Did you spot us at the Media Production Show?

Did you spot us at the Media Production Show?

Our team are back in the office after a whirlwind week at the second Media Production Show. Thanks to everyone who came to our stand, tried out our kit, and helped us eat our way through 50kg of pick ‘n’ mix over the course of three days. 

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The big change this year is that we’ve teamed up with root6 to become the UK’s biggest and best provider of editing, grading and audio solutions. The two of us were manning one stand this year, and had many of our favourite solutions on show, including the Cintel Film Scanner, DaVinci Resolve with advanced and mini panels, the Avid Pro Tools S3 with iPad Dock, Focusrite’s Red4Pre and workstations with Avid Media Composer.

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As well as showcasing the Cintel Film Scanner and Resolve, we played host to storage solutions from leaders Quantum, showcasing their StorNext shared storage solution, and LaCie. We were showing ROOT6 Technology’s ContentAgent, which provides a central hub from which to manage and automate all aspects of your file-based workflow.

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Highlights of the week include a string of great talks about the future of VR and workshops on cinematography, editing and grading, but our highlight of the week was probably getting to meet living YouTube legend Joe Sugg. We thought it went well but he hasn’t followed us back, so our ascent to social media stardom still seems unlikely.

Over the course of the week, we’ve been asking you to tweet us your best Jigsaw24 stand selfie in order to be in with the chance of winning a Sonos Play:1. We can now officially reveal that the winner is Twitter user @alexchopper1982, who won us over by promising to use his prize to play Jigsaw24 favourite Cotton Eye Joe at every opportunity.

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So, thanks again to everyone who came to the stand! Remember that you can always get in touch with us on the details below if you have any questions about the solutions you saw on the stand, or want to know more about any of our services. Until next year!

If you want to know more, 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.

How can root6 and Jigsaw24 help you?

How can root6 and Jigsaw24 help you?

Jigsaw24 and root6 have joined together to create the largest and most experienced audio and video technology services and solutions provider in Europe.

Combined, we have more than 40 years’ experience, working alongside leading creative companies and growing a small army of highly qualified consultants and engineers, so we’re now better positioned than ever to deliver the very best solutions and services for audio and video.

Together, we cover your entire workflow from ingest, editing and finishing to tiered storage and delivery. We also provide root6’s range of industry-standard creative products from top brands, including handy local drives and cables, complete suites and entire network infrastructures.

So how can we help?

The combination of root6’s technical expertise with Jigsaw24’s datacentre, managed service and logistical capabilities means that we can now offer the fastest, most innovative and reliable audio and video solutions on the market, helping you incorporate new technologies ahead of your competitors.

We can provide the full range of the latest products, services and solutions for production, post and broadcasters, allowing you to consolidate existing purchasing and support contracts into a single agreement with one supplier, and drastically reducing the amount of admin your IT and purchasing teams have to slog through.

Our solutions include ROOT6 Technology’s industry-leading ContentAgent solution for media ingest and file workflow management, which makes it easier for non-technical staff to tackle complex ingest, conversion and delivery workflows, including work in the AS-11 standard.

If you want to get hands-on with the latest technology (including DaVinci Resolve, Avid Pro Tools and more), head to our demo facility at 8 Golden Square in Soho to get to grips with the kit and meet our Apple engineers.

If you want to know more, 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.

Bridging the gap between PIM and design with MatrixCMS

Bridging the gap between PIM and design with MatrixCMS

Getting your print collateral just right requires cooperation between multiple departments: creative, marketing, product management and data teams to name just a few. Unfortunately, having so many cooks – including ones who’ve never dealt with a creative brief before – can make it difficult to get consensus on what the key focus of different spreads is, leading to rounds of time-consuming amends.

In MatrixCMS, product managers can just drag and drop elements onto a page to create a visual brief that shows products and page hierarchy, ready for designers to pick up and refine in InDesign. And best of all, it only takes minutes to create.

MatrixCMS is designed to streamline print production and centralise product information in five key ways. Here’s how it can help you bridge the gap between product management, project management and marketing…

Drag and drop creative briefs

Rather than asking your product teams to fill out a creative brief – a time-consuming and manual exercise in which they’re likely to encounter new and ambiguous instructions – MatrixCMS allows product teams to drag and drop product codes, descriptions and images onto a page to demonstrate which products need to be featured where. MatrixCMS then sends this document to your designers, who can refine the plan and design the page in InDesign.

Access to rich media assets

As well as raw product data, MatrixCMS can house product imagery and other rich media, so product managers have access to promotional materials from suppliers, plus content you’ve created in-house. Not only does this make it easier for them to add rich media to product descriptions (great for increasing online engagement), it makes it far simpler for them to see their options when it comes to images for print marketing, and identify images that have been used previously or are out of date. This way, they can manage visual assets in the same way they do data, so internal marketing teams will always have the most up to date imagery and assets.

Centralised product information

MatrixCMS stores all your product information in one central repository, so you have a single version of the truth that can then be pushed out to all your web and print channels, ensuring your product data is always consistent. It reduces the risk of customers encountering conflicting data if they check two sources, as all your channels can be updated at once. And because your staff are no longer manually updating each and every product on each and every channel, they have more time to invest in moving the business forward.

 

 

Template-driven automation

Common marketing types can be templated so that any staff member (or reseller, if you’re providing materials for people further down the sales chain) can update images and text, if the job is too small or time-critical to be referred to a dedicated team. For example, staff at Flight Centre produce personalised itineraries for each of their clients.

Integrated approval systems

Workflow tools are built right into MatrixCMS, so project managers can see the status of various pages of a project, and use automated alerts to ensure design, product and data teams get the right information at the right time. MatrixCMS also supports an automated approval workflow, where proofs are distributed, annotated and signed off from within the software, rather than incurring extra print costs by carrying out hard copy approvals.

Want to find out more? Give our team a call on 03332 400 888, email sales@Jigsaw24.com. For all the latest news and tips, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

WWDC 2017: All the news and releases recapped

WWDC 2017: All the news and releases recapped

Apple’s annual bash for developers usually delivers a few key software releases, but this year we have a bumper crop, with new iMac, a refreshed notebook lineup and updates to every OS Apple are currently running. Oh, and of course the new HomePod smart speaker system. Let’s start with the hardware…

iMac

With Mac Pro undergoing a complete overhaul after 2013’s redesign, creative professionals have been turning to top spec iMac models to support demanding work. Apple seem to officially acknowledge this with the 2017 iMac models, which boast all-new speedy Kaby Lake processors, boosted graphics (the entry level gets Iris Plus 640, up to 80% faster, the 21” models get Radeon Pro 555 and 560 with 4GB VRAM, up to 3x faster, and the 27” iMac gets Radeon Pro 570, 575 or 580, with 4GB VRAM).

Apple have said the display on the new iMacs is also the best ever on a Mac, 43% brighter with 500 nits and 10-bit dithering which basically boils down to them looking really, really good.

We also got a sneak peek at a brand new iMac Pro, due to ship in December. This new version is going to be a great prospect for video editing, as well as VR content creation, with workstation class performance, new fan architecture, 80% better cooling and quiet operation. Apple announced it would come with an 8 Core Xeon processor, upgradable all the way up to an insane 18 Cores, with Radeon Vega graphics, 16GB VRAM and 11 teraflops. iMac Pro will also come with up to 128GB ECC memory (more than twice that of current iMacs), up to 40TB storage, built-in 10Gb Ethernet and four Thunderbolt ports. Most importantly, it’ll be the first iMac to come in a fetching space grey.

Mac notebooks

In terms of notebooks, there wasn’t anything Earth-shattering to report – MacBook, MacBook Air and MacBook Pro all get a bump up to new Kaby Lake processors, as expected, and Apple announced they would also receive faster storage and graphics. They’re also dropping the price of the entry level models.

iPad Pro

iPad users will now have a third size option to choose from: the 10.5″ iPad Pro. Apple are putting that extra screen space to good use, giving you a full size onscreen keyboard with support for more than 30 languages. But don’t worry about it getting unwieldy – despite being 20% larger that the 9.7” iPad, it still only weighs a pound.

The new 10’5” iPad Pro and the updated 12.9” model both sport a speedy A10X Fusion chip powering a six-core CPU, which gives you 30% faster CPU performance and 40% faster graphics performance than the previous generation A9X chip. The two leading iPad models have also gotten new screens capable of a 120Hz refresh rate, which combines with a new Pencil to deliver the most responsive iPad Pro performance ever, with just 20 milliseconds latency.

