IBC 2016: Jigsaw24 to reach the next level of MAM with Reach Engine by Levels Beyond

IBC 2016: Jigsaw24 to reach the next level of MAM with Reach Engine by Levels Beyond

Exciting times at Jigsaw24 as we have taken on the mantle of sales and appliance integration for one of the world’s leading MAM platforms, Reach Engine by Levels Beyond.



Having worked with Levels for a number of years, supporting their customers with infrastructure and systems as well as working with the development teams in the UK at 10dot1 and Timeline TV, it feels like a natural progression for us to help expand their customer base in the UK.

We feel that their technology platform is one of, if not the, best systems for orchestrating digital media workflows and managing the vast quantities of assets we now have to deal with. Their existing client base speaks for itself, including as it does some of the leaders of the digital revolutions that have taken place in our industry and beyond.

Household names such as Formula 1, Red Bull Media, Manchester United, Disney ABC and Warner Bros. utilise the platform in many different ways to enhance and improve their creative workflows. We cant wait to introduce more people to this platform and continue to revolutionise the digital landscape with future-thinking orchestration, cloud integration and custom application development.

For more on the latest IBC releases, take a look at our roundup post, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Our good friends at Goldcrest Post recently completed the beautiful grade and complex online using DaVinci Resolve Studio at their glorious London facility, utilising advanced collaborative features to streamline the process on a project where one reel weighed in at over 1000 cuts!

The world-leading team at Goldcrest provided Universal with full picture post services including a full HDR 4K grade using their end-to-end Resolve pipeline built on the turnkey Linux Hero systems provided by Jigsaw24.

For the feature, the Goldcrest team provided full post-production services for director Paul Greengrass, with Sinéad Cronin and Rob Pizzey, respectively, delivering the online edit and grade. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.”



Cronin explains that the seamless DaVinci Resolve Studio workflow was critical. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline.”

Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey already had an extensive understanding of how the team wanted to use the grade to enhance the action. “In ‘Jason Bourne,’ there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains.

Jason Bourne (2016)

“Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.”

The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.”


The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete story telling device,” concludes Pizzey.

For more information on how we can help you design, build and implement DaVinci Resolve Studio systems, get in touch with our experts (the same guys who helped Goldcrest of course) by emailing davinci@Jigsaw24.com or calling 033s2 409 306.

Jigsaw24 and Rohde & Schwarz announce new partnership

Jigsaw24 and Rohde & Schwarz announce new partnership



Rohde & Schwarz and Jigsaw24 join forces in major expansion initiative into the UK

Rohde & Schwarz, the industry leading manufacturer of media, communications, and test and measurement technologies, have appointed Jigsaw24 to spearhead the expansion of its products into the UK Creative, Commercial and Government industries.

“Rohde & Schwarz are delighted to announce that Jigsaw24 have today joined our global team of business partners,” said Oliver Gappa, Sales Director for Rohde & Schwarz. “Jigsaw24 are one of the fastest-growing and most professional resellers in the UK today. They will complement our existing portfolio of resellers and systems integrators with their knowledge of the post-production and broadcast markets.”

“The DVS brand has been a leading name in the video industry for 30 years, and coupled with the incredible technology and business portfolio at Rohde & Schwarz, we are very excited to be onboarding not just the media-focused products but also their industry-leading technologies in other areas that complement our broad market penetration,” said Roger Whittle, MD & Founder of Jigsaw24.

“At Jigsaw24, we pride ourselves on being able to provide complete end-to-end support for our clients’ workflow, and being able to offer solutions as robust and flexible as Rohde & Schwarz’s is a key part of that. Their award-winning media range dovetails perfectly with our expertise in high-end post and storage workflows, so we’re able to offer 360 degree support.”

Jigsaw24 will be providing hardware, solutions, installation and support services around Rohde & Schwarz’s broadcast, post-production and storage ranges, including their Clipster DI mastering solution, Venice ingest server and Spycer/DVS SAN shared storage systems. They will also have a strong focus on the best in class communications and cybersecurity solutions that the German manufacturer provides.

