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September 8, 2023

Nits.Lab Taps AJA Gear to Help Filmmakers Explore the Creative Possibilities of HDR

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With its brighter highlights and wider color gamut, high dynamic range (HDR) is providing another creative avenue to immerse audiences in their stories. Demand for the advanced format has been growing steadily in Latin America in recent years, a trend that Brazil-based independent creative studio Nits.Lab recognized early on. The studio launched earlier this year to provide HDR-capable Digital Imaging Technician (DIT) and post-production services to clients in Latin America. With the help of AJA technology like ColorBox, its team is supporting commercial, episodic, documentary, and feature productions across the region to embrace this evolving storytelling format and unlock its myriad narrative advantages.


“We do most of our work in SDR, but client preferences are slowly shifting to HDR,” said Nits.Lab Co-Founder Rodrigo Bodstein. “It’s gaining momentum here in Brazil as the major streamers show the narrative possibilities of HDR, and quite a few of the larger studios, as well as a few post houses, are already experimenting with HDR delivery. We’re working to help the market transition, and make HDR more accessible here. We want to give professionals the tools they need to get up to speed on HDR and explore its narrative implications, so they can continue pushing content forward visually.”


To support its mission, Nits.Lab built a state-of-the-art facility and DIT cart including two AJA ColorBox color converters, an AJA Io 4K Plus for I/O, and an AJA KUMO 3232-12G router to help manage color across SDR and HDR productions. For on-set work, its two-person crew leverages the DIT cart technology alongside a range of monitors. The Colorfront  Engine and the AJA Color Pipeline in ColorBox are used for transformations when reviewing SDR and HDR content side by side, in addition to the Colorfront streaming server for remote reviews. The team also anticipates adding a third ColorBox into its studio color suite to be able to send signals to another TV for client viewing.


Nits.Lab’s workflows vary on a project basis and whether or not they’re in the studio or on-set, but each is designed around 12G-SDI routing. In one of its designs, a Mac Studio is the main station for live grading, while a MacBook Pro supports ingest and offload. An AJA KUMO 12G-SDI router sits at the center of the signal path, giving the team full control over signal distribution and routing. They set up a salvo for each specific workflow on the KUMO, enabling them to save different profiles for different types of work. For example, one salvo is set up for live grading, one for broadcast, and another for color grading, color correction, VFX, and editing work. 


For live grading, the inputs and outputs of two AJA ColorBoxes, an AJA Io 4K Plus, and two Sony monitors are linked to the KUMO. Camera signals are fed through the AJA KUMO router into the Io 4K Plus and through the ColorBoxes to the monitors. One monitor is set in SDR and the other in HDR. The NitsLab team uses Pomfort Livegrade Pro software to control the dynamic LUT in the AJA Color Pipeline in ColorBox. Since its work is typically centered around an ACES pipeline, Nits.Lab regularly leans on the integration of Pomfort Livegrade Pro and Pomfort Silverstack Lab to create dailies with all the demands for each client (burn-ins, metadata etc.). This helps ensure color consistency throughout the process.


Commenting on the workflow, Nits.Lab Co-Founder Rafael Lopes said, “It’s important for project stakeholders to be able to see HDR footage alongside SDR footage. They may not need to understand how the PQ curve works, or why 12-bit signals are necessary, but they need to feel the difference and how it impacts the final product. We want them to see how they can control the image with HDR, even if some lenses have flares in HDR that don’t work. AJA solutions, in tandem with Colorfront, help us achieve this and are amazing at shaping HDR in live and on-set situations. We love and use them both a lot.”

Nits.Lab also taps AJA Io 4K Plus for computer I/O, which includes four bi-directional 12G-SDI inputs, to send test patterns to its monitors for some HDR projects that require express captures for dailies. Outside of its 12G-SDI workflow demands, the team also uses the Tangent Wave control panel, a Stream Deck where they keep shortcuts, RAID storage, and a 40TB drive for backup and transport. All this technology is connected to a Mac Studio M1 Ultra with 128GB RAM via ethernet via a switch. A CalDigit TS4 hub with the pro-grade media readers and the MacBook Pro M1 Max with 2TB and 64GB RAM are also part of the workflow design. In addition to these tools, for remote workflows, Nits.Lab also employs the Colorfront Streaming Server, a cloud media management and collaboration tool, and the Pomfort ShotHub. 


Both Lopes and Bodstein enjoy leveraging these powerful setups in their day-to-day work with clients. Said Lopes, “Our goal is to help clients get comfortable with HDR, and have room to experiment live. Our AJA solutions are a key enabler in this respect as they make it easier to propose new options and color tests for clients. The real-time ColorBox pipeline is essential. We can experiment on set, see the results, adjust in real time, and easily pass guidance and direction along to the post facility in the color suite for greater look consistency. Knowing the vision, the look you established and recorded on set, and that the intent will be carried through until final delivery is invaluable.”


Bodstein concluded, “I get a thrill from balancing the colors and seeing the impact it has on people’s emotions in a collaborative environment, especially when everything just locks into place, and it feels right. It’s like we’re designing feelings, and that’s truly a rewarding job.”


Nits.Lab is trailblazing HDR workflows in Brazil, and publishing their test results as a guide for other professionals to use and to help build HDR knowledge in the region. More information about the company is available via or @nits.lab on instagram. Nits.Lab tests are published here:


September 6, 2023

AJA Unveils IBC 2023 Lineup Introducing New Products and Updates 

Ultra-low latency KONA X I/O card, HDR Image Analyzer v3.0 update, and new 12G-SDI OpenGear audio and HDMI conversion solutions to streamline M&E and proAV workflows

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Grass Valley, CA (September 6, 2023) – AJA Video Systems today announced new products and updates that will be on display at the International Broadcasting Convention (IBC) from September 15-18, 2023, at the RAI in Amsterdam, AJA Stand 7.C19. Designed to help M&E and AV professionals keep pace with evolving formats, protocols, and codecs and other modern workflows demands, the new solutions boast advantages like ultra-low latency, improved color management and quality control (QC) capabilities, NDI and 12G-SDI connectivity, and more. AJA’s next-gen KONA X audio and video I/O card features built-in streaming DMA that provides as low as subframe latency video capture/playback and debuts alongside new Desktop Software v17. HDR Image Analyzer 12G v3.0 software introduces a host of powerful new features for the HDR monitoring and analysis solution, while several new openGear cards pack powerful 12G-SDI audio and HDMI conversion functionality into an openGear rack frame-compatible form factor.


“Innovation remains a key focus at AJA, where we’re continuously working with customers, product managers, and our engineering team to ensure that we deliver solutions that address the unique needs of the M&E and proAV communities, which evolve rapidly,” shared AJA President Nick Rashby. “KONA X, HDR Image Analyzer v3.0, and our new openGear solutions provide powerful functionality that will serve AJA customers today and into the future. We’re thrilled to share what we’ve been up to behind the scenes these last few months and invite attendees to come see the results in-person at the show.” 


KONA X and Desktop Software v17

Compatible with new AJA Desktop Software v17 and version 17 of AJA’s world-class software development kit (SDK), AJA KONA X is a 4-lane PCIe 3.0 card offering ultra-low latency video capture and playback for applications spanning M&E, live production, OEM development, and more. Combining bi-directional dual, full-size BNC 12G-SDI and dual HDMI 2.0 connections, KONA X boasts all the tools required to meet a broad range of I/O demands. An optional KONA Xpand board sits alongside KONA X and brings even more connectivity, such as AES/EBU audio, LTC, REF, and more. KONA X will be available alongside a free Desktop Software v17 update in Q4 2023 via AJA’s worldwide reseller network for $3,695 US MSRP. The optional KONA Xpand expansion board is expected to release simultaneously for $595 US MSRP.


HDR Image Analyzer 12G v3.0 Software

Delivering powerful new features for AJA’s popular HDR Image Analyzer HDR monitoring and analysis solution, the latest, free HDR Image Analyzer 12G update introduces several new workflow capabilities to help professionals keep pace with evolving demands across live, on-set, QC, and post production environments. It increases the volume of video channels that can be analyzed simultaneously, integrates new Dolby Vision tools, adds NDI connectivity options, expands support for the latest ARRI color science with ARRI LogC4 analysis, and enhances 8K/UHD2 compatibility for high-resolution workflows. The update will be available September 2023 as a free download for HDR Image Analyzer 12G users.


AJA 12G-SDI openGear Solutions

AJA OG-12G-AM and OG-12G-AMA enable 16-channels (eight two-channel pairs) of AES/EBU and analog audio embedding/disembedding respectively, and support 12G-SDI input and output up to 4K/UltraHD. AJA OG-Hi5-12G and OG-HA5-12G cards facilitate 12G-SDI conversion to/from HDMI 2.0, and are also available in LC and ST Fiber models. Each hot-swappable card is built for use in high-density openGear 2RU frames, including AJA OG-X-FR, offers intuitive remote control via support for Ross DashBoard software on Windows®, macOS®, and Linux®, and includes a five-year warranty. AJA’s new 12G-SDI openGear solutions will be available in September 2023 with the OG-Hi5-12G and OG-HA5-12G  starting at $999 US MSRP, and the OG-12G-AM and OG-12G-AMA available for $1245 US MSRP each.


Learn more about AJA’s latest product releases and updates via AJA’s What’s New Page, or visit AJA’s IBC Stand (7.C19) at the Amsterdam RAI.


September 5, 2023

Spin Digital Delivers VVC Support for 8K Encoder/Decoder Built with AJA Video I/O Cards

Media solutions provider Spin Digital is rapidly envisioning new 8K video production systems as demand takes off across the world. Headquartered in Berlin, Germany, the company also holds a presence in Japan, a region driving 8K workflow adoption in broadcast. Its high performance video and audio encoding/decoding solutions and media players, which leverage AJA PCIe cards for high-quality video I/O, are used in a range of applications from broadcasting to VR live streaming in 8K up to 120 frames per second (fps), displaying 16K content on video walls, and more. Continually expanding its capabilities to address industry needs, ahead of IBC 2023, the company announced an update to its live production encoder, Spin Enc Live, and the associated SDK, Spin SDK, which adds support for the Versatile Video Coding (VVC) codec, also known as H.266.

Spin Enc Live initially launched as an 8K 60 fps encoder for live production supporting HEVC (H.265). With the latest update, Spin Enc Live is now capable of 8K VVC encoding. Depending upon the customer’s needs and preferences, they can opt to use HEVC, or choose VVC to proficiently manage 8K HDR footage at 60 fps. To enable SDI input, Spin Enc Live is integrated with AJA Corvid 44 12G and KONA 5 PCIe cards. Corvid 44 12G serves as the main capture device for live production, while customers using desktop systems leverage KONA 5. Both cards provide crucial functionality in a compact format and with quad 12G-SDI connection, enabling the encoding solution to capture uncompressed signals for seamless video and audio processing.

“We developed the latest update for Spin Enc Live and Spin SDK, in part, based on customer demand, but also because we see VVC as the next generation of encoding technologies. Currently, the VVC encoder achieves a 25 percent reduction in bitrate, while maintaining pristine visual quality,” explained Spin Digital CEO Mauricio Alvarez Mesa. “We carefully selected components for our solution, including the AJA Corvid 44 12G and KONA 5 cards, which are ideal for live 8K applications and help us to capture 8K video at 60 fps with 10-bit HDR and the associated audio with very low delay and high reliability.”

Spin Enc Live is well-suited for companies pursuing 8K live streaming for concerts, events, and other venues. Incredibly reliable, it has supported continuous live streaming for more than 20 hours a day for a range of high stakes projects. Spin Digital has also been helping museums and planetariums that are upgrading or adopting 8K displays to deploy the solution. Across all applications, efficient video compression, unparalleled quality, and support for high frame rates are required, and with AJA Corvid 44 12G and KONA 5 integrated into the solution, Spin Digital is well-positioned to support the demand. 

“8K video doesn’t make sense if it's marred by compression issues and poor image quality. Our solution stands out in our software implementation approach, which focuses on optimizing performance so clients can achieve real-time 8K encoding without compromising on quality,” he shared. “With Corvid and KONA cards for input into our encoder for processing, we can easily capture frames without worrying about hidden or unexpected processes. The cards have also demonstrated excellent HDR signal input, whether dealing with PQ or HLG. We can effectively and reliably capture the metadata from the cards and seamlessly transmit this metadata through our encode.”

AJA Corvid 44 12G and KONA 5 also provide more flexibility for Spin Digital’s customers interested in less traditional high-resolution formats, such as panoramic images, which involves stitching together four 4K cameras to generate a 16K by 2K image. Customers can input 2x2, 4x4, or 1x4 configurations, and can also capture 16 channels of audio within one SDI link and another 16 channels within another for high-end 3D audio formats such as the 22.2 format used in Japan.

A longtime user of AJA gear, Alvarez Mesa concluded, “We’re big fans of AJA equipment and even use AJA KUMO 12G-SDI routers in our work with live production clients managing multiple incoming sources. We’ve also leveraged the Hi5-12G Mini-Converter, which helps for monitoring the SDI output of our 8K media player, for system testing, and it’s worked incredibly well. We’re happy to be part of the AJA Developer Partner program and with the level of support they’ve provided throughout our journey; we always get clear, timely answers to our questions, which is and will remain paramount to our business.”

About Corvid 44 12G

AJA Corvid 44 12G is a blazingly fast, compact 8-lane PCIe 3.0 I/O card with four bidirectional 12G-SDI HD-BNC connections. Designed for today’s most demanding video and audio workflows, Corvid 44 12G is available in several configurations, including full-height or low-profile, with passive or active cooling. Whether working with HFR 8K/4K/UltraHD, 2K/HD, SD, Deep Color and/or HDR, Corvid 44 12G provides unprecedented performance. Supporting 10-bit 4:2:2 and 4:4:4, at up to 12-bit color spaces, the card offers ingest and output over 12G-SDI, which is also backwards compatible with 6G-SDI, 3G-SDI, and 1.5G-SDI. Bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass-through for a range of solutions.

About KONA 5 

AJA KONA 5 is a blazingly fast, 8-lane PCIe 3.0 I/O card supporting the latest 12G-SDI I/O and HDMI 2.0 monitoring video connections, designed for workstations running macOS, Windows or Linux. The versatile I/O solution enables single-cable, 4K/UltraHD high frame rate, deep color, and HDR workflows with many popular creative applications on macOS, Windows, and Linux. Bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass through, and, with the appropriate software, multi-channel capture and streaming. For developers using the AJA SDK, it offers advanced features including multi-channel 4K I/O and 8K 60p support.

About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at

About Spin Digital

Spin Digital Video Technologies GmbH (Spin Digital) develops high-performance video codecs for the next generation of ultra-high-quality video applications. Spin Digital software solutions enable media applications that require the latest image and video processing enhancements including very high resolution (4K, 8K, and 16K), high dynamic range (HDR), high frame rate (HFR), wide color gamut, and 360° video and virtual reality. Spin Digital is based in Berlin (Germany), and operates in an international B2B environment, collaborating with customers and partners around the world and across market segments. For more information, visit:


August 23, 2023

AJA KUMO 3232-12G Provides the Routing Backbone for DIT Eli Berg


Whether working on Academy Award-winning feature “Jojo Rabbit,” 1970s comedy series “Minx,” or countless commercials, freelance digital imaging technician (DIT) Eli Berg is a trusted resource on-set. He ensures the proper on-set workflow and setup for capturing the cinematographer’s vision, a role he’s served for 15 years and counting. While Berg customizes his technical approach for each project, AJA’s KUMO 3232-12G SDI router remains a key fixture in his DIT cart.

On projects, Berg’s workflow typically includes a camera connected to a color box, so the DP can monitor the live grade on their onboard camera monitor. That image is also fed to his cart, usually in 4K, or more recently 6K, and directly into KUMO. From there, he sends the signal directly to monitors since it’s already live graded via the color box affixed to the camera. It then goes back into the KUMO to his monitors to VTR, and into his computer via an input card, then back out of the computer into KUMO again, so that he can share the image from his live grading tool of choice. Another monitor feed from his cart also goes through the KUMO and to his waveform monitor.

“KUMO 3232-12G is the linchpin of my entire cart; it’s rock solid and made set up a breeze with the salvos,” said Berg. “I’ve worked on big, slow-moving features and rapid-fire commercial projects on which I’m downloading and transcoding on my own. KUMO is so useful, because it has so much functionality built in, whether I’m doing it all on my own for a project, or I need to route signals to multiple destinations.”

Prior to integrating KUMO 3232-12G, Berg was using a 12x12 router and had to patch gear together with splitters because he lacked sufficient inputs. Now, KUMO 3232-12G is the first stage of any routing workflow and the single device has replaced his previous multi-gear setup. Berg also upgraded all his cables to 12G-SDI so that he’s able to monitor in 4K, whether or not the project requires it.

“It’s my responsibility to make sure the DP and camera crew are completely focused on the creative aspects of production, so I’ve customized my cart to be ready for any situation,” Berg concluded. “When a piece of gear isn’t working properly, I’m limited to what I can contribute creatively, because I’m stuck troubleshooting, so I prioritize gear that I know will work every time, like KUMO 3232-12G. It’s fantastic and I never worry about it failing on me.”

About AJA KUMO 3232-12G

KUMO 3232-12G offers increased capacity for medium sized configurations while maintaining a compact 2RU profile with support for 12G-SDI/6G-SDI/3G-SDI/1.5G-SDI from 32x 12G-SDI inputs and 32x 12G-SDI outputs. It supports ganged dual and quad port routing control, allowing users to group together multiple inputs and outputs for Dual Link, Quad Link 4K/UltraHD, and 8K/UltraHD2 workflows. KUMO 12G-SDI routers support large format resolutions, high frame rate (HFR) and deep color formats, while reducing cable counts when transporting 4K/UltraHD over SDI. The routers offer network-based and/or physical control using KUMO CP and CP2, and mirror the physical form of AJA’s production-proven KUMO 3232 and KUMO 1616 routers, with a USB port for configuring IP addresses via AJA’s eMini-Setup software. Built to the same quality standards as all AJA products, KUMO 3232-12G is the ideal choice for any situation where a balance of size and capacity are critical, such as mid-sized post facilities and mobile trucks.

