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 For all the latest news, follow us on Twitter or ‘Like’ us on Facebook.  

What does the new Mac Pro mean for you?

What does the new Mac Pro mean for you?

If you’re not sure whether to stick with your existing machine, move down to a top-spec iMac or start saving for when the first crop of new Mac Pros reach our shores, this is the article for you. Read on to find out what you need to change, what can stay the same and whether it’s time for you to make the move to PC.

A look under the hood

Let’s start with some key specs. The new Mac Pro’s CPU is a single socket Intel Xeon E5 chip that’s capable of supporting up to 12 cores. It’s got four DDR3 memory slots and the Flash storage has a top read speed of 1.25GBps, meaning it’s similar to Steve Wozniack’s latest, the iOFX.

GPU-wise, you get dual AMD FirePro cards that can deliver up to 7 TFLOPS of power, and which will be able to drive three 4K screens (we’re hoping the 4K wallpapers that came with the OS X Mavericks beta meant that Apple are planning to release a 4K Cinema Display soon). The massive six Thunderbolt 2 ports mean you can daisy chain up to 36 devices to your Mac Pro, and that’s before you even go near the four USB 3 ports, two Gigabit Ethernet ports, HDMI and Line out connections.

That circular core not only means that the Mac Pro will look great on your desk, but allows Apple to use the same cooling system they’ve been developing in MacBook Pros, resulting in effective cooling that’s also near-silent.

The big questions: Thunderbolt 2 and NVIDIA GPUs

There are two questions we’re hearing a lot lately: will Thunderbolt 1 machines be able to upgrade to Thunderbolt 2, and can I get my Mac Pro with NVIDIA GPUs? The answer to the first is probably a no – Thunderbolt 2 is based on a different chip set and combines signals differently to Thunderbolt 1, to the extent that we don’t think old machines will be forwards-compatible. However, the fact that you’re getting 20Gbps of throughput on each channel means that Thunderbolt 2 is a must-have investment for anyone looking to work in 4K, and in a way solves the grachics debate as it’s fast enough for you to work of GPUs stored in an external chassis.

The dual GPUs in the new Mac Pro are going to give fantastic OpenCL performance, but being FirePro cards they’re not going to deliver the CUDA processing that so many professional post apps have come to rely on (Smoke, Resolve and After Effects, we’re looking at you). Now, ATI have been creeping up on NVIDIA recently, and this has led to a lot of vendors increasing their OpenCL support. Blackmagic Design’s Grant Petty has been pretty vocal about his support for this new model and the way it’ll work with Resolve v10, and Adobe’s Premiere Pro CC is also better with AMD cards than any of the previous versions. If you’re ray-tracing in After Effects and will really miss the CUDA support that speeds that up, you could try keeping your GPUs in an external chassis and working off them over Thunderbolt 2 – we’ve not qualified this workaround, but we’re keen to get testing and will let you know more as soon as we do.

Your Mac options: iMac 

If your current Mac Pro just isn’t cutting it but you can’t wait until October to upgrade, one option is to go for an interim iMac. The 1TB and 3TB Fusion drives offer a good mix of capacity and speed, you can upgrade the RAM to a more-than-repectable 32GB and if you choose the top spec 3.4GHz i7 option, you’ll have a perfectly usable workstation solution that has beaten 2010-era Mac Pros in a series of benchmarking tests over at

If this sounds like an expensive interim plan, it’s worth bearing in mind that once your Mac Pros come in, any iMacs can serve a dual purpose as extra nodes on your rendering farm (or even just picking up rendering tasks while your artist work on their Mac Pro) and a second display for your new workstations.

Your Mac options: Upgrading your current Mac Pro

If you don’t want to abandon your existing machine, there are a few things you can do to help it stay current. The first thing we’d recommend is adding more RAM, as this will give you an immediate and relatively affordable boost in performance. And while there’s no way to add Thunderbolt capabilities to your current Mac Pro, you can add USB 3.0 via a PCIe card, which should give you a significant increase transfer speeds over FireWire or USB 2.0.

After that, add an SSD. The SATA ports in a Mac Pro will top out at about 350MBps because they use SATA II, but some of the faster SATA III SSDs we’ve tested will get you up to about 550MBps, and a PCIe-based Flash memory unit can reach speeds double that. OWC’s Mercury Accelsior, which clocked raw read/write speeds of 693 and 567MBps in our recent benchmarking tests, is our current favourite.  As you can see from the graphic above, the Mercury reaches top speed quickly, breaking the 500MBps mark with relatively small files, which means it’s perfect for working with video.

