Join Rob Garrott for an in-depth discussion in this video Inputs and Outputs, part of NAB 2014: A First Look at Panasonic's GH4.
Some people are going to want to jump into this camera right away. They're going to immediately want to be able to record 4K video and they're going to want it at ten bit, and they're going to want it 422 color. And so for you to be able to do that you'll need a special a special accessory that you'll put onto the product. This accessory is the YAGH, and on the side of the YAGH. We include five DNC connections for STI. So, we have one, two, three and four for video functionality.
We have this fifth for time code. And as we mount this, it's important to note that on the bottom of the camera, these pins are for control of the YAGH. These pins help pass time code and sound, so when I line this all up on the top of my YAGH, just like this, I then just need to screw my lock to tighten it down. Now that it's locked on, it's not going anywhere. I need to connect the HDMI output of the camera, right there, into the YAGH, and that's what this is.
It's just an HDMI cable. This whole shroud is here, so that when I put it onto the camera, and I mount it into the HDMI port. I'll be able to tighten this screw down. And as I tighten this down, it locks it into the HDMI connection. So you don't have to worry about this coming loose as you're producing your video. So we will tighten that and we'd be done. Now, you'll notice right here. This gives me a full-sized HDMI output, which I can use for an external monitor right on the camera if I liked. On the other side, we have XLRM. So what we're doing is if you want, you know, channel one channel two audio you bring it right into the YAGH.
The YAGH will then bring the audio into this device. So it turns it into a 16 bit 48 kilohertz audio feed. That's then sent up the YGH into the GH four as it's own audio signal. It's then munched or mixed with the video signal in time so that you don't have a Godzilla effect with the picture and the sound. And then that's sent back out the HDMI port back into the YGH. Where it can be trans coded to send out of the SDI terminals.
So for 4K video, and this is important to note there's a lot of different variations of SDI connections. You have 3G, you have 6G, now 12G. In order for this camera to work with existing recorders. We've elected to use just a traditional SDI output, which means that each of these can pass a 1080 30P signal. So for me to give you 4K out, I need to actually use all four. Number one is passing like the upper left hand image that you're looking at.
Number two is the upper right, number three is the lower left, number three is the lower right. Now if you want to take advantage of just 1080 60P, technically number one and number two are 3G SDI connections, so they'll pass 1080 60 or 1080 30. You can also use this as a DA, so if you wanted to use all four of these as 1080 30 or 1080 24. You can pass these onto multiple devices. So I can have one locally for monitoring, one for an external recorder. Another one for, you know, monitoring offset.
It gives a lot of flexibility. And then time code can be brought into the camera, and you would use an external device to keep time. Finally, to power this whole thing there is no battery inside of this. There's too much going on inside of here for us to have been able to include a battery. So what we've included, just a standard four-pin power connection so if you want to use something that's battery-powered you can go ahead and use any number of battery-operated options that are 11 to 17 volt. And just connect this right in and you'll be able to power the entire camera and the YAGA, YAGH, right from your external power source.
So, this gives you a tremendous flexibility today. So if I want to hook t his to an existing recorder like the AJA or ASHA key pro quad all I have to do is take the four SDI outs. Hook it directly in to the Ki Pro Quad. Make sure I set in the menu that the Ki Pro Quad is accepting four in and sending only one out. And then I can go ahead and record in Prores 422, Prores 444, you know, and it's a RAW output from the HDMI connection. It is color corrected, but it is uncompressed.
So you're getting an uncompressed color corrected signal directly in to your external recorder.