About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


June 22, 2023

DIT Sam Petrov Taps AJA ColorBox for Live Grading Flexibility On-set

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Whether working on a feature film, episodic series, or unscripted show, crafting the look of content before it reaches post requires technical acumen and a creative eye. The DIT (Digital Imaging Technician) is integral to this process, bridging the technical realities with the creative goals on-set to ensure the team can achieve its desired aesthetic early in the process; the role is especially vital now that virtual production has brought typical post production work into the production process. Local 600 DIT Sam Petrov has made a name for himself in doing exactly that for a wide range of scripted and unscripted projects. A self-proclaimed technology geek, Petrov stays on top of how the DIT role is evolving within the larger on-set environment and is hyper-aware of the dynamic nature of the technology involved. While he customizes the technology he uses for each project, he’s begun leaning into AJA ColorBox for setup and look management with live grading.

Petrov recently wrapped up an unscripted dating series for a popular streaming platform, setting the initial look for the season and ensuring it worked across all the different components of the show. The production leveraged more than 30 digital cinema cameras in addition to a similar quantity of robotic (robo) cameras. Several of the cameras recorded up to 70 terabytes of 4K footage to AJA Ki Pro Ultra 12G ProRes and DNx recorder/players a day, and the AJA ColorBox in-line HDR/SDR algorithmic and LUT color transform box supported live grading on-set in 1080 SDR. 

“ColorBox gives us the confidence that the look of all the different camera angles match up; it’s powerful, robust, and cost-efficient, and fills a real niche,” explained Petrov. “Our profession has long awaited a device like this. Just having the ability to generate a signal up to 4K and test a system is invaluable.” 

Working closely with a team, he helped establish the look for a range of motifs and scenes used for the studio portion of the show, such as a lounge where dates are held and the hallway for transition shots. Together, they applied set looks across the different cameras, each with its own unique characteristics and color science. Petrov spent time matching the different cameras in the context of the available hardware on-set. Given the scale and genre of the show, he didn’t reside at his traditional DIT cart but instead worked in an entire tech room, which included equipment like the Ki Pro Ultra 12Gs. Equipment operators ensured that there were no signal errors, and that recordings were happening at the right time, among other tasks. 

The workflow and interactions on-set diverged from traditional film or even episodic projects. With so many cameras, hardware, coloring gear, and other technology on his latest project, Petrov would go into the tech room early and collaborate with the lighting director, technical supervisor, and other team members to examine all the technical aspects of the project from resolution to creative. He was one of several key people involved in executing the creative and technical look for the cameras, the show, and different motifs. 

“In post, it’s important to have a holistic understanding of processes, workflow, and ultimate vision, so as I moved from post to set in my career, I found myself working upstream. When looking at the screen for a project like this, I know from a coloring standpoint the things I need to watch out for and can course correct earlier in the process, and a product like ColorBox is helpful in this respect,” Petrov shared. “It’s really fun to be able to get the dynamic feedback that ColorBox supports in this environment. I'm able to live grade without having to worry about running into limitations. While I’m currently monitoring and coloring most projects in 1080, having the ability to also work in 4K as it becomes more prevalent is a huge advantage.”

For live grading, Petrov set up his hardware, including the ColorBox, in the tech room, and the team provided a line with a dedicated router, so he could choose the sources coming into his system. This made it easier to work with the show director and lighting director to examine all the various setups and cameras. Once they’d established a base look that they were happy with, the team could quickly switch between cameras to compare, with the live grading aspect in mind, so they knew how it would look from another angle in the exact same space or the same angle but in a different room. This flexibility was paramount with filming taking place across a dozen identical rooms, all with analogous camera configurations; Petrov had to ensure everything correlated from one space to the next. 

With ColorBox, Petrov can pull out a single standalone device and get to work. He continued, “ColorBox is just fantastic. I simply navigate to the web UI and can crank out a color test pattern, then change different frame rates to whatever we need for the technical standard. I know we’re getting exactly what’s needed from the hardware before we even get to the creative side of color.” 

He also finds the ability to stack multiple ColorBoxes and generate different signals with different test patterns, resolutions, or frame rates useful. It allows for flawless execution in the moment when Petrov and the team need to shift focus to more time-sensitive work. “Having a tool like ColorBox is a huge boon to my work,” he concluded. “It gives me peace of mind and makes it easier to deal calmly with situations that would normally present nuanced challenges.”  

About AJA ColorBox

AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, and NBCU LUTs.Featuring 12G-SDI in/out and HDMI 2.0 out, AJA ColorBox  is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox's browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party WiFi adapter.

About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at

All trademarks and copyrights are property of their respective owners. 


June 15, 2023

S4 Studios Achieves Perfect Sync for Virtual Production with AJA GEN10 and HTC VIVE Mars CamTrack

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S4 Studios is a one-stop-shop for virtual production and visual effects, with a studio in Los Angeles and a virtual production stage up the road in Canoga Park. Founded in 1999 as a design and VFX studio, the company moved into virtual production and in-camera visual effects (ICVFX) two years ago. Today, S4’s stage is highly trafficked between commercial, music video, in-car, film, and TV projects. To keep its LED walls, cameras, computers, and HTC VIVE Mars CamTrack system in sync, the studio relies on the AJA GEN10 HD/SD/AES sync generator.

The 2,300-square foot stage comprises a three-wall setup, geared toward in-vehicle processes and smaller budget-conscious productions. S4 Studios Owner and Creative Director Geoffrey Kater explained, “Virtual production doesn’t have to cost $50K a day, and we want people to understand that. Our stage is designed to let clients come in and shoot two or three locations in the same day without having to go anywhere. We swap out the locations for you, and you have complete control over the set. Then you leave with your final pixels.”

In-studio, computers are equipped with NVIDIA Quadro cards with sync options, so that down the chain they can all be synced together on the wall. Getting media into the LED processors is the next step, then projecting that media onto the wall. Tracking is handled by the HTC VIVE Mars CamTrack system. “With the size of our stage, Mars is absolutely perfect,” Geoffrey Kater said. “We hung the base stations up in a grid at about 10 by 10 meters, so it works perfectly for the amount of shooting that you can do in there.” 

The next step in the process is getting the tracking to work on the client’s camera and accessing the media from the shoot. When S4 initially set up their pipeline, they quickly discovered that images were tearing due to sync issues and began searching for a solution. He added, “The whole genlock thing is kind of new to me, coming from visual effects, so as I was experiencing sync challenges, I took to the Mars Facebook Group where I found it was a fairly common issue, and that’s where someone suggested the AJA GEN10 sync generator as a solution.” 

“We got the AJA GEN10, configured the little dip switches on the back, plugged everything in, and all of a sudden there was no more tearing, no more lines, everything was synced,” Geoffrey Kater continued. “The walls, the camera, the computers, and the Mars tracking system all synced at 24. And it was beautiful, amazing. We had finally figured it out with this magic box that we could plug in and forget.”

Genlock is now part of S4’s client prep consultation whenever they shoot on the stage, especially when clients haven't worked with genlock. Geoffrey Kater and team make a point to explain why it’s important to the client, then bring them in to test their camera, because every camera is different. Some are fine without genlock, but S4 recommends it as a safety precaution. He concluded, “With the AJA GEN10 sync generator and HTC VIVE Mars CamTrack, I know that we are covered and all of our computer equipment, walls and everything are in sync. That's the most important aspect of it for me.”

About AJA GEN10

The GEN10 is a cost effective and flexible HD/SD/AES sync generator featuring seven outputs including two groups of independently controlled HD/SD sync outputs and one AES-11 output. SD outputs can be switched between Color Black or Color Bars. HD tri-level sync can be switched between 19 different HD formats. The AES-11 output can be switched between SILENCE and TONE. All outputs are in sync with each-other and are sourced from an accurate master time base.