To save you battery life (iPad Pro can still clock up to ten hours on a single charge), the refresh rate is intelligently adjusted based on what you’re doing. If you’re viewing stills, it’ll drop down to the standard 24Hz, play back movies at 48Hz, and then move in to high gear so you can deal with interactive content at 120Hz.

watchOS 4

Good news for anyone rocking an Apple Watch, as watchOS got an update to version 4. Apple showed off new Faces, powered by Siri, which are designed to use machine learning to always display the most relevant information to you and dynamically update the display. Activity and Workout get new features which will appeal to all sports and gym bunnies, but we were most excited by the colourful Kaleidoscope display feature and, oh yes, animated Toy Story characters. They’ve got a friend in us.

tvOS

Apple TV fans rejoice: Amazon Prime Video is coming to tvOS, making it much easier to binge boxsets of the Man In the High Castle and Transparent.

You can visit our Apple store here. If you want to know more, give us a call on 03332 409 306 or email sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic have surprised us with a brand new camera at this year’s Cine Gear Expo. Called the AU-EVA1, it’s a 5.7K EF mount cinema camera that weighs just 1.2kg and shoots to low cost SD cards. 


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Positioned between the GH5 and the VariCam LT 4K, the AU-EVA1 is designed for handheld shooting of documentaries, music videos, adverts and the like. The camera’s small size and light weight mean it’s also good for gimbal and rig mounted shooting.

The AU-EVA1 has a 5.7K Super 35mm size sensor, delivering an image that can be sampled down to 4K, UHD, 2K or even 720p. The camera is capable of shooting 10-bit 422, with RAW output to be added in a future update. The AU-EVA1 can shoot 4K 60p and 2K at up to 240p.

Like the Varicam LT, the AU-EVA1 is capable of dual native ISO, a technology that allows you to extract more information from the sensor increasing the level of noise or artefacts in the film, leading to crisper images and better low light performance.

Also imported from the VariCam range is V-Log/V-Gamut capture, which gives you high dynamic range, bolder colours and more realistic skin tones – the log curves of V-Log are reminiscent of those of negative film, and V-Gamut delivers a colour space even larger than that of film.

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Port-wise, you get 4K HDMI and SDI outputs, plus two balanced XLR audio inputs so you can get professional quality audio.

Prices are yet to be completely confirmed, but Panasonic have promised us a body only camera this autumn for under €8000.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the also-recently-released Canon C200, (a whole 200g heavier and with Cinema RAW Light support already built in; shoots Full HD at up to 120 fps HFR).

The EVA1 is expected to ship in October, but you can pre-order yours here. If you want to know more, 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.

Introducing the Canon Cinema EOS C200

Introducing the Canon Cinema EOS C200

Canon have added a new camera to their Cinema EOS range, the C200. The camera uses newly developed Canon Dual DIGIC DV6 processors to record 4k UHD 50p MP4, 4k DCI RAW and continuous 120 fps High Frame Rate in Full HD without crop, all internally.

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As well as this advanced capture technology, the C200 boasts Canon’s best ever Dual Pixel CMOS Auto Focus technology and a new touch screen LCD monitor, providing smooth autofocus operation and effective tracking. All this is packed into a lightweight body of just 1.4kg, making the C200 ideal for long handheld shoots, or drone or gimbal mounting.

Key features include:

– Internal 4k 50p recording with Cinema RAW Light and MP4.

– Continuous 120 fps (maximum) High Frame Rate with no cropping at Full HD.

– 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3).

– ISO range of 100 to 102,400.

– New dual DIGIC 6 processors.

– Dual Pixel CMOS autofocus with touch control and face detection, face priority and face only focus options.

– New 4” touch panel with touch autofocus capability.

– Single CFast 2.0 and dual SD card slots.

– XF-AVC video format will be available as a future firmware upgrade in 2018.

Cinema RAW Light workflows

Canon’s Cinema RAW Light codec enables the camera to process RAW image quality, but with the flexibility of a smaller file size – you can fit about 15 minutes of Cinema RAW Light footage on a 128 GB Cfast 2.0.

