NAB 2014: AJA release Cion camera, FS1-X and more

AJA have taken a page from the Blackmagic playbook and rolled out their own camera at NAB 2014. Here’s what we know about the Cion, and the rest of their releases. 

The AJA Cion

AJA’s first camera shoots DCI 4K and HFR 60p 4K, has a Thunderbolt out and is probably going to be the product that breaks the internet at this year’s show. Weighing in at a retrained 6lb, AJA’s PL-mount offering boasts a  it boasts a APSC sensor with 12 stops of exposure and global shutter, and a combined optical low pass and IR cut filter. It records all flavours of ProRes to Ki Pak media, and can deliver AJA RAW footage over Thunderbolt or 4K over 3G-SDI.

While obviously aimed at those working with 4K, the Cion does allow you to over sample and scale images down to 2K and HD while maintaining focal length to give frankly amazing HD footage. (Lewis, pictured above wielding the Cion with his own two hands, describes this as “frankly an amazing camera that we love and will be ordering straight away.”)

Connectivity-wise, you get two LANC connections (start-stp over LANC is confirmed) and can watch realtime previews via Ethernet, as well as four 3G-SDI ports, HDMI 2.0b, two channels of XLR audio, and support for an SDI monitor. You can output straight to a HD HDMI monitor if you so wish, but there’s also a built-in confidence monitor.

LAN control comes from an embedded web server that mirrors the UI of the camera, and video is streamed to the web browser for review. As with the Ki Pro, this interface can control multiple cameras.

The Cion has an aluminium body with magnesium sides, an aluminium and wood handle (optional but supplied with the camera) and a contoured suede shoulder pad, which all sounds very nice, plus the top and bottom cheese plates are removable and there’s a two pin base for your choice of plate. Most importantly, all of this is covered by an out of the box two year warranty.

This universal frame sync and convertor is tuned for motion, and will connect to MADI devices via Fibre or coaxial. It has an internal 224×224 audio matrix (which we’re sure will be a massive selling point for many users), LAN control, SNMP integration and support for up, down and cross-coversion of frame rates as an optional – but not field upgradable – feature. The convertor model will ship with an asking price of $5995, while the non-convertor model will set you back $3995. Both some with a five year warranty.

12-bit LUT box supports 3D colour correction for accurate video monitoring
Users can load 17x17x17 3D LUTs via USB using the free MiniConfig software on either Mac or Windows. Simultaneous outputs allow you to utilise both HDMI and SDI monitors from a single LUT-box. Embedded audio is passed through to the outputs and a two channel RCA analog output allows easy audio monitoring of embedded audio. You can run dual link or 3G in and HDMI or 3G out simultaneously. Due to ship next month, it’s got a US price of $695.
Kona 4
The fourth generation of Kona cards offers 10-bit up, down and cross-coversion, although it will currently only work with Windows and Linux machines. It’ll handle high frame rate and ultra high def footage and will support realtime h265 UHD streaming thanks to some canny Cisco integration. The unit, which is equipped with 2.0b HDMI, will sell at $1995.

Corvid 88
The new Corvid 88 is an eight channel PCIe 2 card that will be available at full or half height, and supports simultaneous 8 in or 8 out for dealing with UHD footage. The configuration can be 8 in or 8 out or 4 in / 4 out and so on, and each channel is rastered independently.

Hi5 Plus arrives and brings a free 4K upgrade with it
If you’ve already got a Hi5, AJA have announced that they’ll be making a free 4K upgrade available to you. If, however, you want something shiny and new, try the Hi5 Plus. This 3G-SDI to HDMI box allows for SPF to p conversion with under seven frames of audio delay, and is shipping as of now at the extremely reasonable price of $395. The Ha5, which is the same price, will convert everything back the other way for you. Download the official AJA Hi5 Plus fact sheet.

Want to know more about the latest from NAB? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: 4K Killer combination from Atomos and Sony

Atomos 7” Shogun and Sony A7S Camera 4K Recording Solution Shown for the First Time at NAB 2014.

Atomos, the creator of the award-winning Apple ProRes Ninja and Samurai camera-mounted recorders, and the pocket-sized Connect converters, will show the brand new 4K Shogun 7” IPS monitor/recorder alongside the new Sony A7S at NAB 2014. The Shogun is currently the only 4K HDMI recording solution that can take full advantage of the new A7S’s full 35mm ultra-sensitive 12 mega pixel video sensor, clean HDMI out, 120 fps HD and custom HDMI timecode and start/stop trigger.

“Finally the camera the world has been waiting for, Sony has pulled out all the stops to deliver the world’s first Full Frame Video sensor in a camera for the masses,” said Jeromy Young, CEO and Founder of Atomos. “We are very proud to give 4K recording capability to the Sony A7S with our brand new 4K ProRes Shogun which sports a 1920×1200 7” killer monitor and unparalleled affordable 4K recording.” The Atomos Shogun is the world’s first 4K HDMI and 12G SDI monitor recorder and deck. With clean HDMI out direct to 4K ProRes onto single SSDs or RAIDed HDDs – 4K is now a mainstream reality at the equivalent of $40 per hour for storage media. With Sony’s pedigree and reliability coupled with Atomos’ revolutionary feature set and price points, this combination at under $5K is the most compelling video solution on the market today.”

Like the Samurai and Ninja Blade, Shogun allows the recording of pristine, 422 10-bit images straight from the camera sensor captured using 4K/HD ProRes, Uncompressed RAW Cinema DNG or Avid DNxHD codecs.Waveform and monitor assist tools such as luma parade, vectorscope and tri-level focus peaking offer a very comprehensive test and shot setup tool kit. launch presentation and Q&A on day one of the show to be held at 12.30pm on the Atomos booth C9532.

Pricing and Availability

The Atomos Shogun is slated for shipping end of Q3 beginning Q4 2014 for under $2000 USD and will be available through the Atomos Worldwide reseller network.

Want to know more about the latest from NAB? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: Grant Petty on the new Blackmagic Design camera and more

Blackmagic Design have managed to be the talk of recent NAB events, and with the launch of their URSA camera, this year looks to be no exception. Here’s Grant Petty’s official rundown of the all the company’s new releases.  

We have some new cameras this year, and we are rolling out a whole new range of Ultra HD products such as converters, routers, DeckLink cards and more. We are introducing the first 12G-SDI Teranex Express and 12G-SDI is also in our new cameras. We even have a new Cintel film scanner!

Blackmagic URSA Camera

Over the last few years it’s been really amazing to watch some of the work being done on our cinema camera and some of the rigs that have been built around it. But when we designed it we never really thought it would be used on such large jobs. It was really designed to be a small intimate camera used for creative work where you need to get in close and personal.

So we have been watching these larger rigs and thinking about how people are working when they do large shoots. Our thinking is that we needed to design a professional full sized camera that had all the extra on set equipment built into it, so there was no need to rig it up as much. We also wanted a camera with enough size to fit a very powerful cooling system so we could run high frame rates without fan noise.

The result is URSA, our new camera for professional shoots. It features a stealthy machined aluminum design that’s incredibly strong and has been designed for large film crews. We designed the camera to be divided into separate DOP, camera assistant and audio engineer workstation areas so multiple crew can work around it at the same time.

The DOP station features a massive 10 inch fold out on set monitor and separate 5 inch screen for settings, camera status and scopes. The camera assist station features a separate LCD screen for camera settings, status and scopes and the audio station features audio meters, controls and audio connections.

URSA also includes an upgradable Super 35 4K image sensor with global shutter, 12G-SDI connections, XLR audio inputs with phantom power and dual CFast based RAW and ProRes recorders. There is a total of 3 LCD’s built into this camera!

One of the reasons we have been able to put in such high quality displays and features is because the camera is user upgradable.

What this means is the whole sensor and lens mount simply unbolts from the front using 4 bolts and then it can be removed and replaced. So in the future when new sensors are available you can upgrade simply by swapping the sensor and lens mount assembly. This makes the camera virtually future proof!

URSA is available initially in 3 models. One includes EF lens mount and one has a PL lens mount. An example of how you can upgrade the camera would be if you ordered the EF one, you could later purchase the PL lens mount and install it yourself.

One of the weirdest ideas we had was to make URSA available without a lens and sensor and the URSA HDMI features a ‘cheese plate” with threaded holes and a HDMI input where the sensor and lens mount would normally be. This means you can use any camera on the URSA body and get all the benefits of big screen, scopes, professional audio inputs, CFast recorders and more!

The camera runs at 60 fps, however the body has the high speed processing and high capacity cooling to run beyond 100 fps, so when faster sensors are available you could upgrade and then get higher frame rates.

There are a lot more features in the camera than I have space to describe here. The Blackmagic URSA EF will be available in July for $5,995 and the Blackmagic URSA PL will be available for $6,495 from July.

DaVinci Resolve 11

DaVinci Resolve 11 is a major upgrade and we have added over 70 new editing features including dual monitor support and familiar professional tools like dynamic JKL trimming, audio crossfades and fully customizable keyboard shortcuts for faster editing.

DaVinci Resolve 11 now has a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. You can also add and animate open FX plug-ins directly in the timeline as well as use plug-ins for transitions.

There are new collaborative workflow tools in DaVinci Resolve 11 which allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. Another advantage of the enhanced editing features is the better round trip collaboration with Apple Final Cut Pro X™.

Color correction features have been upgraded in DaVinci Resolve 11, including new color grading controls that are designed for photographers who are moving into cinematography. There is also a new camera RAW palette featuring highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast.

For on set work, DaVinci Resolve 11 can now securely back up and save digital camera files. The new DaVinci Resolve clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, so you get exact bit for bit digital copies of the source media.

DaVinci Resolve 11 also features an automatic color chart color balancing tool that automatically gives a primary base grade by analyzing shots containing standard color chip charts even if they were shot in different lighting conditions with different exposure and color temperatures. It’s really easy to use and you just lay an onscreen grid over the color chart and then auto grade!

This is an exciting update and it will be available June free of charge to all DaVinci Resolve users! Most of these new features will also be available in DaVinci Resolve Lite.

Blackmagic Studio Camera

One of the problems with live production is that most cameras have not really been designed for live production, so they don’t have the features that we need such as a large bright viewfinder, talkback, tally, optical fiber plus almost all cameras are made from plastic.

We have been thinking deeply about what features a camera designed specifically for live production should have and we think we have solved these problems with the new Blackmagic Studio Camera!

This new camera features a very large and bright 10” viewfinder, built in 4 hour battery, talkback, tally indicators, balanced XLR phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to a live production switcher with a single cable! The viewfinder’s LCD is extremely bright and has a very wide viewing angle so it is perfect for use even in direct sunlight.

The Blackmagic Studio Camera features an active Micro Four Thirds lens mount that is compatible with an incredibly wide range of lenses and adapters. This means you can use high quality photo lenses for smaller setups or high end broadcast ENG lenses for large live broadcasts using an MFT to B4 lens mount adapter.

The built in fiber optic connection is bi-directional and depending on the model carries HD or Ultra HD video with embedded audio, talkback, tally and even camera remote control all down the single cable. Talkback uses general aviation headsets so they are really tough and low cost.

The design is cast from magnesium that’s super tough and include a nice large sun shield for use outdoors. It’s an amazing design and having such a large viewfinder makes it amazing to use. It’s so different to any other camera I have used before. It’s so nice doing live production with full talkback to the director and knowing when you’re on air with the tally light.

There are two models of this camera and the Blackmagic Studio Camera is a HD model that operates up to 1080p60 and is available now for $1,995 while the Blackmagic Studio Camera 4K updates up to Ultra HD 2160p60 with 12G-SDI and will be available in July for $2,995.

There is more to the new Blackmagic Studio Camera than it just being a camera and it also has a full color corrector built in. I will explain this below!

ATEM Camera Control Update

This new ATEM update will allow full control of the new Blackmagic Studio Camera from any ATEM production switcher. This works by sending the camera control commands down the SDI program feed to the camera and lets you adjust focus, iris, gain, and much more. Almost every feature in the camera can be controlled from the switcher!

However we have also taken the primary color corrector from DaVinci Resolve and built it into the camera itself and you can control that color corrector remotely from the ATEM switcher. What this means is you don’t just get a simple CCU type of camera adjustment, but you can actually control a full DaVinci Resolve primary color corrector that’s built right into the camera. This lets you do more creative corrections than simple color balancing.

Normally having live studio cameras plugged into a production switcher with this level of control would cost millions, but we are going to offer this update free of charge for both the ATEM switcher range as well as the new Blackmagic Studio Camera.

It’s also fast and easy to use this new software as the ATEM Software Control now has a new Camera page with multiple CCU software panels to control each of the connected cameras. You can even use an ATEM Aux output for monitoring which will switch automatically to the camera you are adjusting. When you want to do more creative control the CCU interface can then expand to a full color wheel color correction interface so you can perform corrections using the same familiar user interface as DaVinci Resolve.

