Great tech ideas: NewTek TriCaster for houses of worship

Great tech ideas: NewTek TriCaster for houses of worship

If you’re a multi-site or community-focused place of worship, TriCaster offers some exciting new opportunities for you to connect with your congregation. From setting up live streams of services online so that anyone not able to attend in person can still take part to creating videos showcasing successful community events or charity initiatives and sharing them via social media, TriCaster makes it easier for you to reach more people at one time, or for members of your audience to rewatch your content whenever they need it. Here are a few reasons why we think it’s great for houses of worship (or any other venue, to be honest). 

Here’s how it works (diagram courtesy of NewTek):

As you can see, the big benefit of TriCaster is that it’s incredibly simple and lets you work quickly: you literally select a feed from a camera of computer screen, preview it, select it to be broadcast and TriCaster can instantly send it to any displays or projectors in your building or live stream it to the web so anyone who can’t attend can still watch, and record everything at the same time.

This workflow is easy to learn  and the whole shebang can be managed by one operator, so you don’t need a large creative team to deliver content, and it doesn’t matter if new volunteers need to pick up basics quickly! If you do want to make sure someone is your organisation is a TriCasting expert, we have the UK’s only NewTek Certified Operator on staff and can set you up with training. It’ll also work with most cameras and displays, so if you already have AV equipment at your site, you’ll probably be able to plug TriCaster in and go! (It’s always best to check in with our team first, though).

If you’re already a TriCaster aficionado, it’s worth bearing in mind that NewTek have a trade in programme that makes it cheaper then you’d think to upgrade to a larger kit for better coverage, or make the move from SD to HD so that your viewers get the best possible image quality (and you look more professional as a result). If you’d rather lease your kit then buy it, get in touch for details of our exclusive three year 0% finance lease hire offer.

See our recommended NewTek TriCaster and JVC camcorder setups.

Want to know more about how TriCaster could help your reach new audiences? Give us a call on 03332 409 332 or email TriCaster@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.  

NVIDIA’s Quadro K6000 GPU unveiled at SIGGRAPH 2013

NVIDIA’s Quadro K6000 GPU unveiled at SIGGRAPH 2013

NVIDIA have once again proceeded to steal everyone’s thunder at SIGGRAPH 2013 by releasing the Quadro K6000 GPU, apparently “the fastest and most capable GPU ever built”, as well as a new line of GPUs designed specifically for mobile workstations. Read on for the full press release, or take a look at the official NVIDIA Quadro K6000 spec sheet

ANAHEIM, Calif.— SIGGRAPH — July 23, 2013— NVIDIA today unveiled the visual computing industry’s new flagship technology – the NVIDIA Quadro K6000 GPU, the fastest and most capable GPU ever built.

NVIDIA today also launched a new line of professional graphics GPUs for mobile workstations, delivering the highest levels of performance and graphics memory ever available on mobile platforms.

The Quadro K6000 GPU delivers five-times higher compute performance and nearly double the graphics capability of its predecessor, the NVIDIA Quadro 6000 GPU, and features the world’s largest and fastest graphics memory.

Combining breakthrough performance and advanced capabilities in a power-efficient design, the Quadro K6000 GPU enables leading organisations such as Pixar, Nissan, Apache Corporation and the Weather Channel’s WSI division to tackle visualisation and analysis workloads of unprecedented size and scope.

Animation and Visual Effects – Pixar

“The Kepler features are key to our next generation of real-time lighting and geometry handling. We were thrilled to get an early look at the K6000. The added memory and other features allow our artists to see much more of the final scene in a real-time, interactive form, and allow many more artistic iterations.” – Guido Quaroni, Pixar vice president of Software R&D

Product Styling – Nissan

“With Quadro K6000’s 12 GB of memory, I am now able to load nearly complete vehicle models into RTT Deltagen and have stunning photorealism almost instantly. Instead of spending significant time simplifying the models to fit into previous hardware, we can now spend more time reviewing and iterating designs up front which helps avoid costly changes to tooling.” – Dennis Malone, associate engineer, Nissan North America

Energy Exploration – Apache

“Compared to the Quadro K5000, the Quadro K6000 tripled the performance when running jobs on Terraspark’s InsightEarth application. With jobs running in mere minutes, we can run more simulations and get better insight into where to drill. In this business, drilling in the wrong place is a multi-million dollar mistake, and the Quadro K6000 gives us the edge to make better decisions.” – Klaas Koster, manager, seismic interpretation, Apache Corporation

Unprecedented Performance

The Quadro K6000 GPU is based on the NVIDIA Kepler™ architecture – the world’s fastest, most efficient GPU architecture. Key performance features and capabilities include:

