Auckland  09 414 0477
Wellington  04 801 9494

AJA CION Production Camera

AJA CION Production Camera
larger imageMove mouse over the image to magnify
The CION production camera is the union of great design and functionality, an engineered aesthetic that we are proud to describe as the Science of the Beautiful.
NZ $8,325.00

Key Features

  • 4K sized sensor
  • 12 stops of dynamic range
  • ProRes 4444 recording
  • Ergonomic and lightweight
  • Vivid detail, vibrant colours
CION is the new 4K/UltraHD and 2K/HD production camera from AJA. Shoot direct to edit-ready Apple ProRes 4444 at up to 4K 30fps, ProRes 422 at up to 4K 60fps, or output AJA Raw at up to 4K 120fps. CION is the union of great design and functionality, an engineered aesthetic that we are proud to describe as the Science of the Beautiful.

Shoot What You See
CION can encode 4K/UltraHD and 2K/HD directly to 12-bit ProRes 444 internally. Using this high quality and widely supported codec to record CION’s film-like image and superb color rendition will provide the easiest route to post production for 4K yet.

CION’s extensive Gamma modes offer great flexibility to let you capture the scene exactly as lit in Standard, Expanded or Video Gamma modes. Cine and ‘None’ allow more latitude in post for you to create your own look and feel.

CION Gamma Modes New in v1.3 Firmware
This gamma mode allows the user to dial in a very accurate image in camera for those scenarios where time for post production is very limited. The frame shown is taken from an UltraHD 444 sequence, and the image was exposed and color corrected in camera to accurately capture the vivid greens of the foliage and distinctive orange and yellow coloring of the California Poppy with no post production required.
This gamma mode allows the widest possible dynamic range when shooting. The frame shown is taken from an UltraHD ProRes 444 sequence; The image itself was exposed to account for the highlights and the white fur. The before version is lower in contrast and seemingly lacking in smooth gradients and fine detail. However, the after version clearly shows just how much picture information is available in post. Note the subtle gradients of the eyes and clean, defined detail that emerges.
This gamma mode effectively disables any adjustment curve being made to the image whatsoever. The frame shown is taken from an UltraHD 422 sequence. The before version appears very dark with little definition to trees and leaves. The after version again shows just how much information can be lifted within the picture, effectively allowing the scene to be closely controlled in post by lifting the shadows accordingly.

ProRes® Workflow
The ProRes 444 and 422 workflow for CION allows you to capture high quality images in an easily managed file format and size. The Pak dock provides fast transfer of footage into your local media storage and directly into a wide range of NLEs and finishing tools of choice with no need for transcoding. Native file recording means you’re able to better connect production to post; keeping the image quality at it’s highest throughout.

30fps AJA Raw Workflow
CION offers easy output of up to 4K 30fps AJA Raw via the Thunderbolt™ connector on the rear of the camera and by using AJA CamXchange and a Thunderbolt enabled fast RAID and laptop. Perfect for studio environments where complex, keyed shots require the most post production processing.

60fps AJA Raw Workflow
Although CION offers full 4K ProRes 4444 encoding at 12-bit internally to Pak media you may also elect to output AJA Raw to other best-in-class products from AJA with our proprietary, powerful but totally free AJA Control Room software and connected fast RAID storage. Use AJA Io® 4K to capture AJA Raw over SDI at up to 60fps at 4K to provide outstanding post production quality for even the most demanding grade or visual FX requirements.

120fps AJA Raw Workflow
You can also choose the unrivaled AJA KONA® 4 to capture up to 120fps at 4K via the 4 x 3G-SDI outputs to create beautiful and detailed slow motion with an engaging cinematic feel via AJA Control Room.

CION v1.3 Images Reel
This reel was made to demonstrate the improved highlight handling and black detail available to CION users in the new V1.3 firmware, released at NAB 2016. In addition, the CION Gamma names have been updated to closer reflect each individual mode. Images were captured, edited and graded in UltraHD ProRes 4444 before upload, with Vimeo providing the final HD encode.

Science of the Beautiful
AJA’s approach to the development of CION was not only towards the external aesthetic and it’s deliberate ergonomic styling; the image processing itself was considered throughout with the result being outstanding color accuracy in virtually any environment. CION is capable of capturing images at up to 4K 12bit 444 allowing the broadest dynamic range possible and providing excellent latitude for post production finishing. To minimize the amount of post processing required CION also allows for great flexibility in controlling the image captured by using our intuitive menu system and it’s straightforward operation on-set. A variety of gamma curves are found within the Exposure Index menu to suit the highlights and shadows within a given scene. In addition you can choose from a range of color temperatures within the White Balance menu providing standard values to suit your scene. You are also able to Auto White Balance any scene by simply holding down the ‘WB’ button on the operational side of CION for three seconds. For those situations where more precise color control is beneficial on-set you can control both the Saturation and also Color Correction via their corresponding menu options. This additional control can save valuable time in post, especially on tight deadline projects which require speedy delivery to broadcast and allows you to adapt to changing light in even the most demanding environments.

PL Lens Mount
PL mount lenses are the industry standard for cinema and professional production cameras, and are widely available the world-over. In addition, CION’s lens mount has been designed to be removable so third parties may develop mounts for other lens types.

Optical Low Pass Filter and IR Cut Filter
An integrated OLPF (Optical Low-Pass Filter) reduces unwanted moiré effects while still retaining vital image detail.

The Infra-red cut filter produces high quality colors within the image by
blocking unwanted light wavelengths.

CION features a 4K APS-C sized CMOS sensor with an electronic global shutter and 12 stops of dynamic range. Lenses designed for Super 35mm cover the sensor imaging area and the global shutter eliminates the undesirable qualities associated with rolling shutter-based sensors.

Recording formats
CION can record at 4K (4096x2160), UltraHD (3840x2160), 2K (2048x1080) and HD (1920x1080). 2K and HD are hardware scaled from the full 4K sensor, resulting in beautiful over-sampled images, which also retain your lens’ focal length at any desired resolution. Frame rates up to 50 and 60p are supported - even at full 4K resolution.

AJA Pak Media
CION uses AJA’s proven SSD-based Pak storage. The robust high speed compact storage mounts directly in-camera and allows recording of 4K/UHD and 2K/HD as ProRes 4444, ProRes 422 (HQ), ProRes 422, ProRes 422 (LT) and ProRes (Proxy). Choose from generous 256GB or 512GB capacities and by utilizing the AJA Pak Dock (sold separately) you can transfer your footage over high-speed Thunderbolt™or USB3.

Aluminum cheese plates are fitted to both the top and the bottom of the chassis to provide easy mounting of accessories from both AJA and third parties, with standard thread sizes to offer the widest range of compatibility.

Conveniently Connected
CION’s considered design brings ease of operation to both field and studio based productions. For single users, set up and operation is intuitive. For complex productions that require camera operators, camera assistants and digital imaging technicians CION offers unrivalled flexibility. In such a scenario, the camera operator can use one monitor output for framing, the camera assistant another monitor output for judging focus and the digital imaging technician can use yet another monitor output as well as the web UI to configure the unit with total resolution independence. CION offers more simultaneous monitoring outputs than any other camera.

Connect and Configure
The LAN port at the rear of the CION camera brings a wealth of control to the field or studio; every feature is controllable remotely via a web browser with no proprietary software required. Using an easily set up IP address for the camera and utilizing a simple Ethernet cable you can connect to any laptop on any platform and use a web browser to communicate directly with your CION camera. A video feed has also been included to assist with remote or multi-camera scenarios. Multi-camera wireless control can be easily achieved with a standard WiFi access point, such as an Apple AirPort.

Total Camera Control
You’re able to adjust every camera parameter to suit your needs by either clicking on the section appropriate in the side bar of the browser or you can use the buttons in the window that reflect those found on the camera. You have the freedom to work either way. You can see clearly the options available to each section; navigation is intuitive at every step.

Centralized Preset Deployment
Having made adjustments you are able to save these as a preset for use later; quickly and easily recall the preset you need. You can even save a preset and deploy it to other CION cameras that you have linked via a simple Ethernet switch. Up to twenty banks of presets can be saved bringing huge flexibility and time saving whilst shooting.

Elegant Operations
All interface controls are found on the side of the camera facing the operator to provide easy single user functionality. The menu structure itself is elegant and free of cumbersome sub-menu navigation. Confidently dial settings with a robust selection knob that gives clear mechanical feedback as you adjust.

The integrated confidence monitor not only displays the menu information but also previews your real-time image, allowing independent operation.

LED VU meters are placed for easy and accurate audio monitoring. Control knobs for each audio channel allow adjustment of the input level. A headphone monitoring output and a headphone volume control knob are also provided.

On-Set backup and monitoring workflow

CION provides unrivalled on-set monitoring options for 4K/UHD and 2K/HD including a hardware dedicated down convert for 4K/UHD to 2K/HD. CION’s outputs are simultaneously live allowing great flexibility in any scenario independent of resolution. When working in 4K or UHD, five outputs are always available with two for 4K via the HDMI and 4 x 3G SDI and as well as three dedicated downconversions via 2 x 3G SDI and 1 x HDMI. If you are working
in HD or 2K then every single output is live at that resolution giving you up to eight outputs to share on-set. The built in confidence monitor also allows yet another way to see the image being captured.

The AJA Pak Dock and Pak media are designed for field use, featuring a rugged and reliable form factor; unlike a bare SSD drive, AJA Pak media features a multi-insertion rated connector. Connecting to CION via the LAN connector provides real time information regarding the Pak currently in use and by utilizing a Thunderbolt enabled RAID storage drive you can quickly back up your Pak media as you shoot.

Multicam Gang Control
CION multicam shoots are straightforward to implement and manage by using a laptop with a simple ethernet switch and LAN cables. The web UI allows complete and independent set up of multiple CION cameras; you may name each camera and consolidate control of the cameras from within a web browser using the unique gang recording feature. The web UI will also allow realtime monitoring of the capacity of the Pak media used in each CION. File naming options are easily accessed in CION’s menu structure. There is even an option to create custom names for clips as well.

Open up your world
CION is designed to create an open approach to accessorizing the camera.

This open system gives you immense flexibility no matter the shooting environment, both indoors and outdoors. From shoulder to tripod and from dolly to crane, CION keeps all of your options open. The top accessory manufacturers in the world have also made accessories specifically for CION.

PL mount lenses are widely offered in standard focal lengths as well as zoom options. Manufacturers continue to release new and improved lenses designed for the demands of 4K resolution. Because the PL mount system is firmly established in the highest quality production, you can choose the right lens to suit your creative needs. CION’s lens mount was also designed to be easy removed to allow an even wider choice of lens system to suit your needs.

Third parties now offer alternative mounts to allow you to use CanonEF/FD, Nikon F/G-Mount and ARRI Bayonet lenses with ease. CION offers wider lens compatibility than any other 4K/UltraHD camera system

The open system approach allows you to choose from a wide range of electronic viewfinders and connect them directly via CION’s HDMI or 3G-SDI. Dedicated monitoring outputs are even conveniently placed at the front of the camera. A power connector near the front can also provide power for many electronic viewfinders.

Unrivaled monitoring options put CION at the heart of production. In addition to the front 3G-SDI and HDMI monitor outputs, additional rear 3G-SDI and HDMI outputs may also be used for monitoring. 4K and UltraHD monitoring is possible via the 4x 3G-SDI main outputs and the rear HDMI output (when appropriately configured). You can configure CION so that everyone can see what’s happening.

Two balanced analog audio XLR inputs are built into CION allowing compatibility with a huge range of professional audio gear. You can choose to mount a shotgun microphone to the cold shoe found on the top handle or run longer cable from external mixers to CION. Independent switches for mic or line level as well as phantom power are provided meaning you’re ready for any audio situation.

Removable cheese plates on the top and bottom of the camera make attaching accessories easy. The bottom cheese plate features 1/4-20 and 3/8-16 threaded holes. The AJA-provided top handle attaches to the top cheese plate via 1/4-20 screws for example. CION’s top handle is based on standard 15mm rods, allowing compatibility with third-party accessories and endless possible configurations. Standard-sized rosettes on either side of the camera allow easy and dependable mounting points for handles and grips. By design, it’s incredibly easy to add a wealth of accessories to CION to enhance your shooting experience.

Post Production
CION offers the easiest and fastest route to 4K/UltraHD post yet. Native codec handling enhances your editorial experience, resulting in fast and responsive playback with no compromise in quality. Apple ProRes offers pristine image quality at extremely manageable file sizes. Using the latest generation of Apple Mac Pro and the AJA Io 4K along with Apple ProRes files from CION makes even 4K and UltraHD editing a smooth experience. CION can provide 59.94fps material ready conformed to 23.98fps for cinematic slow motion in your timeline with no post processing required. AJA Raw utilizes the Cinema DNG format which brings both high-quality and industry standard compatibility with major NLE and finishing tools.
User Interface • 6 x Dedicated menu buttons
• 4 x Transport buttons
  (Play, Fast Forward, Reverse Playback, Stop)
• 1 x Media unmount button
• 1 x Record button
• 1 x User Interface control knob
• 1 x User Interface screen, 320x240 LCD
Sensor Type • CMOS, electronic global shutter, 12 stops of dynamic range
Sensor Size • 4K APS-C sized, 22.5mm x 11.9mm
Shutter Angles Available (by Format)
23.98 & 24 25 29.97 & 30 50 59.94 & 60 119.88 & 120
360 360 360 360 360 360
180 (default) 300 216 300 216 216
172.8 180 (default) 180 (default) 180 (default) 180 (default) 180 (default)
144 150 120 120 120 120
120 90 90 90 90 90
90 45 45 45 45 45
45 30 30 30 30 30
30 15 15 15 15 15
Shutter Speeds Available (by Format)
23.98 & 24 25 29.97 & 30 50 59.94 & 60 119.88 & 120
1/24 1/25 1/30 1/50 1/60 1/120
1/48 (default) 1/30 1/50 1/60 1/100 1/200
1/50 1/50 (default) 1/60 (default) 1/100 (default) 1/120 (default) 1/240 (default)
1/60 1/60 1/90 1/150 1/180 1/360
1/72 1/100 1/120 1/200 1/240 1/480
1/96 1/200 1/240 1/400 1/480 1/960
1/192 1/300 1/360 1/600 1/720 1/1440
1/288 1/600 1/720 1/1200 1/1440 1/2880
Exposure Index • 320, 500, 800, 1000
Color Correction • Normal, Flat, Skin Tones, Video
Gamma • None, Standard, Expanded, Video, Cine
Lens Mount • Removable PL (positive lock) third party EF, B4 and G-Mount mounts are available.
Filtration • Optical Low Pass Filter (OLPF) and IR Cut Filter (combined)
Removable Storage • Pak Media, Pak-Adapt-CFast (only with qualified CFast media)
Video Output • 4 x 3G-SDI main outputs
  (4 x BNC connectors, 3G/1.485 Gbps)
• 2 x 3G-SDI monitor outputs
  (1 x front mounted BNC connector,
  1 x rear mounted BNC connector, 3G/1.485 Gbps)
• 2 x HDMI outputs
  (1 x front mounted HDMI v1.3 Type A connector,
  1 x rear mounted HDMI v1.4 Type A connector)
Format, Frame Rate, Encoding and Output 4K
• (4K) 4096 x 2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60, 119.88, 120
• Apple ProRes 4444 or Apple ProRes 422 (all versions) up to and including 30 fps
• Apple ProRes 422 (or a lower data rate ProRes version) for 50, 59.94, 60 fps
• SDI output support for 23.98, 24, 25, 29.97, 30 fps
  (SDI 1-4 YCbCr, SDI 1-4 RGB or SDI 1 Raw)
• SDI output support for 50, 59.94, 60 fps (SDI 1-4 YCbCr or SDI 1-2 Raw)
• SDI output support for 119.88, 120 fps (SDI 1-4 Raw)