That’s great if you have experience using DaVinci Resolve as it’s the same color corrector. It’s YRGB based and so it works creatively the same way. If you are doing music videos or other really creative live shoots then the built in color corrector will allow new creative styles than were available in live production previously.

We will be showing this at NAB and it’s going to be available in June as a download for both the ATEM switchers and the Blackmagic Studio Camera.

ATEM 2 M/E Production Studio 4K

Over the last year we have been introducing new models of ATEM switchers that feature a more refined design and attractive front panels. These models also have more inputs, more audio connections, full control of aux outputs from the front panel and of course the latest 6G-SDI connections for operating in SD, HD and Ultra HD.

However for large jobs we needed a very big switcher that has lots of inputs and more processing features. The result is the new ATEM 2 M/E Production Studio 4K.

It includes so many features it’s hard to describe them here, however some of the most exciting new features unique to this model are a massive 20 inputs with each input featuring a frame re-synchronizer, 6 aux outputs, 2 independent mix effects rows and the SuperSource multi layering engine with its 4 independent DVE’s and keyers.

This switcher will replace our older ATEM 2 M/E Production Switcher and at only 2 rack units, it takes up less space in an equipment rack than the older model. This new model includes other exciting new features such as independent program and monitoring audio outputs, dual redundant built in power supplies, HiFi and balanced audio inputs, a large 5 inch LCD monitoring screen in the front panel and an elegant machined metal design. It’s really amazing!

The best news is this new model is $1,000 lower in price than the previous model it replaces and is available now for $3,995. This means you can get an incredibly powerful 20 input 2 M/E switcher for only $1,500 more than the 10 input 1 M/E model. It’s very exciting!

Smart Videohub 12 x 12 and Smart Videohub 20 x 20

We have some exciting new routers based on 6G-SDI technology this year, and not only does this mean we can now handle SD, HD and Ultra HD SDI connections simultaneously on the one router at the same time, but these new models have some other exciting new features too.

These new models replace our older Micro Videohub and Smart Videohub models but include better technology, better design and are much nicer to use! These new models feature a machined metal front panel so they look really nice, but they also include a full control panel with small LCD screen so you can see what you are routing.

The control panel includes buttons to direct select a crosspoint, a spin knob for scrolling router cross points as well as a “take” button. The LCD screen can display nice large labels and the new routers include over 10,000 separate unicode characters so we can handle non roman labels such as Japanese, Chinese and more.

The LCD screen can also display video from the video inputs or even outputs. We call this new feature “visual routing” and it allows you to scroll through the router destinations or sources and see the connections as video on the LCD screen as the labels updates. It’s really fun to use!

There are two models of Smart Videohub. The Smart Video 12 x 12 features 12 inputs and 12 outputs and retails for $1,395, while the larger Smart Videohub 20 x 20 features 20 inputs and 20 outputs for $1,995. They are available now.

New Mini Converters with 6G-SDI and Ultra HD

We have been upgrading our Mini Converter range over the past year and we are now introducing even more models of Mini Converter with 6G-SDI for use in SD, HD and Ultra HD video systems.

The new models are Mini Converter SDI to HDMI 4K, Mini Converter HDMI to SDI 4K, Mini Converter SDI to Analog 4K and Mini Converter SDI Distribution 4K. This means almost all our Mini Converters now support Ultra HD.

What’s exciting about these new converters is they include down converters. So if you’re using the SDI to Analog model and connect an Ultra HD source via 6G-SDI, then it will automatically down convert to 1080 HD, because there is no analog for Ultra HD.

You could even be connecting to old composite CRT televisions in a location you are working at and the new converters would down convert an Ultra HD source down to composite so you would still get a picture. We really wanted these converters to just take care of situations like this and keep working to provide an image out

These new models replace the old models and are all available now for $295.

Teranex Express with 12G-SDI

We have an exciting new model of Teranex converter and this new Teranex Express is an up and down converter that includes the first 12G-SDI connections so you can up and down convert between SD, HD and Ultra HD video standards.

With most of our product lines now supporting Ultra HD, we needed a way to convert to and from the Ultra HD world. We think this new Teranex Express is the perfect solution. It features the same amazing Teranex de-interlacer, but it also includes a whole new scaling engine so the up and down conversions are even better than before. Good quality image scaling is important when scaling to Ultra HD frame sizes.

The front panel looks identical to other Teranex models so it’s easy to use. It includes dual link 6G-SDI in and out, but channel A is 12G-SDI. This means it can also convert between dual link 6G-SDI connections and single link 12G-SDI connections. It also has an optical fiber socket so you can add optical fiber SDI connections by adding an optical module if required.

The new Teranex Express will be shown on the NAB booth and will be available in June for $1,395.

DeckLink SDI 4K and DeckLink Studio 4K

With our roll out of Ultra HD products and the new DaVinci Resolve 11 we wanted to upgrade our DeckLink family of capture cards. These are perfect for older MacPro systems as well as Windows and Linux machines.

These new models add 6G-SDI connections for SD, HD and Ultra HD work. These new models are also based on our new Desktop Video 10 design so they include RGB frame buffers, low latency and of course can capture and playback at the same time with software that supports this feature. They are fantastic OEM cards as they include a full SDK as well but developers can even write pixels directly into the frame buffers.

These new models replace the older DeckLink SDI and DeckLink Studio models. DeckLink SDI 4K features 6G-SDI in and out, reference input and RS-422 deck control and is available now for $295.

The more powerful DeckLink Studio 4K features 6G-SDI and HDMI 4K in and out for SD, HD and Ultra HD support, as well as analog component, composite, s-video and 4 channels of balanced analog audio in and out, and 2 channels of AES/EBU audio in and out, plus RS422 serial control and reference input. This new model is $100 lower in price than the previous model and is available now for $595.

Cintel Film Scanner

Over a year ago we acquired the legendary film scanning company Cintel. Of course at the time people wondered why we would purchase a film scanner company if film was a dying technology. There was a reason for buying this company and at the time we were hard at work on Ultra HD products and focused on an Ultra HD future.

When you look at Ultra HD, there are 3 ways to generate content. First there is shooting and editing content to create new Ultra HD programming. The second way to generate Ultra HD content is live production and that’s perfect for sports, concerts etc. We have developed whole workflow solutions for these two methods.

However there are already millions of hours of Ultra HD content sitting in vaults on 35mm film. For decades the film and television industry has been generating Ultra HD content without even thinking about it. That’s because everything shot on film is essentially 4K so it’s Ultra HD now. It’s just sitting there ready to be re-scanned as amazing new Ultra HD programming!

However traditionally film has been a more mechanical technology and the electronics were crappy. Even Cintel had very average quality electronics when I used to work on Cintel telecine’s is post production back in the 1990’s.

So we have been hard at work developing a whole new type of film scanner that supports real time scanning of both 35mm and 16mm negative and positive film and it includes the patented Cintel diffuse light source to reduce dust pickup.

But the most exciting feature of this new Cintel film scanner is it’s so super thin it can be wall mounted! It also features a wonderfully gentle fully digital servo system that detects when you are lacing the film and then gently tensions the film slowly. It detects when the film is about to run out and slows down.

The whole design is designed to be zero maintenance so you don’t need engineers to install it and make it run. It features Thunderbolt 2 so all you need to do is plug it in and run the control software on a Mac. If it’s wall mounted you can use those new long 30 meter Thunderbolt cables and connect it direct to your DaVinci grading system!

The new Cintel film scanner will be on show at NAB and we don’t have a firm ship date, as we want to really show it off and get some good feedback on what people think. It’s a radical redesign so I think its best for us to get your advice on anything else it needs before we start shipping it.

We plan to retail the new Cintel film scanner for $29,995 and that includes film spools, 35mm film gate, cleaning rollers, scanning software and a copy of DaVinci Resolve software. We will have one scanner on the booth desktop mounted and another wall mounted so you can see what a dramatic design the scanner is.

That’s about it for this NAB and I hope this update has been useful! I apologize for its length, however each new product we are launching this NAB is quite feature rich and different to other products we have done in the past, so there is a lot to talk about!

If you’re heading to the NAB show this year, I hope you get the chance to see these new products in action and to have a chat with us!

Want to know more about the latest from NAB? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: Seagate, Hitatchi, GTech and GB Labs back 6TB drives

Hitachi’s helium-filled He6 6TB drive has new competition, as Seagate release their first 6TB drives at NAB. According to the official data sheet, the Enterprise Capacity 3.5″ HDD has “both 12Gb/s SAS and SATA 6Gb/s interfaces for easy integration into replicated and RAID storage systems,” and can hit 7200 RPM. 

 As well as that top speed, key features include a 128MB cache, Secure Instant Erase and SED FIPS 140-2 encryption options, and 2, 3, 4, 5 and 6TB capacity points. Seagate’s official highlight list includes:
– Highest-capacity large form factor enterprise drive—50% more capacity over last generation with up to 6TB—for demanding data growth.
– Fastest high-capacity HDD with best-in-class random and sequential read/write performance.
– Eighth-generation drive technology for reliable access to bulk storage of unstructured data.
– Both 12Gb/s SAS and SATA 6Gb/s interfaces for easy integration into replicated and RAID storage systems.
– Enhanced error correction, super parity and end-to-end SAS-based data integrity for accurate data storage.
– Industry-leading rotational vibration tolerance ensures consistent performance.
– Improved power and cooling efficiencies with low power consumption and on-demand PowerChoice™ technology based on T10/T13 power management standards.
– Engineered for 24×7 workloads of 550TB/yr—10× that of desktop drives.
– Robust performance with dual processors, ramp load technology, top-cover-attached motor and humidity sensor for optimum performance in all chassis.
– Self-Encrypting Drive (AES-256) with FIPS 140-2 validation and Seagate Instant Secure Erase cuts.
We’re taking this as confirmation that 6TB drives have finally arrived, what with GB Labs officially moving to them in order to increase the capacity of their larger scale solutions, LaCie promising us a two drive, 12TB 2big later this quarter, and GTechnology showing this helium 6TB-fuelled desktop storage on their stand:
Want to know more about the latest from NAB? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: NewTek unveils transformed 3Play family starting at $9,995

NAB, LAS VEGAS, April 6, 2014 – NewTek today unveiled a new family of 3Play sports production solutions that includes major enhancements to the 3Play 4800, the introduction of a new 3Play 440 model, and the 3Play 425 model now starting at $9,995 USD. Unlike most replay systems that typically rely on linear, tape-based workflows, 3Play systems feature a broad range of new integrated production capabilities for creating dynamic sports programs that drive audience growth, brand awareness, and social media engagement––all with the beautiful, network-style look of a professional sports broadcast.

“While traditional vendors continue to build expensive replay systems that mimic what is essentially the way people used with tape, our approach is to architect single, integrated systems capable of handling many of the tasks that would normally require dozens of expensive component products and a sizable production crew,” said Dr. Andrew Cross, chief technology officer for NewTek. “3Play allows a single operator to produce more of the stunning content that immerses every viewer at home, at the game and online––while also taking advantage of new revenue opportunities based on the many forms of content they are producing. In addition, we’ve now made 3Play 425 broadly accessible to smaller venues, teams and schools, so that producers who previously couldn’t even consider network-style replay can get in the game and look just like a major sports broadcaster.”

The New Paradigm: Integrated Sports Production with 3Play 4800 and 3Play 440

In contrast to common replay servers that only focus on the singular aspect of replays, 3Play 4800 and 3Play 440 systems deliver a multi-purpose approach to integrated sports production that dramatically reduces the need for many specialized products and individual operators. Both systems offer a full spectrum of innovative capabilities for new workflows and production opportunities—even in environments where video production switchers are not available.

In addition, both 3Play 4800 and 3Play 440 systems are optimized for producers with specific needs. Broadcast companies, professional leagues and large venues looking for the greatest degree of production configurability can easily integrate the space-saving, 4U rack-mountable, eight-camera input, dual-channel output 3Play 4800 into their facilities. The new 2U, four-camera input, dual-channel output 3Play 440 is ideal for mobile productions and regional broadcasters, colleges, conferences, and mid-sized venues with more moderate budgets.

Additional highlights of the 3Play 4800 and 3Play 440 systems include:

– Extensive replay and review capabilities—offering the ability to preview all angles of a recorded event simultaneously for at-a-glance visual comparison of the best viewing perspectives.  Play verification for officials is simple with side-by-side playback and game clock overlays to meet the increased need for angle comparisons and timing verification for official review, with razor-sharp clarity in both slow motion and accelerated speeds.

– Comprehensive media publishing—providing the ability to instantly and simultaneously publish content to multiple destinations, including Facebook and Twitter for greater visibility and increased monetization opportunities, as well as YouTube and other websites, dedicated FTP servers, second and third screen platforms.