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in Blackmagic Design DaVinci Resolve. Editing will be possible in Avid Media Composer, using the Canon RAW plug-in for Avid Media Access. This format can also be processed using Canon’s Cinema RAW Development application,.

Availability and pricing

The C200 can be pre-ordered now and will be shipping from late July. You can choose between a body-only model for £6415 ex VAT or one with a 24-105mm f/4L IS USM kit (price TBC).

Canon also plan to release a single unit CG-A20 charger with an RRP of £325 ex VAT and a new CL-V2 Clamp base with an RRP of £358.35 ex VAT.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the UA-EVA1 that Panasonic announced at Cine Gear Expo (200g lighter with a 5.7K Super 35mm size sensor; no current RAW support but Panasonic have confirmed it will arrive in a future update.)

If you want to know more, 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.

 

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

From the 6th to the 8th of June, Blackmagic Design will be hosting a pop-up event at 19 Greek Street, Soho (W1D 4DT, for the satnav crew).

Doors will be open from 10am till 6pm every day except Wednesday, when they’ll be staying open late so you can mingle with your fellow Blackmagic Design users,

What’s on? 

Blackmagic are offering you the chance to see the exceptional new DaVinci Resolve 14 (to recap: 10 times faster than before, new editing and colour correction tools, full Fairlight audio post production and multi-user collaboration), and to get hands on with their DaVinci Resolve Micro Panel and DaVinci Resolve Mini Panels.

They’re also running free three-hour Resolve Training Classes twice a day – places for these are limited and likely to fill up fast, though.

There will also be the chance to try out the Blackmagic URSA Mini Pro in an indoor garden set, and of course you’ll be able to put all your questions to the Blackmagic team.

What’s it cost? 

Nothing. Nada. Zip.

Where do I sign up? 

You can register to attend here.

If you want to know more, 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.

What’s new in NEXIS?

What’s new in NEXIS?

Avid have continued their trend of releasing clusters of updates for their NEXIS shared storage system, with recent additions taking us from NEXIS 7.1 to 7.4. Here’s what you’ll be able to enjoy once you’ve updated…

Avid NEXIS 7.1.1

The Avid NEXIS 7.1.1 patch releasencludes an important fix for Avid NEXIS systems with clients that inadvertently attempt to connect through a 100Mbps Ethernet connection. Anything other than 1Gb or 10Gb is not a supported connection speed, and the client would fail to connect. However, beginning with v5.0, the client’s attempt to connect at an unsupported speed caused the Storage Manager to assert and the Avid NEXIS system to become temporarily unresponsive. This fix prevents the system from asserting, and rejects the unsupported client connection. Those clients must modify their connection speeds to connect to Avid NEXIS.

Avid NEXIS 7.2

The Avid NEXIS v7.2 release includes support for adding Media Packs to a mirror-capable Storage Group during a maintenance window (no client I/O to Workspaces in that Storage Group). However, there are a few parameters: the Media Packs must be the same capacity as those already in the mirror- capable Storage Group, and each Engine you are adding to the mirror-capable Storage Group must have the same number of Media Packs as the Engines already in it.

For example, if a mirror-capable Storage Group contains three Avid NEXIS | E4 Engines each with two 60TB Media Packs, you can add another Avid NEXIS | E4 Engine with two 60TB Media Packs to the same mirror-capable Storage Group.

The update also adds: support for macOS Sierra (v10.12.2) clients; support for Avid NEXIS File Gateway software on an AS3000 Server, and open access to Avid NEXIS workspaces using the Avid NEXIS | File Gateway installed on that Avid AS3000 Server running Microsoft Windows Storage Server 2008 R2. This allows access to Avid NEXIS from clients and infrastructures that do not have the Avid NEXIS Client installed.

The Avid NEXIS File Gateway server and software are available now and documentation is available on the Avid Knowledge Base. When interface checking in relation to redundant controller configurations, the default gateway IP address must be reachable by a ping command, otherwise the interface is disabled. This can cause the Avid NEXIS Engine or System Director Appliance to become disconnected from the network. Before upgrading to Avid NEXIS v7.2, make sure there is a default gateway IP address configured, and that it can be reached by a ping command. For more information, see the Avid Knowledge Base.