• (UltraHD) 3840 x 2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60, 119.88, 120
• Apple ProRes 4444 or Apple ProRes 422 (all versions) up to and including 30 fps
• Apple ProRes 422 (or a lower data rate ProRes version) for 50, 59.94, 60 fps
• SDI output support for 23.98, 24, 25, 29.97, 30 fps
  (SDI 1-4 YCbCr, SDI 1-4 RGB or SDI 1 Raw)
• SDI output support for 50, 59.94, 60 fps (SDI 1-4 YCbCr or SDI 1-2 RAW)
• SDI output support for 119.88, 120 fps (SDI 1-4 Raw)

• (2K) 2048 x 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• Apple ProRes 4444 or Apple ProRes 422 (all versions) up to and including 30 fps
• Apple ProRes 422 (all versions) for 50, 59.94, 60 fps
• SDI output support for 23.98, 24, 25, 29.97, 30 fps
  (SDI 1 YCbCr, SDI 1-2 RGB, or SDI 1 RGB)
• SDI output support for 50, 59.94, 60 fps (SDI 1-2 YCbCr or SDI 1 YCbCr)

• (HD) 1920 x 1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60
• Apple ProRes 4444 or Apple ProRes 422 (all versions) up to and including 30 fps
• Apple ProRes 422 (all versions) for 50, 59.94, 60 fps
• SDI output support for 23.98, 24, 25, 29.97, 30 fps
  (SDI 1 YCbCr, SDI 1-2 RGB, or SDI 1 RGB)
• SDI output support for 50, 59.94, 60 fps (SDI 1-2 YCbCr or SDI 1 YCbCr)

• (HD) 1920 x 1080i 25, 29.97, 30
• Apple ProRes 422 (all versions) up to and including 30 fps
• SDI output up to and including 30 fps (SDI 1 YCbCr)
Audio Input • 2 x Balanced Analog audio inputs
  (2 x 3-pin XLR connectors with dedicated line/mic/48v selection switch per input)
Audio Output • 1 x Headphone jack
  (3.5mm stereo mini TRS)
Reference Input • 1 x Reference input
  (BNC connector, analog color black)
Timecode • 1 x LTC
  (BNC connector, 0.5 to 4.5Vpp)
Start/Stop Trigger • 2 x LANC
  (1 x 2.5mm top connector and 1 x 2.5mm side connector)
Network Interface • 1 x LAN connector (RJ-45 connector, 10/100/1000)
Data Output • AJA Raw via 3G-SDI up to 120 fps or Thunderbolt™ up to 30 fps
Size (w x d x h) • 4.4" x 12.5" x 5.5" (112mm x 318mm x 140mm)
Weight • 6.4 lbs / 2.9 kg (without top handle attached)
• 7.4 lbs / 3.4 kg (with top handle attached)
Power • AC Range: 100-240 VAC 50/60Hz (AC adapter)
• DC Range: 12-18Vdc, 5A maximum
  (4-pin XLR connector or 2-pin input connector)
• Consumption: 38-42W typical, 45-47W maximum
  (Note: does not include power draw from 2-pin output connector)
• Output: 2-pin power output connector, 10W recommended maximum
Environment • Safe Operating Temperature: 0 to 40 degrees C (32 to 104 degrees F)
• Safe Storage Temperature (Power OFF): -40 to 60 degrees C (-40 to 140 degrees F)
• Operating Relative Humidity: 10-90% noncondensing
• Operating Altitude: <3,000 meters (<10,000 feet)

Signup For Our Newsletter

Subscribe for the latest product news, special offers and invitations.

Give Us Your Feedback

We would love to hear what you think of our website and your experiences with our company. Drop us a line here.

Contact Us 

Auckland: 09 414 0477
Wellington: 04 801 9494

Australia: 1300 472 344