How to calculate the real cost of Creative Cloud

How to calculate the real cost of Creative Cloud

Cnet did the maths when Creative Cloud was first released, and two years down the line we think this still holds true – the extra services, the increasingly short lifespan of devices and software versions and the massive amount of time you’ll save all make Creative Cloud a winner for bean counters and creatives alike. 

Free storage

If you (or any members of your team) move between sites a lot, Adobe Creative Cloud‘s 100GB of free, online storage per user is a bit of a godsend, allowing you to store ongoing work in the cloud rather than on physical drives that you have to lug around when you’re on the road/make sure you don’t leave on the train (we’ve all been there). It also allows you to share work automatically with other members of the team, so they can pick up new jobs or amends as soon as you request them, rather than having to wait for you to get back on site.

It includes the cost of font management software

A lot has been said about Adobe Creative Cloud giving you access to more apps (and therefore the chance to bring more work in house), but we’ve not seen much written about TypeKit. This font management solution used to set us back about £100 a year, but is now included free with Adobe Creative Cloud, so you can deduct the cost of a font management solution from your existing software spend.

The beauty of TypeKit – aside from the fact that it gives you access to a library of easily searchable, web-friendly fonts – is that it will sync fonts between your home and work machines (or multiple business machines) for more seamless multi-site working, and there are no plug-ins or servers to manage, so it’s not going to take up your IT team’s time, either.

Increased out of hours work…

We’re not saying that all companies are sinister and determined to trick their employees into doing oodles of unpaid overtime in order to hit unrealistic deadlines, but, well, most design agencies we know do have insane deadlines, and the only way to meet them is for a few brave souls to go above and beyond the call of duty.

The fact that users are able to access Creative Cloud apps, services and shared storage from multiple devices not only makes it more likely that they’ll be able to pick up jobs or approvals after hours, it actually makes that fact far less invasive – rather than being trapped in the office till sun up, you’re now able to review and edit projects on the go, or upload new versions to the team’s shared storage from wherever you happen to be.

…and the end of endless file transfers

Because Creative Cloud apps are designed to work seamlessly together, different departments in your agency can now share files more quickly and easily, without spending hours transferring, transcoding and worrying about version control, meaning less time watching the loading bar and more time doing billable work.

Oh, and if you ever take on 3D work, or would like to start doing so, there’s now a free copy of CINEMA 4D Lite included in After Effects, which has a two way dynamic link with Maxon’s leading 3D software, so changes made to a model in one programme show up instantly when you open it in the other.

You can bring more jobs in-house

Whether you want to take on new types of project, use new tools to refine pitches and win more business (just like our customer Pearlfisher did recently), or simply bring your freelancers in house so you can keep an eye on them, Creative Cloud allows you to bring cross-disciplinary work in-house and develop new skills without a risky upfront investment in new software (you’re getting the entire Adobe range for slightly more than the cost of Creative Suite Design Standard), so you can try new things without putting your cash at risk.

Want to know more about Adobe Creative Cloud? Get in touch with us on 03332 409 306 or email adobe@Jigsaw24.com. For all the latest news and articles, follow us on Twitter or ‘Like’ us on Facebook

The basics of Jigsaw24 for audio

The basics of Jigsaw24 for audio
If you’ve been buying your Macs from us or picked up a drive or two, it may have escaped your notice that we have one of the most comprehensive professional audio offerings in the industry. Here’s our top audio specialist Rob Holsman with a quick rundown of what we can do…

“Whether you’re putting together a project recording studio, voiceover facility, classroom composition suite or a full-featured surround-sound Pro Tools mixing studio for film post-production, we have the products and technical expertise to get the job done. And if you’re a videographer, we can supply all the location recording kit you could need, including wireless systems, shotgun mics, portable recorders and booms.

We can supply all the industry’s leading brands for audio software, audio interfaces, studio hardware, stereo and surround monitor speaker packages, headphones, microphones. and much much more. We are main dealers for Avid Pro Tools, Steinberg, RME, MOTU, Universal Audio, Genelec, Focal, Sennheiser, Sony Professional, PMC, Focusrite, Neumann, RODE, Tascam… the list goes on and on, but you get the picture! And with our industry leading IT, we have the knowhow to get it all working and keep it that way.”

Some top resources…

If you want to know a bit more about us, why not have a browse of our blog, where we keep the latest audio announcements? Here are a few perennial favourites to get you started…

If you want to find out more about our audio post-production services, take a look at our post brochure here.

Want to stay on top of NAMM news? Here’s our 2015 roundup.

Not sure what plug-ins you need? Here are six we can’t live without.

Want to know more? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Mac tip of the month: How to use Boot Camp

Mac tip of the month: How to use Boot Camp

Boot Camp is a feature built into Mac OS X that allows you to load Mac OS X and Windows onto your Mac, and choose which operating system you’d like to use at startup. If you choose OS X, you get your normal Mac desktop, but if you choose Windows you’ll get a Windows desktop, and the ability to run PC-only apps right on your Mac. 

While it’s not as efficient as third party desktop virtualisation solutions that’ll let you run both platforms at the same time, it is a cheap way to get access to both platforms, and is great if you need to run the occasional bit of PC-only software or have employee portals that will only work in Internet Explorer. In fact, according to Soluto, the best computer to run Windows is actually a MacBook Pro!

You will need…

– A Mac running OS X 10.5 (Leopard) or later.

– An administrator account in OS X to configure Boot Camp Assistant.

– Internet access.

– USB keyboard and mouse, or a built-in keyboard and trackpad.

– 8 GB USB storage device, or external drive formatted as MS-DOS (FAT) to install the downloaded drivers.

– Recommended minimum of 2 GB of RAM, 20 GB of free space on the disk that you are installing Windows on for the first time, or 40 GB if you are upgrading from a previous Windows version (you can check this by clicking on the Apple icon in the corner of your screen, clicking ‘About this Mac’, then ‘System Report’ and selecting ‘Storage’ in the left hand column).

– Authentic Microsoft Windows full install disk. Some Macs will also let you install Windows using an ISO file containing an image of Windows 7 or higher. To do this, you’ll need to download the ISO file from Microsoft support and save it to your MS-DOS formatted drive.

Before you begin…

BACK UP YOUR FILES. We cannot stress this enough. We’ve even explained how to use Time Machine here. Download any software updates your Mac needs (you can see these in the ‘Updates’ section of the App Store, or by going to the Apple menu and clicking on ‘Software Update’) and, if you’re using a laptop, make sure it’s plugged in and connected to your MS-DOS formatted storage.

Setting up Boot Camp

In the Finder window, click Utilities and select Boot Camp Assistant. Agree to install the latest Windows support from Apple, then select the option to install Windows (plus any other options you need) and click Continue.

At this point you’ll be given a list of options. If ‘Create a Windows 7 or later install disk’ is visible, then you can install Windows using an external hard drive with an ISO image on. If not, you will need a Windows install disk.

Follow the onscreen instructions for your option until you’re asked to create a Windows partition, at which point you have to specify the partition size. Microsoft suggest 40GB or more.

Insert your install disk if you are using one, or keep the drive with your ISO file on attached. Click install. Boot Camp Assistant will create the partition, restart your Mac and open the Windows installer.

When the installer appears, follow the onscreen instructions. If you’re installing Windows 7, you’ll be asked if this is a custom or upgrade installation. Choose custom.

When you’re asked where you’d like to install Windows, select the partition called BOOTCAMP. Selecting any other partition could delete the contents of your Mac. Click Format, then OK, then Next. The installer will then format the Windows partition for you, and you simply have to follow the onscreen instruction to finish your installation of Windows. Your Mac will then automatically restart using Windows, and prompt you to install any support software you need to make sure your Mac and Windows are as compatible as possible.

I just want to use Microsoft Office. Do I need Boot Camp?

A Mac-compatible version of Office, imaginatively titled Office for Mac, is available and includes all the apps you need to work along with PC-loving colleagues. Documents you create using Office for Mac are saved in the same format as the PC version, and will open on any PC or Mac with Office or Office for Mac installed.

However, Apple have their own equivalent apps: Pages (Word), Numbers (Excel) and Keynote (PowerPoint). These are available from the App Store for £14.99 each, and will open Word, Excel and PowerPoint files respectively. While you can’t open Pages, Numbers or Keynote documents in Office or Office for Mac, you can export these documents in Office-compatible formats using your Mac – Apple’s instructions are here.

 Need to know more about Mac? Give our team a call on 03332 409 306 or email B2B@Jigsaw24.com. For all the latest news and tips, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

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How to get the most from your Blackmagic Design URSA

How to get the most from your Blackmagic Design URSA

Blackmagic’s behemoth is a fantastic collaborative camera that gives the illusion that you’re working with £20,000 kit despite costing £3186 ex VAT. But if you really want to get the most out of it, there are a few things you need to know. Our camera specialist James Graham offers these top tips…

Know how you’re going to use it

“It’s not news that this is a pretty heavy camera, and it’s in no way a run and gun model – even if the test footage below shows that it’s a lot easier to manoeuvre than you might think, it’s still a big setup camera that suits itself to multiple operators, three of whom can even have their own high res LCD display.

The Bear in NZ Winter” – Beta URSA Footage from A Couple Of Night Owls on Vimeo.

As you can also see from the video, which was made using an unreleased beta version of the camera, the footage looks fantastic and has only improved in the final model. You are getting great image quality and a lot of flexibility for a pretty remarkable price, which actually makes the URSA a good shout for universities who want to get groups of students round a camera, shooting professional quality footage. It’s also a good reserve camera for anyone who frequently find themselves having to rent out high-end kit but wants to have something slightly more affordable to hand in case of emergency.”

Remember that an URSA is for life, not just for Christmas

As RedShark pointed out in their review, part of the reason that the URSA is built like a brick house it that it’s protecting a huge amount of “internal processing grunt” is that it arrives ready to accommodate a long future of upgrades and developments. If you’re not content with shooting ProRes and 4K RAW at 80fps, all you have to do is wait for a firmware upgrade – the camera will survive anything you can throw at it in the meantime. And the removable sensor block means that when better chip technology comes along, it’s literally a case of swapping out your existing chip and carrying on, because the rest of your camera will still be solid as a rock.”

Embrace the top audio quality

“The URSA comes with two XLR inputs with switchable phantom power and mic preamps. Really very good preamps. If you need convincing, listen to this hands-on review by the videographers at Faymus Media, which uses in-camera voice recording and somehow manages to capture audible dialogue in the middle of New York.”

Don’t lose the allen key

“Literally everything you want to add to or take off your URSA needs this key. Tape it to your body. Mould duplicates. Wear it on a chain. But do not – do not – put it down and then forget where you left it. Blackmagic won’t be happy with you.”

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Canon unveil 5 new cameras, including 760D and 750D

Canon unveil 5 new cameras, including 760D and 750D

Canon are clearly in a generous mood today, choosing to reveal not one, not six, but five new cameras to the giddy public. The EOS 760D, 750D, 5DS, 5DS R and M3 will be available in the spring, but you can get all the key specs here, now…

EOS 5DS and 5DS R

The leading lights here are this pair of ultra high resolution full frame DSLRs with dual DIGIC 6 processors, due to grace our warehouse in June 2015. Offering you a frankly ridiculous 50.6MP to play with, these are going to be released alongside the new EF 11-24mm f/4L USM lens, “the world’s widest angle rectilinear zoom lens” and “the perfect companion for landscape and architecture photographers”, so I guess we know who these are aimed at.

Anyway, the 5DS and 5DS R combine that 50.6MP CMOS sensor with ISO 100-6400 sensitivity, expandable to 50-12,800. That massive resolution also allows three new in-camera cropping modes: 1.3x, 1.6x and 1:1. These are visible through the viewfinder and promise fairly spectacular results – an image you crop at 1:6x is still going to be over 19MP.

Those dual DIGIC 6 processors are designed to handle the huge amount of information coming from the sensor, reducing image noise and allowing you to shoot at up to five frames per second. The cameras also boast a 61-point autofocus system with 41 cross-type points, EOS Intelligent Tracking for tackling moving subjects and iTR facial recognition autofocus. Canon have also included their Mirror Vibration Control System, which uses cams to drive the cameras’ mirrors up and down in a more controlled fashion, avoiding sudden stops and gently softening your shutter sound. Oh, and if that wasn’t enough, they also have flicker detection to ensure continuous exposure under artificial lights.

Further innovations prompted by that truly massive sensor include a new Fine Detail Picture style, which maximises the level of detail you can achieve and enables sharpness adjustments without any need for editing software.

The EOS 5DS body only camera will set you back £2999.99 come June, while an EOS 5DS R will be £3199.99 ex VAT and an EF 12-44mm f/4L USM will cost you a neat 2799.99 ex VAT and will be available from March.

Canon 760D and 750D

These beauties come with a 24.2 megapixel sensor and Canon’s DIGIC 6 image processor. If you’re the sort who’s often shooting in less than ideal conditions, you’ll be pleased to hear that they have an ISO range of 100-12,800 and the same flicker detection technology as the EOS 7D MkII, so your images will have consistent exposure, even under artificial light. You’re also supported by a 19-point autofocus system. Once you’ve taken your perfectly exposed, expertly focused photo, you can share it via WiFi or NFC directly from the camera.

Video-wise, the 750D and 760D are both compatible with STM lenses, can both shoot Full HD in mp4 format, and support Hybrid CMOS AF III autofocus so that you can track and swap focus while shooting video. However, the 760D has additional ‘creative movie modes’ which make it easier to achieve tilt-shift and HDR looks, among others.

The new EOS models are designed to be more ergonomic and easy to control (you have full manual control of the camera), with a rear control dial, top LCD panel and an intelligent viewfinder where you can review your settings and images.

The 760D will be with us in April, and will be available as a body-only camera costing £649.99 ex VAT. The 750D should appear at the same time, in both a £599.99 ex VAT body-only form and as a £689.99 bundle with a EF-S 18-55mm IS STM lens. Some other lenses will be eligible for cashback deals when purchased with either camera, but we’re yet to hear exactly which ones.

EOS M3

If you feel like the 5DS and 760D are slightly out of your league, there’s always the EOS M3, which Canon say offers “the power of EOS, only smaller.” Aimed mainly at consumers but potentially just sneaking into usefulness for some of you, it offers you the chance to get to grips with Canon’s first 24.2MP APS-C CMOS sensor, combined with a DIGIC 6 processor.

It has ISO 100-12800 sensitivity and a 49-point autofocus system based on the same Hybrid CMOS technology as the 760D’s, so you’ll be able to focus up to 6.1 times faster than some poor schmoe using an original EOS M. It comes with a 7.5cm/3″ viewfinder than can be tilted to anywhere between 45 and 180 degrees, a hot shoe for camera-mounted lights or tilt-type viewfinders.

The M3 can record Full HD video to mp4 at 24p, 25p, and 30p frame rates, all with support for continuous autofocus. There’s even a Touch AF feature that allows you to tap focus points on the touchscreen LCD display and then use them to shoot focus pulls. Once you’ve mastered the fine art of the M3 focus pull, you can share the results using on-board WiFi and NFC to share images or back them up to Canon’s cloud storage service.

The M3 will be joining us in March and cost £599.99.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

AVID | ISIS qualified for NewTek TriCaster and 3Play

AVID | ISIS qualified for NewTek TriCaster and 3Play

Avid’s ISIS | 5500 is the leading collaborative storage for a wide range of post-production and broadcast workflows, and is now qualified for live production with TriCaster and 3Play 4800. Using ISIS | 5500 as the recording drive for live sessions enables media to be immediately available to a variety of devices simultaneously including editors, transcoders and playout.

TriCaster 8000

Now, as an Avid Elite Partner for storage and a NewTek partner with one of the UK’s few certified trainers on staff, we’re obligated to get incredibly excited by news from either of these two, but according to Avid’s official press statement (and the aforementioned TriCaster trainer), this is legitimately awesome for anyone looking to record large-scale live broadcasts. Here are the official details of the test:

Avid ISIS | 5500 was tested with single and mirrored TriCaster 8000s. The mirrored configuration opens up a number of new workflows providing higher scale and redundancy for multi-screen productions. ISIS | 5500 enables the mirrored TriCasters to playback the same streams simultaneously. 3Play 4800 is NewTek’s leading integrated sports production solution, adding ISIS collaborative storage enables more creative workflows to deliver a more compelling experience for broadcasters, pro leagues and venues.

The combination of ISIS | 5500 and the NewTek portfolio allows up to eight streams to be recorded and simultaneously, play two streams and receive two channels of graphics simultaneously, with the added benefit of being able to instantaneously share and monetise your content. Gigabit Ethernet provides high speed, reliable connectivity between NewTek and ISIS. Qualified products include ISIS | 5500 and ISIS | 7500 and the NewTek TriCaster 8000, 860, 460, 410. Simply install the ISIS client on NewTek TriCaster Pro or 3Play and configure it to login and mount the required ISIS workspaces.

ISIS | 5500 is the leading collaborative media storage choice for facilities and workgroups. ISIS | 5500 scales in increments of 16, 32 or 64TB of capacity and delivers multiple GBs per second of throughput. The ISIS File System includes a number of patented mechanisms to provide predictable, reliable performance to multiple simultaneous connections. Predictable multi-stream performance as delivered by ISIS | 5500 is especially important in these live-to-air and fast turnaround workflows.

