AJA's Mini-Converters are well known worldwide for their reliability, robustness and power across a range of conversion needs. Select the appropriate category for your in field or studio needs.
The Ki Pro family of digital file recorders and players cover a range of raster, codec and connectivity needs in different formats suited for the field, equipment rack or facility.
From Composite, Component, 3G-SDI, HDMI to Broadcast IP, AJA desktop solutions provide you the needed I/O for any given project. Explore the KONA desktop I/O family to learn more.
AJA’s FS range of 1RU frame synchronizers and multi-capable converters cover your needs from SD to 4K, 1 to 4 channels of HD support and advanced workflows including real-time HDR transforms, with the incredible FS-HDR
openGear and AJA Rackframes and Converters for convenient rack based conversion, DA and fiber needs.
KUMO routers range from 16x2 to 64x64 for 3G-SDI format agnostic routing with convenient control and Salvo recall and configuration with the KUMO CP2 control panel.
AJA offers both the desktop based KONA IP with support for 2022-6/7 and upcoming 2110 support as well as optional JPEG 2000 over IP. AJA’s range of IPT Mini-Converters bridge SDI and HDMI to JPEG 2000 over IP with minimal latency.
The Corvid lineup of developer cards and SDK options for KONA and Io desktop and mobile solutions offers OEM partners’ a wealth of options. Explore to learn more.
AJA FiDO fiber converters expand your range all the way up to 10km with Single-Mode. Transceivers, transmitters and receivers available with SC or ST connectivity and LC Multi-Mode, CWDM or Single Mode options.
The latest press releases on the most exciting product releases and top news stories from AJA.
Stop by regularly to see what AJA is up to around the world and join us when possible!
Our users are putting AJA solutions to work in exciting and innovative ways.
Subscribe to our RSS feed or monitor this page for all news on product releases, updates and more.
Download the latest firmware, software, manuals and more to keep current with the latest releases from AJA.
AJA is dedicated to ensuring your success with our products. Technical Support is available free of charge and our team will work with you to help answer questions or resolve any issues.
If you have an AJA product, please register on this page. Having your registration on file helps us provide quality Technical Support and communication.
Third-party support information and downloads.
This reel was made to demonstrate the improved highlight handling and black detail available to CION users in the new V1.3 firmware, released at NAB 2016. In addition, the CION Gamma names have been updated to closer reflect each individual mode. Images were captured, edited and graded in UltraHD ProRes 4444 before upload, with Vimeo providing the final HD encode.
The CION IBC 2015 HD Showreel features a diverse array of shooting styles that CION is capable of. The masters delivered were 2K/HD 444 and were derived from 4K/UltraHD shoots and represent content from both CION owners and the #TryCION program. The version uploaded to Vimeo is a HD ProRes 444 master.
AJA would like to thank the following for the kind use of their footage, in no particular order TJ Derry, David Kaufman, Shawn Serdar, Ed Ng, David Nicolson, Aaron Lindquist, Phil Rhodes, Bill Totolo, Robert Morrissey, Paul Lee, Ali Walker, Rakesh Malik, Michael Monsour and Adam Heim
Shot on location in London, San Francisco, Grass Valley, Tokyo and Vancouver using CION, the 4K/UltraHD and 2K/HD digital cinema camera. This H.264 1080p version has been converted by Vimeo from the original ProRes 444 UltraHD master file. Slight desaturation and subtle lifts to the mids and highlights have been applied to make for a better viewing experience on a computer monitor. If you wish to download the H.264 UltraHD version please visit the Vimeo page and select 'Download' from the options beneath the video.
The CION Image Reel Part One was shot on location in London and San Francisco. The original camera 4K and UltraHD ProRes 422 and 444 files were edited without grading. The version available for playback is compressed H.264 with Vimeo providing the conversion from the 11GB ProRes 444 original.
Those with access to 4K and UltraHD monitors may elect to download the UltraHD version for offline playback; this version is still a compressed H.264 file when compared to the master file.
If you wish to download the H.264 UltraHD version please visit the Vimeo page and select 'Download' from the options beneath the video.
The CION Technical Video 1 shows in precise detail the Exposure Index, Gamma and In-Camera Color Correction options available with the CION 4K/UltraHD and 2K/HD production camera from AJA. The video is split into two sections; the first shows these comparisons at 5600K and the second section details the same comparisons at 3200K. No grade or color correction has been applied to this 4K footage although some scaling and resizing has been made to create the side-by-side comparison images you see within the video. The video you see here is a compressed 1080p H.264 version, exported from FCPX and then uploaded to Vimeo. The original is a 4K 12-bit ProRes 444 master file. AJA would like to thank, in no particular order, Zacuto, Cooke, Schneider Optics, Zeiss, Mole-Richardson and EZ FX Inc for their support.
Download the CION Technical Notes #1 that accompany this video.
AJA Video Systems is proud to bring you a brand new video shot on CION in Grass Valley and Nevada City California. Shooting took place over three days during the first week of September 2014. The UltraHD 23.98 fps normal speed shots were acquired in camera as ProRes 4444; the slow motion shots were acquired as ProRes 422 with the camera operating at 59.94fps and files saved in-camera as 23.98fps.
Every shot is presented exactly as it was photographed; no exposure adjustments, color correction or image manipulation of any form took place in post-production. The studio shots were captured using three point lighting utilizing both the supplied PL lens mount as well as a third party EF lens mount. With the exception of the umbrella shot, which utilised a single 1K light, the remaining shots were captured with available light. CION’s white balance values were specifically selected to match the needs of the scene and, in certain cases, auto white balance was also utilized. CION’s in-camera color correction modes were also employed during the shoot. In the scenarios presented, ‘Skin Tones’ and ‘Normal’ settings were selected throughout the filming.
The version you are watching here is the 1080p downconversion of the UltraHD ProRes 4444 master file.