We’re a TriCaster Elite Reseller (and we’ve got our own operator, too)

We’re a TriCaster Elite Reseller (and we’ve got our own operator, too)

We’re one of just a handful of NewTek Elite Resellers in the UK, and our production consultant Anthony is one of just two TriCaster Certified Operators working for UK resellers, meaning he’s the best person to call for TriCaster training or help with configuring your setup. We’ve also got a dedicated tech support team who you can contact in a live streaming emergency.

What’s a NewTek Elite Reseller?

It means we can offer you the best prices and service when it comes to NewTek products. We know all their hardware and software, provide a level of support that’s unequalled, and have all the practical experience that comes with supplying and supporting their systems for a decade. Whether you need a TriCaster, 3Play or NDI solution, and whether it’s a standalone system or something more sophisticated, we have the NewTek seal of approval as one of their preferred, go-to resellers.

We’re also one of the first to know about (and get our hands on) the latest NewTek gear. This helps us to provide you with up to date information about their live production systems, helping you to make an informed decisions about the future of your production setup.

So you can set me up with a demo?

Any time, any place (within reason). As Elite Resellers, we hold demo stock of the TriCaster Professional Line, as well as the TalkShow, the new NDI PTZ cameras, and the Connect Spark.

Do you also provide support? 

Indeed we do. We can design your installation, provide bespoke training, provide a spare parts kit and draw up support contracts with service level agreements that mean you have the support you need, whatever your situation. Live production equipment is only as good as your support, and we pride ourselves on offering everything you require to stay on the air.

What kind of training do you provide? 

We develop TriCaster training on a case by case basis, so tell us what you want to do, and Anthony will put together a training session that’s tailored to your needs. This means you get specific help with tasks you want to perform and problems you are likely to encounter within your own setup.

What if I want to be a Certified Operator, too? 

NewTek have a training and certification programme, which we can facilitate access to if you want to get their official stamp of approval.

Can I hire Anthony as a TriCaster operator?

Of course, but it’s a lot more cost-effective to hire Anthony for a few days’ training to get you up to speed on what you want to do.

What’s the best TriCaster gig Anthony’s worked on?

When the producers of CBBC show Remotely Funny were caught short last summer, Anthony spent four weeks ‘embedded’ with their production team. It’s the closest he’s ever got to Special Ops. “It was a hectic shoot but they had a great crew, and it’s exciting to see a show really embracing online technology and the way audiences want to engage with it,” he said of the show, which is currently recruiting contestants for its second series.

Where might I get a TriCaster to get started? 

You can see the NewTek TriCaster range here on our website. To discuss which is right for you, just get in touch with our team on the details below. (If you’re not sure about NDI and how if could affect you, NewTek have a handy primer video here.)

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

View from the front: Mix with the Pros Atmos edition

View from the front: Mix with the Pros Atmos edition

On 26th October, we hosted the seventh instalment of our hugely popular Mix With the Pros series of events. This time, we tackled Dolby Atmos mixing, with presenters from Avid, Dolby, Sound Technology and Focusrite all offering advice on how to build your Atmos mixing environment and workflow. 

Big thanks to all of you who attended, to our speakers for their incredibly informative presentations, and to Pro Tools Expert for their lovely write up.


Avid’s Simon Sherbourne was first out of the gate, talking about the new 3D-friendly tools that are coming to Pro Tools in the 12.8.2 update that was announced at AES. The update links the front and rear pan parameters for easier object panning (which Simon was kind enough to demonstrate on our S6), and makes it easier for you to test out your proposed Atmos mix in 7.1.2 before committing to a final mix. It’s also worth noting that Simon managed to do all this with just a MacBook Pro, proving you don’t need as much power as you’d think to run the Atmos Production Suite software.

After that, Dolby’s James Shannon took to the stage to explain the different requirements for Atmos Home and Theatrical certifications, and the investments needed to reach Dolby Premier Studio status.


And while chasing premier status does mean incurring upfront costs, Sound Technology’s Ben Todd was on hand to showcase the reassuringly reasonably priced JBL Intonato speaker management system, which we’ve praised elsewhere.

Finally, Focusrite’s Simon Short dropped by to give us a crash course in Dante, the audio-over-IP solution that’s increasingly popular among pros who are dealing with immersive mixes. He also spoke about the Rednet X2P and Red 16Line interfaces (we’re very keen on the 16Line, as we’ve mentioned before) which he was kind enough to bring a long for us to have a look at.


