How do I back up my Mac to Time Machine?

Whatever’s wrong with your computer, you’re going to feel far better about it (and probably come out the other side with far less work to reproduce) if you’ve backed up your files beforehand. Mac OS X makes this process less of a hassle by including Time Machine, so you can simply assign a backup drive (or partition) and back up as often as on the hour every hour, automatically. Here’s what you do:

1. Get your hands on a large, reliable external drive (there are some here. If your Mac has a second internal drive you can use this for backup instead – any drive other than the one you want to back up will do.)

2. Make sure it’s empty, as Time Machine will ask you to erase any files already on there before using the drive for backup.

3. Wait until dark – the first backup takes a while, especially if there’s a lot on your Mac, so it’s best done overnight.

4. Connect the drive to your Mac. If it’s the first time you’ve connected the drive to your computer, you’ll see a pop up asking you if you want Time Machine to use it as a backup drive. Click ‘Use as Backup Disk’.

5. If you’ve connected the drive before, click the Time Machine icon in your dock.

6. Set the slider in the Time Machine Window to ‘on’ and click ‘Select Backup Disk’

7. Select your drive from the drop down list and click ‘Use for Backup’.

8. The Time Machine Preferences window will open. Lion OS X users can click ‘Encrypt Backup Disk’ to encrypt the drive using FileVault2.

9. Click ‘Back up Now’.

10. Kick back and watch the progress bar. Your first backup will take a while as all the information you’re backing up has to be copied. Subsequent backups will only record changes since the previous backup, and so will be much faster. Time Machine stores hourly backups for the last day, daily backups for the last month and weekly backups for as long as it has space on your drive.

How do I reset an administrator password in OS X?

Keychain Access is the application OS X uses to store all your passwords, both for your Mac itself and any third party applications or sites that you ask it to remember your details for. However, if you’ve forgotten your administrator password, it can be reset.

If you’re running OS X 10.7 Lion or later:

1.   You won’t be able to see the passwords saved in your keychain after your admin password has been reset, so if you can remember any, make a note of them now!

2.   Restart your Mac while holding down Command and R, so you boot to the Recovery partition.

3.   In the window that comes up, open Terminal Utility and type resetpassword (all one word, no quotation marks).

4.   Reset Password Utility will open. Select your hard drive from the list that appears.

5.   Select your account. Input your new admin password. Click save. You now have a new admin password and have created a new login keychain. Restart your computer again. You’re done!

If you’re running OS X 10.6 Snow Leopard or earlier:

1.   You won’t be able to see the passwords saved in your keychain after your admin password has been reset, so if you can remember any, make a note of them now!

2.   Stick your OS X installation disc into your computer and start it up while holding down the C key.

3.   Select your language preferences when prompted.

4.   Once you get to your desktop, select Go in the top menu, then Utilities, then Password Reset.

5.   Select the drive and user that you need to create a new password for, then enter a new password when prompted.

6.   Reboot your computer and log in using your new password.

TheNewF revealed: Sony’s F55, F5 and accessories

TheNewF revealed: Sony’s F55, F5 and accessories

After months of carefully orchestrated suspense, Sony have finally revealed #TheNewF. The announcement sees two new cameras join the line-up: the PMW-F55 and PMW-F5. These cameras bridge the gap between the PMW-F3 and the F65, while Sony are also bringing several new feature updates to the existing range to extend the capabilities of the F65 and FS700.

The key driver behind the new releases and announcements is 4K. Sony have been talking about working beyond HD, but the reality so far has been that their 4K offerings have been well beyond the reach of many, or simply “4K capable” without any real functionality. While it’s exciting to talk about and look at the new toys, it’s also important to understand some of the technical innovations that have seen Sony draw on their established codec and sensor heritage to deliver what looks to be their strongest camera lineup for many years.

The innovations for the new cameras are from the ground up in terms of form, function and codec. The PMW-F55 and PMW-F5 cameras have the same modular design and the same sensor specs, but there are key differences in what the cameras offer in their feature set.

The design


Sony F series camcorders modular design

Sony have clearly looked at the market and listened to people about what they want (and, in all honesty, what other cameras are offering). The new F-series cameras offer a fantastic modular design with the functionality and scalability of the camera built-in –  not just in the physical camera body itself, but also the recording media and codec.