Rohde & Schwarz  on Jigsaw24

To find out more about Rohde & Schwarz, click here. Contact our expert consultants via email on broadcast@Jigsaw24.com or phone our sales team on 03332 400 888. 


About Rohde & Schwarz

The Rohde & Schwarz electronics group offers innovative solutions in the following business fields: test and measurement, broadcast and media, cybersecurity, secure communications, radiomonitoring and radiolocation. Founded more than 80 years ago, this independent company has an extensive sales and service network and is present in more than 70 countries. The electronics group is among the world market leaders in its established business fields. On June 30, 2015, Rohde & Schwarz had approximately 9900 employees. The group achieved a net revenue of EUR 1.83 billion in the 2014/2015 fiscal year (July to June). The company is headquartered in Munich, Germany, and also has strong regional hubs in Asia and the USA. R&S® is a registered trademark of Rohde & Schwarz GmbH & Co. KG.



NAB 2016: Blackmagic Design launches DaVinci Resolve 12.5!

NAB 2016: Blackmagic Design launches DaVinci Resolve 12.5!

Our friends over at the Resolve development team have done it again! This year’s NAB release of Resolve has over 250 new features and 1000 enhancements and bug fixes. The new features range from downright incredible to improving your day to day experience, saving time and bringing the sort of tools we’ll need for the next generation of content creation requirements.

Some of our favourite headline features include:

Fusion Connect Send clips straight into fusion from the timeline.

Resolve FX Included effects for colourists and editors to enchanted projects further – Film Grain, Lens Flares, Lens Blur, Light Rays and others.

HDR Lots of amazing HDR features in here.. Extended HDR grading controls, HDR scopes, HDR support for 16bit cache formats and HDMI 2.0a metadata, manually define nit level to which you are grading, more transform and colour space controls.

Clip Retime Effects are now adjustable using a Retime Curve in context with the timeline clip.

Log tools Redesigned and improved Log grading controls with a Project Setting option to switch between legacy and new behaviour.

Resolve Colour Management Now includes a checkbox and dropdown menu to separate gamut and gamma options.

Edit Sizing Now includes Lens Distortion Correction

DCTL Added support for DaVinci Color Transform Language, .dctl for user defined color transforms – DaVinci Resolve Studio only.

This is only scratching the surface of the extensive new and improved features in Resolve. You need to see it to believe it!

You can download the 12.5 public BETA today! Check it out here and see the ReadMe for the entire list of updates and features

We will be hosting some of our friends from Blackmagic to present and demonstrate 12.5 at a number of upcoming events, so be sure to get in touch if you’d like more information when these are announced.

In the meantime, we can arrange demonstrations of 12.5 at our Soho grading suite as soon as we’re back from NAB! For more information get in touch with us on broadcast@jigsaw24.com and visit Jigsaw24.com/resolve for information on how we can help you build and support your Resolve system!

NAB 2016: Avid demonstrate cloud collaboration within Pro Tools

NAB 2016: Avid demonstrate cloud collaboration within Pro Tools

Avid have demonstrated a new cloud collaboration platform for Pro Tools built directly into the application. The demo was done live at the Avid ACA event prior to NAB opening for select ACA members attending the event.

The cloud collaboration tools help you connect, communicate, and collaborate over the internet.

You can search the online Avid Artist Community for an audio collaborator to work with, browsing demo tracks, samples and more to find the right person for your project.

Integrated right into Pro Tools, the Artist Chat window allows realtime communication via text and video with another artist, or artists, using Skype protocol.

Collaborators can record remotely, composite tracks remotely and send mixes via Pro Tools straight into your session for you to finish the job.

To see a demonstration of cloud collaboration with Pro Tools get in touch with our team via email, broadcast@Jigsaw24.com. For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

Avid today have announced and demonstrated a huge move toward making their production asset management system, Interplay Media Central, the open arena they have talked about for a number of years now.


Adobe Premire Pro now has direct integration with the Media Central platform directly in the application.

Editors can now search for sequences, assets and more that are checked into Interplay via a custom pane in Premiere Pro.

We’ll be checking this out in more detail over the next few days and will report back with more info.

For more information on our avid solutions visit Jigsaw24.com/avid or email broadcast@jigsaw24.com. For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.



