What’s new in Media Composer and Symphony?

What’s new in Media Composer and Symphony?

Now that we’ve had a chance to see Media Composer 6.5 and Symphony 6.5 in action, we’ve decided it’s time to round up the new features and make sure everyone knows what’s what when it comes to Interplay Sphere, Avid Media Authoring and the new, box-free delivery method.

Remote editing with Interplay Sphere

Interplay Sphere’s remote editing workflow now supports Windows-based NewsCutter and Media Composer users. The idea behind Sphere is that it allows production crews in the field (ENG crews, documentary makers, filmmakers with dailies to share) to connect to an Interplay Sphere server via a high bandwidth communications link, put their footage on that server and then work on it with editors or other collaborators back at the studio.

Most of the heavy lifting in the Sphere environment is done by the server, meaning that crew members can work from a laptop rather than waiting for access to a more complete solution, or having to lug their entire setup out onto location. There is a fair bit of hardware needed to get that server up and running, though, so we’d recommend getting in touch with the team for a chat before committing to an Interplay workflow.

Audio keyframe enhancements, timeline edits and dynamic relinking

You can now create multiple audio keyframes, select the lot from the timeline and copy them all to a different clip or a different area of the same clip.

Other time saving tweaks include the ability to relink to multiple QuickTIme AMA files, rather than having to relink to each individually, and to dynamically relink clips on the timeline to their source media if it’s available over Interplay.

The new-found ability to toggle in and out of hardware mode means that you can access software-only features (full screen mode for playback of a finished project, say) or nip into a program like After Effects and use your control panel on that instead. Media Composer 6.5 also lets you edit titles (but not marquees) directly on the timeline.

New format support

VC1 support may be gone, but to make up for it you now receive full support for the JPEG 2000 (J2K) resolution, DNxHD 100 files, Active Format Description to allow for easier image resizing and the space-saving AS-02 specification, which allows you to group multiple versions of a product into a single bundle to save space and speed up exports. For example, you can bundle a single video track with audio tracks for different languages and export the lot, rather than having to export several seperate video-audio combos.

Remote editing with Interplay Sphere

Interplay Sphere’s remote editing workflow now supports Windows-based NewsCutter and Media Composer users. The idea behind Sphere is that it allows production crews in the field (ENG crews, documentary makers, filmmakers with dailies to share) to connect to an Interplay Sphere server via a high bandwidth communications link, put their footage on that server and then work on it with editors or other collaborators back at the studio.

Most of the heavy lifting in the Sphere environment is done by the server, meaning that crew members can work from a laptop rather than waiting for access to a more complete solution, or having to lug their entire setup out onto location. There is a fair bit of hardware needed to get that server up and running, though, so we’d recommend getting in touch with the team to ensure that the rest of your Avid workflow is up to scratch before committing to an Interplay workflow.

No box!

Maybe it’s a money thing, maybe it’s because they love the environment, but either way Avid are doing away with boxed versions and sending out activation cards and codes instead. These will allow you to download and activate the latest version of your software without the need for another annoying install disc.

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

What is Telestream Split-and-Stitch?

What is Telestream Split-and-Stitch?

If you’re debating moving from Episode or Episode Pro to Episode Engine, one of the features that’ll help you get off the fence is Split-and-Stitch. While Episode can only handle one encode at a time and Episode Pro can only deal with two parallel ones, Episode Engine can handle an unlimited number of parallel encodes and – thanks to Split-and-Stitch – deal with them far faster and more efficiently.

So what does Split-and-Stitch do?

Telestream’s Split-and-Stitch technology enables Episode Engine to split a single encode (your clip or track) into multiple smaller chunks. It then distributes the smaller segments between all the available cores (or threads, if you’re hyperthreading) on your computer, so it makes more efficient use of your available CPU power and finishes the encode much faster. The file is then ‘stitched’ back together, ready for you to deliver.

Telestream Split-and-Stitch

Speeding things up with clustering

If you’re working as part of a cluster (a collection of machines on the same network that are all running some version of Episode and work together to encode jobs quicker), then only files originating from machines running Episode Engine can be split and stitched. However, any machine on the network can encode one of the smaller ‘split’ files, then send them back to the Engine-equipped machine for stitching.