Fancy joining us for a beer and some industry gossip? You can see our upcoming events here. If you were at Mix with the Pros and want to talk to the team about anything you saw there, get in touch on the details below.

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

Win a DPA and Sony wireless mic system worth over £1000!

Win a DPA and Sony wireless mic system worth over £1000!

DPA Microphones are celebrating 25 years in the business this year, and to make sure we all get in a party mood too, we’re running a sweepstake in which you can win a complete wireless lavalier system worth over £1000, comprising a Sony UWP D-11 wireless system with camera mounted receiver and a DPA 4060 Omni Lavalier microphone! 


For the discerning videographer, the Sony UWP and DPA bundle is one of the best sounding systems on the market. DPA microphones are recognised as possibly the best performers in their field and are the most common upgrade for the users who are dissatisfied with the sound quality from traditionally bundled lavalier microphones. The DPA SC4060 is the omnidirectional version, making it suitable for all kinds of piece-to-camera work.

The Sony UWP wireless system features a body pack transmitter and camera-mountable/belt pack format receiver, and is amongst the best sounding and most reliable systems available. Of particular interest to users of Sony cameras, the optional S-MAD P3 adapter allows the receiver to be directly mounted to cameras which have Sony’s MI (Multi Interface) shoe, which allows for a cable-free setup and also for the receiver to be directly powered by the camera itself.

All you need to do to be in with a chance of winning is click the link below:

Register here for your chance to win.

We also offer the full range of Sony and DPA bundles, which you can buy via our web store.

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

New releases from MOTU and Focusrite

New releases from MOTU and Focusrite

When not predicting the doom of all around him based on their choice of monitor, Rob is actually a very knowledgable audio product specialist. New releases that have received his blessing include the MOTU 828es and Focusrite Red16 Line.

MOTU 828es

MOTU’s 828es combines the networking and control technology of its AVB lineup with the I/O options on the 828, giving 28 individual inputs and 32 individual outputs, all of which can be used simultaneously. It uses the same EES Sabre32 DAC technology as the MOTU 1248, giving you 123 dB of dynamic range and roundtrip latency of as little as 1.6ms.

As well as eight analogue inputs and outputs, the 828es’s 19″ 1U frame contains two mic/guitar ‘combo’ style inputs, which provide transparent preamps with remote control for individual gain/pad/48V phantom power and amp-like hi-Z guitar input. There are also 16 ADAT ins and outs, two RCA S/PDIF ins and outs, two XLR main outs, two stereo headphone outs, a built-in talkback mic, dedicated in and out sockets for Timecode support, and an AVB port so you can connect to additional I/O options via Ethernet.

The 828es supports flexible, matrix-style routing and splitting, so you can route audio straight to any computer or device on your network. It’s controlled from a web-based app, not from software stored on your hard drive, meaning that you can control it from any device that’s on the same network as it.

Rob’s verdict: “Every iteration of the MOTU’s 828 has been a hit and it’s nice to see it continue to evolve. It’s a format that works in terms of I/O, and MOTU stuff is always rock solid. The new AVB range has been really popular because it is so easy to create an expanded system by mixing and matching different models from the range – Ethernet is all you need. Its great for the 828 to now be part of that ecosystem. It’s the little things like the expanded CueMix DSP, timecode and upgraded Sabre32 DACs that make this an exciting evolution. The ability to remotely access the CueMix from any machine on the network is especially useful if you want artists to be able to control their own monitor mixes, for example.”



The M64 is a flexible MADI interface, router, repeater, splitter, converter and mixer with AVB/TSN networking. It supports 256 channels of MADI in total – 64 in and out channels each for optical and coaxial MADI. A front panel display lets you monitor any activity, and displays detailed metering for all your I/O. It also has enough DSP for you to mix 48 channels, and features EQ, compression and reverb modelled after analogue classics.

Rob’s verdict: “The MOTU AVB range is quickly becoming one of the most flexible interface systems on the market, and the M64 now allows you to add MADI to your setup. But the advantage of MOTU’s system over the competition is that any of the units can be used on its own or as part of an expanded system, so the M64 is great for someone who just needs to get MADI in and out of a portable solution.”

Focusrite Red 16Line


The latest addition to Focusrite’s interface lineup, the Red 16Line is the first Thunderbolt 3 interface of its kind, and has received loads of positive press after early showings at IBC and AES. It’s equipped with two new Thunderbolt 3 connections and two Mini DigiLink connections, so you can use it with Pro Tools HD or any other setup without needing to swap out option cards. You can achieve 64 x 64 interfacing with your DAW over the Thunderbolt or Mini DigiLink connections, or 32 x 32 using Dante for audio over IP.