HTC VIVE is the premier virtual reality (VR) platform and ecosystem that creates true-to-life VR experiences for businesses and consumers. The VIVE ecosystem is built around premium VR hardware, software, and content. The VIVE business encompasses best-in-class XR hardware; VIVEPORT platform and app store; VIVE Enterprise Solutions for business customers; VIVE X, a US$100M VR business accelerator; and VIVE ARTS for cultural initiatives. For more information, please visit


About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


June 6, 2023

Funicular Goats Raises the Bar for Cinematic Multi-Camera Production Workflows with AJA Gear


Multi-camera cinematic production solutions shop Funicular Goats turns heads, both for its noteworthy credentials and memorable name. Since launching in 2019 with co-founding trio Morgan Kellum, James Coker, and Aaron Cooke at the helm, the company has quickly established a stellar reputation across the live event, broadcast, and streaming production communities. Its unmatched multi-camera equipment, workflow, and technical management expertise is tapped for an array of projects, including big-name concert productions, the annual big game halftime show, comedy specials, and more. Funicular Goats embeds itself in every project from beginning to end, using a proven cinematic multi-camera workflow as a starting point, which includes all the standard tech for moving signals throughout the chain and live grading – including AJA equipment

Typically, producers reach out to Funicular Goats directly regarding projects, but the company also receives inquiries from tech managers, directors, and DPs. Its team works closely with all key project stakeholders to plan a well-thought-out, multi-camera workflow design, and the encompassing tech – including cameras, comms, the engineering fly pack, cameras, wireless systems for the cameras, transmission (digital, broadcast, or satellite) fiber infrastructure, and on-set monitoring solutions. Projects average 10-20 cameras per show, but the team has worked on projects involving up to more than 30 cameras. 

Across productions, Funicular Goats must manage different elements and workflow refinement, but ninety percent of the time, the project demands live grading, which means AJA FS-HDR real-time HDR/WCG converters are on set. Running a camera log feed through the FS-HDR allows the team to achieve a more comprehensive range of RGB to build a better look than using just an RCP camera control alone. 

“Productions are often looking for ways to execute their projects but aren’t certain how to do it, so they lean on us. We advise them on how to make it happen and help them achieve the look they’re aiming for in the most efficient way,” shared Morgan. “We have a comfortable history of doing shows in certain ways and using specific tools (like FS-HDR for live color grading and frame sync), so we'll lean into that, but we also figure out how to modify the workflow and our fly packs and fiber systems to suit each client’s specific needs."

Projects typically require SDR delivery, but Funicular Goats is seeing HDR requests grow, especially for concert productions and larger scale event broadcasts. To this end, FS-HDR has become a Swiss army knife for the team. James shared, “We love FS-HDR, from its redundant power to the fact that we can count on it to do what it’s supposed to without fail. It has great features for everything from embedding to frame syncing and live grading; it does it all.”

FS-HDR also supports conversion needs across Funicular Goat projects. The team may need to use it to help step down a 12G-SDI or 6G-SDI feed from a cinema camera to 1080 for viewing, as well as for coloring and recording. The device also enables frame rate conversion, which the team will leverage when moving from 24p to a broadcast standard for a truck workflow. They might bring back a log feed 23.98p that will hit their distribution amplifier (DA) and into a switcher where they cut 23p. Out of the DA, that feed might go to the FS-HDR, where they can then go 29.9p and elsewhere with it to a line cut, and cut 29.97p for broadcast.  


In addition to live grading, recording is essential to Funicular Goats’ workflow designs. The team often completes 4K recordings with a cinema camera, with a 1080 workflow out for a reference line for added flexibility. If delivering a 1080 project, they’ll record the loaded or color corrected 1080 files to AJA Ki Pro Ultra 12G ProRes and DNx recorders/players. This approach ensures they have a master finish of the project as well as the 4K log footage to work with. If footage is already color corrected, Funicular Goats can do an online cleanup with those files or edit with them as well. They may opt to use Ki Pro Ultra 12G as a quad HD recorder for four 1080 feeds on one project, or for backup 1080 recordings, ISOs of the cameras, or to create multiple copies of a program or multiple views on others. Sometimes, they’ll even do a 6G-SDI or 12G-SDI into the Ki Pro Ultra 12G. When they need to hand off thumb drives with H.264 recordings after an event, they often use AJA Ki Pro GO.


“We love our Ki Pros because they’re so flexible; they give us a lot of options and provide a cost-effective way to record in different flavors. We get edit ready files that we can have our downloader dump onto a drive to be shared with production,” added Morgan. “AJA gear like Ki Pro Ultra 12G and FS-HDR are staples in our inventory, and we use them on nearly every show because they’ve got such a great track record of being reliable. We also use of a ton of other AJA products – everything from the KUMO 3232-12G routers, to the 12GDA and Hi5 Mini-Converters, throw down distribution amplifiers, and FS2 frame syncs.”


Funicular Goats’ credits span the Elton John concert at Dodger Stadium, “The Weekend: Live at SoFi Stadium” for HBO Max, as well as comedy specials and the annual big game, and more. For the big game halftime show earlier this year, Funicular Goats captured 29.97p from Sony VENICE 2 cameras. The feeds were sent to its production truck with an AJA KUMO 3232-12G router on-board. The feeds hit their distribution amplifiers first, and were then sent through the router and Funicular Goats’ 12 FS-HDRs, as well as through 16 additional FS-HDRs on site, and then into the switcher and out for broadcast distribution. The FS-HDRs enabled the DIT crew to work with the log and HDR feeds and bounce them back and forth while also supporting frame syncing to lock all feeds with the main program audio. 


Whether servicing the halftime show production, a concert, or a comedy special, Funicular Goats excels at finding innovative ways to use new equipment to help clients meet and exceed their production goals. Morgan concluded, “Our dedication to the technology and craft shines through in the look and feel of every project. What gets me excited to come to work each day are the great team of people I work with and the fact that I get to play a part in influencing the look and feel of these projects. Getting to play with cool gear from AJA gear often is a bonus.”


About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


All trademarks and copyrights are property of their respective owners. 


April 12, 2023

AJA Announces Powerful New Products and Updates Ahead of NAB 2023

Launches new Dante AV transmitter/receiver converters; unveils feature-packed firmware releases for HELO Plus, ColorBox, BRIDGE LIVE, FS-HDR, and AJA Diskover Media Edition

Grass Valley, CA (April 12, 2023) AJA Video Systems is headed to the National Association of Broadcasters (NAB) Show 2023 in Las Vegas, NV with a new slate of products and updates designed to meet the evolving demands of Video-over-IP, color conversion and management, streaming, remote production, and data management and curation workflows. Through a partnership with Audinate, developer of the new Dante AV Ultra high image quality solution for standard 1 GigE networks, AJA has released Dante AV 4K-T, which converts 4K/UHD/2K/HD/VESA SDI and HDMI 2.0 to Dante AV Ultra signals, and Dante AV 4K-R, which converts Dante AV Ultra signals to 4K/UHD/2K/HD/VESA SDI and HDMI 2.0. AJA has also revealed new firmware updates for HELO Plus,

ColorBox, BRIDGE LIVEFS-HDR, and AJA Diskover Media Edition.


“Between the dynamic nature of the M&E and proAV industries, and the continuous pursuit of an improved end-viewer experience, technological innovation is a constant, and AJA strives to give professionals access to groundbreaking new tools and product updates that help them keep pace with emerging and evolving workflows,” shared AJA President Nick Rashby. “We’re thrilled to roll out our new Dante AV 4K-T and 4K-R converters to the community, alongside powerful updates for some of our most popular products that bring users more workflow flexibility and control.”


New Dante AV 4K-T and 4K-R Converters

AJA Dante AV 4K-T and 4K-R transmitter/receiver converters enable transport and control of low latency, professional quality 4K/UltraHD/2K/HD/VESA IP video and audio to/from 12G-SDI or HDMI 2.0 devices over a 1 GigE Dante AV network. Leveraging the tools and infrastructure of the extremely popular Dante IP audio technology from Audinate, the converters offer professionals a reliable and familiar way to integrate video distribution in a networked facility, and seamlessly incorporate high-quality, visually lossless Dante AV Ultra IP video into environments spanning stadiums, arenas, theaters, churches, schools, office complexes, hotels, conference rooms, and more. AJA Dante AV 4K-T and 4K-R are available today from AJA’s worldwide reseller network for $2,495 US MSRP each. 

HELO Plus v2.0 Firmware

New v2.0 firmware for the AJA HELO Plus H.264 streaming/encoding/recording device includes several free improvements that make it easier for users to deliver more compelling live streams. The update also introduces two new licensable features, including simultaneous multi-channel stereo audio streaming/recording and PlayToStream, which lets users leverage a previously recorded program for a future streaming event. HELO Plus is available today from AJA’s worldwide reseller network for $1,869 US MSRP, with v2.0 improvements (outside of PlayToStream and simultaneous multi-channel stereo audio) available next month for free via the AJA support page. At the same time, PlayToStream and multi-channel stereo audio streaming/recording options will be available for $199 and $99 US MSRP, respectively.

ColorBox v2.0

Available today, AJA ColorBox v2.0 firmware brings a host of new customer-requested features to the high-performance converter for color-managed workflows, including an add-on license to expand ColorBox’s Colorfront Engine™ video processing options with all-new TV Mode and Live Mode. With the update, the latest v1.6 BBC HLG LUTs are supported. An ORION-CONVERT update is also now accessible with a gamma compensation function to ensure compatibility between different color conversion philosophies. Rounding out the release are improvements such as support for overlaying frame lines or other graphics, five additional built-in test patterns, and Light Illusion, Portrait Displays Calman, and QTAKE Video Assist integrations. ColorBox is available today from AJA’s worldwide reseller network for $1,995 US MSRP, with optional licenses for Colorfront at $995 US MSRP, the ORION-CONVERT pipeline at $695 US MSRP, and the BBC HLG LUT pipeline at $145 US MSRP. 



A robust firmware update for AJA’s multi-channel UltraHD and HD live video solution for remote production, contribution, collaboration, streaming, and delivery, AJA BRIDGE LIVE v1.14 introduces optional perpetual JPEG XS I/O licenses. Additional improvements include RTMP input, support for ST 2022-7 hitless redundancy, and input auto-reconfiguration, which further streamline user workflows and automate workflow tasks. BRIDGE LIVE v1.14 will soon be available for existing users with an active maintenance agreement for download from AJA’s website. Customers without a maintenance agreement can access bug fixes within v1.14 but will not receive new feature access. BRIDGE LIVE is available through AJA’s worldwide reseller network starting at $15,999 US MSRP. Optional, perpetual BRIDGE LIVE JPEG XS01 and BRIDGE LIVE JPEG XS04 licenses can be purchased for $1,500 US MSRP per HD channel and $6,000 US MSRP per UltraHD/four-channel HD respectively.


FS-HDR v4.2

New v4.2 firmware for the AJA FS-HDR real-time HDR/WCG converter/frame synchronizer with Colorfront Engine™ video processing introduces an all-new Colorfront TV Mode, utilizing the latest color science advancements from Colorfront, and powerful Live and Film Mode updates, including support for ARRI LogC4 and Sony S-Log3 transforms. BBC HLG LUTs have been updated to v1.6, including a new combination LUT for camera shading in live productions and a new CAM (Color Appearance Model) based LUT. FS-HDR is available today from AJA’s worldwide reseller network for $9,569 US MSRP. The v4.2 firmware update is now available via AJA’s support page.

AJA Diskover Media Edition Updates

Additions to AJA Diskover Media Edition sustainable data management and curation software include core software enhancements that provide advanced security, enrich metadata with business context, bring users live insights into their data, and streamline deployment. Expanded search capabilities save facilities time and afford more flexibility, while analytics improvements such as integration with the Xytech Media Operations Platform, and Illegal File Name and Hash Differential plug-ins help provide accuracy and granular data curation. Play and preview capabilities are enabled via the CineSys Cineviewer Player plug-in, and a powerful, purpose-built Oxagile plug-in streamlines arduous content delivery tasks for IMF packages. AJA Diskover Media Edition users with active licenses can access these updates today. The software is available for $11,995 US MSRP per license. For pricing on supported partner plug-ins and integrations, please contact the respective developers (, OxagileQumulo, and Xytech).


For more information about AJA’s latest product releases and updates, visit AJA’s What’s New Page, and stop by NAB booth #W2600 (West Hall) at the Las Vegas Convention Center.


About AJA Video Systems 

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video, and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at

Dante and Audinate are registered trademarks of Audinate Holdings Pty Ltd. All trademarks and copyrights are the property of their respective owners.


April 10, 2023

Grass Valley Validates Camera Technology with AJA HDR Image Analyzer 12G


A leading technology provider for the live media and entertainment industry, Grass Valley enables content providers to efficiently create, capture, and deliver compelling live experiences. The company’s array of products, including a popular line of live broadcast cameras, power media centers, mobile production units, 24-hour newsrooms, and sports streaming platforms for global media brands. To ensure its products comply with various industry standards, the company works with a range of manufacturers’ test and measurement equipment during its research and development (R&D). As part of its R&D process, Grass Valley recently leveraged AJA’s HDR Image Analyzer 12G to validate its technology for the LDX 150 premium live broadcast camera and the newly revealed LDX C135 compact camera.


During testing, the R&D engineer connected the camera being evaluated to an HDR Image Analyzer 12G and to an HDR monitor using single-wire 12G-SDI. To compare the outputs of two different cameras, an AJA KUMO SDI router was added to the setup, allowing for seamless switching between sources. Each camera’s 4K/UHD output was sent to a monitor for visual evaluation and through HDR Image Analyzer, where the real-time signal analysis revealed technical information about the live signal. From there, the engineer could switch between camera sources and conduct an accurate color comparison using HDR Image Analyzer’s histograms, vectorscope, and HDR waveform monitoring features. 


“People view pictures differently. You need good equipment and accurate data to validate what you’re seeing and prove that your development is headed in the right direction,” said Grass Valley Product Manager Paul de Bresser. “With HDR Image Analyzer 12G, our development team can look at different aspects of the signal in real-time and make adjustments so that we can ensure our products are compatible with industry standards and consistent across color spaces. This allows us to optimize our testing process and ensures we are developing a quality product that meets and exceeds our customers’ expectations.”


Grass Valley cameras and video processing technology are designed for compatibility across SMPTE SDI and 2110 standards, in HDR, SDR, Rec.2020, and Rec.709 color spaces, and are validated accordingly. AJA HDR Image Analyzer 12G allows the company’s engineering team to evaluate and test these parameters with a simple 12G-SDI interface and real-time analysis. Whenever the team needs extra support, the AJA team is quick to respond.


“We’re all in the broadcast business together and depend on each other to deliver. Good relationships and trust are important, and we know we can rely on AJA. If we run into an issue, we can get help immediately,” de Bresser concluded. “By working collaboratively, we’re able to move the industry forward.” 


About AJA HDR Image Analyzer

HDR Image Analyzer 12G delivers a comprehensive array of tools for the effective analysis of the latest 4K/UltraHD HDR standards, over a single cable with 12G-SDI – including HLG, PQ, Rec.2020 and Rec.709 – including 8K/UltraHD2/2K/HD content in a convenient real time 1RU device. Developed in partnership with Colorfront, AJA HDR Image Analyzer 12G supports a wealth of inputs from camera Log formats to SDR (Rec.709), PQ (ST 2084) and HLG and offers color gamut support for BT.2020 alongside traditional BT.709. AJA hardware prowess ensures high reliability and performance, with 4x 12G-SDI bidirectional I/O, and DisplayPort connections. Specifically designed to be used wherever needed, the 1RU form factor fits into a range of environments, providing the confidence you need for consistent and predictable HDR production and mastering.


About AJA Video Systems 

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


March 23, 2023

The Rebel Fleet Envisions Powerful Video Assist, DIT, and Dailies Workflows with AJA Gear


As high-resolution, high dynamic range (HDR) workflows have continued to evolve in recent years, innovative video assist, DIT, and dailies solutions offered by companies like The Rebel Fleet have become essential. Founded in 2015 in Auckland, New Zealand, The Rebel Fleet provides these services across New Zealand, Australia, and the Asia Pacific region and recently expanded its offering to include post production in New Zealand. Its clients span high-profile episodic, film, and commercial productions. Clients typically approach The Rebel Fleet for custom workflow solutions, often with a specific camera in mind. Its team then works closely with each client to develop a custom pipeline and deploys a host of AJA gear to envision solutions that align with their unique production environment, budget, crew sizes, DP and director visions, studio requirements, and more. 


The kit behind the design 

The Rebel Fleet team depends on gear like AJA KUMO 1616 and KUMO 3232 routers, the KUMO Control Panel, and AJA Mini-Converters to build on-set video assist and DIT workflows for clients. Company CEO Mike Urban shared, “AJA KUMO routers and Mini-Converters are built so great and offer solid warranties, which are paramount in the fast-paced environments we work in. We need equipment we can trust, and the AJA kit gives us peace of mind.” 


QTAKE software is also central to The Rebel Fleet’s video assist service offering. It integrates seamlessly with AJA KUMO routers through the KUMO’s network interface. The team can quickly and easily establish predefined router settings, so if a client wants all the monitors to display playback or live footage, they can preconfigure it, load it up with their Stream Deck, and changes are reflected across the routers. According to Urban, this provides a massive advantage over making changes manually. He shared, “Being able to bring all this control into the network ecosystem of the rig via KUMO gives our clients more free time to try out fancy ideas. I also love that KUMO routers run off 12-volt batteries.”


When working with clients, The Rebel Fleet occasionally deploys a custom flypack affectionately dubbed the “Danny Box” after the team member who built it. Typically placed on set, it is housed in a Pelican Case and features two AJA HD SDI splitters, two camera inputs, and four camera outputs. According to Urban, the setup supports clients looking to distribute a feed to more monitors or extend a signal because the SDI BNC run is longer than 100M. He said, “Knowing we've got reliable equipment from AJA inside the box that we can literally just drop on set and will work without fail is amazing.”   


Managing HDR on set and beyond

As HDR continues to play a more prominent role on set, The Rebel Fleet is deploying more HDR gear across projects, including the AJA FS-HDR and AJA HDR Image Analyzer. Paired with Colorfront, these tools help ensure its client’s desired look stays consistent as footage moves from acquisition through dailies. “HDR equipment costs remain a key hurdle to broader adoption of full HDR workflows, which is where tools like AJA FS-HDR have been great. We can easily convert between SDR and HDR and retain a high-quality image,” Urban explained. 


When The Rebel Fleet deploys monitors on set, the FS-HDR gives its team the confidence that they’re displaying HDR correctly if they receive a log signal from the camera. Depending upon client needs, they can then route different paths to HDR or SDR. Compatibility with Pomfort Livegrade Pro also enables them to use the device as a dynamic LUT box. HDR Image Analyzer then allows Urban’s team to monitor HDR on set with scopes that match what it’s seeing in Colorfront. He added, “With FS-HDR, we get one rack-mounted device that does everything we could possibly imagine. HDR Image Analyzer also allows us to look at the scopes when monitoring, which is huge for ensuring consistency in dailies.” 


Building a workflow for HDR finishing on set

With on-set HDR finishing always a part of the plan for one of The Rebel Fleet’s latest projects, the ability to easily switch between SDR and HDR in the dailies pipeline proved crucial. DPs and other stakeholders needed to know what the HDR looked like during high light or outdoor scenes with high dynamic range, and with every shot effectively a VFX shot, metadata was key. Starting from the cameras – ARRI ALEXA LF cameras with DNA and other smart lenses – The Rebel Fleet designed the workflow so all the metadata from the camera and the lens through the on-set pipeline could be easily read. 


“AJA FS-HDR could read all the metadata we brought into the DIT cart. We could then combine it with the notes and information the DIT created for whatever needed to be passed down to the pipeline and marry it with the information coming from QTAKE. We were then able to give the team on set the ability to add metadata directly to a live database for viewing on iPads and other devices,” explained Urban. 


All that information ultimately served dailies through Colorfront before making its way into editorial. This color-consistent pipeline meant that editorial could start working faster. The team worked in the same HDR color space (P3-D65) in post production that they’d monitored on set. 


I/O was another important consideration on the project, for which Urban and team deployed AJA Io 4K Plus. He shared, “Io 4K Plus is an amazing output device; it gives us the confidence that what we're seeing on set matches what we're seeing in dailies, which is super helpful.”  


Being able to switch between HDR and SDR analyzing with the AJA HDR Image Analyzer also gave the main DIT confidence that they were providing the DP with the most accurate picture information. As The Rebel Fleet continues to service clients on high-profile projects, innovating its HDR workflow and remote pipelines remains a priority, with AJA gear a crucial part of the design. 


About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


March 20, 2023

Hash Pixel Saves Time and Money in Production with AJA Gear


Founded in 2020, Hash Pixel develops and implements workflows for streaming and broadcast projects. Based in Beijing, China, the technology and services provider helps clients deliver polished video to a range of end points, and also offers DIT support for commercials. With a handful of technicians addressing an ever-shifting range of project requirements, Hash Pixel values gear that’s versatile and stable, making AJA technology a core workflow component across applications. As HDR production demand has taken off, the  AJA ColorBox converter has proven essential for high-performance color management across Hash Pixel’s live broadcasting, live event production, and post-production projects.

“We learned about ColorBox through our AJA distributor, Esan, and are honored to be one of the first ColorBox users in China,” said Hash Pixel CTO Hugo Wang. “ColorBox really fits into our workflow, the price is reasonable, and it supports 12G-SDI. It is an all-in-one ideal solution.”

Hash Pixel projects include large-scale events, such as HUAWEI CONNECT, as well as streaming HUAWEI PGC e-commerce, TikTok’s “You Came with the Light” concert, the gaming finals for JJ Cup Doudizhu (Fight the Landlord), feature film “Sacrifice,” and an announcement for Chinese bicycle-sharing service Hellobike. The company’s streaming events usually require video distribution to an internet platform, like TikTok, BiliBili, Douyu, and WeChat. 

Typically, the Hash Pixel team will connect ColorBox with the PGM signal from a video switcher, convert color, and transmit the output to its recording and broadcasting department. Since ColorBox supports a full series of HDR and SDR conversions, the DIT can easily download, adjust, and save the settings. The signal’s metadata is preserved in ColorBox’s SDI output, so the team can easily use it in conjunction with QTAKE video assist software. For remote IP production and SD-WAN, the company leverages its own IP video solutions, which allow them to remotely adjust the color of content via ColorBox. Having kit like ColorBox that supports 12G-SDI has become essential to Hash Pixel as 4K streaming and recording in live production workflows have become more common. 

“With ColorBox, it’s easier for us to manage different color grading needs across versions of content and higher resolution productions, thanks to the frame store function. This function allows us to screenshot directly from the lens and capture metadata. In film production, live 4K monitoring for DIT is also enabled,” Wang explained.

In addition to ColorBox, Hash Pixel taps a wide range of AJA gear, including Ki Pro Ultra 12GKi Pro GO, Ki Pro RackKONA 4Io 4K PlusIo X3UDCHi5-4K-PlusU-TAP SDIU-TAP HDMIKUMO 1616, and FS-HDR. With FS-HDR, Hash Pixel completes color conversion, frame synchronization, and AES, Madi, and SDI audio embedding and dis-embedding, serving different functions in one single device. The company leverages Hi5-4K-Plus to correctly transmit SDI HDR signals from its color software to HDMI reference monitors for HDR production, with users able to easily view signal input and output from the Mini-Config managing software. Using Io 4K Plus with QTAKE on Mac, Hash Pixel can carry through SDI-embedded metadata, like HANC and VANC, across different video camera brands. The team often uses Io 4K Plus alongside AJA’s slim KUMO 1616-12G router, among other AJA solutions. 

“AJA products are extremely stable. I have a KONA 3G that I bought in 2012 and it is still working today. Because of this, purchasing AJA products ultimately saves you time and money. Each product consistently surprises us with its versatility,” Wang concluded. 

About ColorBox

AJA ColorBox is a compact, high-performance converter for color managed workflows designed to meet the conversion needs of broadcast, live events, and on-set applications. Supporting Standard Dynamic Range (SDR), High Dynamic Range (HDR), and Wide Color Gamut (WCG) signals, it utilizes 12G-SDI and HDMI 2.0 for singer wire 4K/UltraHD HDR up to 4:2:2 10-bit 60p or 4:4:4 12-bit 30p with a unique color processing pipeline. ColorBox includes processing pipeline modes from Colorfront and NBCU LUTs, as well as a powerful AJA Color Pipeline. ColorBox also offers licensable upgrade options for advanced color managed workflows, including BBC HLG LUTs and the ORION-CONVERT engine.

About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


March 1, 2023

Time in Pixels’ Nobe OmniScope and AJA I/O Technology Advance Video Analysis 


Access to accurate information about the color and exposure of source footage is crucial to the color workflow on any production, making video scopes essential to modern grading suites and digital imaging technician (DIT) carts. Recognizing a need to address persistent information gaps, Time in Pixels Founder Tomasz (Tom) Huczek developed Nobe OmniScope, a software-based suite of scopes that help creative professionals analyze a broad range of video sources and imagery with standard post production tools. An AJA Developer Partner, Time in Pixels worked closely with AJA to deliver Nobe OmniScope support for AJA desktop and mobile products like KONA 4 and Io XT, in addition to AJA U-TAP and T-TAP Pro. KONA 5 and Io X3 integrations are planned to support future customer demand. 

Specializing in building tools for filmmakers, colorists, and post professionals who work on high-profile cinematic, commercial, and episodic projects, and, increasingly, photographers, Time in Pixels launched Nobe OmniScope in 2021. Huczek and team initially designed the software – which supports industry-standard post applications like Adobe Premiere Pro, After Effects, LightRoom and Photoshop, Apple Final Cut Pro, and Assimilate Scratch, among others – with colorists in mind. Upon launch, demand quickly rolled in from other creative disciplines, including DITs, as well as live and virtual production professionals and monitor calibration specialists. Color scientists have also leveraged the technology to verify some of their theories or to experiment with formulas.

“All the customer feedback we receive is invaluable, and we do our best to accommodate it. This includes requests for support for popular audio and video I/O technology from AJA Video Systems,” Huczek shared. “Requesting a Developer unit from AJA was a smooth process, and the SDK was easy to follow, which made the integration seamless. It’s been a pleasure collaborating with AJA on the integration.”

A typical Nobe OmniScope setup in a facility or on a DIT cart includes a color grading workstation equipped with a computer, a high-quality monitor, and a color grading panel; the software; and an audio and video I/O card or box. Although the software supports a range of I/O tools, Time in Pixels regularly recommends AJA’s I/O devices to customers. “AJA gear is easy to use and install, and it’s durable,” noted Huczek. “We’re confident that it’s going to work as promised for our customers, with high color accuracy and low latency, so we know they’ll be happy with it.” 

With the continued rise in demand for HDR production and post in recent years, Time in Pixels has received several customer inquiries about best practices for monitoring HDR content. “When it comes to a question of HDR with Nobe OmniScope, we often recommend AJA KONA 4 for I/O because it’s well-suited for this application and is future-proof,” Huczek added. “It works well for HDR and virtual production environments.”  