Avid ISIS | 5500 is now qualified through the NewTek Developer Network. Avid ISIS | 5500 and NewTek TriCaster and 3Play are available now.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Avid qualify new HP Z840 workstations

Avid qualify new HP Z840 workstations

We realise this blog can get a bit Mac-heavy, so here’s some good news for PC users: Avid have qualified (and released configuration guidelines for) HP’s latest generation of Dual 8, 10 and 12-Core Z840 workstations.  

“The new HP Z840s use the latest in component architecture, including the new Xeon v3 and DDR4 memory,” explained our specialist Joshua Mace when we asked why this was exciting.

“These upgraded parts allow users to take advantage of higher frequency memory – up to 2133 MHz at the moment – and can support up 512 GB of memory for the absolute ultimate workstation. The new Xeon v3 processors can go all the way up to 36 processing cores using two 18-Core processors. The Z840 is also available with up to 512GB storage if you use the HP Z Turbo Drive (an ultra fast PCIe SSD based on Samsung’s M.2 technology), leaving space for four 3.5 drives.”

“We’ve already had interest in the 840 systems from some of the major facilities in the UK, for both editing and VFX work. The upgrades from previous Z-Series systems are significant and are going to really boost your capabilities for high resolution work in both your edit and compositing pipelines,” said our Avid specialist Jamie Allan.

“It’s great that Avid have qualified the 840 so quickly after release. We’re certain the smaller 440 will be hot on its heals in the new year so we can look at having a fully upgraded range of PC editing systems. Of course if you want to have a look at the new systems before investing and see how it will affect your workflows, get in touch to book a demo in our Soho facility.’

Media Composer 7, Media Composer 8 and NewsCutter 11 have all been qualified for machines running Windows 7 Professional or Windows 8.1, as are the Nitris DX, Mojo DX and ISIS storage units. You can see Avid’s full config guide here.

Want to know more about wireless audio? Call us on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Jigsaw24 review: Canon C100 MkII

Jigsaw24 review: Canon C100 MkII

Canon were kind enough to bring a C100 MkII into our office last week, and as well as getting all the key specs, our camera specialist James Graham got to put his sticky fingerprints all over it. Here’s what he learned…

Is it a C100 disguised as a C300?

Kind of. The body is slightly larger now, giving the MkII a distinctly C300-ish silhouette, but the overall form factor, ergonomics and handling still feel very much like the C100 we all know and faun over.

And the reason behind that extra width? Canon have changed the MkI’s fixed rear display into a folding, rotating, side-mounted OLED screen, so you can see it far more easily when you’re shooting, and made the view finder far more mobile and comfortable. Essentially, your dominant eye gets to enjoy the luxurious comfort of a C300, while the rest of you operates a C100 in exactly the same way you would the C100 MkI.

It’s still not 4K

As we’ve said before, this is a camera that prioritises image quality over image size. While equipping yourself with a 4K-ready camera does help future-proof your workflow, at the C100’s price point that usually means compromising on image quality. If you’re not working with 4K regularly – and most of the people we talk to aren’t – then seriously consider whether you wouldn’t be better off going with the C100 MkII and getting the best possible image you can while you’re still working in lower resolutions.

And just to be clear – the C100 MkII is going to offer you a visibly better image than its predecessor. While Canon have kept the same sensor, they’ve kitted the C100 MkII out with a brand new DIGIC DV4 processor, which is much cleverer than the C100’s. Pluses we’ve been promised include reduced noise, reduced moire, improved low light performance (the MkII has a max ISO of 102400) and the same debater system as you get with the C500, all of which we are strongly in favour of.

What are the new features?

Dual pixel autofocus. A bit of a lifesaver in run and gun situations, DAF is included as standard on the C100 MkII. It’s faster than your normal focus as it’s not contrast based, but limited to targets within the central 25% of your frame.

Face detection autofocus (selected STM lenses only) Not quite as quick as DAF, but this will identify faces anywhere in your frame and make sure they’re in focus. You can even choose whether it tracks a given face to keep it in focus, or stays focused on a fixed point if the face you’re filming moves or leaves the frame.

AVCHD and MP4 simultaneous recording. Stick two memory cards into your C100 MkII and you can record 28Mbps AVCHD to one and 35Mbps MP4 to the other. Yes please.

Remote control via WiFi (and built-in FTP). Can’t loiter by your camera? You can now control it remotely from any device with a web browser, thanks to Canon’s new remote control interface (there’s also a physical remote, the RC-V100, that will do the same job). One neat feature here is that you can create different user profiles within the control interface, so one operator can have control over every aspect of the C100, while another can be limited to dealing with certain features. There is a slight lag, but it’s well under a second. And once you’ve remotely recorded everything, you can send it back to base using the built-in FTP support.