– 12GB ultra-fast GDDR5 graphics memory lets designers and animators model and render characters and scenes at unprecedented scale, complexity and richness

– 2,880 streaming multiprocessor (SMX) cores deliver faster visualisation and compute horsepower than previous-generation products

– Supports four simultaneous displays and up to 4k resolution with DisplayPort™ 1.2

– Ultra-low latency video I/O and support for large-scale visualisations

“The NVIDIA Quadro K6000 GPU is the highest performance, most capable GPU ever created for the professional graphics market,” said Ed Ellett, senior vice president, Professional Solutions Group at NVIDIA. “It will significantly change the game for animators, digital designers and engineers, enabling them to make the impossible possible.”

New Mobile Workstation GPUs

NVIDIA today also revealed a new flagship professional graphics GPU for workstation notebooks, the NVIDIA Quadro K5100M GPU. Delivering the highest levels of performance and graphics memory available on notebook platforms, the Quadro K5100M anchors a new line of workstation notebook graphics that includes the Quadro K4100M, K3100M, K2100M, K1100M, K610M, and K510M GPUs.

Quadro GPUs are designed, built and tested by NVIDIA to provide the superb reliability, compatibility and dependability that professionals require.  They are certified and recommended by more than 150 leading software application providers worldwide.

Availability

The NVIDIA Quadro K6000 will be available beginning this fall from HP, Dell, Lenovo and other  major workstation providers; from systems integrators, including BOXX Technologies and Supermicro; and from authorised distribution partners, including PNY Technologies in North America and Europe, ELSA and Ryoyo in Japan, and Leadtek in Asia Pacific.

The new Quadro mobile workstation graphics product line will also be available beginning this fall from major mobile workstation OEMs.

Want to know more about the latest from NVIDIA? Give us a call on 03332 409 306 or email 3D@Jigsaw24.com. For all the latest news, follow us on Twitter or ‘Like’ us on Facebook

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Timeline TV provide coverage for some of the world’s largest sporting events, including Wimbledon, the 2012 Olympics and the Tour de France. Their Timeline North office in MediaCityUK doubles as a base of operations for some ambitious post work, with their first year in MediaCityUK seeing them take on a huge array of work with the BBC, as well as film projects and dubbing work. 

One of the latest projects to go through the facility was ‘Andy Murray: The Man Behind the Racket’, an hour-long documentary for the BBC which chronicled Murray’s run up to Wimbledon 2013. Although Murray picked up injuries during the initial shoot and only returned to competition the day before the project was due to be completed, Timeline TV were able to pull together a final cut in record time thanks to a combination of Avid Symphony, Blackmagic Design’s DaVinci Resolve and Avid Pro Tools.

“The Andy Murray documentary was offlined on an Avid Symphony,” explains Eben Clancy, Timeline TV’s Post-Production Director and head of its MediaCityUK facility. “It was due to be onlined in Symphony too, but Andy won Queens the day before the deadline, so we had to extend the offline, which left us with very little time. We sent an AAF of an offline to DaVinci and contracted Chris Packman to grade it – he’s a big DaVinci supporter – while our editor, David Horwell, was still making final tweaks.”

After the final AAF was graded, the project then made a round trip back to Symphony for its final online edit, with a Pro Tools dub being carried out the same way. “Chris managed to grade, render and export an hour long doc in eight hours, which we were seriously impressed by,” says Eben.

His team have been using the same workflow to handle an extremely complex offline for BBC series Fierce Earth. “There are Sapphire effects and time warped shots throughout, plus graphics with nested pictures,” explains Eben, “but we’ve still been able to round trip an Avid AAF through DaVinci and grade every shot, even if we couldn’t always see the final result. The only real issue was the time warped shots. DaVinci could handle shots running at 500% or less, but we had shots running at 5000%. We had to do ‘video mixdowns’ of them and then they all worked smoothly, and we managed to grade seven episodes in two and a half days.

“The main benefit of Avid AAF and round tripping from Symphony to Resolve is that the final sequences came back into Avid with all the Sapphire plug-ins, nested shots etc perfectly in place. The edit was identical to the offline but the pictures being referenced were beautifully graded. Joy!”

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

 

What’s new in Media Composer 7?