Avid NEXIS 7.3

With the arrival of NEXIS 7.3, the Avid NEXIS Client Kit is now available to download from the Avid Download Centre. Avid ISIS and Avid NEXIS customers can download and install the latest Avid NEXIS Client software, which connects to both Avid NEXIS and Avid ISIS (v4.7.5 and higher) systems.

Avid have fixed an issue introduced in Avid NEXIS v7.2 where the System Director was using the ping command to determine the presence and connectivity of the default gateway IP address, and counting on a valid address being configured. The ping command is no longer used to determine the presence or validity of a default gateway address. Avid recommends updating to Avid NEXIS v7.3 from v7.1 or earlier to avoid the possibility of losing access to the interface if no default gateway is configured, or if it is configured incorrectly.

They have also fixed an issue where the hardware status on the Agent was displaying incorrect or no information for the power supplies and fans in an Avid NEXIS | E5, an ‘Edit While Capture’ issue where constant reads of a data chunk led to a delayed write failure.

They have also added support for the following Myricom 10GbE Rev C NICs for use in Avid NEXIS clients: 10G-PCIE2-8C2-2T, 10G-PCIE2-8C-T and 10G-PCIE2-8C2-2S. The Myricom driver bundled with the Avid NEXIS kit works for these NICs.

Avid NEXIS 7.3.1

The Avid NEXIS v7.3.1 release fixes an issue in Avid NEXIS 7.2 and 7.3 where under some circumstances, including intermittent network connections, external user authentication using LDAP would fail. Update all client systems to Avid NEXIS Client v7.3.1 before updating the Avid NEXIS system to v7.3.1. The Avid NEXIS v7.3 client cannot connect to a system running Avid NEXIS v7.3.1 or higher.

Avid NEXIS 7.3.2

The Avid NEXIS v7.3.2 release fixed a timing issue where in some circumstances, an Avid Interplay Media Indexer would assert (blue screen).

Avid NEXIS 7.4

The Avid NEXIS v7.4 release adds support for CentOS Linux version 7.3 as a client operating system. Clients running CentOS and the Avid NEXIS v7.4 client software can connect to an Avid ISIS system running v4.7.5 and higher, and to any Avid NEXIS system. The CentOS client kit is available in the Installers page in the Management Console and also in the Installers_Client\ folder in the Avid NEXIS kit, and is named AvidNEXISClient_el.centos.x86_64_7.4.0_5.bin.

Avid Client software for Linux now displays and connects to more than 10 remote System Directors. Previous versions of the Linux client limited to 10 the number of remote System Director connections (and the number displayed in the Client Manager’s Systems pane). The Client Manager now displays and connects to as many remote System Directors as are configured in the Remote Hosts dialog box.

The release also fixes an edit-while-capture workflow problem involving clients using dual 1Gb connections to the Avid NEXIS.

If you want to know more, 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.

 

In an Avid environment? Get certified on Avid Nexis, ISIS and Interplay with our training

In an Avid environment? Get certified on Avid Nexis, ISIS and Interplay with our training

Our friends at root6 are Avid Learning Partners, meaning that they’ve got Avid’s seal of approval to deliver training.  

As well as delivering official Avid qualification courses (the kind with an exam and a certificate), they have training programmes of their own (no certificate), and can develop bespoke training courses for your team on request (we can make you a certificate if you really want one).

What do these courses cover?

Avid Interplay for editors A four hour ‘essentials’ course for editors who need to interact with the Avid Interplay workgroup environment through the editing application. Designed for those of you new to using a NewsCutter or Media Composer on Avid Interplay. It looks the same but the rules have changed.

Course cost: £375 per person at Berwick Street,or a  £1750 flat fee to train up to six people at your site.

This course is scheduled on demand – just give us a call to book a session.

 

Avid Interplay System Administration A far more in-depth three day course designed for administrators responsible for the day-to-day operation of an Avid Interplay environment.Covers administrating the Avid Interplay Engine and Avid Archive Engine (if applicable), and how to work with databases in the system. Additional topics include naming conventions, deletion strategies, deletion protection, daily and weekly maintenance, and archiving. This course (or equivalent experience) is a required pre-requisite of the Interplay ACSR path.