Clean HDMI out with support for Canon LUT. Whoop.

What comes in the box?

One of three things: a body-only C100 MkII, a C100 MkII with a 18-135mm lens kit that supports DAF and face recognition, or a C100 MkII with a 24 – 105mm lens that supports DAF but wouldn’t know a face if it was pointed right at one. If you want to choose your own glass, the MkII will happily work with EF, EF-S and Cine Prime lenses, but only STM ones can currently support its face recognition system.

What’s the verdict?

Hell yes. Says James, “If you didn’t like the C100, this won’t change your mind – the changes are mostly ergonomic and practical – for example the viewfinder is now something you’d actually want to use, you have more assignable keys and the controls on the side of the camera are raised so they’re easier to find when you’re using the viewfinder. However, if you are looking at buying or updating a C100, definitely choose this model and get that new processor and DAF.

“As well as the flashy stuff there have been some really thoughtful tweaks – I like that you can now change the display to black and white when adjusting focus magnification, so it’s both easier to focus and any idiot can tell you’re not shooting. Everything we loved about the C100 is still there, it’s just better now.”

Want to know more about wireless audio? Call us on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Throw out your audio cables with Sony’s new multi interface shoe

Throw out your audio cables with Sony’s new multi interface shoe

Using a Sony camera or thinking of replacing your current setup? Don’t forget you can use Sony’s new P3 multi interface shoe to replace your audio cables with crisp, wireless in-camera recording…

The succinctly-named SMAD-P3 multi interface shoe adaptor works with Sony’s UWP-D wireless microphone series, allow you to mount a receiver on-camera and record audio directly into the camera without the need for any cables whatsoever.

Why do we like this idea? Well for one, it means fewer points of interference, so there’s less chance of your audio signal degrading or downright failing to get where you need it – always a plus.

Secondly, it means you have fewer things to forget, and we’re all about not carrying an extra cable. And actually the whole thing is powered through the camera, so you can forget the cost (and weight) of extra batteries, too.

Thirdly, it’s an official Sony adaptor, meaning it’s been tested extensively with not only the UWP-D mics, but with Sony’s latest NX and PX cameras, plus the MC2500. Sony are saying that you should see no change in functionality or loss of quality between your current audio setup and the SMAD-P3/UPW-D combo using any of that kit, which makes it a smart buy if your workflow is Sony-centric.

And if you do need to use an external recorder, there’s an output for that on the UWP-D, so you can always be recording two copies if you need to.

How much does it cost? 

The P3 multi interface shoe adaptor will set you back a mere £28 ex VAT, while the UWP-D series of receivers starts from just £225 ex VAT, meaning it’s comparable to Sennheiser units with similar specs, but more qualified for working with Sony.

Want to know more about wireless audio? Call us 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 reveal the first post-eyeon Fusion

Blackmagic Design reveal the first post-eyeon Fusion

Blackmagic Design have announced the launch of the new version of Fusion, the first since it bought the software from original makers eyeon. Here’s the lowdown…

There’ll be two versions – Fusion and Fusion Studio

Fusion is essentially a free ‘lite’ version of the program, with no plug-ins, 3D tools or network capabilities. But also no price tag, which means we’re sure it’ll find its market. Fusion Studio will be a larger, fully featured version that requires a dongle (separate to your Resolve one) for access and costs £635.

Fusion Studio includes Generation

eyeon’s workflow/asset management tool, Generation, will be included in the Studio version of Blackmagic’s Fusion, but is no longer available separately.

Existing dongles won’t work for the Blackmagic version of Fusion

That means most current users on 6.4 or 7 or network licences will need a new dongle. However, if you pick up a Windows dongle now, Blackmagic Design CEO Grant Petty promises it will work with Mac OS X once Fusion is released for Mac. He told the company’s official forum:

“One thing I can say though, is that our plan is to allow anyone who purchases the Windows version of Fusion 7 Studio to use their dongle on the Mac and to be able to download that Mac OS X version of Fusion free of charge. That’s what we do with DaVinci Resolve and it’s very flexible and I think helps people a lot. So we want to do that with Fusion also, even though they are very different types of software.”

No site licences or network licences (as per Resolve)

Before you panic, active subscription users will all get the upgrade and the new dongle – Blackmagic are currently collecting user info and will contact you directly to help you transition. After that, though, your subs are EOL.

Learn more about Fusion on Blackmagic’s shiny new web page or buy Fusion Studio 7 here.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.