If the machines in your cluster have different numbers of cores – say you have a dual core laptop, a quad core iMac and a 12 core Z800 – it makes sense to install Episode Engine on the machine with the most cores available, as the only limit to the number of encodes Engine can work on is the number available cores/threads in your machine. For example, a 12 core Z800 has the ability to do 12 parallel encodes, or 24 with hyperthreading turned on, so can do more simultaneous encodes, be that from jobs submitted by your machine or others on the cluster.

Putting the Episode Engine licence on a less able machine will still enable Split-and-Stitch to distribute the segments amongst the cluster, but the number of parallel encodes that machine can do will be choked by the number of cores available. A dual core processor will only be able to do a maximum of two encodes at once, so it’s likely more suited to Episode Pro rather than Episode Engine.

Got other things to do?

If a machine isn’t solely dedicated to encoding, you may not want Episode taking up all available CPU. Within the Split-and-Stitch settings, you can control various aspects of the encode, including the number of segments a clip is split into and the the maximum length of each of those segments. Observe:

Telestream Split-and-Stitch

Cross-platform splitting and stitching

If you’re working in an environment with a mix of Macs and PCs, don’t fear. Split-and-Stitch can be used in mixed platform clusters, and all of Episode’s many supported formats can utilise Split-and-Stitch.

Telestream Split-and-Stitch

However, the performance enhancements provided by Split-and-Stitch will vary depending on the file length, Split-and-Stitch settings, the available resources on your computer/cluster and the codec applied to the encode, with certain codecs being more efficient on multi-core computers (such as H264). Streamingmedia have a nice breakdown of the potential time differences here.

In summary…

Split-and-stitch comes into it’s own when the time taken to encode a single file is critical, a file to be encoded is particularly long or you are faced with a particularly high data rate/file size.  By breaking down the workload into smaller chunks that can be processed simultaneously, encode time is greatly reduced.

In an environment with a large volume of complex encodes, creating a cluster with at least one Engine present to enable Split-and-Stitch means work can be distributed between all available resources on the cluster nodes for the maximum encoding efficiency.

Want to know more about Telestream Episode Engine? Give us a call on 03332 409 305 or email broadcast@jigsaw24.com. 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 3D@Jigsaw24.com. 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 broadcast@Jigsaw24.com. 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 broadcast@Jigsaw24.com. 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 broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.


Manufacturing issues delay Blackmagic Design Cinema Camera

Manufacturing issues delay Blackmagic Design Cinema Camera

Wondering where your Blackmagic Design Cinema Camera‘s got to? Well, according to a statement from CEO Grant Petty, manufacturing delays mean we probably won’t be seeing any new models ’til the new year (though in happier news, there’s already a firmware update).

Blackmagic Design Cinema Camera shooting

What happened?

You can read Petty’s statement in full below, but the gist is that due to a fault at their glass supplier’s, most of the Cinema Cameras Blackmagic Design have made so far have blemishes on the sensor.

Now, if you’re one of the lucky few who got a demo unit to review or shoot test footage on, don’t worry – the fault doesn’t affect any cameras that have already shipped. It’s only present in the batch that they’re making for general release, but unfortunately the problem is so widespread that they’re essentially having to start their production run from scratch, meaning that no-one is likely to receive stock any time soon.

We’re still going to be the first in the UK to get Cinema Cameras in stock, though, and we’ll let you know when they’re likely to arrive as soon as we know more.

Grant Petty’s statement

(Taken from the Blackmagic Design forum.)

I wanted to give everyone an update on where we are with Blackmagic Cinema Camera shipments.

As you know, we have been dealing with a supplier delay which has stalled our ability to build cameras. I thought it might be a good idea to explain in more detail what is going on, and do a technical “brain dump” on the problem so everyone understands the nature of the delay and what we have been doing about it.

Over a month ago now, we completed the testing of the Blackmagic Cinema Camera and started production. Very quickly we started to see cameras failing our production testing as they suffered from blemishes on the sensor. These are high end cameras so need to be built to a very high specification.

We started testing to discover the cause of the problem and discovered that the problems were from our second shipment of sensors. The first shipment of sensors were fine. All the cameras you currently see people using had been built from this first batch of sensors and that is why we did not see any issues until we started to build cameras in volume.