Both cameras use the same chassis, and both have an F-series lens mount that’ll let you use the Prime and zoom lenses that came to market with the PMW-F3. As with the F3, the camera will come with a FZ to PL mount adaptor designed to work with Arri or Cooke Primes. From a distance, without seeing the model number or accessing the features, the only way to tell these cameras apart is from the lens mount collar – the F55 has a siiver collar and the F5 has a black collar.

Key differences: The F55 and the F5

For the PMW-F55 and PMW-F5, Sony have developed a new Super 35mm 4K sensor with a resolution of 4096×2160. While both cameras have this sensor, there are a few key differences in how they utilise it.


Sony PMW-F55


The F55 sits under the F65 in Sony’s lineup, and sports the highly regarded CineAlta badge. It borrows a lot of technological innovations from Sony’s flagship Cinema camera, it has a Super 35 4K CMOS sensor and, most importantly, a new global shutter technology that means vastly decreased artifacting and addresses the CMOS rolling shutter issue. It’s also got the same wide colour gamut as the F65.

The Key difference is that the PMW-F55 offers internal 4K recording to SxS Pro + cards at up to 60fps and 2K/HD at up 180fps in Sony’s new XAVC 422 10-bit 80Mbps codec. The camera also offers a 4K output via 4 x 3G-SDI at 60fps, or HDMI 1.4a at 30fps.

The F55 also has the ability to simultaneously record XAVC 4K files and HD MPEG files to the same SxS Pro + card. As well as enabling you to have an instant back-up copy, it means you can use the MPEG version of your footage as a hi-res proxy for on-set work, then send the XAVC version off to post facilities to be cut and finished – all without an external recorder.


Sony PMW-F5

As mentioned, the design of the cameras is identical, but the F5 in its base form is mostly limited to HD and (although there is a token offering of 2K with the new XAVC codec). This isn’t a negative point on the camera at all, as for the first time you’ll be able to deliver a number of Sony’s established HD formats from one camera. This includes broadcast friendly 50Mps XDCAM 422, HDCam SR 422 / 444 (at up to 30fps) and also high frame rates of up to 120fps in HD/2K using the XAVC 422 codec.


As part of the modular design of the new camera body, Sony have also announced a dockable 4K RAW recorder, the AXS-R5. Seamlessly fitting onto the back of the camera thanks to a proprietary locking mechanism, the unit uses a new card media called AXS, which is designed to be a low cost way to record RAW.

ASX-R5 and memory

The new F-series cameras record the same RAW output as the Sony F65, which has a data rate of 1.2Gbps or roughly 5Mb a frame, and the new AXS has been announced at a capacity of 512GB, which roughly translates to one hour of footage at 30fps. To accompany the card, Sony have also announced a standalone USB 3.0 card reader, the AXS-CR1, allowing card contents to quickly be copied / backed up and sent back to the camera for further recording.

Both the PMW-F55 and PMW-F5 can output 4k RAW to the R5 at high frame rates, but only the F55 can output 2K RAW at up to 240fps – the F5 can only achieve 120fps at 2K RAW.


In keeping with their new, modular philosophy, Sony are offering a choice of three viewfinders. One of the most exciting announcements in this round of releases is the DVF-EL100, first professional OLED viewfinder. A  0.7″, 1280×720 unit, this should be a key part of any f55 kit. (There is also a more cost-effective 3.5″ flip up LCD viewfinder, the DVF-L350, that delivers a 960×640 image). For a more studio style setup, Sony have announced the DVF-L700, which is a 7″ 1920×1080 LCD colour monitor that mounts directly on to the camera body. These new viewfinders work with the F5, F55 and F65.


Sony BP-FL75 battery

The final element of the modular design is a new version of Sony’s BP batteries. Not only  do they perfectly compliment the form factor of the camera, they also provide a higher capacity and charge faster than existing sony BPGL V-Lock batteries, but the new cameras’ V-Lock mounts mean they will accept older batteries (though they won’t look as nice!).

The NEX-FS700 and the F65

Sony’s “4K ready” FS700 is about to become 4K capable, thanks to support for Sony’s new 4K recorder, the AXS-R5. We’re yet to see it physically mounted on the camera, but it will use a new V-mount plate that attaches to the R5 to allow it to receive power and inputs from the FS700. The F65 itself is getting a firmware upgrade that’ll allow you to take advantage of its massive sensor to capture and de-mosaic 6K and 8K footage. Now a real killer feature of this is that footage which has already been shot in 4K RAW can be unlocked to the full 8K resolution, which is great news for anyone with an who’s already an F65 user.

4K monitoring

Sony have also announced a 4K monitor, the 30″ PVM-X300. Although it’s not the OLED we’d all hoped for, it’s going to provide a cost-effective way to view 4K material at 4096×2160 resolution. The IPS LCD will provide a wide viewing angle, while incorporating Sony’s Trimaster technology architecture to achieve fantastic colour and pick quality. An idle companion to the new F-series cameras, it will support 4K at 24p and 3840×2160 at 24, 25 and 30p. It will have 4 x 3G-SDI and a HDMI 1.4a that is designed to work natively with the f55, allowing you to connect the camera via a single HDMI cable to view 4K – perfect for onset work.

Sony are also making a direct SxS 4K player available that will allow you to play back XAVC 4K material directly from the SXS Pro + card, and control it from the monitor’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 in spring 2013.

So what does this mean for your 4K workflow?

Well, you’re about to get far more options. That R5 4K recorder means that you’ll no longer have to shell out for a top of the line camera to get access to full 4K imagery, and the ability to record native 4K footage from a PMW-F5 or PMW-F55 to optimised media alongside an MPEG proxy will be helpful for on-set teams who don’t have the time or the bandwidth to work with 4K and need instant proxies, or anyone who’s going to be shooting 50Mbps for TV one day and working on high-end film production the next.

Sony’s SxS Pro + and AXS cards are going to be able to handle the high bitrates you need for an effective 4K workflow (4k at 60fps 4:2:2 is around 600Mbps), and the new monitor provides a simple way to monitor at full resolution – the information we have so far suggests its basically a plug-and-play accessory.

Want to know more about the PMW-F55 and PMW-F5? Give us a call on 03332 409 306 or email For the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.

Red Giant release “blazingly fast” PluralEyes 3

Red Giant release “blazingly fast” PluralEyes 3

Leading us into the weekend on a high, Red Giant have announced their “blazingly fast” new release, PluralEyes 3 for Mac OS X. Available for £115 ex VAT for new users or as a paid upgrade for PluralEyes 2 or DualEyes users.

The new features

Red Giant have gleefully announced that PluralEyes 3 is possibly the fastest audio/video syncing automation solution of all time, apparently clocking in at speeds 20 times faster than PluralEyes 2. They’ve also added support for new cameras and codecs, including many new DSLRs, and Media Composer compatibility is set to arrive as a free upgrade to PluralEyes 3 soon.

Red Giant have also been hard at work on a new timeline-based interface, which gives you realtime feedback on all your syncs, and a ‘test and tweak’ feature that’s designed to give to you more confidence in your sync, inluding Two Up View and Snap to Sync controls.

Responses so far…

You can get the inside scoop on the update over at RedGiantTV, where Seth Worley has made a short film, Form 17, and accompanying making-of. Director, DP and all-round video guru Philip Bloom has been testing PluralEyes 3 too, and has given it a cracking reference.

“PluralEyes 3 is a massive improvement over the previous versions. A terrific new UI makes syncing sound to video not only a simple task, but it’s also fascinating to watch it at work as it shuffles things around visually.”

Want to know more? Give us a call on 03332 409 306 or email For more information, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.

Avid launch ISIS storage trade-in offer

Avid launch ISIS storage trade-in offer

If you’re still using one of Avid’s old Unity ISIS units or even a LANshare, it’s time to move on. If you need a gentle push to move away from your aging system, Avid are now offering £264 off your ISIS setup for every Unity or LANshare seat you trade in for an up-to-date ISIS one. (This is on top of the standard hardware trade in discount of £3600 you get when you trade in Unity or LANshare hardware for ISIS gear, so that’s £9100 off in total!).

Avid ISIS 5000

What are the rules?

You buy a 16TB or 32TB ISIS 5000 system, with or without expansion engines, before December 14th, 2012. You can then claim £264 back from Avid for up to 25 Unity or LANshare seats, which gives you a maximum saving of £6600 – almost a quarter of the price of a 16TB ISIS setup.

Why would you want to move to ISIS 5000?

Well, it’s a massively scalable shared storage solution, with capacities ranging from 16TB to 192TB and 90 editing seat licences included with your initial purchase, so scaling upward as your business grows won’t be a problem. However, the real benefit is in the speed and flexibility of this system versus its predecessors.

Features like FlexDrive, which allows you to add workspaces and change the amount of space assigned to each on the fly, mean that managing your assets and ensuring priority jobs are always given the resources they need is now far easier. And the ISIS file system has been designed from the ground up to help you deliver realtime QoS to multiple workspaces and support simultaneous access to media, which anyone who’s managing a busy facility will appreciate.

If you’ve got artists using a range of different platforms to edit, you’ll be pleased to hear that ISIS 5000 can integrate with the editing and asset management systems in Adobe Premiere Pro CS5.5 and Apple Final Cut Pro.

Not got anything to trade? You can still save a bundle…

Avid are also offering a discount on anyone who buys a 16TB or 32TB ISIS alongside one of their ‘Get Creative’ bundles. You can choose from either five Mojo DX or five Nitris DS I/O, monitoring and acceleration solutions, and pair them with either five new Media Composer licences or five upgrades from the version you’re currently on to Media Composer 6.5. Avid will then tot it all up and give you £5400 off the lot. Ace.

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’ our Facebook page.

Who wants 25% off Maxon Cinema 4D and BodyPaint 3D?

Who wants 25% off Maxon Cinema 4D and BodyPaint 3D?

Whoever you are, you have until December 21st 2012 to get your order in. Yep, that’s right – pick up a copy of Maxon Cinema 4D or Maxon BodyPaint 3D and a Maxon Service Agreement before we close for Christmas, and you get a quarter off the price. Easy.

What does this apply to?

The offer is valid for any new copies of Cinema 4D or BodyPaint 3D, any upgrade (eg from Cinema 4D R12 to R13) or any ‘sidegrades’ from another 3D application, such as Autodesk 3ds Max or NewTek LightWave 3D. You can also move from Cinema 4D to BodyPaint 3D if you think the other application would suit you better.

What’s this Maxon Service Agreement malarky?

A Maxon Service Agreement (MSA) is basically a subscription fee that entitles you to free software updates for 12 or 24 months depending on which contract you choose. For that time period any updates Maxon release for your software – from bug fixes to point releases to full new versions – are yours for free, and you don’t have to worry about finding the money to pay for upgrades throughout the year.

Any software licences covered by an MSA can also be installed on a second computer, so you can have Maxon on your office desktop and your laptop or home computer at no extra cost.

This offer pleases me and I wish to purchase it

We’ve corralled all the relevant versions of Cinema 4D and BodyPaint 3D into an easily browsable list here. Once you’ve found the one you want, give us a call and we’ll sort you out with an MSA and a massive discount.

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’ our Facebook page.

Bringing video in house: The Jigsaw24 Guide

Bringing video in house: The Jigsaw24 Guide

Adding video content to your offering is a great way to win new business, up end user engagement and create a stronger brand identity for your clients – and thanks to Adobe, helping your existing design team get to grips with a new medium is far easier than you’d think. If you’re currently packing Master Collection (or have just picked a copy of Production Premium CS6), you already have all the tools you need to produce cracking content, all in a single, integrated workflow.

Here’s how we did it…

“When we decided to start producing videos in-house, we looked at all the major NLEs,'” explains Tom Cottle, our resident Multimedia Designer. “I’d used Final Cut before, but when I joined Jigsaw24, the rest of the design team already had Master Collection. When I started exploring the video tools that it included, it became obvious that when we were trying to hit tight deadlines, I’d really appreciate the dynamic link between Photoshop, Premiere Pro and After Effects in Creative Suite, and the fact that it was cross-platform meant it would be easier to move projects between machines.”

As well as editing in Premiere Pro, Tom and the rest of the design team can ingest their footage in Prelude, add titles and graphics in Photoshop or After Effects, grade using SpeedGrade and output footage via Media Encoder or Encore, all without leaving Creative Suite. “It means we can divide up jobs if we’re in a hurry – someone can tweak a frame in Photoshop while I’m cutting another part of the project, and because Adobe software’s so common it’s easy to pick up the basic controls fast, especially now that you can do some video editing in Photoshop,” he says.

And CS6 looks to be the most user-friendly iteration yet. “The new UI has me excited,” says Tom. “I often find myself rearranging my panels in Premiere, and I can see CS6 will help avoid this – it’s been more thoroughly thought out, which’ll really help anyone new to video. I like the new larger thumbnail view mode for clips in the project panel, which makes it easier to find the specific clip you need by hovering the mouse over the thumbnail to scrub
through it quickly. Plus with the new Global Performance Cache, everything’s so much faster, which we always need.”

Handheld footage looking blurry?

Not to worry. Premiere Pro and After Effects CS6 include Warp Stabiliser, a neat little tool that lets you stabilise your shots during editing. If you’re shooting video on an older DSLR, you might find that some shots have a strange ‘jello-like’ blur to them because the rolling shutter can’t handle video. This used to be a big problem, but thankfully Adobe have added Rolling Shutter Repair to Premiere Pro CS6. This lets you lose the blur without auto-stabilising the shot, so you can get that naturalistic, handheld look without looking like your footage has been slimed.

Want to add 3D graphics to your promos?

Easy-peasy. After Effects isn’t a full-on 3D modeller like CINEMA 4D or 3ds Max (though it does have built-in integration with them), but the latest version still makes it simple to add 3D text and graphics to your footage. There’s a new, more powerful 3D tracker that lets you identify spaces in your footage where 3D elements will work, then drop in extruded text or objects you’ve created in After Effects or Photoshop CS6 Extended.

Want to work more naturally with 3D images?

We’re big fans of Wacom’s Cintiq 24HD, a giant monitor-cum-tablet that lets you get close to your work comfortably (you can reposition it like an old school drafting table) and, with customisable controls, can be made to suit any programme or workflow. A lot of design and 3D software is optimised for pen tablets, and the Cintiq combines those pen controls with a huge, hi-res workspace that’s exactly what you need if you’re doing detailed 3D or illustration work. You can even set up different configurations of controls for different apps, and the Cintiq will automatically switch them when you move between programs, so you’ve always got your most-used tools right at your fingertips.

For those who don’t have a spare grand and a half, try the slightly more modest Intuos5, which combines a pen tablet and touchpad so you can work more fluidly than you’d be able to using a keyboard and mouse.

Don’t want to wait for renders?

To make the most of After Effects CS6’s ridiculous speeds, you’ll need a workstation with a powerful GPU. NVIDIA’s CUDA-enabled and widely- qualified Quadro range are a safe bet, with the Quadro 4000 being a staple of our M&E solutions.

For maximum efficiency, you can combine a Quadro with a Tesla card to make what NVIDIA call a ‘Maximus’ configuration – one card handles all the mundane graphics tasks, like refreshing your screen, while the other powers through renders or focuses on playing back video so you never experience
any lag. We can build you a custom setup like this mammoth, Maximus-ready workstation (it’s got a 500GB hard drive, an AJA Kona LHe Plus video card for handling your footage and two terabytes of memory), and will even pre-install and configure all the necessary software and drivers. We like to feel useful.

Want to go further than three-way colour correction?

SpeedGrade CS6 is a great place to start, with a vast library of presets and histogram and waveform displays that’ll be familiar to anyone who’s colour-corrected stills before. Powering the whole shebang is the IRIDAS Lumetri Deep Colour Engine, which allows you to apply all changes with 32-bit floating point accuracy, even if you’re working with mammoth RAW or HDR files (translation: it’s super-accurate, even when faced with multiple layers of effects, and it’s not going to freeze on you every five minutes.

Want your audio to be as polished as your footage?

Adobe’s Audition audio editing software is now packing a host of tools that anyone working on sound would previously have had to purchase a separate, dedicated digital audio workstation for, making it a great contender for producing podcasts and adding quality audio to your videos. You can align and replace your shonky location dialogue with your polished studio recordings, and the Rubbadub feature lets you fix any lip syncing issues in a fraction of the time it’d take to do by eye. You can also stretch your clips nondestructively in realtime, preview changes and settings, and a new varispeed mode adjusts speed and pitch together automatically.

Need to offer clients footage quickly?

Once you’ve got your footage, you’re going to need to distribute it. Encore lets you deliver to Blu-ray so you can hand clients a hard copy, while Media Encoder handles digital delivery. However, you’ll need a bit of help from Matrox, whose MXO2 Max and CompressHD cards let you accelerate transcoding to H.264 (the format you’ll need your footage in if you want to send it straight to the web) by up to five times.

To find out more about adding video to your design and publishing offering with Adobe Creative Suite 6 get in touch. Give us a call on 03332 409 306 or email To keep up with all the latest news, follow @Jigsaw24Video on Twitter or Like’ our Facebook page.

Atomos launch their own digital magazine

It’s been hard to miss Atomos over the past year, what with them holding court at every trade show on the planet, showing off exciting new releases on an impressively speedy schedule.

However, in an attempt to reach the last three people in the industry who haven’t heard of them, Atomos have released their own digital magazine, featuring key specs and case studies on the Ninja, Connect and more, as well as a smattering of industry news for those who like their marketing material topical.

Take a look at the Atomos digital magazine.

Take a look at our full Atomos range here.

Want to know more about how Atomos fits into your workflow? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page

NewTek TriCaster 8000 now shipping!

NewTek TriCaster 8000 now shipping!

NewTek have announced that their TriCaster 8000 has officially shipped and is on its way to our warehouse now. If you’ve pre-ordered already, it’s time to start warming up your control surface and practising your keying technique; if you haven’t ordered yet, you can claim a TriCaster 8000 for yourself here.

TriCaster 8000

NewTek reckon the TriCaster 8000 is prefect for “production and media publishing professionals who deliver live video for large, complex events.” Designed with one eye on the social web, it’s the first TriCaster model to marry the ability to create multicam HD feeds for projection, broadcast and streaming with the facility to post clips on stills on social media sites (Twitter, Facebook, YouTube and Flickr are all supported).

“Without a doubt, this is the ultimate in live production, broadcast or live performance,” says our consultant Anthony Corcoran. “it’s got all the features TriCasters are renowned for, but only the 8000 is scalable, networkable, and is plugged into social media. NewTek have broken the mould, designing a motion tracking system that can key to moving objects, and using tracked hotspots the talent can even operate the Tricaster with a gesture.”

TriCaster 8000 workflow map

The specs

“As the producer’s or operator’s hands-on toolset for executing a live production, TriCaster 8000 is a publishing hub for all media coming into a program, all content and branding that happens on screen, and all destinations to where the program is output, with an operator piloting the entire show from a hardware control surface that comes standard with every system,” TriCaster inform us. some of the tools to keep you going include:

1. A 24-channel switcher

2. 8 fully re-entrant M/E rows

3. 8 channels of ISO recording at full 1080p

4. Recordable macros that can be triggered simultaneously

5. Output to up to 14 displays

6. Virtual sets and upstream graphics support so that you can add branded images and titles to content in realtime

7. Support for third-party routers for greater scalability

Want to know more about TriCaster 8000? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.


Telestream add AJA support to Wirecast 4.2

Telestream add AJA support to Wirecast 4.2

It may have only been announced at IBC 2012, but Telestream are already tinkering with Wirecast 4.2. The free update to their streaming solution (available here) has just added support for AJA’s Thunderbolt-equipped Io XT and AJA Kona LHi capture card on Mac OS X.

“It’s great to see support for additional hardware,” says our consultant James Graham. “Wirecast already supported the Blackmagic Design Intensity Extreme and UltraStudio 3D on OS X, and we’ve been promised support for the Matrox VS4 for Windows users, though admittedly we don’t know how affordable that card will be. We’re very pro hardware choice at Jigsaw24, and we salute Telestream’s apparent mission to buddy up with every manufacturer out there.”

We’re so enthused, in fact, that we’re currently offering up to £280 off various Wirecast hardware combos, so you can save on AJA cards, Intensity Extremes, Io XTs and more.

Other new features include the ability for Windows users to stream straight to Skype or a Google Hangout, custom canvas sizes that allow you to capture a specific screen resolution (apparently great for gamers) and support for the latest version of OS X, Mountain Lion.

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