The Red 16Line’s combination of impressive dynamic range (118dB A/D and 121dB D/A) and low latency mean that you can track plugins in place, so can use the same mix for recording and playback. It uses the same mic pres as the much-praised Red 4Pre and 8Pre – those on the Red 16Line can be stereo linked and provide up to 63dB of gain – and Red 2 and 3’s EQ and compression plugins.

Rob’s verdict: “The Red 4Pre is our most popular interface for Pro Tools HD systems – sound quality, I/O configuration and the fact that it can be used either as a interface that connects directly via DigiLink or as a Thunderbolt interface for other DAWs. The Red 16Line is going to be hugely popular with anyone who needs more analogue I/O and it keeps the impressive connectivity with Dante and two of Focusrite’s mic preamps. Nothing else offers what the Red series can deliver.”

The Red16 Line will be available from December, with an RRP of £2869. To find out more about these, or any other new audio releases, get in touch with the team on the details below.

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

LaCie reveal PushPlay 2017 winner

LaCie reveal PushPlay 2017 winner

Congratulations to Ben S Hyland, winnner of LaCie’s PushPlay competition. As well as getting a slew of state of the art production kit (including computer, camera equipment and a drone, all supplied by Jigsaw24), Ben also got to a two day mentoring session with Oscar-winning cinematographer Michael Paleodimas, which included backstage access to Glass Works and Panavision. 

The LaCie kit you spotted was a selection of LaCie Rugged mobile drives and a 12Big desktop RAID. LaCie Rugged drives are dust proof, crush proof, water resistant and seemingly childproof, which has made them a popular choice for onset media storage. The high speed and capacity of the 6Big and 12Big RAID towers, combined with their ability to offer protection from RAID0 up to RAID6 depending on your level of paranoia, has made them a popular choice for filmmakers. They’ve recently become available with Thunderbolt 3 connectivity, enabling even faster data transfer.

The Jigsaw24 office on show was our Soho premises, which is also the home of our Resolve-equipped demo room, should anyone have any follow up questions about the grading portion of the video.

You can see Ben’s winning film, 88, and find out more about PushPlay here.

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

Get to know the Focal Shape range

Get to know the Focal Shape range

Focal have spent three years developing their Shape range, designed to deliver their most innovative technology to date, and let you experience truly critical and articulated listening. 

After three years of furious research and development behind firmly-closed drapes at Focal HQ, the JMLab team have finally announced an exciting new range of active studio monitoring speakers featuring their most innovative technology to date, and boasting a truly critical and articulated listening experience.


Shape has been designed with high definition, neutral midranges, wide/precise stereo imaging and acoustic transparency in mind. Right off the bat you’ll notice Focal’s newly designed MDF cabinets featuring custom walnut effect veneer. The dimensions of each speaker cabinet throughout the range have been painstakingly calculated to ensure a linear high-end frequency response.

Under the hood, exciting developments are also afoot. Focal have introduced a newly designed ‘flax sandwich cone’ woofer consisting of a layer of flax fibres between two glass fibre layers. The composition of materials is similar to that of the drivers used in Focal’s SM6 and SM9 ranges and delivers predictably striking results.


The Shape models also feature a new M-shape inverted aluminium/magnesium composite tweeter, offering a linear frequency response below 6 kHz and optimising the crossover with its woofer counterpart. The rigid design is surrounded by specially designed housing to reduce distortion and provide equal horizontal and vertical directivity.


Unlike the majority of Focal’s other nearfield monitors, the Shapes are un-ported, sealed units. The task of maintaining an extended frequency response in such compact speakers has been achieved by introducing dual passive radiators to the side of each model. This tactic not only means that impressively low tuning is possible, but also that the monitors can be placed in close proximity to walls without the worry of rearward reflections and compromised accuracy.

Several additional innovations have found their way into the Shape design: a ‘Neutral Inductance Circuit’ (or N.I.C.) reduces the effect of the woofer voice coils on their magnetic field, whilst optimising tweeter crossover. Plus, around each of the drivers, Focal have employed a TMD surround system which optimises harmonic absorption, ensuring a piston like action reducing distortion and yielding a greater overall stereo image. And finally, class AB amps have been specially chosen to ensure optimal control over signal and dynamic range.