– Beautiful visuals—allowing producers to bypass external switchers and graphics systems by utilizing real-time overlays to create stunning visuals—clips, animations, replays, and live action video—that achieve a televised broadcast look. Built-in animation buffers and stinger transitions replace the need for additional video servers and graphics stores, providing operators with instant access to branding elements and looping animations, eliminating delays and errors that often result from traditional queuing, searching, and pre-rolling. Automatic color matching tools keep all camera signals calibrated, sensing and adjusting proc amp attributes for any lighting environment—eliminating the need for a dedicated shading workstation.

– Cross-platform command and control—allowing producers to strengthen existing mobile, venue and truck installations with control of remote playback, clip and list queries, and queuing. Breakthrough across-the-network production capabilities for combined NewTek TriCaster-3Play workflows offer extensive ability to coordinate and trigger complex sequences that mix chains of events in both systems with the push of a single button. Support for the Advanced Media Protocol (AMP) allows for broader integration with third-party equipment, including Ross Carbonite video switchers.

– Automation and workflow—delivering significant production efficiencies with full macro systems that streamline complex, real-time commands to make the show look more sophisticated, and allow any configuration or sequence of internal or remote operations to be recorded, recalled and edited.

– Open Integration—extending interaction with 3Play functions to external devices. Custom scripts over TCP/IP can transmit extensive control of all 3Play operations over the network; MIDI and GPI triggers further control multiple tasks, as well as allowing simple breakout control by off-the-shelf devices; media asset management (MAM) and shared storage integration both improve access for both live content and post-production assets. In addition, Tally support provides on-air source indicators to the operator, and “watch” folders populate with multimedia content that is produced by others on the network.

New Breakthrough Pricing: 3Play 425

In addition to the major enhancements to 3Play 4800 and the introduction of the 3Play 440 model, NewTek has introduced the ground-breaking price starting at $9,995 USD for the four-input, two-output 3Play 425. This makes professional quality replay production available for smaller venues, high school athletic programs and non-traditional broadcast sporting leagues to incorporate replay technology into their video productions for the first time and represents a fundamental market shift in the affordability of professional sports production and officiating capabilities.

Key features of the 3Play 425 include network-quality replay, slow motion and highlights in native HD and SD, and seamless mixing of live video with assets from media libraries in a compact 2RU design that fits easily in small control rooms and production vehicles of all sizes.

Pricing and Availability

Prices for the expanded 3Play family include:

– 3Play 4800 for $39,995 USMSRP (free software upgrade to existing customers).

– 3Play 440 for $24,995 USMSRP.

– 3Play 425 for $9,995 USMSRP (optional control surface available for $2,500 USMSRP).

Specific pricing for countries outside the US and for multi-standard units will vary. 3Play 425 is available now. 3Play 4800 and 3Play 440 are expected to be available in May 2014.

Want to know more about the latest from NAB? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: Sony showcases end-to-end 4K solutions

Las Vegas, NV 6th April 2014: At NAB 2014, Sony is expanding its theme of “Beyond Definition,” highlighting new and enhanced professional A/V solutions that deliver the highest performance and most dynamic viewing experiences. Sony is showcasing its latest developments in 4K technology, including new technologies that address the needs of content creators and unite its vast network of products, systems, services and expertise.

Sony’s NAB exhibit features two zones. The “Product Zone” features cameras, camcorders, switchers, professional audio equipment and monitors. The “Solution Zone” illustrates a range of customer applications from shooting to production to archive.


Sony offers filmmakers the widest selection of 4K cameras from the F65 used for major motion picture production, to the F5 and F55 cameras, to the new PXW-Z100 4K handheld camcorder. Many of the most popular television series currently airing are shot with Sony 4K cameras including: “The Blacklist,” “Masters of Sex,” “Community,” “The Big Bang Theory,” “Trophy Wife,” “Mom,” “Rake,” and others.

4K technology – for content creation and live production – is advancing rapidly, from 4K live trials at the Confederations Cup and X Games. Sony 4K technology, like picture stitching, is also successfully being tested in sports applications – not only to produce a better resolution HD image now, but to create a more efficient 4K distribution pipeline for the future.

Broadcasters world-wide are conducting 4K production trials in an effort to make 4K broadcasting a reality in the near future. For example, in Japan, Sony is a member of the NexTV Forum that promotes next-generation high picture quality broadcasting such as 4K and 8K, with the support of the Japanese Ministry of Internal Affairs and Communication. Sony has also developed complete 4K production systems that have already been widely used for motion picture, TV, and live production, documentaries, and commercial production. At NAB, Sony is showcasing variations of 4K systems that offer easier set-up, HD-to-4K migration, and HD shooting based on 4K technology.


New Products

Sony’s F65-based 4K Live Camera System with the combination of the PWS-4400, 4K/HD live server adds a new level of expression to live production, with its high-frame ability to shoot and record 4K 120p slow-motion images. To make use of a 4K Live Camera System based on the F55 launched last year, a new adapter exclusively for the F65 was designed.


Sony’s new multi-port AV storage unit, model PWS-4400, is a 4K/HD live server system capable of supporting 4K/HD live production. It is XAVC ready and has four-channel 4K switchable inputs and outputs. It enables to 4K 120 fps recoding and HD 360 fps slow-motion image shot by the 4K live camera system. New HD functions are also added, such as the capability to do HD cut-outs from a 4K images recorded and zooming in on a goal scene and cutting it out in HD for replay. Dynamic image expression is available for live production.


To handle the increased bandwidth of 4K, efficient encoding and decoding technologies are required. In 2012, Sony developed the high-picture quality video format “XAVC” that supports from 4K to HD. XAVC is a flexible video format making it possible to reproduce high resolution and high frame rate content while keeping constant levels of data volume. In 2013, the XAVC S format was added, ideal for consumer 4K applications and furthering overall growth of the 4K market.

The XAVC format and production workflow has been widely adopted as the standard video format in the industry. Up to date, XAVC format supporters rose to over 50 including editing software and hardware manufacturers.


The expansion of 4K has created the need for more robust archiving of high-bandwidth image data. Sony’s “Optical Disc Archive” data storage system has the longevity, robustness and intergenerational compatibility needed for image data archiving, and the line-up also has expandable Petasite library units with a maximum capacity of one unit up to 1.5 TB. The capacity of one rack which is composed of the 6 library is up to 800 TB.