What’s new in Media Composer 7?
Not content with saving us money by dropping the price, saving us time by upping the number of mind-numbing tasks that can be done in the background, improving our MAM and making it easier for us to work in hi-res, Avid have also tightened up Media Composer’s integration with Symphony, Interplay and Pro Tools. Here’s our round up of the key changes…

Automating the process of media management with Dynamic Media Folders
This new feature allows you to designate any folder on your machine as a Dynamic Media Folder and tell Media Composer to automatically copy, transcode or consolidate any files you drop into it. This accelerates and simplifies AMA tasks, as you can assign a profile to each folder to determine the format, resolution and destination of any files it works on. For example, you could drop 4K rushes into a folder, create HD DNx36 offline, transfer it to ISIS and start working with it immediately while the transcode happens in the background – you’ll receive a notification right on your timeline when the folder has finished its work. You can also automatically copy and relink to new media locations and check in to Interplay 3.0 without having to consolidate or transcode clips.

New codecs and improved AMA support
Avid’s quest to get you working with every format in Christendom continues in Media Composer 7, with AS-11 standard support and XAVC 2k/4k support both being added. The AMA workflow has been streamlined, too – linking media can now be taken care of in a single window, and you can drag and drop the clips you want to link to rather than generating new media. All your AMA media will now appear in the Media Tool panel so you can keep track of it, and you can relink, transcode or consolidate audio and video tracks separately. Any files with Alpha channels will retain them if they’re linked to (they appear as matte keys on your timeline).

Supporting AMWA standards for file-based delivery
Media Composer 7 sees Avid adding new tools to support project segmentation. They support the AS-11 delivery standard, and you can access your AS-11 file directly so that you can edit them without importing. Your segmentation will be displayed in the timeline, your metadata will show up in the right bin columns, and you’ll be able to export your AS-11 files in a single multi-essence OP1-A MXF file. There’s also AS-02 support for anyone looking to manage multi-version master files as a single bundle. You can create and manage the file essences of J2K, DNxHD, 1:1, AVC-I and IMX files, too.

Colour Space Conversion
1D and 3D LUT and CDL support is now built in throughout your Media Composer workflow, allowing you to manage, preserve, create and output colour metadata, convert colour spaces in real time, bulk modify clips, apply custom LUTs from other apps such as DaVinci Resolve and auto-convert clips to their proper colour space using their metadata. Your clips’ colour info will now appear right in the media bin, and taking a hint from the increasing popularity of node-based editing in other post apps, Avid are now letting you change the order in which multiple colour transforms are added to a clip.

Free edit stations from rendering with Avid’s new background transcode engine
As we mentioned earlier, you can now transcode, consolidate and copy clips in the background. Avid’s background transcode engine leverages not only your computer’s CPU but the power of any platforms you’re connected to (an Interplay Sphere environment for example) in order to process transcoding jobs with the least possible impact on your system performance. You can manage jobs simply using the new Process List, which allows you to cancel, pause and prioritise tasks, as well as monitor their progress.

Converting high res to HD with Frame Flex 
Frame Flex is a cunning new feature that enables easy pan and scanning of high res images so that you can cut an HD frame out of a 2K or 4K shot in order to deliver that media straight to HD. All you do is use a simple framing selection tool to choose the area of the clip you want to keep (you can check what it will look like in a source monitor UI). You shot is then cut down to size, and you can keyframe it, animate it using pans and zooms, use the same settings to bulk modify clips and then output them via Avid I/O or an Open I/O supported third party solution.

Improving your audio workflow
Last but not least, Avid have also given Media Composer’s audio workflow a boost. As the improved integration with Pro Tools and its new video engine suggests, the emphasis is on making audio for post workflows as seamless as possible and saving you valuable time. You can now cache audio waveforms and instantly redraw them on the timeline or at the source. The waveforms are stored at project data level and associated with a user, not a project, so you can have your own cache rather than working from a centrally stored one. You can also make gain adjustments on the timeline simply by clicking and dragging a clip’s gain, and there’s even an audio mixer UI that you can call up right on the timeline.

Symphony and Interplay
Media Composer will run on Mac OS X 10.7 and 10.8,  Windows 7  and Windows 8. If you have ongoing projects, don’t worry – you’ll now be able to roll back to the previous version of your software if you need to. If you opt for Media Composer 7 with Symphony option, you’ll get a 30 day free Symphony trial in-app, complete with Boris Continuum Complete, and if you decide to upgrade, all you need to do is enter the upgrade key Avid provide. Once you have your Symphony licence, you’re free to move it between systems, so your artists aren’t tied to one machine.

One thing you need to bear in mind is that Media Composer 7 comes in two versions – a standard version and an Interplay version. As the name suggests the Interplay edition is the only one that’s capable of integrating into a full Interplay environment, and as a result costs £380 extra (unless you’re an academic  – the standard price education version of MC7 is Interplay-capable. You also get some exclusive networked licensing options). However, you can upgrade from the standard to the Interplay edition for just £359 ex VAT, so if you’re thinking of moving to Interplay or are not sure how many of your users will require access to it, we’d recommend starting out with basic licences and then upgrading as many as you need when you’re ready to head over to Interplay.

