The Aja KiPro captures HD (& SD?) from analog or SDI to 10-bit 422 to QT-ProRes (ordinaire and HQ). In comparison the Convergent Design products currently capture to 8-bit 422 (hi-bitrate Mpeg2). ProRes is particularly suited to (aimed at) Final Cut. But since ProRes decoder is freely available, including on Windows, the KiPro could be used with other NLEs.Presumably (haven’t yet tried) once the ProRes is copied to the editing system’s media drive, it can be simply dropped into an Avid project (bin/timeline). Some seem to find it OK e.g. “I import ProRes straight into MC all day, no problems. You’ll need FCP 7 to have access to the new 4444 codec though..” [http://community.avid.com/forums/p/76196/426097.aspx#426097]. But some people are cagey about this (on principle?) “…if I were you I would reencode the quicktimes to an Avid codec” [http://forums.creativecow.net/thread/45/866733#866733]. One re-encoding option [http://community.avid.com/forums/p/62217/407573.aspx#407573] is Mpeg StreamClip [http://www.squared5.com]. Not sure what the advantage is (or whether it is real) but some people complain of problems with levels [http://community.avid.com/forums/p/62217/407573.aspx#407573] and metadata. I would hope that Avid’s “New Thinking” would render any such problems historical, but experience will tell.One slight nuisance – Avid doesn’t work directly with the Aja KiPro. That is, the KiPro is not a device type recognized by Avid’s Advanced Media Architecture AMA [ http://community.avid.com/forums/t/71260.aspx?PageIndex=1 ]. Not a show-stopper, but definitely a tilting force (from Avid to FCS/FCP).The KiPro is bulkier than the Convergent Design products. It can record from more kinds of input to more kinds of storage medium. I haven’t looked at power consumption or robustness yet. Links: