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.

 

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 

 

Wacom, Adobe and Autodesk team up to offer brilliant freebies with Intuos tablets

Wacom, Adobe and Autodesk team up to offer brilliant freebies with Intuos tablets

Not content with offering us brilliant bonuses when we buy Cintiqs, Wacom have launched a new ‘Boost Your Ideas’ promo that gives anyone buying an Intuos, Intuos Pro, Intuos Creative Stylus 2 or Bamboo Stylus Fineline the chance to bag some amazing extras.

Pick up an Intuos tablet, Creative Stylus 2 or Bamboo Stylus Fineline between 1st November 2014 and 28th February 2015, and Wacom will give you until the 31st August 2015 to claim the following freebies:

Intuos Pro customers can get a three month membership to Adobe Creative Cloud, a 90 day Autodesk SketchBook Pro subscription and a £40 Whitewall gift voucher.

Standard Intuos tablet customers can enjoy a 90 day Autodesk SketchBook Pro subscription or a £20 Whitewall voucher.

Intuos Creative Stylus 2 customers can get a 90 day Autodesk SketchBook Pro subscription and a Bamboo Paper software bonus pack for their stylus. (This will require your credit card details and will be extended by 12 months unless you cancel at the end of the three month trial.)

Bamboo Stylus Fineline buyers can get the Bamboo Paper software bonus pack for free.

Couple of warnings: your Autodesk subscription will require your credit card details and will be renewed for a year if you don’t cancel at the end of the 90 day trial, and the Whitewall vouchers require a minimum spend, so maybe don’t opt for them if you’re not a regular user of the service.

How do I claim?

1. First, buy one of the above before 28th February 2015.

2. Go to www.wacom.eu/register and register your new device before 31st March 2015. You’ll then get a registration email from Wacom that contains details of the offers you’re eligible for.

3. You’ll have until 31st August 2015 to click the links and reclaim your free gifts (nope, you don;t have to choose between them – you can have as many as you’re eligible for). You can see the full instructions here.

Want to know more about Wacom? Here’s our helpful webpage. For more information, contact the team on 03332 409 306 or at sales@Jigsaw24.com. For more news and deals, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

 

 

Introducing Mackie’s new iPad controlled mixer, the DL32R

Introducing Mackie’s new iPad controlled mixer, the DL32R

We’ve been fans of mixing on iPad ever since we realised it let us tech gigs from the pie van outside, so it’s no surprise we’re excited about Mackie’s new DL32R, which is controlled through their Master Fader iOS app. 

 

Mackie DL32R hardware

First let’s talk about the unit itself. It takes up a respectably compact 3U of rack space, and Mackie claim that you can take it anywhere because it’s “built like a tank.” It features 32 recallable mic pres – actually, Mackie tell us that all settings are totally recallable – 14 fully-assignable XLR outputs and stereo AES digital output.

You get 36 input channels with four band PEQ + HPF, gate and compression, 32 stereo-linkable input channels and four stereo-linkable return channels. The DL32R has 28 output busses with four band PEQ + HPF/LPF, 31 band GEQ, comp/limiter and alignment delay, 14 stereo-linkable aux sends, 6 stereo-linkable matrix buses, 6 stereo-linkable subgroups and main L?R buses. You’ll also get 6 VCAs and 6 mute groups, 3 stereo VX processors with dedicated sends and returns, full I/O routing with A/B sources per channel and modern and vintage options per processor.

A Dante expansion card is due to be released soon and will be sold separately.

Multi-channel recording and playback

More than just a live sound mixer, the Mackie DL32R canb pull in extra recording duties. You can do 24×24 recording/playback to a USB 2 hard drive, so you can record the show for later mix down, perform a virtual soundcheck, cue intermission music and backing tracks and even use your Mac or PC plug-ins in live shows.

Master Fader app control

The DL32R is controlled using Mackie’s Master Fader iPad app, and can support up to ten devices at once, so you can have up to ten people controlling various aspects of the DL32R at once, or using their iPad or iPhone as a personal monitor. Thankfully, you can limit the access rights of new users so that they can’t make adjustments you don’t want.

Get yourself a Mackie DL32R here.

Want to know more? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook.

NewTek news roundup: Say hello to TriCaster Mini and TalkShow

NewTek news roundup: Say hello to TriCaster Mini and TalkShow
Say hello to TriCaster Mini

Not content with stealing headlines at IBC with TalkShow, NewTek have announced a new addition to their industry leading TriCaster range: the TriCaster Mini. 

The TriCaster Mini is designed to bridge the gap between online presentation services like Adobe Connect and the existing TriCaster range by allowing you to stream multimedia presentations. It’s portable and will work with pretty standard-issue AV equipment (including consumer camcorders), so you can get started using kit you’ve already got. The best bit? You can set it up and start recording in five minutes flat.

The all-in-one approach

TriCaster Mini gives you everything you need to start streaming multimedia presentations in one box. Not got Photoshop? Not a problem, there are plenty of title templates. Don’t know how to edit clips? Just cut between channels with TriCaster’s built-in switcher.

The Mini even includes NewTek’s TransWarp effects engine, so you can add full colour, animated transitions, and supports their Virtual Set Editor, so you can drop your presenter into a virtual new room. You can even take a picture with your camera or smartphone and convert it into a holographic virtual set, so it looks like you’re presenting from a real location.

Everything happens within the TriCaster Mini, so you can avoid splurging on expensive creative software or hardware that has functionality you’ll never need. Just stick to the TriCaster Mini interface, and you’ll be able to start out simple and build up your presentations as you get more confident. NewTek have even produced a control surface specifically for the TriCaster Mini, so you can have every function at your fingertips while you’re making your presentation. And if you decide to up your game and move to a TriCaster 410, the control surface will work with that, too.

Another accessory worth looking out for is NewTek’s set of qualified 100 foot HDMI cables. Typically HDMI cables max out at 10 or 15 metres, so you, your camera and your TriCaster would have to be in pretty close quarters to get anything done. These new cables don’t have that problem, meaning you can have your cameras far further away – great if you’re trying to cover a sports match or live event from multiple angles.

NewTek have also made the Mini live up to its name – the entire thing will fit in a backpack, so you can take it with you to events, move it between locations, and tuck it away unobtrusively when it’s not being used.

Connectivity

For the subset of our readers who are just here for the specs, the TriCaster Mini is the proud owner of:

– 4 HDMI camera inputs.

– 2 HDMI outputs.

– A 16 channel switcher.

– 4 M/Es.

– 15 still and title buffers.

– Built-in streaming capabilities.

– Social media publishing.

Pricing and availability

The TriCaster Mini will be shipping this month. We only have US pricing so far, but the unit will be coming in two versions: The TriCaster Mini HD-4i, a lush $7995 version with an integrated screen and enough storage space for 45 hours of HD video, and the Mini HD-4, a $5995 version with no screen and space for 15 hours of footage. (As a general rule, go for the 4i if you want to handle on-demand video, and the 4 if you’re just mixing live footage.)

The control surface will be $2495, while a set of four qualified 100ft HDMI cables will cost a very reasonable $495.

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.

IBC 2014: NewTek unveils TalkShow

NewTek today unveiled TalkShow VS-100, a video calling production system designed specifically for television studios and live video producers. With TalkShow, any television or live video producer can easily reach 300 million monthly connected Skype users and incorporate them as guest speakers into live programs with full-frame Skype video calls. Attendees at the 2014 IBC Convention in Amsterdam from September 12-16 can be the first to see the new TalkShow system at the NewTek stand 7.K11.

 

The turnkey TalkShow system builds upon Skype TX software from Microsoft for initiating, receiving, monitoring and managing video calls, with a unique set of live production tools not found in other video calling systems. With TalkShow, users have access to customizable settings for fully colour correcting live video calls (including features for automatic colour balancing) as well as SDI-embedded audio, and compressor/limiter, equalisation, and adjustable head-room controls for further improving audio quality. These tools allow producers to deliver enhanced video/audio experiences that are critical when producing credible, high-quality broadcast programming and are simply not possible with standard desktop video messaging products. Additionally, producers using TalkShow with TriCaster multi-camera video production systems will be able to route Skype video calls directly to and from a TriCaster over a network connection without tying up an additional HD-SDI input.

“Almost every live TV and video programme includes a conversation between people-whether it’s a news or entertainment show, a sporting event, or even a corporate meeting,” said Dr. Andrew Cross, president and CTO of NewTek. “While there’s been a growing trend to incorporate social media – such as live Twitter feeds – directly into these programmes, integrating a two-way dialogue over Skype dramatically shifts the experience to a more engaging and participatory event. TalkShow truly breaks down the fourth-wall in traditional live television. It’s a fast, easy, low-cost way to reach anyone in any location with a simple Skype video call and to enrich program content with immediate access to the fresh perspective, analysis and opinions that only a guest speaker can deliver.”

Angie Hill, general manager for Audience Marketing from Skype added, “Skype TX is an important part of our offering to media, so we’re delighted to welcome NewTek to the Skype family. We’re now able to bring new dimensions to broadcasters’ productions and inspire a brand new generation of media moments.”

TalkShow: Make, Receive, Monitor and Adjust Skype Video Calls

TalkShow is the only production system for live video calls that enables broadcasters to manage all aspects of a live Skype video call in the control room like any other video source – and adjust the visual and audio quality of each call. The low cost, integrated hardware and software solution is broadcast ready, offering dual channel Ethernet connectivity, two channels (1 in, 1 out) of HD-SDI I/O that includes reference signal, professional XLR audio support, Tally support and more. The 1RU system allows producers to easily incorporate TalkShow into any live production or studio environment and:

– Access anyone they can reach online including the rapidly growing audience of 300 million monthly connected Skype users worldwide, to include more expert analysis and perspective in their shows, without specialized networking tools, ENG clients or proprietary software to call into a live broadcast or event.

– Transform any Skype video call initiated to or from a desktop, laptop, X-Box gaming system, Skype enabled TV, or mobile device into full-frame video, with automatic aspect ratio conversions and balanced audio. TalkShow operators can work free of audio/visual distractions such as secondary call notifications and advertisements.

– Colour balance video images with full proc-amp controls and automatic color correction to adjust image attributes for any lighting environment, enabling video calls with poor lighting and contrast to appear with far higher quality.

– Deliver reliable broadcast audio signal quality with SDI-embedded audio, and built-in compressor/limiter tools that keep call volumes at consistent levels and prevent audio clipping. Additionally, producers who often wrestle with scratchy audio and nasal-like midrange tone that results from small telephonic microphones can adjust overall tonality and background noise of any Skype call using the onboard graphic equaliser.

– Actively monitor live Skype video calls with full Tally support that allows operators to see when TalkShow Skype feeds are currently live in a programme.

– Easily manage multiple, simultaneous Skype calls within a single, user-friendly interface that offers operator previews, continuous call quality monitoring, and automatic fallback to custom still images when unforeseen bandwidth constraints occur.

Pricing and Availability

The TalkShow VS-100 model is expected to ship in Q4 2014 and is available to order now at a special introductory price of $3,995 USMSRP, which will remain in effect through November 26, 2014. International pricing will vary.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.