Technology Exhibition

To further the expansion of 4K, reliable and cost efficient transmission systems are required. The volume of information transferred by 4K video production is four times that of HD, meaning that as many as four times the amount of cabling may be necessary in comparison to HD (60p) production, adding significant costs and time to a production. Sony’s “AV over IP Interface ” can transfer and switch in real-time 4K and HD video, audio meta data and control signals and reference signals using a single network cable. This technology supports direct network connection of numerous types of production devices. It implements synchronous transmission to multiple points and noiseless source switching, and handles both HD and 4D video. Sony’s IP Live Production system, using an AV over IP Interface, is under development and planned to be available by the end of 2014.


Technology Exhibition

Sony is demonstrating a technology exhibition of a 30-inch professional 4K OLED monitor. The monitor boasts 4096×2160 pixel resolution and color reproduction with wide color space under the Ultra High Definition standard, ITU-R BT.2020. The monitor is planned to be available in spring, 2015.

Technology Exhibition

Sony is showing entertainment contents shot by F65 in RAW to produce 8K x 2K panoramic images and projected by two sets of 4K projectors using 4K edge-blending technology, to give viewers immersive reality and excitement.

New Expression added to HD production by 4K technology


The 4K live camera system based on the F55 is now capable of high-frame rate HD capture at up to 360 fps from conventional 240fps. At 60fps, 6x slow-motion can be replayed.

Evolution of the F55 & F5 Cameras

Technology Exhibition

The F55 and F5 cameras continue to evolve, enabling wider applications. In addition to XAVC, RAW, MPEG-4 SStP, and XDCAM HD capabilities, development of an option board implementing major HD Non Linear Editing codecs is in progress.

A prototype of an EFP style shoulder buildup kit planned to be available in autumn, 2014 will be showcased that makes the cameras optimized for single-person documentary and live production work.

With collaborative support provided by Apple, the F55 and F5 choose employing ProRes codec to expand the cameras’ creative potentiality and workflow flexibility. Advantage is taken of here so the F55 and F5 can become a straightforward choice for Apple Final Cut Pro X users. This will provide content creators with more freedom to design their workflow and express their creativity.

Also, the F55 and F5 implement Avid DNxHD format. The two companies’ collaboration has so far proved workflow integrity with a successful track record of XAVC and XDCAM workflow development. By Sony’s implementing DNxHD, the collaboration enters into a next level.

Up to date, over 3500 sets of PMW-F55 and F5 have been shipped worldwide.

4K Stitching

Sony’s PWA-TS4 4K stitching software works with PWA-TS1 Telestrator software to add a wider range of graphics to HD cut-out views.

New Products in two way HD/4K

HDCE-200 Camera Extension Adapter

For further flexible live production operation, Sony’s HDCE-200 addresses the issue of supplying power to a camera when the camera control unit (CCU) is not used. By connecting the HDCE-200 to a baseband processor, users can supply power to the camera and transmit video signals between equipment using by a single SMPTE fiber cable. In addition, the HDCE-200 is capable of HD remote production when used with a third-party’s signal router.

CNA-1 Camera ControlAdapter

Through a software upgrade, Sony’s CNA-1 camera control adapter is capable of remote control over 4K and HD camera systems, giving users centralized control of brightness and color adjustment from a remote control panel located in a broadcast station. This remote production operation can also be used for new applications such as controlling BRC series PTZ cameras.

MVS-8000X and MVS-7000X Multi-format switchers -4K options for MVS-8000X and MVS-7000X

A 4K software upgrade (BZS-7570X and BZS-8570X) adds real-time 4K processing capability to existing Sony MVS-8000X and MVS-7000X multi format switchers. Available effects include various wipe transitions, 2.5D key resizer, chroma key, MIX transition by aux bus and more. The MKS-8460X format converter board can up-convert HD video to 4K with Sony’s original data-base driven super resolution technology.

Newly developed Control Panel for MVS-8000X and MVS-7000X

The switcher control panel for the MVS-8000X and MVS-7000X is redesigned with a flexible modular design and includes RGB indicators on the cross-point buttons, and OLED displays for better visibility. In addition, a newly developed LCD legendable button provides more flexibility for function to button assignments. Networked data management is another new feature which allows data to be easily shared among connected MVS-8000Xs and MVS-7000Xs models. Sony is also demonstrating a new operation capabilities using Tablet PC. The new panel is planned to be launched by the end of year, 2014.

Vision Presenter

Sony’s Vision Presenter 4K viewing system can simultaneously display multiple sources of information such as videos, still images, presentation slides, websites, and video conferencing. It is also extremely easy to operate using either a conventional wireless mouse or tablet device. Sony’s Vision Presenter can handle diverse information faster and easier to provide effective presentation and collaboration.

New Workflow, New Products

PDW-850 and PDW-HD1550
Sony’s XDCAM Professional Disc lineup is strengthened with the addition of two new products. ThePDW 850 XDCAM HD422 camcorder has a new 2/3-inch CCD; and the PDW-HD1550 XDCAM HDE 422 recorder can record to both 100-GB (3-layer) and 128-GB (4-layer) high-capacity Professional Discs.

7inch Full HD LCD Viewfinder

Sony adds two versions of a 7-inch Full HD LCD color viewfinder, both using a high-definition LCD panel with 1920 x 1080 full HD high-resolution to its line-up under the flagship HDVF-EL75, 7.4-inch OLED viewfinder. TheHDVF-L770 offers a flexible position adjustment mechanism and large handle incorporating 6 assignable switches. The HDVF-L750 is a basic, easy-to use viewfinder, and various interfaces are available for multi-use of both viewfinders. Using a VF cable and V plate converter, the viewfinders can be attached onto XDCAM camcorders as in a studio configuration, with the ability to switch return between video and camera image. The viewfinders can also be used with Sony’s 4K live camera system.

Workflow Solution

Sony XDCAM systems have emerged as the de facto standard for news production by broadcasters throughout the world. Sony XDCAM products have continuously promoted the development of file-based workflows, employing highly efficient MPEG-2 Long GOP encoding to enable rapid production and prolonged recording even at low bit rates. Now, Sony is also actively bringing its XAVC format corresponding MPEG-4 / H.264 Intra Frame and Long GOP encoding into the XDCAM product line—covering high resolution high-bit-rate high-frame-rate capabilities and low bit rate production extending the line’s usage into not only news production but also to TV program and commercial production. A new firmware upgrade adds XAVC support to the PMW-400 and PMW-300 memory camcorders, Sony is also working to further streamline XDCAM workflows in concert with the accelerated move toward file-based and networked-based implementations. Sony’s CBK-WA100 and WA101 wireless adapters enable network transfer and mobile viewing of proxy files, significantly reducing the time required to get time-critical location work on air. As its effort to offer a viable wireless workflow,Sony Media Cloud Services has built “Ci” a cloud-based video production and collaboration platform for professional content creators. Furthermore, Sony collaborates with Aframe and Forbidden Technologies, to accelerate fast, efficient, trust-worthy new workflow.