NAB 2016: Avid announce NEXIS storage at Avid Connect

NAB 2016: Avid announce NEXIS storage at Avid Connect

AVID today have announced a number of new and updated products at their Avid Connect event, prior to the NAB show which begins on Monday. One of the major headlines is a series of new storage systems, called NEXIS, building on the same hardware and operating system used with the ISIS 1000, launched last year, which is now renamed the NEXIS | Pro.


NAB 2016 Avid Storage Announcement



– NEXIS storage comes in three system architectures – the 2U Pro model is a rebranding of the ISIS 1000, the NEXIS E2 and E4 are the new models coming in at 2U and 4U sizes.
– 400MB/s per 10 drive media pack. 2TB and 6 TB drive sizes in the E2 and E4 models.
– 2U system director available for E2 and E4 models to allow management of up to 330 active edit clients, 20 million files, and 5-24 media packs.
– E2/E4 based workgroup scaleable to 1.44PB using 24 media packs.
– The E2 (and E4) use more powerful and advanced system controllers than the Pro model which allows them to be more scaleable and provide more bandwidth.


The Pro model is essentially the same hardware platform as the ISIS 1000 was, but with the latest v6.0 NEXIS software. Customers under support contract with Avid will have this software update available in their Avid Master Account and we can provide certified engineering services to come and assist you with your upgrade path to take advantage of the NEXIS platform.
You can combine up to 4 Pro engines in a single workgroup environment providing up to 80TB RAW capacity.

A single E2 can be configured with either 20TB or 60TB RAW capacity depending on media pack, and can be expanded with up to four other E2 chassis providing 1.6GB/s bandwidth and up to 240TB RAW capacity before you are required to add the System Director Appliance to manage your storage. The E2 has modular, hot swappable controller capabilities allowing for simple field replacement of hardware. Redundant controllers will be available soon and configured with a software update.
The E4 chassis provides the most flexibility and expansion capability as it can be purchased half-populated with a single 10-disk media pack, and gives the most potential redundancy options with two hot-spare drive bay options. Fully populated the E4 can provide up to 120TB RAW capacity and 800MB/s, two chassis can be combined using the embedded system director before you are required to add a separate SDA.
The E4 will also be available with a redundant controller soon.
The sperate System Director Appliance is required for managing large workgroups where a more powerful head system is required to manage the increased potential file count, workgroup sizes etc. When you are running over 4 media packs (not chassis – media pack is defined as per 10 drives of any capacity) you are required to integrate the SDA into your system. So with the SDA you can manage 5-24 media packs, either as a combination of 24 NEXIS E2 or 12 NEXIS E4 (fully populated) with up to 1.44PB of RAW capacity.
It is a 2U appliance which will also have the redundant controller option soon as we as enabling high availability mirroring and failover options in multi-chassis environments.
For more information on the new Avid storage including pricing and availability, get in touch with our team by emailing broadcast@jigsaw24.com. For more information about all of our Avid solutions visit Jigsaw24.com/Avid.
For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Online Creative look to Resolve for TOWIE ident on-set, edit and grade

Online Creative look to Resolve for TOWIE ident on-set, edit and grade

Brighton-based Online Creative Ltd are an boutique post facility with an enviable reputation for colour grading, editing and post, and a client list that includes the BBC, ITV, C4, Sky, IWC Media and ITN.

Recently, they took on the job of creating idents for Select Fashion, sponsors of The Only Way Is Essex, and decided to edit and grade the project almost entirely within DaVinci Resolve. We sat down with co-founder and senior colourist Darren Mostyn to get his take on the new, extended Resolve workflow.

Darren in Online Creative's Grade suite
Darren in Online Creative’s Grade suite


Can you outline the workflow you employed for the TOWIE project?

We edited and graded the Dancing On Ice sponsorship idents last year for ITN and had a lot of fun with those, so when the same director asked if we would work on the TOWIE idents we were more than happy to. The production company, Eclectic Motion based in London, approached David Ward to direct the series of nine sponsorship idents for their client, Select Fashion. After meeting us at our studio here in Brighton, Eclectic Motion were very happy for us to complete the entire post, from DIT and on-set grading through to the edit, graphics, colour grade and delivery.

