NAB 2013 news: NewTek update TriCaster 8000 and 3Play

This year, NewTek are all about helping broadcast customers in unusual space. Sure, they’re there to support everyone who’s ploughing through live events with a TriCaster strapped to their back or wrangling clips of last minute goals in 3Play, but they’re also looking to help out creative departments in less usual companies, and people who are creating internet-only broadcasts. Their list of updates to the TriCaster 8000, TriCaster 40 and 3Play should be enough to give users in every sector at least one thing to cheer about, though.

TriCaster 8000

The TriCaster 8000’s update includes support fro SDI routers, a brand new built-in rendering engine (more on this when we get it), the ability to scale 1080p HD down to 16,000 pixels – a 99% downscale, which means you should never need to complain about file sizes again – and the ability to use your frame buffers as animation buffers, rather than your designated DDRs. Be canny about how you use your frame buffers, and this could be the equivalent of having up to 10 more DDRs on your TriCaster unit.

However, the most intriguing news is the update to NewTek Virtual Set Editor, VSE 2.5. This free upgrade moves you from virtual sets to ‘virtual environments’, complete with time saving set modelling tools. You can take a panoramic photo with your iPhone, load it into VSE and convert it into a true 3D environment where you can pan, tilt, zoom and even put people behind objects within the picture.

TriCaster 40 

Coming in May, the TriCaster 40’s update treats its users to independent aux out, new recording formats (list once we have it!), vector and waveform displays and – this is definitely the best part – the ability to create animated stories. That’s all the detail we currently have on it, but doesn’t it sound kind of brilliant?

TriCaster mirroring, TriCaster offers

Another core concept for NewTek at NAB 2013 has been TriCaster mirroring. NewTek are making all TriCaster models available without their control surfaces, and you can now record to two units simultaneously: one with a control surface, on which you do all your mixing, and have another there mirroring the same content in order to provide additional inputs and fault tolerance.

To sweeten the deal, NewTek have announced that you’ll be able to pick up a TriCaster 455 with no control surface for just $9995, making it the perfect place to start mirroring. You can also trade up from a 455 to 4800 for $21,995 or from a 330 to a 4800 for $24,995.

3Play 4800

Sports broadcasters will be pleased to hear about the all-new 3Play 3800, available now from $39,995. Described by NewTek as the most powerful sports production tool available, 3Play 3800 is a multi-camera replay server which “offers more real-time capabilities than any other multi-camera replay server, gives sports producers unprecedented access to redundant capture, sophisticated visual effects, live replay switching, high quality slow motion, and social media publishing—all within a single, turnkey system” according to NewTek’s press release.

NewTek go on to say:

3Play 4800 goes significantly beyond traditional live replay and provides out of the box integration with Facebook, Twitter, YouTube and more. This solution allows operators to instantly deliver media into their existing dialog with fans, which no other system allows.

“The overall performance, feature set and cost of 3Play 4800 quickly proved to be a game changer for me. It easily fits within our production infrastructure and the intuitive replay workflow keeps things going smoothly and quickly,” said John Powell with NPi Audio Visual Solutions, who has been involved in the development and testing of the system. “We work with both local and national organizations, so we have to constantly provide top-line performance at every level, and we are always striving to enhance the fan experience. 3Play 4800 does all of that and more. It truly makes my job easier.”

Top features of the system include:

1.    Redundant Capture—Redundant capture of up to 4 live video sources doubles up ISO recordings and protects all media assets. Users can also choose to simultaneously record all 8 inputs as separate camera feeds to add more angles as needed.

2.    High-end Visuals—Live animated, 3D-warped visual transition effects for switching and in-program editing, with custom animation creator and import of your own branded graphic elements.

3.    Live Replay Switching—Monitor all angles during replay, and transition between them video-switcher style—providing a completely finished replay segment within moments, animated transitions and all, to output to switcher, feed the video board, or upload to the Web.

4.    High Quality Slow Motion—Get clear, crisp slow motion playback with both standard HD or SD cameras, achieved with a super-resolution algorithm for sharper slow motion and dramatic stills alike.

5.    Social Media Publishing—Easily distribute content to multiple social media sites in one pass—even during live production, for a unified, immediate brand presence.

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NAB 2013 news: Blackmagic Design Pocket Cinema Camera and 4K Cinema Camera leaked

The first victims of the smartphone-toting masses at this year’s NAB show are Blackmagic Design, who have had details of their Pocket Cinema Camera and 4K Cinema Camera leaked to the internet. 