You can buy Avid Media Composer 7 now on our site. If you’d like to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

CINEWARE, CINEMA 4D Lite and CINEMA 4D: What After Effects users need to know

CINEWARE, CINEMA 4D Lite and CINEMA 4D: What After Effects users need to know

When it was announced that the Creative Cloud iteration of After Effects would be capable of two-way collaboration with Maxon’s CINEMA 4D range, it fast became our favourite new feature. Now that we’re a little way down the road, the dust has settled, the workflow has been explained and the deals have been announced, we thought it’d be a good idea to take a look at CINEWARE, CINEMA 4D Lite and CINEMA 4D and  work out exactly which option is best for whom, and what it is you’ll get for your money. Here are your key facts…

Maxon CINEWARE

Not actually a standalone application, CINEWARE is the name of the plug-in that’s been added to After Effects to let it communicate with CINEMA 4D. It’s what makes it possible for After Effects users to enjoy that two-way workflow, choose to render CINEMA 4D files in an After Effects-based renderer and see changes to cameras and lighting in both programs, regardless of which they were made in. It arrives as part of your After Effects CC download, and is not available to anyone still using After Effects CS6 or earlier.

Maxon CINEMA 4D Lite

This is the stripped back version of CINEMA 4D that comes as part of your After Effects CC download, and is the program you’ll actually do the C4D work in (although if you have a full version of C4D R14 or above already installed on your computer, After Effects CC can also harness that to deliver the same two-way workflow to a full version of C4D).

You can create basic 3D objects and animations in CINEMA 4D Lite, then export them to an After Effects layer as footage for further editing. Both programs can render C4D files, but if you choose to render directly in CINEMA 4D Lite you’ll be limited to low-res renders of 800×600 or less – this cap is removed if you render the footage within After Effects. However, being a Lite version, this doesn’t support advanced features like ambient occlusion, global illumination or polygon modelling.

That said, it gives you far more 3D capabilities than simply doing everything in After Effects would, and Maxon have worked hard to improve camera inoperability between the two programs, so it’s now far easier to make edits in either and have them instantly recognised by both.

If you’re working on motion graphics or only need very simple 3D assets, we reckon you can get away with sticking with CINEMA 4D Lite. If, however, you’re going to need to produce larger or more complex 3D elements or need to animate characters, we’d recommend levelling up to the full version of CINEMA 4D.

CINEMA 4D Broadcast and CINEMA 4D Studio

Let’s get the most pressing news out of the way first: if you’re using After Effects CC, you’re eligible for a 40% discount when you buy CINEMA 4D Broadcast or Studio with a Maxon Service Agreement. This is a pretty amazing deal, and if you think you’ll need a full version, it’s best to get clicking before Maxon come to their senses.

So what are Broadcast and Studio? Well, Maxon split CINEMA 4D into different versions based on what kind of 3D work you do. Studio is the full package, combining the features found in graphic-design orientated Prime and the more CAD-focused Visualize with advanced character creation and mapping tools, all the advanced rendering features that you won’t find in the Lite version, a physics engine and an unlimited client network for the fastest possible rendering. If you’re animating detailed (read: hairy and furry) characters, need to plan complex collisions or will be working with scenes that contain hundreds or thousands of objects, Studio is the CINEMA 4D package that will help you power through projects, all without losing that live link to After Effects.

CINEMA 4D Broadcast is a little more pared down, containing all the tools you’ll need for creating high-end 3D motion graphics and virtual environments rather than characters. It’s got all the rendering options that are missing from CINEMA 4D Lite, plus extra libraries of lighting and camera rigs so it’s easier to create 3D elements that’ll slot straight into any footage you’ve shot, not to mention CINEMA 4D’s infamously comprehensive cloning toolset.

A note on hardware…

If you are planning on using this discount as an excuse to move to CINEMA 4D Studio and take on more 3D-heavy projects, be aware that CGI rendering will take even longer than your usual After Effects jobs. To minimise the time difference, you’ll want to grab yourself a powerful GPU, and make sure your machine has as many core as you can cram into it. We’d recommend opting for a top spec iMac (you can repurpose this as a display and render node once the new Mac Pro hits) a Mac Pro or one of HP’s Z-series workstations.

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

Get free accessories with Sony’s PMW-150 and PMW-200!

Get free accessories with Sony’s PMW-150 and PMW-200!