Course cost: £1185 per person at Berwick Street, or a £5250 flat fee to train up to six people at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid NEXIS System Administration This classroom course provides an in-depth understanding of how to administer and maintain an Avid NEXIS system. The course covers a range of administration topics such as how to create and manage workspaces, check system status, troubleshoot issues, create and understand user accounts, connect to clients, mount/dismount workspaces, configure a multi-engine system, and deal with hardware failures. The course also covers basic maintenance and troubleshooting of the Avid NEXIS|PRO, E2 and E4 hardware.

Course cost: £400 per person at Berwick Street, or £400 per person if delivered onsite – although this requires a minimum of four and a maximum of six.

This course is delivered periodically – the next set of dates is to be confirmed.

 

ACSR Avid NEXIS System Support In this three day course, students focus on the installation, administration, and architecture of the Avid NEXIS system, learning to connect, configure, and troubleshoot the system. Lab work and exercises give students practical experience in integrating systems and applying troubleshooting techniques.

Course cost: £1500 per person at Berwick Street (not including the exam).

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid ISIS 5000 Administration In this two day course students will learn how to administer their Avid ISIS 5000 system. You’ll review how to replace a failed data drive and configure storage groups and workspaces, as well as learning basic maintenance and troubleshooting on the System Director and ISIS Chassis hardware.

Course cost: £750 per person at Berwick Street, or a flat fee of £3500 to train a maximum of six people at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid ISIS 5000 System Support In this three day course, students focus on the installation, administration, and architecture of Avid ISIS 5000, learning to connect, configure, and troubleshoot the system. Lab work and exercises give students practical experience in integrating systems and applying troubleshooting techniques. This certification course culminates in an exam. Candidates meeting the Avid ACSR Program pre-requisites and who pass the exam are Avid Certified Support Representatives (ACSR) for Shared Storage.

Course cost: £1220 per person at Berwick Street, or £5250 to train a maximum of six attendees at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

Where are the the courses held?

Most courses are held in our new training facility in Berwick Street, Soho, but many can also be provided at your own premises, by prior agreement, if you can provide an appropriate space for us to park our training machines.

Where do I find out more?

You can see root6’s full course list (and get in touch with them) here on their website.

If you want to know more about Avid training, 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.

 

Celebrating 25 years of Adobe Premiere Pro

Celebrating 25 years of Adobe Premiere Pro

Our birthday twin Premiere Pro has turned 25 this year (both us and Adobe’s industry-leading NLE began life way back in 1992). And while we’ve been building our modest creative technology empire, Premiere has managed to seduce the Coen Brothers, David Fincher and a small army of editors, as evidenced by their birthday video, below. 

Obviously all of these people are just as excited by our birthday, and the gifts they definitely sent us are merely lost in the post.

It’s easy to see why Premiere won people over, though – its earliest iteration was the first software-only editing system that you could run on a normal computer, and by 1994’s version 4.0 it was hitting full screen broadcast quality with 60 fields per frame. By 1996, it was offering a 4K frame size for use with digital signage, and has continued to push resolution limits, with the current version maxing out at 16K x 10K.

Since 2006, a Dynamic Link to Adobe After Effects connected traditional editing timelines to motion graphics and visual effects production, and cross disciplinary support has only increased since the move to Creative Cloud.

You can see a longer, more nostalgia-heavy and occasionally surprising (did you know Netflix had been around since 1997?) rundown of Premiere’s illustrious history here.

In the latest iteration, previewed at NAB, new media manager features in both Premiere Pro and Media Encoder give you much greater control over the handling of your files during the ingest process, and allow for more flexibility when working with very large media. You can set Premiere Pro to copy media to a specific location on your machine as it imports, and even begin editing immediately while your media copies in the background. If your workflow requires a transcode, you can easily set Premiere Pro or Media Encoder to handle that step for you too.

You can also generate proxies on ingest, and toggle between these and your full-res media at one click, in order to better support 6K and 8K workflows. There’s also support for advanced Lumetri scopes and the Rec2020 colourspace.

And when it comes to the workflows of the future – VR, for example, Premiere is ready: VR Video mode allows you to use pan and tilt controls to preview the experience inside the sphere. You can even click-drag directly on the video clip and freely pan around so you know what your viewer would be seeing when looking in a given direction. When you’re ready to share, you can easily add a metadata flag to ensure you’ll get the full panoramic experience on supported sites like YouTube and Facebook.

If you want to know more about Adobe, give us a call on 03332 409 306 or email adobe@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.