Managing colour on set

Managing colour on set

How are you finding using Resolve for more of the creative workflow than just grading?

The entire post-production for the TOWIE sponsorship idents was managed through DaVinci Resolve Studio. Due to the incredibly tight turnaround of this job, we simply stayed in the software for the edit, grade and delivery. The Blackmagic Design team have radically upgraded the edit capability of Resolve since version 12 was released. Having played with the editing software over the last few months, we were confident that the job could easily be edited inside our grading software, saving us time versus switching between Avid for the edit and Resolve for the grade.

Online Creative's on-set Resolve edit/grade setup

Online Creative’s on-set Resolve edit/grade setup

The rushes were all shot in 4K mainly from a Sony FS7. We took our portable grading suite to the shoot and were immediately able to edit with Resolve without any transcoding, playing back in real time. We then applied looks on set to show the client, director and to assist DoP Mark Bader. Using the advanced editing functions in Resolve allowed us to quickly build some first assemblies, which would help us get ahead in the four days left for the edit. Once back in the studio, we simply connected the suites to the on-set project.

Which features of Resolve were most useful on this project?

I still think Resolve is a world class system for colour grading, but now with better-featured editing functionality I can easily make edit changes even if I have started the grade. The trimming functionality of the edit side has been well thought out and feels mature. I was very aware that on this project that there would be a point where we had to start the grade, even without a final picture lock, as the broadcast delivery deadline was so tight. The changes that were made were easily applied by simply switching to the edit page. Traditionally, I would have had to open the edit suite, make the changes, export the AAF/XML and then Resolve would re-conform the edit changes, but now it is completely seamless.

The completed edit in Resolve

The completed edit in Resolve

Were the clients aware of your heavy Resolve usage? Did they give any feedback on it?

Eclectic Motion and Select Fashion were really pleased we came on set and provided a look and rough edit straight away. It gave them confidence at the shoot that it was going to look great, especially as it was Select Fashion’s first TV spot. The grade back at our studio is always a good experience for the client. They were impressed with the speed of the system in 4K, and the tracker always gets a smile.

Before and After Darren's grade

Before and After Darren’s grade

We used Resolve to do some fixing where parts of the set were showing carpentry joins. The node sizing tool came in very handy to use as a paint/clone tool that was then easily tracked. The client was very aware that doing this outside of Resolve would have been an extra expense and taken up valuable time. It’s always great to be able to offer up these additional fixes to clients whilst keeping them on budget.

How does Resolve compare to your previous system?

I have been using Resolve here for over six years now. I previously graded using Digital Vision’s FilmMaster, Avid Symphony and Apple Color. I started grading on Resolve using the Tangent Wave control surface for about a year before committing to the full dedicated panels after deciding the software was a perfect tool for our broadcast needs – in addition to TVCs and idents, we grade documentary and longform work, so the control surface is a very important part of our set up. We now have a Tangent Element which runs on our second grading suite and is used on our portable kit.

Mid-grade in the Resolve suite

Mid-grade in the Resolve suite

What made you decide it was time to move more of your workflow into Resolve?

The Resolve software is always being developed and refined, and each year a new set of features appear that makes our workflow here smoother. Being a smaller facility than most of our Soho counterparts means that we have to give the very best quality service to keep ahead of the game. We need our software to be affordable, able to handle any job in HD and 4K resolution, and reliable – DaVinci Resolve ticks all these boxes and many more.

How did you find working with Jigsaw24? Would you recommend us?

We have bought the majority of our equipment from Jigsaw24. We had an issue with a new iMac that we ordered a little too close to a deadline. The machine caused a few problems and turned out to have a fault. Jigsaw24 replaced it and collected the faulty machine immediately without any hesitation, keeping us on track for our deadline. My clients expect us to pull out all the stops when needed, and so did Jigsaw24 on this occasion.

The fact that we are a small boutique facility in Brighton does not deter the team at Jigsaw24. They don’t treat us any differently to the big facilities, and that service goes a long way for me. Jamie and the team at Jigsaw24 certainly know their stuff in the world of post-production and are a valuable resource for me when compiling a shopping list.

Are you planning on sticking with this workflow for other projects? Are there any circumstances when you wouldn’t recommend it?

The Resolve workflow was completely flawless on the TOWIE/Select Fashion project. There are more projects in the diary that I will certainly implement the same workflow.

The lack of freelance editors with Resolve on their CV may be off-putting to some companies, but I am sure it won’t be long until freelance editors start trying the edit functionality in more detail and adding it to their list of NLEs. I don’t think it will be too long before we receive someone else’s programme edited entirely in Resolve to grade. To be able to simply open the Resolve project and start grading, bypassing the XML workflow altogether, will be great – I don’t know anyone who actually enjoys pre-grade conforming. I’d be interested to see how Resolve fares when editing longform programmes, which we’ll be looking at very soon.

Check out our DaVinci Resolve page to find out more! Or email our experts here: davinci@jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Blackmagic Design release DaVinci Resolve 12.3 update

Blackmagic Design release DaVinci Resolve 12.3 update

The latest update to world-renowned DaVinci Resolve platform has been uploaded for all platforms this week, here’s a run-down of whats new:

– Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on Windows.

– Added Media Storage context menu option to directly add storage locations without opening Preferences on Mac and Windows.

– Ability to add Media Storage locations without restarting Resolve on Mac and Windows.

– Added support for reading Reel Names in OpenEXR media.

– Added decode support for Sony MPEG2 video files.

– Added support for ARRI RAW sharpness when using the ARRI Full Res Debayer.

– Added support for smaller font sizes on burn-ins.

– Added support for keyboard shortcut for loop on the Edit Page.

– Improved HEVC/H.265 decode performance on Mac in DaVinci Resolve Studio.

– Improved H.264 decode performance on Windows.

– Improved Varicam, MPEG4, AVC and AVC-Intra MXF decode performance on Mac and Windows.

– Improved compressed OpenEXR decode performance.

– Added support for RED SDK v6.1.

– General performance and stability improvements.

As we’re now on the countdown to NAB2016 we cant wait to see what new toys the guys are working on behind the scenes. In the mean time, you can check out the latest version by downloading from Blackmagic’s support site here.

Check out our DaVinci Resolve mini-site here to see our recommended specifications, customer stories and more news about Resolve! Or get straight in touch by emailing davinci@jigsaw24.com!

Jigsaw24 Roundtable: Broadcast Awards 2016 Best Post House

Jigsaw24 Roundtable: Broadcast Awards 2016 Best Post House

A few weeks before the 2016 Broadcast Awards take place at the Grosvenor Hotel Ballroom, Jigsaw24 partnered up with Broadcast TECH magazine editor, George Bevir, to invite the nominees for Best Post Production Facility 2016 to come into Jigsaw24’s Soho Studio and discuss the state of the industry now and looking forward to the next year of business.


Broadcast Rountable
Nominees getting ready for the shoot


We’d like to thank the attendees – Johnny Whitehead, Director of operations for Encore, Dave Cadle, Managing Director of Envy, Leo Casserley, Managing Director of Flix, John Rogerson, Chief Executive Officer of Halo, Julie Parmenter, Managing Director of Molinare and Matt Adams, Director of Sales for Technicolor – for providing us with an invaluable insight to the industry and a very interesting discussion with topics including rates, creative UK talent, Soho facility dominance and where new business opportunities can be found. Here you can watch the discussion in its entirety, or scroll below for links to specific sections covering the topics you may be interested in.

Featured Section Shortcut Links:

What do TV production companies want from post facilities in 2016?

What has happened to the rates paid by production companies?

What is the best way to grow post facility?

Is there enough creative talent in the UK?

How much of a threat to post facilities are in-house post operations?

Will Soho always remain the capital of UK post?

Where do the opportunities for post firm lie in 2016?

If you’re interested in how we’ve helped the nominees become so successful as a key technology partner and supplier for all of the represented companies, get in touch with our post production and broadcast experts by emailing broadcast@Jigsaw24.com and checking out our solution pages at jigsaw24.com/workflowspecialists.