Sony are bringing back their awesome Unlimited Flexibility deal, giving you the chance to pick up free accessories when you buy a PMW-150 or PMW-200 between July 1st and 30th September, 2013. 

Designed to show that the PMW range is what you make of it, Unlimited Flexibility gives you up to £347 off any accessories you buy at the same time as a PMW-150, or up to £433 off any accessories you buy with a PMW-200. The offer is open to any dealer’s accessories, not just Sony’s, so there’s no limit on what you can spend your free money on.

Popular choices include splurging on matte boxes and follow focus, pairing your new camera with a rig, or getting yourself a hefty discount on your external recorder of choice.


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

Sony release critical firmware update for F5 and F55

Sony release critical firmware update for F5 and F55

Sony have rushed out a v1.15 firmware update to combat a bug with the F5 and F55’s fan. The bug, which causes the fan or your AXS-R5 recorder to reset to its default ‘auto’ setting whenever you reset your camera, should be fixed once you download v1.15 for your camera, as this controls the fan on your recorder. 

Sony PMW-F5

Download firmware v1.15 for Sony’s F55 here

Download firmware v1.15 for Sony’s F5 here.

As always, we recommend that you have a read of the educational release notes.

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

Pro Tools 11 is here!

Pro Tools 11 is here!

It’s official: Pro Tools 11 is here.

In case you’ve missed Avid’s email or our overexcited ramblings so far, the key features can be seen in action over on Avid’s newly-updated site, and include Avid Audio Engine, with its low latency input buffer; faster than realtime offline bounce; expanded metering options, so you can be sure you’re meeting loudness limits (or requirements) and a HD video engine that makes it far easier to work on sound for picture.

We’ve been talking about these new features since NAB, and already have a handy guide to making sure that your hardware’s all 64-bit, as Pro Tools 11 won’t run on anything less. We’ve even got a handle on what the new Mac Pro means for Pro Tools users. And, most importantly of all, you can buy Pro Tools 11 from our site.

If you have any questions, teething troubles or last minute hardware requirements, get in touch with our audio team on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow us on Twitter or ‘Like’ us on Facebook.  

After Effects CC users can save 40% on Maxon CINEMA 4D!

After Effects CC users can save 40% on Maxon CINEMA 4D!

When After Effects CC came out, one of our favourite new features was the inclusion of CINEMA 4D Lite, a stripped down version of Maxon’s CINEMA 4D 3D software that allowed you to create more complex motion graphics.

If using the Lite version has whetted your appetite for 3D work, you’ll be pleased to hear that anyone with a copy of CINEMA 4D Lite can now get 40% off the cost of an upgrade to CINEMA 4D Broadcast or CINEMA 4D Studio if you buy before August 30th and add in an MSA agreement. Huzzah!

Studio or Broadcast? 

Maxon have split CINEMA 4D into five different versions, each designed for a different type of graphics work. If you’re looking to add 3D elements to broadcast graphics, Broadcast is for you – it uses a lot of the same tools as traditional 2D graphics packages, but adds 3D tools and additional rendering options. The Studio version is a bit more involved, bringing in character tools, a physics engine, hair and more, so you can create character rigs and animations easily.

Take a look at CINEMA 4D Studio and CINEMA 4D Broadcast on our site.

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

Sony’s new RAW Viewer 1.1 adds waveforms, histograms and LUTs

Sony’s new RAW Viewer 1.1 adds waveforms, histograms and LUTs

Hot on the heels of a firmware update to their F-series cameras and 4K R5 recorder, Sony have announced an update to Raw Viewer, the app that lets you view and perform basic grades on RAW footage from the F65, F55, F5 or NEX-FS700.

Although it’s labelled as release v1.1, Sony have been quick to insist that this is a major update, and the official spec list looks pretty impressive. Highlights include:

– RAW 4K and 2K support for the NEX-FS700

– Look profile LUTs for 709 grading

– Colour wheels for ASC-CDL

– Tone Curve editor

– The ability to save colour parameters (Gamma, Monitor LUT for F65, 3D-LUT for Post Pro Tools, ASC-CDL)

– 3D LUT import

– 3D-LUT export to Blackmagic Design HDLink

– Waveform/Line Waveform/Histogram window support

– ACES workflow improvement (AcesProxy v1.0/RRT,ODT WGR5.0)

– Exporting to SR File 220Mbps 4:2:2 (SStP)

– Exporting in Letter Box (HD resolution)

– RAW Exporter (Command line tool of RAW Viewer’s export feature)

You can New features in Sony Raw Viewer 1.1 , or download the firmware update yourself here.

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