As the industry continues to rapidly evolve, Huczek and team remain optimistic and are prepared to address emerging technology developments. “I think we’ll continue to see new and interesting advancements in XR, virtual production, HDR, and more, and we’re tailoring our roadmap accordingly. AJA also has a track record of releasing products that address emerging market needs, so I’m confident there will be more AJA tools to come that bring interesting new opportunities for both AJA and Time in Pixels,” Huczek concluded. 

About AJA Video Systems

Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at

All trademarks and copyrights are property of their respective owners. 


February 6, 2023


Founded in 2019, Singapore-based VStream Media has provided remote live production services since before they became an industry standard in their market. The company offers technical AV planning and workflow design, along with on-site training and systems integration, to ensure live event streams align with each customer’s unique vision. As demand for remote productions increased, VStream Media added the AJA Ki Pro GO multi-channel H.264 recorder to its workflow. The device has enabled its team to achieve redundant, multi-channel recording and simplify its content delivery path. 

VStream Media considers H.264 recording best suited for cloud-based workflows. For most events the company takes on, remote speakers call in via a video conferencing platform using a webcam that has 720 or 1080 resolution. The VStream Media team then sends multiple SDI feeds out to AJA Ki Pro GO for recording to off-the-shelf solid-state-drives (SSD), with another SSD as a backup. This approach ensures redundant, multi-channel recording. Post event, the VStream team can quickly upload the files to the cloud. This gives the client’s editorial team near instant access to the file, so that they can download the footage quickly, regardless of where they are based or if they have a limited internet connection. 

Commenting on the workflow, Adarsh Mohan, VStream Media Co-founder and Managing Director, shared, “Ki Pro GO brings simplicity and flexibility to our workflow. When it comes to remote live event production, we need to be sure that all equipment can perform well, and based on our experience, AJA products provide that.”

In addition to Ki Pro GO, VStream Media leverages a host of other equipment, including an internally developed multi-video broadcasting platform, PTZ cameras, and several other AJA solutions. Additional AJA equipment deployed across VStream Media workflows includes: the AJA KONA 4 I/O card with a breakout box and other AJA Desktop I/O Solutions, AJA U-TAP SDI and HDMI USB 3.0 capture devices, and the AJA FiDO-2T-12G two-channel 12G-SDI to single-mode fiber transmitter. Adarsh Mohan added, “Our experience with AJA gear has been great across the board. AJA promises a very stable workflow, and you get more than what you pay for.”

Adarsh Mohan and co-founder Ang Ming Song established VStream Media with a vision to maximize the use of technologies to provide clients forward-thinking processes and solutions. Using PTZ cameras and NDI technology in productions was the primary focus, and they’ve since continued augmenting workflows with new additions. Its internal research and development team works alongside the operations team to explore and push technological possibilities. Once proven in the research lab, they implement these workflows in real-world scenarios to take productions to the next level.

This innovation has always allowed VStream Media to stay one step ahead. Because of its continuous passion for innovation, the company was more than prepared for the sudden pivot to virtual events. Adarsh Mohan concluded, “We have clients and AV partners coming in daily to discuss new production ideas, so we have to constantly think on our feet and come up with creative solutions that align with our customers’ visions. AJA products like Ki Pro GO are essential to achieving that; it helps us to create a cleaner, more effective workflow.”


About AJA Ki Pro GO

Ki Pro GO Is a portable multi-channel H.264 recorder offering up to 4-channels of simultaneous HD and SD recording to off-the-shelf USB drives and/or network storage with redundant recording capabilities. 4x 3G-SDI and 4x HDMI digital video inputs with flexible channel assignments provide connections to the latest video sources, including cameras and DSLRs. Incoming video sources do not have to be genlocked due to Ki Pro GO’s input frame syncs. Ki Pro GO also features AJA’s high quality de-interlacers on each input so progressive recordings can be made from interlaced inputs. High quality 2-channel embedded audio or balanced XLR analog audio can be assigned to any recording channel. Multi-Channel Matrix Monitoring enables multiple video channels to be viewed on any single HDMI or SDI display, and Enhanced Super Out offers timecode, media status and audio meter overlays over the SDI and HDMI monitor outputs. Designed to be either portable or rackmountable with a half rack wide, 2RU dimensions, Ki Pro GO is well suited for use in any environment. 


About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


December 20, 2022


Streaming is ubiquitous across entertainment, enabling event organizers to reach wider audiences through hybrid event formats. For the 25th anniversary of FUJI ROCK, the largest outdoor music festival in Japan, the live broadcast experts at Tokyo’s Nouvelle Vague Inc produced the event’s official YouTube stream, which reached a remote audience topping hundreds of thousands. To pull it off without a hitch, Nouvelle Vague Vice President & Director Masayoshi Ikeda and his team developed an efficient, reliable live production workflow comprising AJA solutions deployed at the event venue (Naeba Ski Resort) and Nouvelle Vague’s main control center.


Ikeda shared, “We used AJA’s FS4 for converting video feeds to 29.97p for ingest and streaming, KUMO 6464 for routing signals, Io 4K Plus for editorial I/O, Ki Pro Ultra 12G and Ki Pro GO for redundant recording of Apple ProRes and H.264 files, OG-DANTE-12GAM for audio embedding, and disembedding utilizing Dante, T-TAP Pro for output from the playout system, and BRIDGE LIVE for SDI encoding and RTMP streaming outputs.”


For the three-day festival, Nouvelle Vague developed a workflow to capture performances from the venue’s four main stages and produced the official festival stream, which 200,000 remote viewers tuned into. While stream quality was paramount to the success of the hybrid event, the team also wanted to capture the highest fidelity audio across performances since the recordings would also serve as demo materials for the artists.


Having produced the stream for the 2021 festival, Nouvelle Vague joined the 2022 event six months before showtime to refine the live workflow. The company’s on-site staff consisted of 25 crew members working across two teams; one managed infrastructure setup, while the other handled technical and editorial aspects of production. The infrastructure team arrived to set up and configure the streaming system three days ahead of the show. One day prior to the event, the technical team then showed up, and the crew conducted an equipment rehearsal to test the full streaming workflow.


For the festival’s on-site system, Nouvelle Vague transmitted SDI 59.94i feeds from each of the four venue stages to FS4, which converted the signals to 29.97p for ingest and streaming purposes. To route the converted signals, they used KUMO 6464, which provided the flexibility required to distribute a single video feed to multiple channels. The ingest system included Apple Mac Studio with Softron MovieRecord to capture and continuously record three channels for all four stages (totaling seven sources) to NAS storage. To prepare for any NAS network issues, the crew used Ki Pro Ultra 12G for redundant recording and simultaneous baseband capture without a network connection. They also recorded feeds from all four stages with Ki Pro GO as a backup.


For audio embedding and disembedding, the team relied upon eight OG-DANTE-12GAM cards – an openGear® 12G-SDI embedded audio to Dante IP audio bridge. They used two cards for audio disembedding at each stage, two for playout, two for embedding the program output, one for disembedding looped play videos (to be broadcast during intervals of the YouTube stream), and one for backup.


During the festival, editors cut together performances for the stream immediately following capture, with Io 4K Plus used to ingest network recordings into DCCs. For playout, the team generated the final edited videos generated with Softron’s OnTheAir solution for live production, with T-TAP Pro handling output. BRIDGE LIVE managed encoding and simultaneous YouTube streaming with three RTMP channels.


Ikeda shared, “When it comes to integrating new technologies into our live workflows, we’re always looking for the newest and most innovative products that support workflow flexibility, like tools from AJA.”


Nouvelle Vague began transitioning to IP workflows last year and developed an audio system that uses Dante to easily handle large-scale networks, helping to reduce system costs. The team integrated OG-DANTE-12GAM to eliminate the process of converting from SDI to analog audio while also minimizing sound quality deterioration. For a flexible streaming solution that works with HLS, SRT and RTMP, the team integrated BRIDGE LIVE. Ikeda added, “We chose BRIDGE LIVE because we prefer AJA products for offering compatibility and broadcast-grade stability.”


Ultimately, the stream for FUJI ROCK 2022 was a success, with improved network bandwidth and the addition of Mac Studio to record up to eight channels at 60p, offering greater system stability. In the near future, Nouvelle Vague is looking to further integrate IP workflow technologies into its system and expand capabilities to offer SRT transmission with on-site operations. By linking sources from event venues to its nOOb Studio in Tokyo, the team will further develop a remote workflow for recording, editing, and streaming, while reducing production costs. “The important thing is to consider all the possibilities for your production environment and implement new technologies or products to innovate your workflow and produce world-class content,” added Ikeda.


About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, openGear and IP products, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at


December 14, 2022

IDC LA Color Suite-1.jpg

Preparing new and legacy entertainment for global audience distribution has grown increasingly complex between the widespread implementation of remote workflows, ongoing cybersecurity threats, and increasing media file sizes. To this end, secure and reliable post production and digital media processing services, like those offered by IDC, are essential. Between its New York and Los Angeles offices, the company works on projects spanning episodic series and films and master QCs. To best serve its global roster of clients, the bicoastal shop has developed automated data processing workflows, with AJA Diskover Media Edition data management software a key part of its infrastructure. 


“Our clients are our top priority, and a lot can happen in the render that might get missed in post, so our job is to spot those issues and fix them before the file reaches the client,” shared IDC-LA COO Rosanna Marino. “This often translates to a massive volume of data processing, which is where technology like AJA Diskover Media Edition pays off. It’s helped us meet this demand and enhance our offering so that we can stay competitive without a huge upfront physical infrastructure investment.”


It’s not unusual for IDC-LA to deliver more than 20,000 files a month to clients globally. As projects arrive, the team must know where each client file lives and its contents. To automate this process, Marino and team developed intelligent workflows built with Diskover Media Edition and MediaPulse. These workflows ensure that every file lands in a designated folder and determine the initial path a file must take until a team member steps in to set up profiles, create files, or complete QC. 


To speed up media processing and project turnaround, especially for projects containing data-rich content, the team creates profiles and accesses them from their Telestream Vantage system, and leverages the Colorfront Transkoder. Diskover Media Edition is leveraged in a variety of ways, depending on the client. Files generally roll in electronically and are fielded to a landing zone, at which point the appropriate team members are notified. Depending on where the files land, an automated backup might be generated in the cloud for disaster recovery. IDC producers then use Diskover Media Edition to signal to the team that it’s time to move the files to their next locations and alert relevant team members of their arrival. 


“We knew Diskover Media Edition would be a great fit with built-in automation tools and ties to MediaPulse, and it exceeded our expectations. The software has also made file scanning so quick and automatically indexes all our file systems every 30 minutes,” noted Marino.


On the backend of IDC-LA’s AJA Diskover Media Edition index is the powerful and widely adopted ElasticSeach engine. “The ElasticSearch engine in AJA Diskover Media Edition is so powerful and lets us search for nearly anything, from tags to file names or parts of file names. We can even search for a client, and the software interface will present everything from that client, and we can then narrow the results,” explained Marino. “It also scans our cloud for disaster recovery, so our client service reps can search the index, easily find an asset they need, and send in a work order to pull it back down from the cloud when required.”


IDC-LA’s automated workflows have streamlined operations, giving its customer service representatives more insight into the data they’re working with and presenting it in clear and concise reports that can be shared with relevant stakeholders. There’s no need to ask the client where the files live because all the information is available in one centralized, easy to access location, whereas before, finding the file, sending it to an operator, pulling it up, and digging up the required info took a lot of back and forth.


Marino concluded, “We aim to strike the right balance between thinking out-the-box and not reinventing the wheel. Simplicity and efficiency are key, and we’re continuously looking at new technologies like AJA Diskover Media Edition software that allow us to do things differently in a more streamlined way. We also love working with companies like AJA and Diskover, who are continuously improving the technology and are transparent about the product roadmap. The conversation is two-way; they’re willing to explore new requests with us, which is rare today.” 

About AJA Diskover Media Edition

AJA Diskover Media Edition is an intuitive data management software solution designed to give users more control over media storage across an entire organization, regardless of where it is physically located. Use high-speed, cutting-edge searches, cost analysis, tagging, and other sophisticated tools to empower all levels of an organization to make informed data decisions, enhancing file-based production and monetization. AJA Diskover Media Edition lets users more efficiently curate existing assets and prevents file loss. For more details about AJA Diskover Media Edition, visit

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at

November 3, 2022

OWC®, a leading customer-focused creator of innovative solutions for over 30 years that have enabled individuals, businesses, creative professionals, and educators to get maximum usefulness from their technology investment, today announces the all-new OWC Atlas Memory Cards and Reader.

"OWC is the leader in workflow solutions that professional photographers and videographers depend on daily," said Farshid Tabrizi, Sr. VP of Flash Memory & Media Development. I am thrilled to release our new Atlas Pro and Atlas Ultra memory cards that provide flexibility and choice for photographers and videographers based on their camera and how they use it."

Performance and reliability have been OWC's priorities as a leading developer of flash storage for over a decade. Our Atlas memory cards line-up is developed and tested under the most aggressive settings each card type is designed to handle. You can trust Atlas memory cards with your irreplaceable content while delivering the performance and reliability you expect. Go from ingest to edit with the portable bus-powered Atlas FXR CFexpress card reader with built-in support for both Thunderbolt and USB, SD and CFexpress card reader equipped with OWC docks, and OWC storage solutions. No matter your need, Atlas is one stage of an empowering OWC ecosystem that will rocket you onward and upward from Capture to Completion™.

"It's super important to have equipment that doesn't limit me in any way," said Jake Chamseddine, Tour Photographer. "From cameras to lenses, all the way down to the memory cards I use. Having the peace of mind of knowing my cards are not only going to keep up with me while I'm shooting but also safely transfer images to and from my camera is the reason I love OWC’s Atlas memory cards so much. Couldn't recommend a card more."

Atlas Pro SD V60
​Ideal for your most common photo and general video capture uses, including high-resolution RAW photography at moderate burst rates and up to 4K video recording. The OWC Atlas Pro SD V60 offers the perfect balance of quality, speed, and affordability to general prosumers, business content creators, social media influencers, and pro photo and video creatives using DSLR and mirrorless SD card-based cameras.

Atlas Ultra SD V90
​When you have a high-end SD memory card-based workflow or want to use your camera's maximum video setting allowed by an SD card, the Atlas Ultra SD V90 lets you take it to the Ultra level—built and designed to meet professional content creators' most advanced use cases, including high burst image sequence RAW photography and high bitrate 4K and 6K video recording. Built for action sports, outdoor/wildlife photographers, individual pro photo and video creatives with advanced cameras and camcorders, and independent/small film production companies using DSLR and mirrorless SD card-based cameras. With a minimum of 90MB/s sustained recording speeds guaranteed, you don't have to worry about dropped frames or missing footage. 

Atlas Pro CFexpress
​Whether you're a photographer using a firmware updated XQD camera or a filmmaker using the latest camera, there's a capacity for your need. The OWC Atlas Pro CFexpress is the cost-effective choice for most professional workflow needs, including fast burst RAW image sequences, high bitrate video recording up to 6K on 512GB, and higher capacities. The OWC Atlas Pro CFexpress is perfect for intermediate action sports photographers, intermediate outdoor/wildlife photographers, individual pro photo/video creatives with advanced capabilities, and film production companies using DSLR and mirrorless CFexpress card-based cameras. 

Atlas Ultra CFexpress
​Perfect for your most demanding video recording and extreme action photography settings. With minimum sustained write speeds of 1300MB/s, you can reliably capture 8K RAW video with your top-of-the-line cinema camera. If you're an advanced sports or wildlife photographer, the 165GB version is the fastest, most cost-effective solution to clearing your camera buffer and shooting continuously in burst mode. Built for advanced action sports photographers, advanced outdoor/wildlife photographers, professional video content creators, film production companies, and feature film studios using DSLR and mirrorless CFexpress card-based cameras. Both the OWC Atlas Ultra 325 and 650 are RED APPROVED for V-Raptor and V-Raptor XL Cameras.

Atlas FXR
​Revolutionize your capture to ingest CFexpress memory card workflow with Flexible compatibility, Xtreme speed, and travel-Ready convenience. Transfer video footage and photos to virtually any computer or tablet with Thunderbolt or USB port up to 1600MB/s speed. Sized like a debit card and bus-powered, Atlas FXR easily fits into your smallest gear bag. Made for intermediate to advanced action sports photographers, intermediate to advanced outdoor/wildlife photographers, professional video content creators, film production companies, and feature film studios using DSLR and mirrorless CFexpress card-based cameras.

Pricing & Availability

OWC Atlas Pro SD V60 is available now in 64GB, 128GB, 256GB, 512GB, and 1TB capacities starting at $27.99 on

Atlas Ultra SD V90 is available now in 64GB, 128GB, and 256GB capacities starting at $74.99 on 512GB will be available in December

Atlas Pro CFexpress is available now in 64GB, 128GB, 256GB, 512GB, and 1TB capacities starting at $94.99 on

Atlas Ultra CFexpress is available now in 165GB, 325GB, and 650GB capacities starting at $174.99 on

Atlas FXR is available now starting at $149.99 on

About OWC ​
​Other World Computing (OWC), founded in 1988, is committed to supporting and inspiring the imagination of Mac and PC enthusiasts worldwide through sustainable innovation, exemplary customer service, and American design. An entire spectrum of easy, DIY upgrade and expansion possibilities await 
MemoryExternal DrivesSSDsMac & PC Docking Solutions,Network Attached StorageMemory Cards and ReadersSoftware Solutions and Performance Upgrade Kits solutions. All are backed with step-by-step videos and a global support team. Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. We have a long-term outlook on everything we do and believe in making a better world. From the home desktop to the enterprise rack, the corporate backup to secure medical data, the recording studio to the motion picture set, and beyond, there should be no compromise, which is why OWC is here. OWC established the branch office of OWC Asia in January 2019 to provide local service to various Asian partners and end-users.