Every aspect of the Shape has been carefully considered to ensure the greatest critical listening experience in any situation – and we mean any situation. Each model ships with protective grills and height-adjustable spikes to customise elevation and angle, and threaded back panels designed for speaker brackets. The Shape 40 and 50 also include universal threads on their undersides for microphone stand mounting.


You can see the Focal Shape range here. If you want to know more, give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

View from the front: Televisual Creative’s Future of Post forum

View from the front: Televisual Creative’s Future of Post forum

If you needed a sign that the times are indeed a-changing, look no further than Televisual Creative’s Future of Post forum. The event, in which leading lights of the post community came together to puzzle out the challenges and opportunities posed by HDR workflows and IP connectivity/remote working, drew CTOs and technical leads from over 50 of Britain’s top post houses, eager for insight into these two scorchingly hot topics. 

We were official sponsors of the event (along with Avid, Quantum, Rohde & Schwarz and AJA) so our team were out in force, with M&E Operations Director Graham McGuinness and M&E Sales Director Rupert Watson chairing the connectivity and HDR panels respectively, and Jigsaw24 engineer Phil Crawley took to the stage to interview Dolby’s Ian Lowe about the unique remote workflow employed at the Dolby Theatre (which also hosted the event).

For those of you who missed it (or even those of you who want to relive the heady thrill of hearing about double utilisation), here’s a quick recap of what happened.

Dolby Vision

The IP/connectivity session kicked off with Televisual’s James Bennett interviewing Jigsaw24 engineer Phil Crawley and Dolby’s Ian Lowe about their unique remote access workflow, in which colourists in the Dolby Theatre remotely access the workstations and data back at their facility via a GUI. This gives them access to the theatre’s uniquely powerful display capabilities and acoustics for their grading and mastering, while ensuring that they obey strict data security requirements.

In order to achieve a system that had no compression, no latency, the ability to handle all flavours of 4K and HDR and the ability to support remote control of end points, Dolby are using quad-link 3G SDI carried over fibre provided by us and euNetworks, and, through a combination of dark fibre and optical multiplexers they’re confident they can maintain the bandwidth needed to handle uncompressed, no-latency 4K HDR footage – without any of the artefacts that they saw using other solutions – in their Theatre and Home grading environments.

They’re already linked to three of London’s top post houses, and have used the remote grading systems on films including Fantastic Beasts and Kingsman: The Golden Circle.

The key to remote working

Following on from Dolby’s unique workflow, we joined Daniel Napier, Technical Director of Halo Post, Avid’s Territory Sales Manager Patrick Nelson, Dolby’s Senior Sales Manager Ian Lowe and Oliver Pennington, Head of Engineering at global fibre providers Sohonet for a panel discussion of the current state of play when it came to remote workflows.

Avid are looking to strengthen their support for remote workflows within Interplay, while Dolby are looking to extend access to their facilities and Daniel Napier and the team at Halo have managed to centralise the machine rooms of all their facilities, so that artists can remote in from any location. As a side effect of this Halo have seen first hand one of the most widely discussed benefits of remote working: every suite in their facility can now be multi-purpose, as artists are no longer dependant on specific rooms to do their work, and they can also double utilisation of any given space by having one user working in the room while someone else accesses the same resources virtually.

Key technology recommended by the panel included dark and CWDM fibre (the cost of which is falling), the importance of Teradici when it came to standardising KVM over IP (we’d suggest you look at our preferred solution, Amulet Hotkey, which uses the Teradici’s Tera2 chip set), and the variety of methods, many of them developed in-house, that people had come up with for remotely accessing and logging footage.

HDR in post

After another barnstorming James Bennett interview (this time with Molinare CTO Richard Wilding), our Sales Director Rupert Watson hosted the standing-room-only HDR Post panel, which featured Wilding, Technicolor London’s Head of Technology Phil Oatley, and product specialists representing AJA, Atomos and Quantum, as they discussed the HDR workflow early adopters like Molinare are using, and the technology that helps them handle the sheer volume of data created.

Richard revealed that Molinare are now working with files that are up to 36 times the size of those you’d see in a traditional HD workflow – existing infrastructure is struggling to cope, and moving assets around is a constant challenge. There’s also a very real technology lag between the solutions available for grading film, and the solutions for delivering subtitles and captions, which are still tweaked by eye.

Also emphasised was the importance of working closely with production crews, who are also dealing with new standards – just as platforms have very different, specific mastering guidelines, their kit lists leave out key cameras and monitors, meaning many crews are developing their HDR workflow with unfamiliar kit.