And Sony’s Media Backbone Conductor boosts the efficiency of the entire workflow, with comprehensive support for ingestion, editing, and distribution processes.

New Products


As a new addition to the XDCAM line-up, Sony is introducing the 1/3-type Exmor 3CMOS camcorder PXW-X180. The PXW-X180is equipped with the newly developed Sony G lens which boasts 26mm wide angle and 25 times zoom capability. The new variable ND filter system enables the wide range and linear ND control from 1/4ND to 1/128ND. The PXW-X180 has the XAVC Intra and XAVC Long-GOP recording capability as well as MPEG HD422, AVCHD and DV. As a workflow solution, a wireless LAN module is included to enable the use of Wi-Fi and Near Field Communication (NFC) functions for file transfer, monitoring and operate the camcorder by remote.

Multi-interface shoe adaptor for UWP-D series

The wireless receiver of UWP-D series wireless microphones can be attached to camcorders or interchangeable-lens cameras that have an MI (Multi-Interface) Shoe using the MI shoe adaptor, eliminating the need for connecting cables. By using the MI shoe adapter, the audio signal can be transmitted from a wireless receiver to a camera. In addition, the wireless receiver can get power from the camera, and power ON/OFF can be controlled by the camera for unifying the power management.

Wireless Studio Mobile

Offering easy and casual usage of DWX series -Digital Wireless Microphone System without PC, Sony launches Wireless Studio Mobile is an Android application capable to operate the transmitter or receiver by Wi-Fi remote control from mobile device such as smart phones and tablets.


Sony’s Optical Disc Archive System, launched in 2013, now offers a growing line of powerful devices that deliver reliable file-based solutions. Using 12-disc cartridges for storage, the system supports high-capacity volumes while leveraging the technology and reliability of optical discs. The system is an ideal solution for video archiving, offering high capacity and low-cost, eliminating hassles with tape and HDD assets, and ensuring long-term playback compatibility.

Sony is collaborating with Dalet and Front Porch Digital to provide an enterprise MAM (media asset management) solution for TV Globo, Brazil’s major terrestrial broadcaster, who is deploying Optical Disc Archive as their main archive storage format. Plans call for expanding the system to additional TV Globo operations in coming years. Sony looks forward to delivering comprehensive solutions that meet TV Globo’s long term archive requirements. TV Globo was looking for a reliable and long lifetime media to archive their valuable entertainment programs such as novellas, series and shows.

The US satellite and cable station owned by NBC Sports Group, “The Golf Channel” is also looking at Sony solutions. The station has already deployed a hybrid solution combining LTO (linear tape-open) tape storage with Optical Disc Archive. The station is planning a gradual migration to a full Optical Disc Archive system, to gain the benefits of superior long-term storage.

In a similar development, The Weather Channel—another US satellite and cable station—has accepted and signed on to a proposal for an archive solution consisting of Optical Disc Archive library system with SGL software.

Optical Disc Archive system has also been adopted by more than 100 customers worldwide and rapidly spreading into various industries like sports, finance, education, and government on top of broadcast and production.

Sony’s new PWS-100TD1 tape digitizing server can facilitate the conversion of tape based assets into optical disc files. This server, powered by Sony’s original analytic software, monitors for errors during ingestion of VTR assets, and generates listings that enable efficient error resolution. The server enables easy conversion, and requires no specialized knowledge for setup or operation. It offers an effective and flexible solution for customers looking to move their assets into an optical disc archive.

To achieve higher capacity and faster transfer speed in the 4K era, Sony is establishing a format roadmap of the Optical Disc Archive system. Utilizing the technology of “Archival Disc”, a new standard for professional-use, next-generation optical discs, the 2nd generation of Optical Disc Archive will achieve 3.6TB capacity, with the 3rd generation achieving high capacity of 6TB. Faster transfer speeds, are planned due to the development of multi-channel laser heads. Optical Disc Archive guarantees inter-generational compatibility for long-term preservation of their asset.


Sony’s professional monitor line up, OLED PVM-A series and LCD LMD-A series are lightweight, slim and robust, and now upgraded by a new free firmware version 1.1, enabling better camera connectivity and easy recall of user presets and reset. At NAB, camera metadata display and a picture-and-picture function will be demonstrated.

Sony’s TRIMASTER EL monitors have been well received by critical users who demand professional-quality picture performance, resulting in total global shipments of more than 30,000 units to date.

Want to know more about the ISee and the Shadow series? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: Shape Release the Shadow and ISee series of gimbal rigs

NAB 2014: Shape Release the Shadow and ISee series of gimbal rigs

Shape have given our broadcast team their first meltdown of the NAB season with the world’s first shoulder mounted gimble. We’ll say that again: Shoulder. Mounted. Gimbal. You may take a moment.

Shape have introduced a world first ahead of NAB 2014: a shoulder-mounted gimbal. Bringing a whole new level of stability to shoulder mounted rig shooting, the ISee gimbals are part of the Shape Shadow series, and have just shot to the top of our must-see list.

There’s particular excitement in the office because these will be perfect with our (whisper it) favourite camera, Canon’s C100. The gimbal movement may well make focus pulling impossible, but the C100 can be paired with a wireless follow focus or, if you’ve bought the recent firmware update, use dual pixel autofocus to ensure you’re still getting the shot you want.

Here’s the pre-release video:



Want to know more about the ISee and the Shadow series? Get in touch with our team on 03332 409 306 or email For all the latest NAB 2014 news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook


NewTek introduce Take 5, a brand new web series for video pros

NewTek introduce Take 5, a brand new web series for video pros

Live streaming giants NewTek have released a new series of training videos that are designed to get you up to speed on the latest workflow tricks, two minutes at a time. 

The videos, which are hosted over at NewTek’s site, cover a range of topics from multi-camera production to multi-channel delivery, but they kick off with the extremely persuasive ‘effortlessly add live streaming to your production‘, which is useful if you need to convince any naysayers who reckon live streaming is going to be costly, difficult or not have much impact on your ROI.

The courses will all be made live over the next few weeks, and you can sign up to receive helpful reminders over on the NewTek page. If you’re looking for more NewTek info, why not have a read about what they got up to at NAB?