A poster of two banners in their impressively sealed stand has hit the web and, as you can see, it gives away some choice specs from the two models. So far, we know that the Pocket Cinema Camera is going to be a 1080p capable Micro 4/3″ camera with a Super 16mm sensor, 13 stops of dynamic range and Micro HDMI connectivity. It’ll support ProRes and RAW files, and will be priced at $995.

The Blackmagic Production Camera 45 will feature the same specs at the first generation EF Cinema Camera, but will be capable of shooting 4K and UltraHD. The inclusion of a global shutter edges the camera further into F55/Alexa territory, which we’re predictably excited about.

A full translation of the blurry image above reads:

Blackmagic Pocket Cinema Camera

Ultra-portable Super-16 digital cinema camera with super wide 13 stops of dynamic range. Super 16 sized 1080p HD sensor, built-in SD card reader, high resolution LCD, ProRes and lossless CinemaDNG RAW recording, active Micro Four Thirds lens compatibility, Micro HDMI monitoring with overlays.

Blackmagic Production 4K Camera

Compact 4K camera with large Super-35 sensor, global shutter, Ultra HD and 4K support, built-in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProRes recording, Thunderbolt and EF lens compatibility, includes DaVinci Resolve and UltraScope.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: RED release new Motion Mount and Lens Motor, acquire Element Technica

This morning’s fresh NAB 2013 news comes courtesy of the RED user forums – RED have released a new Motion Mount and, not content with this instantly inspiring awe in the hearts of every internet-enabled RED user, they’ve also announced that they’ll buy acquiring long term partners Element Technica,  who’ll henceforth be know as RED ELEMENT. 

Motion Mount

The Motion Mount boasts an integrated 8x Electronic ND filter in adjustable 1/100 stop granularity, and overtakes your sensor’s timing to give you a true global shutter – despite still allowing you to control everything from your existing camera UI. RED are saying this will eliminate ‘shutter judder’ and aliasing. As always with RED gear, it’s also incredibly good looking.

Priced at $4500 (UK digits to follow), the RED Motion Mount will be shipping in the autumn.

Element Technica

Aside from their getting a cooler name (does RED ELEMENT sound like the best B-movie ever to anyone else?), not much looks set to change for the talented folks at Element Technica. RED’s Jarred Land had this to say on the forums: “This news probably isn’t much of a surprise to some of you…. ET and RED have been working closely together since the very beginning. We are incredibly excited to have Hector and Pizzo and the rest of the Element Technica team come over and continue doing what they do best.” Sounds good to us!

Lens Motor

The $1250 Red Lens Motor, due with us this summer, is one of the first fruits of the RED/Element Technica/RED ELEMENT partnership. Compatible with your Meisner Module and most other lens controls systems, it’s big selling points include high torque, a 270 degree rotating connector for easier config and mounting, amd  friction or geared interchangable gearheads.  It should fit on to a standard 19mm rail, or a 15mm one with an insert.

RED Dragon Sensor

RED have also confirmed that they’ve received new ASICs and are ready to begin upgrading your Epic and Scarlet cameras to their new Dragon sensor. They’re actually upgrading EPIC-X and EPIC-M cameras today in their NAB booth, and you can go along and see the process in action.

EPIC-M owners can pre-order the upgrade for $9500, and early adopters can get it for $8500 (you’ll get $1000 when you’re invoiced). If you want a Dragon-based camera of your very own, you can pre-order an EPIC-M Dragon today but it won’t ship til the current users have had their chance to upgrade. Late EPIC adopters can pre-order from Thursday for $9500, and you can all add a Rocket-X to your order fro $4495.

Why should you care about the EPIC-M Dragon? Well, it shoots 6144 x 3160 6K at up to 100fps, and has three additional stops over your standard EPIC-M or EPIC-X.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post


NAB 2013 news: Avid announce Pro Tools 11

Not to leave out you audio folk, Avid have also released a major upgrade for Pro Tools. With Pro Tools 11, the software’s “essentially rewritten from the ground up” according to our team in Vegas, and Avid tell us that alpha and beta testing has been wildly successful.

Pro Tools 11 features a new floating point audio engine, is fully 64-bit and includes a dedicated input buffer. However, the feature we’re really excited about is the improved offline bounce, which is now up to 150 times faster than realtime (if you need to take a moment, feel free). Oh, and there’s zero latency feedback for all your plug-ins.

You can also now use Pro Tools to monitor and edit video, so there’s no need to flatten video projects anymore. You just import your Media Composer projects directly into Pro Tools and carry on working there.

If this all sounds a bit much for you, don’t worry. Even if you upgrade, Avid now offer bi-directional support all the way back to Pro Tools 5.1, so you can crack open your legacy projects and/or retreat to your preferred version as appropriate.

Our audio team are frantically typing away at a more detailed report on how these changes will effect your hardware setup and how to prepare for your upgrade, so keep checking back! In the meantime, ponder than fact that all this will be available as soon as May, when an upgrade is set to cost $299, with a full licence of Pro Tools 11 costing $699.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: Avid reveal Media Composer 7!

Media Composer 7 is here! And Avid are insisting that there will be no compromise on functionality this time round, as they’ll settle for nothing less than being the leaders in file-based editing. They’re backing up that fighting talk with a list of new features as long as your arm. Here are the basics, with more news to follow as we get it: 

Dynamic Media Folders – Automate process of media management
– Linking to any file, folder or virtual volume becomes registered and managed as an asset. Creates database folder inside any watched dynamic folder
– Accelerates and simplifies AMA tasks
– Associate profiles/settings to any folder that is being watched – transcode, consolidate, copy settings. 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 that happens in the background
– Automatically copy and relink to new media locations
– Receive notifications when media has become available through background processing – right in the timeline
– Interplay 3.0 support – no more consolidating or transcoding to check into Interplay
– Local and shared folder locations supported

More codecs & AMA Support
– AS11 standard support
– XAVC 2k/4k Support
– Single window to AMA link to files and volumes
– Drag & Drop AMA Linking instead of generating new media
– AMA media appears in Media tool
– Relink, consolidate or transcode designated audio or video tracks separately
– AMA supports files with Alpha channels – they appear as matte keys

File based delivery – Supporting AMWA Standards
– AS-11 support for delivery with program segmentation
– Access AS11 files directly for editing without importing
– Program segments displayed in the timeline
– Descriptive metadata displayed in bin columns
– AS-11 export results in a single multi-essence OP1-A MXF File
AS-02 support for multi version master files in single bundle
– Creates and manages the file essences (picture, sound and metadata)
– Supports J2k, DNxHD, 1:1, AVC-I & IMX

Colour Space Conversion
– 1D, 3D LUT and CDL support built in throughout the workflow
– Manage, preserve, create and output colour metadata
– Convert colour spaces in real time
– Flexible ordering of multiple colour transforms
– Bulk modify clips
– Colour info displayed in bins
– Auto-conversion to proper colour space via metadata
– Apply custom LUTs exported from another app (DaVinci Resolve, say)
– AAF support for third party workflows

Background engine for transcoding – no need to tie up edit suites for rendering
– Transcode, consolidate and copy in the background
– Leverages existing Avid platforms such as Sphere
– Interface to reflect progress of jobs
– Manage jobs in process list – cancel, pause, prioritise
– Transcode for ingest – not mixdown
– CPU processing and (potentially) the ability to offload processing to another machine (we’re waiting for confirmation on this)

‘Frame Flex’ 
– Easy pan and scan of high res images to cut HD out of 2k, 4k, etc.
– Enables editors to ingest 2k, 4k, and greater media and deliver the content directly to HD
– Ability to adapt the media in a project by setting the aspect ratio of framing box, reformat including stretch letter box and centre
– Source monitor UI to set the framing selection
– Bulk modify clips in a bin or timeline
– Animate region of interest across clips
– HD output with Avid and open I/O

Audio enhancements  
– Caching audio waveforms
– Instant redraw in timeline and source
– Stored at project data level and based on user, not on project, so multi users have their own cache rather than working from a centrally stored one
– Clip gain adjustments on timeline with click and drag
– Master fader with support for RTAS, CALM and EBU metering
– Configurable audio mixer with UI

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.

We don’t have UK pricing yet, but a new seat of Avid Media Composer will set you back $999, with an Interplay or Symphony option costing you @1499. Media Composer and Symphony combined will set you back $2499, and for $2999 you get both those plus Avid Interplay. Upgrades from Media Composer 6.5 cost $299 or $499 with an Interplay option – from earlier versions it’s $399/$599, and for education its $295 for a seat of Media Composer 7, or $695 for the version with the Symphony option.

For those who are really, really into Avid, there’s also an $89,900 bundle available that includes Interplay Production Engine, Interplay Sphere, 10 Base connections, ISIS 5000 32TB, four Media Composer 7 licences, one Media Composer 7 with Symphony option licence and a year of Avid Expert Plus support. (You can strip that back to a 16TB ISIS unit, 5 Base connections and three Media Composer 7 licences for $49,900 if you’re on a budget.)

All of this will be available in June – along with a Mojo DX Thunderbolt adaptor – and you’ll be able to upgrade for free if you purchased your copy of Media Composer after April 7th, 2013.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: Sony Announce PMW-400

LAS VEGAS, NAB Booth C11001, April 7, 2013 – Sony’s new PMW-400 shoulder-mount camcorder is the latest addition to its widely used XDCAM HD422 line-up. Ideal for live production or ENG, the new camcorder uses a 2/3-inch Exmor™ Full HD 3CMOS sensor to capture beautiful images with high sensitivity1 and low noise.

Sony’s PMW-400 XDCAM HD 4:2:2 camcorder

“We designed the PMW-400 to acquire high quality, clean images especially in low-light environments,” said Cyndi Lee, XDCAM marketing manager, Sony Electronics. “It’s ergonomically-balanced, easy to operate and includes features that make it fit seamlessly into various types of productions and workflows. This new camcorder opens the door to a range of new creative possibilities and flexible shooting.”

Higher Picture Quality with HD422 Codec

Capable of MPEG HD422 50Mbps recording, the PMW-400 is unique among the field of 2/3-type camcorders with its noise reduction capabilities and diverse selection of formats. Its 3 Dimensional Noise Reducer (3DNR) technology accurately detects and processes images to reduce noise, achieving a Signal-to-Noise (S/N) ratio of 60dB — outstanding among 2/3-type camcorders.

The camcorder supports MPEG2 HD422@50Mbps, HD420@35Mbps/25Mbps, MPEG IMX@50Mbps, and DVCAM. The PMW-400 camcorder will also offer future XAVC support for HD.2

Improved Viewfinder

The camcorder’s supplied viewfinder features improved panel resolution of quarter HD 960(H) x 540(V) compared to previous models with resolutions of VGA 640(H) x 480(V). The new viewfinder significantly  improves contrast and viewing angles.

Flash Band Compensation via Internal Processing

The PMW-400 camcorder incorporates a valuable new feature – an internal Flash Band Reducer3that employs a special algorithm to detect and process flash banding inside the camcorder before recording begins. This provides greater flexibility in reducing flash banding across different shooting environments.

Operational Flexibility

The PMW-400 camcorder includes two SDI connections that enable, for example, the director and camera operator to simultaneously check content on two different monitors.

An optional CBK-CE01 50-pin interface lets the PMW-400 connect to two camera adapters for multi-camera operation. By connecting to the CA-FB70 optical fiber and CA-TX70 digital triax camera adapters, the PMW-400 can be used as a studio camera in live productions and also transmit signals over long distances while maintaining high picture quality.

R&D Prototype: Wireless Adapter for 3G/4G/LTE and Wi-Fi Connections

For easy transmission over a network and efficient on-site Wi-Fi operation, a wireless adapter is under development.  The adapter will be directly connectable to the PMW-400 to enable proxy files that can be transmitted via 3G/4G/LTE/Wi-Fi to accelerate the ENG workflow. Using Wi-Fi transmission, the adapter is compatible with mobile applications installed on devices such as tablet PCs and smartphones.

Future enhancements planned for the PMW-400 include file browsing management, proxy file preview, stream viewing of camera signals, proxy and high-resolution file transfer, metadata input and remote camera control.

The PMW-400 camcorder will be available in August 2013.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post.

Sensitivity of F12 for 1080/60i, 720/60p. Sensitivity of F13 for 1080/50i, 720/50p.

2XAVC support for HD up to 30p/25p is supported. 4K is not supported. XAVC support for HD will be available via a firmware upgrade (optional) planned on or after April 2014.

3This feature will be available via a free firmware upgrade on or after November 2013. Flash Band Reducer doesn’t guaranteed to detect/correct all the flash band

NAB 2013 news: Autodesk and NVIDIA have big plans for your 3D pipeline

As anyone who saw their 2014 Unfold event will know, Autodesk have a brand new logo, some interesting new product developments and a new Head of M&E, Chris Bradshaw. Their message for this year’s NAB? It’s all change in the industry, but we should be seeing that as an opportunity.

At the high end of post and 3D, studios are consolidating, there’s been a huge growth in professional video and a distributed, increasingly global production process is on the rise. Who’s best to help you weather all of this? Autodesk.

Flame users: you’re in safe hands

One of the key things to come out of Autodesk’s briefing was that they’re not abandoning high end users or advanced systems, despite what the recent reconfiguration of Smoke might suggest. Flame is going to continue to be updated and supported, and a new service pack is to be expected in late May or early June. The main focus of this will performance optimisation, so you’ll no longer have to wait for anything to load, but there’ll also be improvements to the Media Hub (headline: 4 seconds of progressive clip display for up to 600 clips) and new additions to Autodesk’s much lauded tracker. New creative tools are also being worked on in the lab, and these will be released slowly in service packs throughout the coming year, rather than in a single, disruptive annual upgrade.

Smoke 2013 and beyond
Also in line for the incremental upgrade plan is Smoke, which Autodesk believe is the key to keep us all efficient and competitive in a changing industry. They reckon that using Smoke is 35% faster than using separate editing, VFX and finishing apps – even if they’re as linked up as the Adobe Creative Suites – and seem set on releasing further updates to demystify the workflow and make it more familiar to editors, all without compromising on the power that their high end customers need (real time performance for every task imaginable is their current goal.)
Autodesk and NVIDIA introduce Grid GPUs
Autodesk have partnered with NVIDIA to harness the power of NVIDIA GRID to deliver applications. Currently the GRID lets you game over the cloud, leveraging your Tesla, Quadro and GeForce cards with an H.264 encoder in order to provide video on demand-style gaming servers. This is combined with Grid-based VFX software and Grid visual computing appliances (VCAs) – a 4U server with 8 or 16 GPUs per user, which feed keyboard and mouse clicks to your Grid gaming server and send the appropriate graphics back to the end user. Autodesk are planning to use the NVIDIA GRID cloud to deliver any combination of GPUs to their users as and when they’re needed, so its easier to add extra power when you’re busy and drop machines when you’re between jobs. A nice cost-saving side effect being that you can have small, cheap client devices in your studio with no GPU of their own, and keep all your power in the cloud. It also means your artists can work in PC only programs – 3ds Max, for example – and Mac or Linux-only ones – Autodesk Smoke – at the same time.
The Autodesk GRID will be available with up to 16 GPUs, supporting 32 threads and boasting 348GB system memory and, while the servers and their management are based on Windows 7, a single system can offer GPUs to Mac, Linus and Windows machines. It should be available in May and additional features seem set to include shared storage and the ability to queue up users for your GPUs based on workload.
Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: FSI preview five new monitors at NAB 2013

Not content with reigniting our Cinema Camera lust, FSI have revealed that they’ll be showing five new monitors at NAB 2013.

The key item in the lineup is their new 32″ reference monitor, which they apparently designed following a slew of user requests. “This unit features a true 10 bit panel, exceptional contrast ratio, and the full complement of powerful features found across the entire FSI monitor lineup,” FSI’s website informs us. “In addition to being an exceptional monitor for all of your 2D monitoring needs the CM320TD is also a 3D capable display featuring in-monitor multiplexing. The CM320TD also comes equipped with updated hardware capabilities previously not found on FSI monitors. This includes a second generation Color Fidelity Engine (CFE2) allowing for simultaneous application of Calibration and Look LUTs and the ability to monitor two live inputs at the same time, including mixed input type and formats.”

The CM320TD is priced at $5495 and is set to ship in June – more details on the other models should be coming over the course of the show.

Want to know more? Give us a call on 03332 409 306 or email For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post.

Next version of Adobe After Effects to include CINEMA 4D Lite and live link

Next version of Adobe After Effects to include CINEMA 4D Lite and live link

Of the recent rush of Creative Suite sneak peeks that have been cropping up on MacWorld, our favourite is probably the awesome news that the next version of After Effects and Maxon CINEMA 4D will be getting a live link, so you’ll no longer have to re-render and re-export a project to After Effects every time you make a change in CINEMA 4D.

As MacWorld explain:

“The new version of After Effects appears to let C4D scenes to sit ‘live’ within AE comps, allowing you edit them in AE by double-clicking on them. The new CineWare plug-in for AE gives you control over how the scene is brought into After Effects – including which camera, layers and renderer are used. It also allows control over multi-pass output and lets you extract scene data into AE’s own 3D system.

You can also take 3D information from AE CS7 into Cinema 4D. Niels [Stevens, Adobe’s business development manager for video] demoed running a 3D Camera Tracker – which was added in After Effects CS6 – on the video in the screenshots below, then taking data from some of the track points, right-clicking to Select Ground Plain & Origin, then using a Maxon Cinema 4D Exporter menu option to bring to plane into Cinema 4D. He then aligned a ‘large American bumper’ to the plane and showed how it would appear when brought into After Effects.”

Future editions of After Effects will come with a thin version of CINEMA 4D called CINEMA 4D Lite, although the CineWare plug-in which powers the link should work with any version of CINEMA 4D. Thanks to Maxon’s newly updated site, we also know that the CineWare plug-in will be powering a simple drag and drop workflow, supporting formats including Alembic, COLLADA, OBJ and FBX.

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