Demo time!

Also out in force to feed people’s palatable appetite for new knowledge about HDR were Atomos, who shot the below video at the event. They brought along their SUMO HDR monitors, paired up with a Canon C300 Mk II and ready to test (sadly the footage in the video is filtered through YouTube, but believe that it was beautiful on the day).

Want to know more?

If you’re interested in more talks like this, take a look at our upcoming events or sign up for our newsletter so we can keep you up to date with new events as they’re announced. For more information, get in touch with our team on the details below.

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

Get up to £855 cashback when you buy a Canon camera and lens

Get up to £855 cashback when you buy a Canon camera and lens

If the prospect of getting a new lens with your new camera wasn’t tempting enough, Canon are now offering up to £855 cashback to customers who buy a compatible camera and lens within 90 days. 

If you’ve recently purchased, or are about to purchase, a camcorder from Canon’s Professional or Cinema EOS lines, you can claim cashback of between £60 and £855 if you buy a Canon lens within 90 days of buying your camera.

In case, unlike us, you haven’t dedicated yourself to memorising Canon’s camera sub-categories, the eligible models are:

– C700

– C300 Mk II

– C300

– C200

– C100 Mk II

– C100

– ME200S-SH

– 1DX Mk II

– 5D Mk IV

They’re available for order here on our website.

The amount of cashback you receive depends on which lens you opt for. The EF 16-35mm f/4L IS USM will get you £65, while a 200 – 400mm f/5.6 IS USM will net you the princely sum of £855. Here’s the list:

Screen Shot 2017-10-23 at 14.03.52

Screen Shot 2017-10-23 at 14.04.04


You can read the full terms and conditions here, or get in touch with our team on the details below to choose your camera/lens combo.

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

Pro Tools 12.8.2 launched at AES

Pro Tools 12.8.2 launched at AES

At AES today, Avid announced Pro Tools 12.8.2, the latest version of their ubiquitous audio software. 12.8.2 includes major improvements and new features for Pro Tools | First, Pro Tools, and Pro Tools | HD.

User requests

Some of these changes are based on user requests, including a slew of new MIDI enhancements to help speed and ease your workflow. Avid tell us you’ll be able to:

– Quickly change Grid and Nudge sizes, and Pencil tool commands, using keystrokes.

– Record-enable, solo, and mute MIDI tracks right in the MIDI Editor.

– View chord names and notes as you play them to ensure input accuracy.

– Store and recall MIDI Editor lanes in window configurations.

– Constrain MIDI clips to edit selections while using the Smart Tool.

Editing and mix for VR

Avid have been working to make immersive full-sphere surround sound content easier to create. 12.8.2 includes support for  first-, second-, and third-order Ambisonics formats across your Pro Tools tracks and busses. You can then output and deliver content to the required format for playback.

Speed up your Atmos workflow

With the new front/rear position knob link, you can easily control both parameters as one when writing panning automation from the Pro Tools interface or a control surface, with all subsequent automation being written following suit. You can also set up Pro Tools sessions in seconds based on the connected Dolby Atmos Renderer configuration, and repurpose existing pan automation data to instantly generate height automation.

Workflow efficiency

The introduction of Batch Rename means you can now give your countless tracks and tips more meaningful names, more easily. Your options for renaming tracks include find and replace, adding prefixes and/or suffixes, and applying various numbering conventions. You can also navigate through large sessions and menus faster with type-ahead search capabilities available in the Scroll to Track dialogue and menus for Plug-in, Input, Output, Send, and more.

Converting projects to Pro Tools | First

If you’re collaborating on projects, you can convert projects from Pro Tools or Pro Tools | HD to a project format in Pro Tools | First, so that you can carry on working with them. Simply open a session and use the Convert to Project dialogue that pops up to save the file as a project in your cloud space.

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

When does production become post?

When does production become post?

The increasingly common combination of high shoot ratios and tight deadlines puts pressure on facilities to increase efficiencies across production and post. In an effort to reduce turnaround times and cut down the amount of time spent on non-billable activities, production and post teams are now working together from far earlier into the production schedule, with post houses sending staff to set to ensure footage is logged as soon after the shoot as possible, and DITs performing post-critical functions.

Manufacturers are keen to facilitate this collaboration – AJA seem to have kicked off the scramble to unite the two when they released the first Ki Pro back in 2009, and noone seems to have paused for breath since. But there are dozens of factors to consider when planning your workflow, from whether you’ll be handling HDR footage, to IP integration, to the impact of the incoming 5G connectivity standard. With that in mind, we’re taking a look at a few different points of contact, and how you can make sure your workflow there is mutually beneficial for production and post.