If money’s no object, there’s always the Fusion iOFX (made by ex-Apple stalwart Steve Wozniack, no less), which is the fastest Flash memory we’ve ever tested and which can up your GPU usage from around 30% to 90%.

The third thing to try is replacing your existing GPU with a more powerful one. If you’re working to a budget, we’d recommend NVIDIA’s GTX 680 for Mac, a recently released card that’s technically for gamers but actually delivers fantastic value. Another excellent option is the NVIDIA Titan which, although slightly pricier, offers greater durability and is a better choice if your machine will be in constant, heavy use and you don’t want to risk your GPU melting. However, to run it you will need to be on OS X 10.8.4 or later.

If you’re working with H.264, don’t forget to try adding a CompressHD card. These cards have their own dedicated CPU that is used solely to compress your footage to H.264 faster than realtime without taxing your computer’s own CPU – we’ve seen it cut export times from nine hours to forty five minutes, so it’s definitely worth a look if this is a format you handle regularly.

Moving to PC

If you don’t want to stay with Apple, your options are basically Windows and Linux, both of which are supported by the likes of Avid and Autodesk, and the Linux versions are often more powerful and scalable. Current HP and Dell machines also have the advantage of letting you pack in more cores (up to 16, with 24 promised in the upcoming Haswell-based Xeons, compared to the Mac Pro’s 12). The current industry standard is HP’s 16-core Z820, which packs up to 512GB of RAM and has been qualified for more or less every high-end piece of PC-friendly software out there. You can also scale back slightly to a lower-spec Z820, Z620 or Z420 while still maintaining decent performance as long as you have a powerful enough GPU, or try the Avid-qualified Dell T7600 for your Media Composing and Pro Tooling needs. If you’re a hardcore NVIDIA supporter (or just want the fastest graphics performance possible), take a look at Dell’s Maximus 2 equipped machines, which split graphics tasks between a Quadro and Tesla card to improve the efficiency of each.

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

Sony announce new 50Mbps PMW-300 arriving in October

Sony announce new 50Mbps PMW-300 arriving in October

Sony are adding two new versions of the PMW-300 to the XDCAM lineup – one with a 14x zoom  13.4 – 439mm lens (with us in October) and one with a 16x zoom 31.5 – 503mm lens (due to hit some time this year). Both are equipped with 1/2″ Exmor Full HD 3CMOS sensors, and aimed at ENG and events crews who are after a flexible new semi-shoulder-mount model that meets the common broadcast standard of shooting 50Mbps HD420. You can also use 1/2″and 2/3″ bayonet mounts to replace the included lens with proper ENG glass, if you’re looking to make this part of a pro broadcast setup. 

Representing the next step up from the recently discontinued EX3, the PMS-300K1 and PMW-300K2 sit just above the PMW-200 in the XDCAM lineup, and are XAVC-ready, though you’ll have to wait for a 2014 firmware update to use that capability. They record SD and HD 4:2:2/4:2:0 switchable to two SxS cards, and boast HD/SD-SDI, HDMI, Genlock, Timecode, and Remote 700 support. Both cameras have four channels available for audio – two for the internal microphone and two for external inputs.

The trio of 3CMOS 12″ sensors makes the PMW-300 ideal for shooting in low light environments, and Sony claim it also offers more colour information than other 1/3 type camcorders on the market. They’ve included their 3DNR noise reduction technology on both models, which reduces noise between frames and therefore gives you a better overall signal to noise ratio, and you can check these pristine images in the on-camera 3.5″ HD-resolution screen (actual pixel count: 960×540).

Cacheing, continuous recording and other helpful features…

The PMW-300K1 and PMW-300K2 both offer a massive 15 second picture cache, which allows you to store footage on the camera’s internal memory before the record button is pressed, and avoid missing crucial shots. While you’re using the camera in UDF mode, you can also activate continuous recording in order to record multiple clips as a single clip. And if you don’t feel like getting your hands dirty, you can control the iris, gain and shutter automatically rather than manually. S&Q motion is available, as are frame recording and interval recording

Not content with, y’know, launching two cameras, Sony have also announced that there’s a compatible wireless adaptor on the way that’ll enable proxy recording, media transfers, remote WiFi viewing and metadata input on the PMW-300K1 and PMW-300K2. The CBK-WA01 WiFi Remote Control is already supported, though.

