Since 1993, AJA’s customers have represented virtually every segment of the video industry, from broadcast to corporate video, wherever high-quality video equipment is required.
AJA customers use our products everywhere video is created, edited or distributed — from production trucks and equipment racks to desktops, editing suites and distribution racks. Here are just a few of their stories and quotes.
User Stories
AJA KONA 3 Cards Provide Multiple Post Workflows
for Different by Design
AJA IoHD Customers In Action
AJA and Apple Final Cut Pro Provide Optimal Edit Pipeline
for 'The Marconi Bros.'
AJA KONA 3 and Final Cut Pro Provide Optimal Edit Pipeline for
Alien vs. Predator: Requiem
AJA KONA 3 Enables End-to-End Post Services for "The Bodybuilder and I”
AJA KONA 3 Accelerates Live Editing During Super Bowl XL
AJA KONA AND Apple Final Cut Pro Provide Optimal Edit Pipeline For Wide Release Feature Film “HOOT”
AJA KONA 3 Provides Missing Link to HD Deliverable for
The History Channel’s “The Mexican American War”
AJA XENA 2K video playback and capture cards play prominent role in
Gearless Visual Effects’ feature film pipeline
AJA Customer McGill Turns Heads with Life-Size HD Videoconferencing
Wexler Video Provides Rock-Solid Real Time-to-post Feed with AJA Solutions
Harley Davidson Roars Into Its Second Century - by Jim Maslowski
Editor Cuts “Rice Rhapsody on FCP” (with Io) - by Rob Tinworth
Blackbird Digital Authors Music DVDs - by Rich Winter
Fridthjof Film Prefers Editing with FCP and AJA's KONA - by Toke Rude Trangbaek
User Quotes
Sean McGuire, Engineering Manager, Fox Sports Net New England
“I believe that AJA products are the ‘best of breed’ when it comes to video interfacing solutions for the Mac. Initially, we were looking at Io, but when the decision to produce home games in HD was made, we chose the AJA KONA as the basis for our workstations. It is a very good product for hybrid HD/SD editing environments – it’s very flexible, and the video quality is excellent.”
Ryan Leimbach, ABC Sports Editor, Superbowl XL
“With KONA 3, we had the speed and ability to work much faster than ever before. When you’re cutting live bumpers, everything is happening very quickly and the reliability of your gear is paramount. The KONA 3 worked flawlessly and provided seamless workflow transitions as our tape moved from Final Cut Pro into Motion and Sound Track Pro then back into Final Cut Pro and back to air. Needless to say, the production team was ecstatic with the performance, output quality and volume.”
Carl Walters, Head of Editorial at The Orphanage on "Sin City"
“The AJA XENA card worked perfectly with the Sony SRW-5000 HDCAM-SR deck. We couldn’t have been more pleased with the high-quality results made possible by the XENA card. We’ve been using KONA cards for a couple of years with great results. Now, another excellent card from AJA!”
Jim Maslowski, Multimedia Producer, Harley Davidson
“When Harley Davidson does something, we do it in a big way....We compared other systems and video capture cards but we chose KONA because of its reputation and its ability to interface with the G4 and Final Cut Pro....Editing in real-time in compressed, 10-bit video is a breeze.”
Ian McCamey, Editorial Post-Production Supervisor at The Orphanage, on switching to KONA for Mac VFX on “Spy Kids”
“The biggest reason is that KONA has always operated in 10-bit and was the first product to do that in OS X. The other important factor is that KONA has wonderful support for 23.976/23.98, which is vital to visual effects. In the process of evaluating KONA, we just came to feel much more secure with AJA as a company; they had been tremendously supportive and willing to help.”
Tyler Knight, Manager of Broadcast IT, Wexler Video for “Rock Star:INXS”
“The tight timelines and ambitious format of ‘Rock Star: INXS’ meant that the producers and editors were needing to turn around a show nearly in real time while looking at everything on set. By being able to watch the material and the events as they were unfolding, they could see what the contestants were doing and how they were feeling and use these within the plotline or as the crux of the entire episode.”
Scott Burnette, First Assistant Editor on TV’s “Scrubs” (Digital Film Tree Post Production)
“I wouldn't have used Final Cut Pro for editing without KONA. I felt comfortable saying, ‘Guys, this is the way we’re doing it,’ instead of saying, ‘Maybe there’s a little change in the picture and this is OK.’ It matched the Digi Beta, end of story. It was an exact match....Editing with KONA on a Mac is changing the way that films are creatively produced because the director and producer can have their hands on the finishing process and have better creative control, and it lets them see the finished product, what’s going on, at the full resolution. This new system changes the workflow and the cost of editing and post production.”
Walt Shires, President of Digital Film Tree
“We talk to customers and recommend the products we think are the best, and we hold AJA and the KONA cards in high regard. AJA keeps themselves ahead of the curves....They bought themselves a lot because they went with OS X and have had a lot more time to work with it than anyone else in the market. They work very closely with Apple and are on top of the technology.”
Marco Solorio, Owner of OneRiver Media
“With Io and KONA, I can have the best of both worlds when it comes to complete I/O operability and comprehensive motion graphics interactivity. As a published and recognized authority in the industry for testing and reviewing capture cards and converters, AJA definitely translates into quality and performance.”
Jeongky Chang, Senior Deputy Director of MBCs Post Production Division
Munwha Broadcasting Corporation (MBC), South Korea, produces Korea’s most popular TV drama using Final Cut Pro and KONA.
“KONA from AJA Video Systems – the best and easiest-to-use capture card for editing on the Mac in OS X”
Gary Savage, Chief Engineer at WCBI on AJA’s R20D & R20AD Converters
“Not only did the AJA converters out-spec the converters I had already chosen, they were also considerably less expensive – which my budget really liked....Whenever I call with operational questions, they walk me through it and they stay on the phone until I’m satisfied, instead of referring me to the website. This isn’t the kind of service that you get from most places these days....I highly recommend AJA’s converters to anyone looking for the best converters for their digital needs.”
Chuck Braverman, President of Braverman Productions, Inc.
“Braverman Productions, Inc., of Santa Monica, has pioneered the use of the AJA KONA SD and HD cards in conjunction with Final Cut Pro for the past three years. This has allowed the company to fully edit and finish entire projects in-house, uncompressed (including effects, graphics and color correcting). Projects have spanned the full range from standard to High Def. Clients included A&E, Discovery Channel, History Channel, Animal Planet and Discovery Health.”
Bryan Smoker, Editor, Television Syndication Company (TVS)
“When we finally got our hands on KONA, we knew it had been worth the wait. KONA’s installation was phenomenally easy. All I had to do was plug it in, install the software and pre-sets for FCP and we were up and running, just like that. KONA SD’s outstanding quality and reliability of the real-time effects makes editing a breeze and enables us to easily produce the highest-quality programs.”
Sterling Johnson, Emmy Award-Winning Director, Cinematographer & Editor
“It’s all there with KONA – the cost factor, high quality, Real-Time SD editing and speed, plus, it contains features that are just waiting for computers to get faster....Because of KONA’s new JPEG compression, I can load a tremendous amount of high-quality material to work with in SD, which doesn't use very much disk space, so I have plenty of room left to load my HD material. It’s fantastic!”
Rob Sonner, Ministry of Technology, Belief
“We did this amazing FitTV project where KONA was not only instrumental to how the project was conceived and shot, but redefined how we can and will do live-action shoots from here on out.”
Toke Rude Trangbaek, Post-Production Coordinator, Fridthjof Film
“The benefits of using a Mac with KONA SD and FCP are obvious...The good thing about working with the KONA card is that it’s all in the computer – we just grab a PowerMac and are on the go! And, with the new fast FireWire 800, we can capture directly to FireWire disks and transfer to a RAID back at the studio. Another good thing we’ve found using the KONA card is increased speed. When we hit capture now in Final Cut Pro, we instantly begin the recording, unlike systems we have used previously.”
Michael Hardwick, Director of Photography, First Amendment Films/Alterity Films
“Because of the KONA card, we were able to batch capture our footage at full resolution, uncompressed, and that made a big difference because I was making color corrections that would translate all the way to the screen. There was no slippage with timecode numbers, and everything translated perfectly across. I felt very confident I wouldn’t have to worry about compression or artifacting.”
Brent Altomare, Executive Producer, Groovy Like a Movie
“We have two KONA SD seats, one KONA HD seat and an Io....We needed a solution to get high-quality video into and out of our Final Cut Pro systems, and all reports said that the KONA did just that. AJA has a significant installation base of loyal and helpful users, and on the strength of this community, the KONA was a logical choice....Fortunately the KONA ‘just works,’ so I haven't had to contact tech support.” |
|