While investigating the problem our engineers found the blemishes were in the glass that covers the sensor, and not the sensor itself. This is good because the glass might just be dirty so we saw this as a quick fix, but wondered how a supplier could deliver us sensors that had blemishes, as they are supposed to pre test them.

It is worth noting here what this glass does. Each sensor has a glass cover to keep contamination off the surface of the sensor itself, which is essentially a large semiconductor. If the surface ever got dirty, it would be impossible to clean, however the glass is easy to clean. All sensors have this glass cover. It is a high quality glass with optical coatings, similar to lens glass.

Anyway getting back to the issue, when talking with the supplier, it turned out they had a bug in their test software that tested sensors after the glass had been applied. That’s why they shipped us bad sensors and did not notice. They fixed that problem and could then see the problems we saw and stopped production as about 95% of sensors were suffering this problem with the glass.

The next step for the supplier was for them to work out the cause of the blemishes on the glass. They developed tests for the glass before being bonded to the sensor, and discovered it contained the blemishes on the glass before being used in the suppliers factory. After more testing over the last few weeks, the supplier has discovered the blemishes are caused by a contamination from the packing materials used by the glass supplier to ship the glass to the sensor supplier.

So that’s where we are at now. The supplier is due to get more glass later this week and then hopes to start up production again using new clean glass that will result in good quality sensors that we can use to start building cameras again.

We build our cameras in our own factory on a production line built for the camera so we can start shipping cameras again the day we receive good sensors.

I deeply apologize for the delay in shipping and it has been very frustrating for us as well to be sitting on a completed and tested product for a month that we cannot sell. Especially when people need them urgently.

As you can also see from the breakdown of the problem above, there has been multiple stages of testing to discover the cause of the problem so it has been hard to lock down dates or what was going on until now, so its been hard to update everyone on the exact details.

I hope this update helps people understand the delay. We should know more details about shipping times once the new glass arrives at our supplier.
We also have a new software update v1.1 for the camera due in a few days. The original v1 software did not have DNxHD support so thats now been added, as well as support for lens stabilizers and a bunch of other small features.

Grant Petty Blackmagic Design

Want to know more about the Blackmagic Design Cinema Camera? Give us a call on 03332 409 305 or email broadcast@Jigsaw24.com. 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 broadcast@Jigsaw24.com. For the latest news, follow @Jigsaw24Video on Twitter or Like’ our Facebook page.

Canon release EOS 6D (and nine other new products)

Canon release EOS 6D (and nine other new products)

Thought the slew of new products would slow down after IBC? Think again. Canon have picked up the slack by announcing ten new products, including the 5D MkIII’s younger sibling, the EOS 6D. Now some of these – the printers with WiFi, the obviously consumer-focused compact cameras – we’re going to choose to ignore. The 6D, however…

Canon 6D Front

Canon EOS 6D – is it a pro camera?

A 20.2 megapixel DSLR with a full-frame sensor, Canon are pitching the EOS 6D as the ‘first full sensor camera’ for prosumer photographers. However, it is capable of full 1080p HD video and will work with all your EF lenses, so you may also want to bear it in mind if you’re thinking of moving into video for the first time.

As well as full manual control and the excellent shallow DoF we’ve come to expect from DSLR video, the 6D offers excellent low light performance, allowing you to shoot at up to ISO 25,600 natively, or expand that up to 102,400, so you can shoot in conditions as dark as -3EV. It’s also extremely light, coming in at 770g, and according to Canon very weather-resistant and easy to handle, all of which will come in useful if you’re thinking of taking it on a shoot.

There are a couple of specs which show the camera is aimed more at enthusiasts than pros – burst shooting mode tops out at 4.5fps, there are only 11 stops of autofocus – but on the plus side it supports WiFi control and GPS tagging right out of the box.

At £1799 ex VAT for the body only version and £2519 ex VAT if you want it bundled with a 24-105mm f/4 EF lens, ultimately it’s one of the most affordable, lightweight  full frame cameras out there.

Click on the link pre-order your brand spanking new Canon EOS 6D.

Want to know more? Give us a call on 03332 409 305 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ our Facebook page.