JVC welcome three new cameras into the world

JVC welcome three new cameras into the world

Is it too early to start making product of the year lists? Granted, JVC announced their new trio of camcorders in December and plan to ship them in March, but to our list-obsessed eye there are a couple of contenders in their new lineup of the GY-HM170, GY-HM200 and LS-300.

GY-HM170 & GY-HM200

The GY-HM170 and GY-HM200 are due to replace the much-beloved GY-HM150. As a sop to those of us who will be saying goodbye to a camera that has served us well, JVC have made the very reasonably priced GY-HM200 4k-capable and given it built-in FTP functionality, so you can stream 4K files (or at least their proxies) back to base while shooting in the field.

Of course, not everyone needs to shoot 4K at the moment – and even those of you who are asked to probably don’t need to all the time – but an affordable camera that’s capable of handling both your current workflow and a 4K one when you need it will give you added flexibility without you having to fork over too much of your hard-earned cash (we’re all broke in January, after all).

The GY-HM200 gives the option of shooting 4K Ultra HD, 4:2:2 full HD or streaming to the web – you just have to plug for the optional WiFi or 3G/4G modem, and you can connect directly to USTREAM or any number of other services. This on-board WiFi will also allow you to remotely control or view content from the camera, edit clip metadata and if FTP clips as long as you have the appropriate adaptor.

Its integrated 12x optical zoom lens and 4K CMOS sensor deliver stunning 4K Ultra HD recordings directly to SDHC/SDXC memory cards, and the camera comes complete with dual XLR audio inputs, HD-SDI (3G) and HDMI outputs, and JVC’s dual codec Advanced Streaming Technology to boot.

The single 1/2.3-inch CMOS image sensor has 12.4 million pixels (9.03 active) and is paired with a high quality integrated 12x F1.2-3.5 zoom lens (35mm equivalent: 29.5-354mm). Dynamic zoom in HD mode combines optical zoom and pixel mapping to create seamless and lossless 24x zoom when recording in 4K Ultra HD (150 Mbps, 24/30p) to SDXC card or 4:2:2 full HD (24-60p) recording at 50Mbps.

The lower-end GY-HM170 comes has 12x zoom rather than 24, doesn’t include the same streaming functionality (though you can still record 4K footage out over HDMI) and, crucially, doesn’t have any audio capabilities beyond a mini jack, so if you have the money to hand, we’d recommend future-proofing yourself and opting for the GY-HM200.

LS-300

This is a Super 35mm 4K camera for under £3K ex VAT. It supports a wide range of interchangeable lenses and uses them to shoot 4K Ultra HD, full HD with 4:2:2 sampling, SD and web-friendly proxy files to SDHC media cards – you can even use dual codec recording to shoot two copies of your content simultaneously, or stream an HD feed to a site like USTREAM while simultaneously recording it to an SDHC card.

The GY-LS300 features a JVC/KENWOOD AltaSens 4K CMOS Super 35mm image sensor combined with an industry standard Micro 4/3″ lens mount, so any Super 35mm Cinema lenses you use will retain their native angle of view (as long as you’re using an appropriate adaptor). When the camera is used with Micro 4/3″, Super 16 and other size lenses, JVC’s proprietary Variable Scan Mapping feature will maintain the lens’s native angle of view. This gives you the flexibility to use widely available MFT lenses as well as high-end cinema lenses.

In terms of what it can record, you’re looking at 4K Ultra HD recording (150 Mbps, 24p/30p) to SDXC cards, or 4:2:2 Full HD recording at 50Mbps (24p-60p). HD-SDI (3G) and HDMI outputs are available, though you can only get 4K output via HDMI, and there are professional two channel XLR audio inputs and a phantom power shotgun mic included.

Dual SDHC/SDXC slots enable dual, backup and continuous recording, while the advanced JVC streaming engine is compatible with USTREAM, Zixi and Wowza Streaming Engine, and enables remote control of your camera, remote viewing, metadata editing and FTR of clips (you’ll need an apator, as with the HM-200).

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 move toward resolution independence with latest Media Composer

Avid move toward resolution independence with latest Media Composer

Avid are pleased to announce the release of the latest version of Media Composer. This latest update – available from 22nd December – is their first step towards resolution independence. Media Composer now supports hi-res media like 2K, 4K, and UHD natively, and introduces powerful new tools to help save you time and resources, while creating the best content possible.

Highlights of the new release include:

– Native 2K, 4K and UHD project types: create and work with 2K DCI, 4K DCI and UHD media.
– Support for any resolution: link to, import and maintain any media, even assets with custom or non-standard raster sizes.
– DNxHR: a new low complexity codec based on SMPTE standards that provides even more beauty without the bandwidth when working with >HD material
– Enhanced colour management: support for hi-res colour gamuts (BT.2020 for UHD, DCI-P3 for 2K/4K) with clip-based LUTs and LUTs for viewers and external monitors
– High frame rates (HFR): native support for 47.952, 48, 50, 59.94 and 60fps with hi-res media. New support for HD media (1080 and 720) at 50p and 59.94p
– DPX Export: export DPX files for delivery and conform.
– New proxy workflow: work with >HD material at 1/4 or 1/16 resolution to save space and performance resources. Automatically relink between proxy and hi-res render files at any time.
– Playback frame rate setting: set the intended playback rate of clips for ‘frame for frame’ playback of material shot at high frame rates.
– Two frame safety: edit in high frame rates (50 and 60p) while preserving standard time base for transmission and delivery.
– New List tool: List tool integrates EDL Manager and Filmscribe right into Media Composer. No need for separate applications!
– Bin Quick Filter: find what you need fast by searching for text in your bin and filtering the results.
– New software licence entitlements: licences now reflect active support contracts, so customers always have access to the software updates they’re entitled to.

And just a subtle reminder that you need to get all your Media Composer licences on Avid Support before the new year in order to keep getting upgrades like this – miss the deadline, and you’ll have to fork out for an entire new licence next time you want to get up to date.

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

Media Composer v8.2 is qualified for OS X Yosemite

Media Composer v8.2 is qualified for OS X Yosemite

Media Composers, rejoice: your NLE of choice is now compatible with OS X Yosemite, including the Symphony option. Now, before you run off and download Yosemite, for the love of God, back everything up twice…

Avid have officially confirmed that Media Composer and Media Composer | Symphony Option will both work with OS X 10.10 Yosemite. However, users who are running “dual 6 core Mac Pro towers (Westmere) and the 2013 Mac Pro with a single 12 core CPU may experience performance issues with transcode, render, and playback.  These degradations are typically seen with higher resolution material. The issue has been logged with Apple and [Avid] are awaiting an update.”

You’ll also need to make sure you’re running the latest builds of New Blue Titler Pro v1 and v2 in order to avoid installation errors.  These builds are available for download through Avid’s Application Manager, and details of how you’ll want things set up for a seamless installation can be found in the Media Composer | Software readme file.

You can find the readme and other key documentation over at the Avid Knowledge Base.

Want to know more about moving your workflow to Yosemite? Call us on 03332 409 306 or email avid@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.

 

Blackmagic Design release Camera 1.9.9 and Desktop Video 10.3

Blackmagic Design release Camera 1.9.9 and Desktop Video 10.3

If you’re the proud owner of a Blackmagic Design camera or a DeckLink 4K, this is the blog post for you. Blackmagic have released a pair of updates that improve support for both, and add tasty new features to your URSA, including shooting at 80fps. 

Blackmagic Camera 1.9.9

Blackmagic Camera 1.9.9 is available to download now. It adds new features to URSA cameras, including 80fps 4K recording, new 3:1 compressed RAW, frame guides, slow-mo playback and more. The software package you download also allows you to update your Blackmagic Camera to the latest software release for new features, bug fixes and other enhancements.

There are a couple of things we want to point out before you run off and get your update. First, shooting RAW footage at 80fps will fill your 64GB CFast card in under ten minutes, so you’ll need a lot of media if you plan to shoot in this mode. Second, take a good look at the image below:

The frame rate you’re shooting at is the Sensor Frame Rate, shown here at 80fps and helpfully highlighted by an orange light. This is the setting which is affected by the upgrade. The Project Frame Rate is the frame rate your footage will play back at during the edit, and you will not be able to get this up to 80fps, even with the update, so don’t assume your camera is broken if the Project Frame Rate maxes out at 50fps.

Now that that’s out of the way, let’s look at the exciting list of new features coming to your URSA:

– Adds new compressed RAW 3:1 support.

– Enables 80fps support in 4K for ProRes and RAW 3:1.

– Enables variable frame rate feature so off-speed clips now playback in project frame rate.

– Enables phantom power support.

– Adds more frame guide options.

– Enables in-camera formatting for CFast 2.0 media.

The Blackmagic Pocket Cinema Camera, Blackmagic Cinema Camera and Blackmagic Production Camera 4K all enjoy improved in-camera format reliability too. Blackmagic recommend that you connect your kit to the mains and run “Uninstall Camera Utility” before installing the new software. It also warns that “after loading the software on the Blackmagic Cinema Camera EF or MFT, you may notice a slight flickering on the built-in LCD screen. This is normal and expected behaviour. The flickering will go away after a few minutes of operation.”

The stated minimum system requirements for Mac OS X are as follows:
– Mac OS X 10.10 Yosemite.
– Mac OS X 10.9 Mavericks or later.
– A suitable USB 2.0 port.
– Thunderbolt port for UltraScope and Media Express when using Blackmagic Cinema Camera or Blackmagic Production Camera 4K.
– Minimum system requirements for Windows.
– Microsoft Windows 8 64-bit.
– Microsoft Windows 7 64-bit.
– A suitable USB 2.0 port.
– A suitable Thunderbolt port when using Blackmagic Cinema Camera or Blackmagic Production Camera 4K.

Desktop Video 10.3

Not content with updating their camera firmware, Blackmagic have also released a new version of their Desktop Video software. This update adds support for DeckLink 4K Extreme 12G including 12 bit 4:4:4 and up to 2160p60 Ultra HD frame rates. It includes everything you need to set up your DeckLink, UltraStudio, Intensity and H.264 Pro Recorder for video capture and playback. You can download it here.

The official list of new features includes:

– Support for the new DeckLink 4K Extreme 12G including 2160p60 Ultra HD 10-bit YUV 4:2:2 via 12G-SDI and Dual Link 6G-SDI.
– Support for the new DeckLink 4K Extreme 12G including 2K DCI 30p 12-bit RGB 4:4:4 via 3G-SDI and Stereoscopic 3D via Dual Link 3G-SDI.
– Support for the new DeckLink 4K Extreme 12G including 1080 HD 30p 12-bit RGB 4:4:4 via 3G-SDI and Stereoscopic 3D via Dual Link 3G-SDI.
– General performance and stability improvements.

Desktop Video 10.3.1 SDK has also been released for developers, and is available to download now from the same support area of Blackmagic’s website. Full system requirements and details of what has been tested with the new driver are available in the associated readme file, which we of course recommend you read before installing.

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.

AJA update Mac drivers, Avid Open I/O and Adobe plug-ins

AJA update Mac drivers, Avid Open I/O and Adobe plug-ins

AJA users, prepare yourselves. After the current set of drivers, your Kona 3 cards won’t be supported any more – you’ll need to move on to a Kona 3G or a Kona 4. To sweeten the pill a bit, AJA have hit us with not one, not two but three new updates to help you keep pace with Apple, Avid and Adobe. 

New Mac hardware drivers

AJA’s hardware drivers for Mac OS X have been updated to v10.6. This update applies to all KONA, Io and T-TAP products and adds support for the recently released KONA 4 card as well as supporting 4K high frame rates for Io 4K.

An updated version of AJA Control Room is also packaged with the driver and adds several optimisations and updates for this powerful software. The v10.6 driver is compatible with Mac OS X 10.10 (Yosemite) and OS X 10.9.5 (Mavericks).

Users can download the new driver by selecting their specific product on the AJA Support site.

New Mac Avid Open I/O plug-in

The latest version of AJA’s Avid Open I/O plug-in, v10.6, is now available. This update applies to all KONA, Io and T-TAP products and adds support for the recently released KONA 4 card, as well as supporting the latest releases of Media Composer, Symphony and Pro Tools. The new plug-in is compatible with Mac OS X 10.10 (Yosemite) and OS X 10.9.5 (Mavericks).

Users can download the new plug-ins by selecting their specific product on the AJA Support site.

New Mac Adobe plug-ins

The latest version of AJA’s Adobe Creative Cloud plug-ins, v10.6, are now available for Mac OS X. This update applies to all KONA, Io and T-TAP products and adds support for the recently released KONA 4 card, as well as supporting the latest releases of Premiere Pro CC, After Effects CC, and other CC products. The new plug-ins are compatible with Mac OS X 10.10 (Yosemite), OS X 10.9.5 (Mavericks).

Users can download the new plug-ins by selecting their specific product on the AJA Support site.

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.

 

We were proud sponsors at the Production & Post Forum

We were proud sponsors at the Production & Post Forum

If you were at BAFTA on Wednesday night, you might have spotted our Soho team cheering along – and you’ll have almost certainly seen our extremely subtle and not at all aggressive promotion of our new Soho office… 

Powered by Broadcast magazine, the Production & Post Forum brought together some of the industry’s leading lights to talk workflow, delivery standards, funding, career progression and how to make your footage look as cool as Peaky Blinders, among other things.

As well as plastering the place with our logo, bags, and drinks tickets (we like attention) we also sent along our M&E team to see what they made of things. Here’s what they had to report…

Kim Beard, Post-production Product Specialist

“Hugo Blick was worth getting into central London by 9am for, which is the best review you can give anyone. A lot of his talk focused on The Honourable Woman as it was his latest, and it was interesting to see the UK and US trailers side by side – they looked like they were for completely different genres. It was interesting to hear how he balanced having many masters – most of his productions run at a deficit and rely on international sales to make money, so he ends up answering to a lot of people – but still manages to have his own vision of each project.”

Lauren Irwin, M&E Marketing Manager

“Stephen Lambert spilling Gogglebox’s secrets was probably my favourite bit. I’ve never actually seen Gogglebox before the clips they showed us in the forum (which were hilarious – everyone was laughing). I guess I was quite pretentious about it and thought, “why would I watch someone watching television?” but it was really interesting to see the relationships and the fact that they hadn’t auditioned people, they’d found them by hanging around places and looking for the sort of people they wanted on the show. This seemed to be a running theme, too – Dan Adamson from Firecracker Films had gone with the same angle for their new show Quiz Night,  which films pub quizzes around the UK. It was just really great to hear that they’re creating more compelling television that their audiences can relate to.

“Seeing Richard Merrik set up a radio mic in three seconds was good too – a fast way to point out that it pays to get the professionals in because it is actually really hard to do (I know, I’ve had to muck around doing it at Uni and it is a nightmare with different clothing material).

“Gabriel Tate was a really compelling chair on the conversation with Hugo Blick and asked really engaging questions.”

What was your Forum highlight? Let us know @WeAreJigsaw24 or on our Facebook page. For more information about any of the tech you saw, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com