Recording formats

Both versions of the PMW-300 have a myriad of recording formats available, which Sony have summarised for us in this handy table:



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


ATTO reveal how they’ll support Apple’s latest

ATTO reveal how they’ll support Apple’s latest

Worried about how your ATTO gear will work with the Apple kit you’ve been lusting after since WWDC? Have no fear. ATTO have kindly rushed out a press release explaining how they’re going to support the latest releases. Have a read…

Amherst, NY (June 12, 2013) – ATTO Technology, Inc., a global leader of storage and network connectivity and infrastructure solutions for data-intensive computing environments for 25 years, today confirmed continued commitment to the newly announced line of product updates and innovations from Apple. With the powerful OS X Mavericks operating system, the radically redesigned Mac Pro and the efficiently updated MacBook Air, ATTO continues to support the new offerings from this industry leading manufacturer. “Our long standing relationship with Apple over the last 25 years continues to drive our position as a leading force within the Apple community,” said Timothy J. Klein, president and CEO at ATTO Technology.

The new OS X Mavericks operating system sets a new standard for Apple OS performance and complements why users select ATTO products. As Apple pushes the boundaries of OS X functionality, ATTO continues to provide industry leading products that optimize compatibility and performance.

Apple’s highly anticipated fall release of the Mac Pro, along with OS X Mavericks, has sparked the imagination of the high-end creative professional. ATTO is the recognized leader in powering high-performance audio and video workflows including 2K, 4K, 3D stereoscopic and high-definition production. With an unprecedented six Thunderbolt 2 ports, connectivity to the Mac Pro for high-performance network and storage infrastructures is enabled via the ATTO Desklink family of products.

As a pioneer in Thunderbolt enabled solutions, ATTO has worked closely with Apple to provide connectivity to high-performance Fibre Channel and SAS/SATA storage, as well as 10Gb/s Ethernet networks in their ThunderLink Desklink line, supporting Apple’s full range of platforms. Additionally, the ThunderStream Desklink line further enhances this connectivity and consists of embedded or desktop SAS/SATA RAID storage controllers that are designed to optimise unified storage typically found in a variety of high-performance markets. Also supported by the Deskink line is the newly announced and currently shipping MacBook Air.

“ATTO is very pleased with the announcements coming out of WWDC 2013,” said Wayne Arvidson, Vice-President of Marketing at ATTO Technology. “Like ATTO, Apple has reaffirmed their commitment to the high-performance professional market and supporting the exciting next generation of Thunderbolt technology,” he added.

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

TriCaster 40 v2 has arrived!

TriCaster 40 v2 has arrived!

NewTek have released a major software update for their entry-level TriCaster 40, giving users access to new features like LiveText and Animation Store Creator. The new features will allow anyone using the TriCaster 40 to create more engaging, professional titles, graphics and transitions. There are also new recording options and resolutions available, as well as better scopes and a smoother workflow. 

NewTek TriCaster 40

According to NewTek, anyone who buys the upgrade can look forward to:

– Creating more engaging content with network-style, highly designed visuals that deliver a polished, post-production look to live productions, in real time.

– Creating and customising transitions and effects, using the now included Animation Store Creator to produce full colour, full motion overlays, audio for both directions and even warped video mapped against any 3D surface for the highest-impact presentations possible.

– Adding a dedicated title station with the included LiveText application for creating unique HD titles and graphics with hundreds of pre-loaded templates, displaying real-time data and using vector-based drawing tools and extensive text options for designing custom graphics.

Enhancing the viewing experience with new video formats, recording options and session resolutions to reach more viewers on the platforms they watch. (Flexible 1080/30p, 1080/24p, 720/30p and 720/24p are all available now, and you can record in QuickTime, AVI, MPEG2 or H264 files with optional MP3 audio.)

- Maximising production efficiency and minimising disruptions with new workflows for capturing to disk and exporting to external applications for the smoothest content creation.

– Improving visual quality and consistency, correcting for variances in the video signal on every input, and tightly calibrating white, black and colour levels for every source to broadcast-acceptable standards with preview scopes.

