edit / and submit the finished short to film festivals. In 10bit with servo zooms that are faster than *T1 with a 2-500mm zoom- all without me having to lift a finger... I can't believe they've taken advantage of us like this.
I like monkeys & cheese.
plasticam
DVXuser Sponsor
8 bit is 256 shades of gray. Placing it into a 10 bit seq wil not give it 257, let alone the 1024 shades of 10 bit. Echoing other wise comments here, I'll wait and use the camera as designed first. I'm gonna see what it looks like before rushing into knee jerk fixes for a camera that ain't broke yet! C'mon
Actually, I just looked at the whitepaper on Atomos' website and it says: "When you’ve finished recording, take the disk out and - using the supplied adaptor - connect it to your editing computer in any of a number of ways: eSATA, Firewire 800 or USB2/3." So that solves that issue and saves you $20. See, that's the way it should be done. All you supply is the media and an inexpensive mount. Hopefully it will actually work well.
EDIT: The brochure says the dock is included as well: "Simply insert your Master Caddy into the Master Caddy Dock provided and you are editing instantly. You can also, of course, transfer the footage to your central SAN or LAN."
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You should consider the rest of what I said. I never said you'd get more shades of gray. The footage wouldn't degrade as much or have as many issues as it would if it remained at 8-bit is what i was getting at.
plasticam
DVXuser Sponsor
Right. I took issue with the first part. I'll give you a hearty "me too" on the rest. You may well be right. It sounds plausible. At least as an anti jinx approach yours is as robust as any protocol I've seen. but the grizzly bears lurk in all codecs at all bit rates.
Justyn
Veteran
I'm going to be using mainly the internal SD cards, possibly one of these units..... but under most instances where I need all the possible color info and specificially for greenscreen, I'm going to bring out my Mac Pro to the studio and get one of these:
http://www.blackmagic-design.com/products/decklink/techspecs/
Or I'll buy an intensity and go HDMI... We have some options and I've been really happy with the AVCHD codec on the 150... Its been about as good as the HVX was in any and all situations, with the exception of greenscreen... For that the HVX was a bit more forgiving...
http://www.blackmagic-design.com/products/decklink/techspecs/
Or I'll buy an intensity and go HDMI... We have some options and I've been really happy with the AVCHD codec on the 150... Its been about as good as the HVX was in any and all situations, with the exception of greenscreen... For that the HVX was a bit more forgiving...
TheReverend
Well-known member
If you buy a blackmagic SDI card, make sure to get the studio if you want audio from any source other than the camera to sync with it. I don't know why but we've had a terrible time getting a good long running video to sync with audio (seems to get off frames like 1 every 5mins).
Multi-Media
Well-known member
My plan is to see how the on-board approach looks first. I have faith that Panasonic knows what they're doing... the kind of faith that is expressed by putting my money where my mouth is... like a deposit to ensure a delivery of one of these babies into my eager hands.
It seems that what a lot of folks are concerned with are the chroma key aspects and as mentioned above, the studio work. Both of those scenarios are already covered for those of us who use Adobe Creative Suite's - On Location program that records direct to disk and their other program, Ultra which is made to work with DV 4:2:0. These are present in Production Premium as early as the CS3 version. CS5 will edit footage from the AF natively (so I now have to upgrade to 64bit). We could bump up the sections that will have a lot of effects if need be.
Independent producers are a very resourceful lot. We will find a way to get it done... You'll know someone... the guy who does grip and lighting for me has a firestore... you might have a friend who can loan you something... the point is, for an important shoot, you can beg, borrow or rent... or buy something. But until we actually see what the finished product can produce, we are just speculating... chill... it'll be fine. Or you can wait untill the first wave comes through and sit on the shore and watch and wait 'till you're ready to jump in... or not... thankfully, it's still a free market.
It seems that what a lot of folks are concerned with are the chroma key aspects and as mentioned above, the studio work. Both of those scenarios are already covered for those of us who use Adobe Creative Suite's - On Location program that records direct to disk and their other program, Ultra which is made to work with DV 4:2:0. These are present in Production Premium as early as the CS3 version. CS5 will edit footage from the AF natively (so I now have to upgrade to 64bit). We could bump up the sections that will have a lot of effects if need be.
Independent producers are a very resourceful lot. We will find a way to get it done... You'll know someone... the guy who does grip and lighting for me has a firestore... you might have a friend who can loan you something... the point is, for an important shoot, you can beg, borrow or rent... or buy something. But until we actually see what the finished product can produce, we are just speculating... chill... it'll be fine. Or you can wait untill the first wave comes through and sit on the shore and watch and wait 'till you're ready to jump in... or not... thankfully, it's still a free market.
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