Want to know more about the latest from NewTek? Get in touch with our team on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

NAB 2014: Canon announce XF205 and XF200

NAB 2014: Canon announce XF205 and XF200

Canon have launched the XF200 and XF205 (both of which will be on show on their NAB stand, C4325). Canon are promising professional functionality and high image quality in a compact form factor, and our consultants are on a plane on their way to get a closer look. In the meantime, here’s the press release…

London, UK, 02 April 2014 – Canon today expands its professional video range with the launch of the XF205 and XF200 – a duo of compact video cameras that deliver powerful features, professional functionality and high levels of image quality for a wide range of camera operators.

Building on the blueprint of Canon’s highly successful XF105 and XF100 cameras, the new models have been enhanced to reflect feedback received from professionals working in a variety of fields. Further extending the XF range, both offer even greater versatility, with a more powerful Canon HD Video System, numerous recording modes, wireless connectivity and an enhanced operational design – providing operators with greater freedom to shoot, view and distribute their footage during assignments.

Designed for versatility

The new cameras have been designed to enable users to achieve more than ever with a compact camcorder. By combining outstanding image quality and new professional features, they deliver flexibility that allows camera operators to take their work to the next level.

Both models are powered by the Canon HD Video System and include significant enhancements. Each features a 26.8mm wide-angle Canon HD lens with an optical zoom that has been doubled to 20x, and works alongside Canon’s latest HD CMOS PRO imaging sensor and a powerful DIGIC DV 4 processor. Combined with 50Mbps MPEG recording and 4:2:2 colour sampling, the result is video quality suitable for broadcast, with high sensitivity and wide dynamic range that delivers excellent results, even in low light situations.

Optimised for professionals; accessible to all 

The XF205 and XF200 have been designed to support the growing and diverse requirements of camera operators – enabling them to shoot for numerous platforms at once. A range of recording options provide the flexibility to simultaneously record high definition MXF files to CF cards and MP4 files to an SD card, in HD or lower resolutions – ideal for capturing footage intended for both broadcast and web channels.

The cameras’ design has been optimised to offer operators a tool that is intuitive to use. The new rotating grip provides additional control and stability, reducing strain and offering greater comfort during longer shoots. Three individual lens rings for focus, zoom and iris provide a configuration that is familiar to experienced camera operators, allowing a much quicker response in dynamic shooting environments.

Significant enhancements have also been made to ensure easier framing and monitoring of shots. An optimised viewfinder features a resolution of 1.23m-dots, enabling much greater accuracy when checking focus. An upgraded 3.5-inch OLED display also offers higher contrast, more vivid colours and faster response times, making it far superior in operation, especially in bright conditions.

The XF205 and XF200 are also ideal tools for the less experienced operator. As well as offering the control and precision expected by professional users, an intuitive control layout, fully automatic shooting mode and variety of assist functions, including Face Detection, mean that even amateur users can capture great-looking footage.

Professional audio and connectivity 

Upgraded audio capture also ensures professional quality sound fit for broadcast use. Both models support four-channel linear PCM recording, with two XLR inputs allowing the option to use professional-grade microphones. Additionally, with built-in stereo microphones and a 3.5mm microphone jack, the new cameras provide users with a wealth of audio options.

Each model also features Wi-Fi and Ethernet LAN connectivity, allowing direct or wireless connection to a wide range of devices such as smartphones, tablets and laptops. Wireless connectivity offers the freedom to control the camera from a distance, view footage remotely and conveniently transfer files via FTP without the need for any additional software. In addition, a new CameraAccess function allows lower-quality proxy files to be streamed to another device via Wi-Fi, improving the speed in which content, such as news flashes, can be shared.

In addition, the XF205 expands connectivity options further with the inclusion of selectable 3G-SDI/HD-SDI, Timecode and Genlock terminals for easy integration on multi-camera shoots or with other broadcast equipment.

Kieran Magee, Director of Professional Marketing, Canon Europe said: “The new XF205 and XF200 are a natural next step in the evolution of our XF range, providing enhanced functionality, alongside another step up in terms of the quality of the visual and audio output. Historically, the versatility of our XF series cameras has seen them widely adopted by a range of different users, and the new features we’ve added into these products provide our customers with greater choice and creative freedom than previously available from such a compact camcorder.”


The XF205 and XF200 will be available across Europe from mid-July 2014, and will be on display at NAB 2014.

For more on Canon’s latest (and other NAB must-sees), get in touch with the team on 03332 409 306 or email While you’re at it, why not follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Save £900 with Quark’s Go Pro campaign

Save £900 with Quark’s Go Pro campaign

Quark are giving you the chance to up your creative game, offering over £900 worth of additional tools with every upgrade to or full seat of QuarkXPress 10 that you buy between 1 April and 31 August 2014.

This Go Pro promotion means that you now have three options when it comes to buying QuarkXPress 10. You can ‘Go Basic’, ie just buy QuarkXPress on its own; Go Pro by adding the optional bundle and getting tools like Markzware ID2Q, Corel AfterShot Pro, five Monotype OpenType Pro Fonts font tools and FontExplorer X Pro for £50 extra, or Go Pro Plus by adding a 12 month support contract and free updates for a year for just £150 extra.

All you have to do is:

1. Select your option: Basic, Pro or Pro Plus.

2. Purchase an upgrade or full copy of QuarkXPress (make sure it’s the version with the bundle added!) before 31 August 2014.

3. Register your QuarkXPress licence within 60 days of purchase.

4. Complete the official redemption form here on Quark’s website.

5. Wait patiently. Quark’s customer service team will check your data and get download links and activation keys for your new tools over to you within 20 days.

This deal only applies to commercial licences, not education, non-profit or government ones (you guys will just have to console yourselves with your usual discounts). However, site licences of QuarkXPress are included,  and standard volume pricing rebates for QuarkXPress apply. As Quark explain:

“When purchasing Go Pro, you get one bundle for every five seats purchased, when purchasing Go Pro Plus you get one bundle for every five seats purchased and Maintenance for every seat purchased. Bundle prices are not volume priced for sites. (Example: Site license with 2-5 seats: 1 bundle; Site license with 6-10 seats: 2 bundles; Site license with 11-15 seats: 3 bundles; Site license with 16-20 seats: 4 bundles; Site license with 21-25 seats: 5 bundles etc.)”

For more about this offer (and the general excellence of QuarkXPress 10, get in touch with the team on 03332 409 306 or at For all the latest news and tips follow us on Twitter or ‘Like’ us on Facebook.