If you’re thinking of picking up a TriCaster, you might want to take a look at our starter kits, which are available on lease hire with three years’ 0% finance. If you want to know more about your TriCaster options, give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Sony’s F5, F55, R5 and ASX memory card get firmware updates

Sony’s F5, F55, R5 and ASX memory card get firmware updates

Not to be outdone by WWDC, Sony have snuck out a fair few announcements of their own. Admittedly, they’re not quite on the level of a new Mac Pro, but these soon-to-be-available firmware updates are going to be welcome news for anyone shooting with an F5 or F55 (both of which are still available with up to 24 months’ 0% finance, by the way) or who uses an R5 recorder

Here’s the full feature list from Sony:

F55 / 5 v1.14 includes: 

– 2:1 de-anamorphic v/f (not SDI) display

– AXS card 3D naming (left, right and centre)

– APR alert – gives a warning after five days to run APR (black balance). Sony advise you to “please be sure to run it when suggested, we have put a lot of work into this it’s very powerful!”

– Various bug fixess including fan run control

Download v1.14 for the Sony F5 and F55 here

Download 3D LUTs for your F55 and F65 here, and see the F55’s Ultra Colour Gamut in action here 

R5 V1.20n includes:

– Support for interface unit for FS700 (HXR-IFR5)

– Improved memory card support and recovery function

– A number of bug fixes, so please update even if you’re using it with a freshly updated F55

Download firmware v1.20 for the AXS-R5 recorder here

AXSMemory card V1.20 includes: 

– Improved reliability and end of life indication (“Please update all your cards!” Sony remind us)

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

Top production deals: 3 years’ finance on TriCaster lease hires

Top production deals: 3 years’ finance on TriCaster lease hires

We’re long-term fans of NewTek’s TriCaster: it’s a really scalable, versatile mixer with a simple workflow and one of the most powerful chromakey setups available thrown in for free! To celebrate its glory (and to help you get the best setup for your needs) we’ve gotten together with NewTek and JVC to put together some streaming starter kits with different specifications that include TriCaster units, JVC cameras, training and support – everything you need to kick start content creation. And not only that, but we’ve arranged for 3 years finance deal for anyone who wants to lease the kit rather than buy it outright (and who passes a credit check, obviously). Never say we do nothing for you…

First up: what’s in the kit? 

We’ve got four key kits for you to choose from: one with a TriCaster 40 and three JVC GY-HM70 cameras, one with a TriCaster 455 and three JVC GY-HM650 cameras, one with a TriCaster 855 and four JVC GY-HM750 cameras, and a final one with the almighty TriCaster 8000 and four JVC GY-HM790 cameras, in case you’re feeling especially ambitious.

All of these bundles come with free support courtesy of our in-house tech team and half a day’s training from our on-staff NewTek Certified Operator, so there’ll be nothing to stop you hitting the ground running.

Why would I want to lease rather than buy? 

While we reckon TriCaster units are excellent value for money, the fact remains that for a lot of users they represent a serious investment. With video production being quite a changeable industry and new standards and connections cropping up all the time, NewTek’s updates to TriCaster tend to be quite significant, and if you can’t afford to update your hardware regularly, there is the potential for you to get left behind. A lease hire scheme allows you to spread the cost of a unit over a longer period of time, and gives you far more flexibility over which hardware you use. If you need to use a new standard, you simply return your existing unit and hire a newer machine. If you’re working on a project that requires old school equipment, you just hire the previous version of TriCaster. Simple.

There are financial benefits, too – leasing equipment on a month-by-month basis can go down in your books as a (tax deductible) operating expense rather than a (non-deductible) capital expense. Plus, this may well work out cheaper for you in the long run.

Which is right for me?

I work in education, and need to create HD content on a budget. Go for the TriCaster 40 and JVC GY-HM70. The only downside here is that the TriCaster 40 is only component, not SDI, so you won’t get quite as high image quality, and will need to use an extra output to get audio. That said, we reckon that component will be plenty good enough for any education types looking to record and share lessons or lectures, and will look fine if what you really need is HD now, and cheap – it just means you have to plug in a couple of extra cables.

I want to create content for my own digital signage, or I’m in education but I still need SDI. If you want the superior image quality of SDI but don’t want to break the bank, go for the TriCaster 455 and JVC GY-HM650. Allowing you to work with up to four cameras in ready-to-edit formats, the 455 offers increased functionality without complicating the TriCaster workflow. The GY-HM650’s wireless capabilities make it perfect for anyone who needs to stream footage back to a central facility (be that a studio or a classroom) while they’re still in the field.