Shooting and monitoring

Accurate metadata can speed up post-production immensely, by making it far easier for artists to match the original scene conditions when compositing, compensate for issues with specific cameras or lenses when correcting footage, and more.

Zeiss are currently setting the standard for incredibly detailed metadata with the new eXtended Data lens, the CP.3 XD. As well as giving your DoP precision, quality and all the other benefits of working with Zeiss glass, XD lenses create a huge amount of metadata about each shot, containing details not just of features like focal length and exposure, but details about the lens itself. In post, tweaking this metadata becomes a quicker, easier way to compensate for lens shading, or to correct for the different distortions of individual lenses used in production. When compositing, the metadata drastically cuts down the amount of trial and error (and therefore time) needed for artists to match on-set lighting conditions. This ultimately drives down the time and money needed for post, and so could even help buy you more time on set.

Monitor and recorder manufacturers Atomos have attempted to bring a similar spirit of cooperation to monitoring with their newly announced SUMO 19 HDR production/grading monitor, which can record dailies, proxies or 4Kp60 masters as needed.  This means camera crews can see what they’ve captured in HDR, as it will appear to post teams, and be sure they’re happy with the shot as it appears, rather than having to guess based off a Rec.709 image. The recording feature also means that dailies (or a low res proxy, if you have limited bandwidth/storage) can be send to a post facility immediately, and assembly can begin far earlier than usual.

Solutions like this are making it easier for production and post crews to maintain a common vision of the project throughout, and reduce the time taken to create the final product without limiting either party’s options in that way that, say, Sony baking HLG into footage from some of its lower-end cameras does.

Logging and metadata

Loggers and ingest technicians are increasingly venturing out to log footage as close to set as possible. While data and asset management has been an intrinsic part of post for a long time, it’s now widely acknowledged that by focusing more on this on set, crews can increase the overall efficiency of the project, and drastically reduce the time needed to put everything together in post.

Asset management systems like axle Video are excellent – axle is particularly good if you’re new to this, as you can just point it at your file system and it will automatically index all media files, then update its database automatically in realtime as you add new footage. You can then share low res proxies through a web browser so that people can reject, trim and comment on clips; it’ll even integrate with NLEs so that editors can search new footage without leaving their editing application. It ships with a standard metadata schema, but you can customise this to the requirements of your shoot.

Avid’s MediaCentral | Asset Management option (formerly Avid Interplay MAM) performs a similar function, indexing media in a range of formats and allowing you to add custom metadata in order to make it easier to find. It even allows you to remotely access assets from multiple locations, so if crews at different locations both log footage, all of it will be available for review at the same time. Avid’s MediaCentral system also allows for a high degree of automation when it comes to things like ingest, logging, archiving and sharing footage, meaning you can achieve more in less time, and with a smaller team.

Cloud delivery

Once footage has been logged, it can be sent back to the post facility, or to a staging post if you’re in a remote location. As the available networks have become faster, cloud delivery has gained popularity, whether that’s ENG crews using in-camera FTP capabilities to send footage back to the newsroom, or crews on location leveraging file sharing services to deliver footage to post as quickly as possible. And with 5G set to make 100Mbps over the air file sharing a reality over the next few years, this option is only set to get more popular.

If you’re collecting or monitoring footage from drones, car-mounted cams and other inaccessible recorders, Soliton’s on-camera encoders and receivers are a great investment – they use a mixture of H.265 compression and proprietary RASCOW technology to ensure you see an HD live stream of your footage even in areas where 3G and 4G coverage is patchy, with delays as low as 240 ms.

For reliable file transfer, we’d recommend IBM’s Aspera service. While it’s pricier than WeTransfer, it uses end to end encryption to to keep your footage secure and, unlike consumer services, doesn’t get slower the larger your files are. Another feature we’re particularly keen on is that it calculates the precise time a transfer will take on your current connection before it begins, so if it says a transfer will take seven hours, you can ring ahead and let your colleagues know when to expect the file with a fairly high degree of certainty.

How does this all fit together?

We can help you develop workflows to maximise efficiency in production and post, and advise on ways to prepare your existing infrastructure for the future, or fold new releases into your existing workflow. As well as providing consultancy, workflow design and specialist hardware, we can provide ongoing support and maintenance for your core kit. To find out more, get in touch with the team on the details below.

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