The 855, on the other hand, is a durable rack mount system that we’d recommend for any sports or ENG team. It provides the highest quality, 32-bit floating point with 4:4:4:4 video processing, while the lightweight GY-HM750 will let you shoot SD or HD footage and comes in a form factor that’s perfect for events work, or anywhere you need to move quickly to cover the latest action.

I’m an OB and live streaming pro, or a house of worship. The TriCaster 8000 is for you. It has the widest variety of connections and inputs, and its built-in social media sharing options mean it’s the easiest way to share your content instantly. You’ll also benefit from having the versatile GY-HM790E, which can shoot SD or Full HD, and is equally at home as a standalone camera if you’re shooting in the field or as part of a studio setup if you have your own facility. (If you’re working on greenscreen, it’s also worth bearing in mind that the TriCaster 8000 gives you the most options possible when it comes to creating virtual backdrops, allowing you to create custom virtual studios to drop in behind your presenter, so you can ensure the entire production is on brand.

Want to know more about your TriCaster options? Give our team a call on 03332 409 306 or email For all the latest updates, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Building your 4K workflow: UltraStudio, DeckLink and the PVM-X300

Building your 4K workflow: UltraStudio, DeckLink and the PVM-X300

If you think it’s time to get cracking with 4K but aren’t sure where to start, the good news is that there are plenty of increasingly affordable options out there for you. One of the leading 4K pushers is Blackmagic Design, whose popular UltraStudio and DeckLink lines are now both 4K capable. And if anyone’s been hanging round the blog long enough to remember the time we stitched four monitors together to get a 4K image, you’ll be pleased to hear Sony have a far simpler solution to hand now…

For capture and playback: Blackmagic Design Decklink 4k

Blackmagic Design’s popular Decklink range of capture cards allow you to get your hands on SD, HD, 2K and 4K footage faster, with throughput rates of up to 40 Gbps. The key thing about Decklink 4k cards is their flexibility: you can plug them into Mac, PC or Linux workstations, and choose to work to a range of film and television standards to ensure that whatever assets you create are in the correct format for your client from the get go. And, despite coming in at a very reasonable £625 ex VAT, these cards offer fantastic image quality. You can work in 10-bit SD, 10 or 12-bit HD, and for 2k and 4k in YUV 4:2:2 and RGB 4:4:4. Each pixel is copied like for like with no generational loss or damaging compression.

Another boon for anyone working in 4K is the inclusion of the new 6G-SDI and HDMI 4K connections on the Decklink 4K Extreme. This takes the old quad link HD-SDI connections and multiplexes them in order to reduce your cable count, giving you the ability to get four times the resolution of standard HD using only two BNC SDI cables. All of which means that working on 4K projects in programmes like Nuke and Resolve is now far more affordable, and will require far fewer changes to your infrastructure due to the lower cable and router point count.

For connecting to decks, cameras and monitors: Blackmagic Design UltraStudio 4K

UltraStudio 4K is Blackmagic Design’s leading breakout box for 4K workflows. Thunderbolt-equipped for faster throughput and featuring virtually every type of video and audio connection you’re likely to encounter, this unit is perfect for a rack or your desktop. Like the Decklink range, it supports  6G-SDI video technology for a more streamlined 4K workflow, and well as including HDMI 4K, analogue component video, 16 channels of SDI audio, two channels of balanced analogue, two channels of unbalanced AES/EBU audio, timecode, up/down/cross conversion, reference and serial deck control.

The latest Thunderbolt cables mean that your UltraStudio 4K can now be up to 30 metres away from your main computer, and the internal power supply means there’s no need to clutter your desktop with (or fork out for) an external plug pack. Win.

For monitoring: Sony PVM-X300

This 30″ LCD monitor is currently available with 24 months’ 0% finance, but that’s not the only reason why we’re keen on it. The IPS LCD screen ensures a wide viewing angle, while the inclusion of the same Trimaster technology that powers Sony’s OLED monitors means you can be sure of high colour quality and accuracy. The PVM-X300’s four 3G-SDI and HDMI 1.4a connections are designed to work natively with the F55, allowing you to connect the camera via a single HDMI cable to view 4K, which is great for on-set monitoring.

Sony have a direct SxS 4K player in the works that will allow you to play back XAVC 4K material directly from an SXS Pro + card, and control it from the PVM-X300’s control panel. Full details of this are still to be announced, but it’s an option that will be available after launch of the monitor this summer.

Want to know more about what’s in store for your 4K workflow? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook