NAB 2017: NewTek TriCaster offers native support of JVC KY-PZ100 PTZ cameras

NAB 2017: NewTek TriCaster offers native support of JVC KY-PZ100 PTZ cameras

JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced NewTek TriCaster multi-camera video production systems will offer native support of JVC KY-PZ100 robotic PTZ network video production cameras. JVC will demonstrate its PTZ cameras at the 2017 NAB Show (Booth C4315), which runs April 24-27 in Las Vegas, Nev.

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TriCaster offers control of a select group of PTZ cameras directly from its switcher user interface, which is useful for education, government, worship, corporate, traditional broadcast, and sports applications. JVC PTZ cameras will be added to the list of supported cameras as part of the next TriCaster software update and in the just announced TriCaster TC1. In addition to LAN and RS-232/422, TriCaster can control KY-PZ100 over Wi-Fi and 4G LTE with appropriate adapters.

“JVC has been part of the NewTek Developer Network since 2015, and TriCaster users can already use our ProHD and 4KCAM wireless cameras in multi-camera productions,” said Lon Mass, vice president of marketing, JVC Professional Video. “We are very pleased that TriCaster will now offer native support of our PTZ cameras, which will be a very valuable feature for productions that rely on limited personnel.

”We are excited to add control of JVC’s PTZ cameras directly from the interface of the NewTek TriCaster. Customers are going to love native support of JVC’s PTZ cameras in TriCaster,” said Michael Kornet, executive vice president of Business Development for NewTek. “The combined JVC PTZ and NewTek TriCaster solution is a perfect fit for the flexibility, ease-of-use, and cost savings this represents in the market.”

Available in black and white housings, the KY-PZ100 features a 1/2.8-inch CMOS sensor and 30x optical zoom lens, and its f/1.6-4.7 maximum aperture delivers excellent low-light performance. When connected to a Wi-Fi adapter or LTE modem via USB or directly connected to a LAN, it streams up to 1080p/60 video at a variety of bit rates with two-channel audio and minimal latency. The KY-PZ100 also supports on-board HD recording at up to 50 Mbps to a MicroSDHC/SDXC media card, and recorded files can be uploaded to an external server.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

Preparing for APFS

Preparing for APFS

At last year’s WWDC Apple announced that their new file system, APFS, would be replacing the age-old HFS+, which has underpinned their file system since 1998. It came to mobile devices with iOS 10.3, and is expected to make the jump to macOS at June’s WWDC event. So, with the mooted release date looming, how should companies be preparing for APFS? What considerations do you need to take into account? 

Key considerations

Data loss A developer beta has been available for a while now, and from what we’ve heard transitions have gone smoothly – Apple say they’ve built the system to avoid all data loss. However, being the cautious types we are, we can’t help but think a bit of pre-rollout preparation is for the best, especially if you’re in an enterprise environment.

Awareness of the impact on mixed estates and corporate services If your estate isn’t standardised, you’ll be handling a mixture of older machines using HFS+ and newer ones using APFS, and will need to offer parity access to corporate services (printers, files shares etc). Do you have the tools to inventory your estate and identify potential pitfalls?

Imaging strategy Consider what impact the change may have on the way you approach disc imaging.

Missed the announcement? Here are the key features of APFS.

Protect against data loss

APFS has been engineered to fit neatly into the gaps in HFS+, meaning the chance of data loss is minimal. However, we can’t in good conscience tell you to perform a cross-office upgrade without backing up your own data and ensuring end users do the same with their endpoint devices. Ideally, perform an automated backup across all the devices under your command yourself – asking end users to back up manually rarely gets the desired result, and even if some users oblige you, there are roadblocks such as the photo storage limit that’s imposed on the free version of iCloud, which might prevent some users backing up all their files.

We’d recommend doing an automated backup across all the devices you manage, and keeping at least one copy internally and one copy at an external site – you might want to rent some hosted cloud storage for the switchover period, as this is a really easy way to ensure you have secure, offsite backup without massively impacting your budget.

If you don’t have an automated backup solution already in place, take a look at Archiware P5, or Acronis Backup Advanced. We can also offer Backup24, our own hosted cloud backup solution, in which your data is held in our secure, UK-based data centre, and can be accessed at any time without any retrieval fees.

Know what you’ll need to standardise, and check access to services

Macs running anything earlier than OS X Yosemite won’t be able to read APFS volumes. Any Macs that you buy after the next macOS release will arrive with APFS as their native file system. To avoid problems, you need to inventory your devices and work out which bits of your estate are running OS X Yosemite or earlier and then, where possible, update them so that they’re running the latest OS (here are the minimum requirements for upgrading to Sierra). You’ll also need to root out any devices which are not 64-bit.

You can share APFS volumes over SMB or NFS, but not using AFP, which has led to widespread speculation that Apple will be phasing this out soon. If you’re currently making use of AFP to give your Mac users access to print servers and the like, the move to a later OS should also help you move them over to SMB, which is far better supported in more recent OS releases.

So how do you manage this auditing process and switchover? Well, the number of dedicated Mac management solutions is on the rise, and many of them offer auditing and inventory tools that you can use to roadmap which parts of your estate need changing and when. We recommend Jamf Pro in most instances (we’re so keen on this one we can offer it as a managed, hosted service if you’d rather not take on MDM in house), but AirWatch is another popular solution that’ll serve you well if you’re in a mixed Android/iOS environment.

Want to know more about inventorying your estate? Take a look at our whitepapers here.

Changes to standard imaging practices

APFS is likely to have an impact on some of the traditional forms of disk imaging used in the deployment of new devices. Your current process might involve building a Mac with the desired OS, software and configuration settings, then creating a disk image that contains the content of that Mac’s boot drive, and then applying this to multiple other Macs.

However, Apple seem to want you to invest in MDM (we can’t argue with this) and then use DEP to facilitate zero touch device enrolment as an alternative to imaging.

Doing some research into the best MDM solution for your business and getting your team skilled up on DEP both seem like good ideas at this point – get in touch with our team on the details below to find our how to get started.

Want to know more about achieving zero touch deployment? Take a look at our whitepapers here.

Want to know more? Give us a call on 03332 409 306 or email services@Jigsaw24.com. For all the latest news and reviews, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

NAB 2017: Your rolling news update

NAB 2017: Your rolling news update

It’s that time of year again. If you want to keep up with the news from NAB 2017, all you need to do is bookmark this post.

As big news breaks, we’ll add it to our blog and update this master post, so all you have to do is hit refresh to get the latest news from us and our friends at root6. (If you just want to pre-order product as it’s announced, keep hitting refresh on this page instead.)

Adobe

NAB 2017: Adobe propels video forward

Ahead of the National Association of Broadcasting (NAB) conference, Adobe today announced a major update for video in Adobe Creative Cloud to help filmmakers and video producers collaborate and streamline video workflows. Read more

AJA

Ki Pro Ultra, Pak Dock and Kistor Dock price reductions, and new Ki Pro firmware

Some early AJA news via Digi-Box: you can now save over £1000 on an Aja Ki Pro Ultra and £90 on Pak Dock and Kistor Dock – plus new firmware v2.2 for Ki Pro Ultra with Avid MXF support. Read more.

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

AJA Video Systems today announced Ki Pro Ultra Plus, introducing 1, 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0 (up to 12-bit capture and output) for 4K/UltraHD workflows. Read more

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

Building on AJA’s flagship FS4, and incorporating the latest HDR technology from Academy and Emmy Award twinning developer Colorfront, FS-HDR provides HDR and Wide Color Gamut (WCG) processing and conversion for realtime 4K/UltraHD and 2K/HD workflows. It will be demonstrated for the first time as a technology preview during NAB 2017 at AJA’s booth, #SL2505. Read more

NAB 2017:  AJA introduces new solutions for IP workflows

At NAB 2017, AJA Video Systems announced new firmware for its KONA IP desktop video and audio I/O card, along with two new IP Mini-Converters, significantly expanding flexibility in IP-based workflows. A new KONA IP license option for JPEG 2000, a preview of KONA IP firmware for SMPTE 2110, and new IPT-1G-HDMI and IPT-1G-SDI Mini-Converters will facilitate flexible and cost efficient delivery of work to and from creative suites via 1Gb Ethernet. Read more. 

NAB 2017: AJA unveils new 12G-SDI and Fiber Mini-Converters

AJA Video Systems today announced new Mini-Converters that resolve interoperability and interconnectivity challenges in modern broadcast and ProAV environments. New products include the 12GDA 12G/3G/SD-SDI Re clocking Distribution Amplifier, 12GM 12G-SDI to/from 3G-SDI Muxer/Demuxer, and new Multi-Mode SFP options for its family of FiDO SDI/Optical Fiber Mini-Converters. Read more.

Atomos

19” Sumo monitor-recorder delivers 4KP60 HDR to the set and the studio

Atomos once again redefines the workflow options for video creatives by creating the first production/studio monitor to combine a 19” HDR 1200nit 10+ stop panel with 4K 12-bit RAW or 10-bit 422 ProRes/DNxHR recording, HD recording up to 240p or live switching and recording of four 1080p60 channels. Read more

Avid

NAB 2017: What editors need to know after Avid Connect

We’re all of four hours into and Avid have already announced new I/O hardware, VM options for Media Composer, and the welcome return of Script Sync and Phrase Find at their Avid Connect event. Here’s a quick roundup of their post offerings so far. Read more.

Avid Connect: Just the audio bits

Avid Pro Tools will now offer native support for Dolby Atmos mixing and expanded support for the NEXIS family, and cloud tools are on their way to Pro Tools | First. Read more.

Avid Artist | DNxIQ unveiled for 4K monitoring and universal mastering

Next-generation video/audio interface offers extensive format support, including 4K monitoring and universal mastering capability, to enable video professionals to quickly and easily meet today’s varied content demands and wide-ranging delivery requirements. Read more.

Avid NEXIS now delivers unparalleled performance, scalability and Pro Tools support

The new software release, available to all new and current customers of Avid NEXIS, delivers greater system bandwidths, enables scalability to larger storage capacities, and now offers support for Pro Tools to optimize professional audio production workflows. Read more

Avid unveils Media Composer | First—a free version of the industry-standard video editing system

Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. Read more

Avid Pro Tools to provide native Dolby Atmos mixing

Avid and Dolby collaboration delivers the industry’s deepest integration and the most efficient audio mixing workflows for powerful immersive audio experiences. Read more 

Avid unveils cloud strategy with launch of new offerings

Avid announces extension of its MediaCentral Platform and its industry-leading tools into the cloud with new hosted client applications, cloud media services, and infrastructure on demand that can easily be added to existing on-premises deployments. Read more

Avid ushers in next phase of Avid Everywhere with sweeping and groundbreaking innovations

Avid  today announced a broad and sweeping set of innovations for the Avid MediaCentral Platform. As the next phase of Avid Everywhere, the company is extending the Avid MediaCentral Platform to the cloud, showcasing end- to-end 4K/IP workflows, enhancing immersive workflows, and expanding the Alliance Partner ecosystem, with major advancements across all product suites. Read more.

Avid announces strategic cloud alliance with Microsoft for the media and entertainment industry

Comprehensive multi-year agreement includes technology collaboration, co-development and go-to-market cooperation that will set the pace for the industry in bringing media enterprises, creative teams and individual artists into the cloud. Read more. 

New Avid Media Campus Program provides flexible volume licensing and industry solutions for educational institutions

Offering a deeper partnership with Avid, and flexible volume licensing and deployment options, the new program helps educators better prepare the next generation of creative talents and media professionals for careers in the media and entertainment industry. Read more.

Blackmagic Design

Blackmagic Design CEO Grant Petty on this year’s Blackmagic crop

Blackmagic Design DEO Grant Petty’s annual communique is a highlight of NAB. This year, he holds forth on Ultramatte pricing, ATEM Television Studio Pro HD, and the Fairlight audio features you can now find in the flipping amazing-looking DaVinci Resolve 14. Read more

Blackmagic Design announces DaVinci Resolve 14

Blackmagic Design today announced DaVinci Resolve 14, the biggest release in the history of the product, and an update that has been designed to be more than an incremental software update, but a complete revolution in post production. Blackmagic Design believes the new DaVinci Resolve will break through the stagnant toolsets used in post production, and offer a new path forward for the smallest as well as the largest facilities in the world. Read more.

Blackmagic Design announces new ATEM Television Studio Pro HD

The world’s most advanced all in one live production switcher with integrated hardware control panel and powerful features such as HDMI and SDI inputs, multiview, talkback, DVE and more! Read more.

Blackmagic Design dramatically reduces price of Ultimatte 11

Blackmagic Design today announced an immediate 60% price reduction for Ultimatte 11 from $24,995 to only $9,995. Acquired by Blackmagic Design in October, 2016, Ultimatte is the worldwide leader in blue and green screen removal technology for the broadcast television, commercial and feature film industries. Read more.

Blackmagic Design announces new UltraStudio HD Mini with Thunderbolt 3

Blackmagic Design today announced UltraStudio HD Mini, the world’s first portable Thunderbolt 3 capture and playback solution with 3G-SDI, HDMI and analog connections for broadcast quality 10-bit recording up to 1080p60 and 2K DCI. Read more

Blackmagic Design announces Blackmagic Duplicator 4K now with H.264

Blackmagic Design today announced the addition of realtime H.264 encoding to the Blackmagic Duplicator 4K. Now customers can choose to record H.264 for maximum compatibility with existing HD televisions and computers, or they can choose H.265 for delivering Ultra HD to the latest devices. Blackmagic Duplicator 1.1 update is now available as a free download from the Blackmagic Design website. Read more.

Blackmagic Design announces remote Bluetooth camera control for URSA Mini Pro

Blackmagic Design today announced a new open protocol for URSA Mini Pro cameras that will allow customers to create their own remote control solutions via Bluetooth. The protocol is being demonstrated at NAB, with the API and sample code anticipated to be released to customers free of charge in June 2017. Read more

Blackmagic Design announces new professional scopes and multi-lingual support for Video Assis

Blackmagic Design today announced the immediate availability of Blackmagic Video Assist 2.4 update which adds support for multi-lingual support for 10 separate languages. This means customers can now use Video Assist in their native language. Read more.

Canon

Canon launch new upgrade service for EOS 5D Mk IV

Canon have announced a new paid upgrade for EOS 5D Mk IV users, available exclusively from Canon-authorised service centres.  Read more.

Canon unveil new pro lens

Canon are out of the gate early this year, releasing news of a new lens just as our team set off for NAB. Read more.

NAB 2017: Canon releases firmware upgrade for professional displays

Canon Europe, world leader in imaging solutions, today announces a firmware upgrade for three of its professional 4K displays – the DP-V1710, DP-V2410 and DP-V2420. Read more. 

DJI

DJI’s Ronin 2 is ready to take 30lbs of camera

It’s been a relatively quiet NAB in terms of production kit but this new gimbal from DJI has cheered us up no end, mostly by being twice as strong as the previous Ronin and having the most dramatic launch video we’ve seen in a while. Read more.

Dolby

Dolby announce new Atmos Production Suite and Mastering Suite

After Avid’s announcement that the forthcoming release of Pro Tools HD will offer native Dolby Atmos mixing, there was more Dolby news brewing at NAB 2017, with the release of two new software bundles – the Dolby Atmos Production Suite and Dolby Atmos Mastering Suite. Read more.

EditShare

NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

EditShare, a technology leader in intelligent shared storage and media management solutions, announced the introduction of the XStream EFS 200 and XStream EFS 300 storage products. Read more.

JVC

With the ProHD Mobile Bridge and the new ProHD Portable Bridge, JVC has created robust bonded cellular solutions for ENG and multi-camera live productions. Read more.

NewTek

Stream and publish anywhere with the NewTek TriCaster TC1

It’s the one that you’ve been waiting for… 4K. 60p. IP. 16 inputs and no compromises. The NewTek TriCaster TC1 is the first affordable end-to-end 4K IP video production system, and it’s available to pre-order now. Read more.

NewTek TriCaster offers native support of JVC KY-PZ100 PTZ cameras

JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced NewTek TriCaster multi-camera video production systems will offer native support of JVC KY-PZ100 robotic PTZ network video production cameras. Read more

Notes on NewTek TriCaster TC1, NC1 I/O module, NVG1 and NDI

A few weeks back, NewTek released the TriCaster TC1 and we managed to get more details at NAB. However, they were also holding a couple of other NDI cards up their sleeve in the form of brand new product releases. Read more

Panasonic

Panasonic showcases next gen technology and solutions to support 4K smart entertainment and connected stadiums

Panasonic have revealed that their NAB highlights this year will include the 4K AK-UC3000 studio camera system and the HD AK-HC5000 high-speed camera system, 4-sided LED videoboards, ballooncam, and augmented reality projection. Read more

Sony

NEP UK selects Sony HDC-4300s to deliver live 4K to sports broadcasting market

Today, NEP UK announces a significant investment in live 4K sport broadcasting, with the purchase of 85 Sony HDC-4300 4K/HD system cameras, PWS-4500 servers, and 43 TRIMASTER EL OLED monitors, including the BVM-E171. Read more

Sony announces new technical capabilities and interoperability achievements as broadcast momentum for IP Live continues to grow

Sony is introducing a series of new IP Live functions, interoperability milestones and customer success stories on the first day of NAB 2017. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. Read more

Sony’s 4K/HD Live Production Workflows enhanced with Content Management Station PWS-110CM1 and updated firmware for PWS-4500 Server

New solutions enable the addition of metadata management for streamlined, searchable, transferable content that saves users time. Read more

NAB 2017: Sony embraces HDR production with full end-to-end solution

From products, to workflow and format, Sony offers users end-to-end HDR production capabilities from acquisition to display, for cinema, live production, online video and event production. These solutions meet the industry’s growing demand for a wider colour gamut and increased dynamic range that creates more realistic viewing experiences with enhanced levels of detail. Read more

TVLogic

New TVLogic reference 4K and OLED monitors

LCD and OLED HD displays manufacturer TVLogic are choosing NAB 2017 to introduce several new 4K HDR and OLED monitors. The new displays are designed to address the ever-increasing demands of broadcast, production, post-production, and multi-viewer applications. Here’s the full press release… Read more

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2017: Ki Pro Ultra, Pak Dock and Kistor Dock price reductions, and new Ki Pro firmware

NAB 2017: Ki Pro Ultra, Pak Dock and Kistor Dock price reductions, and new Ki Pro firmware

Some early AJA news via Digi-Box: you can now save over £1000 on an Aja Ki Pro Ultra and £90 on Pak Dock and Kistor Dock – plus new firmware v2.2 for Ki Pro Ultra with Avid MXF support. 

Now more affordable than ever, Ki Pro Ultra is the premiere file-based 4K/UltraHD and 2K/HD video recorder and player. Ki Pro Ultra v2.2 firmware offers Avid MXF support for HD workflows and is available as a free download here. The release adds recording and playback of DNxHD files with an OP1a profile within an MXF container for DNxHD HQX (220x), DNxHD SQ (145) and DNxHD LB (36) codecs. This provides a native MXF workflow for Avid pipelines free of transcoding.

Ki Pro Ultra features a built-in HD LCD monitor and supports edit-ready Apple ProRes files in a range of video formats and frame rates up to 4K 60p, or Avid DNxHD files at HD resolutions. Flexible input and output connectivity, including 3G-SDI, HDMI, and fibre, provides support for powerful, efficient large raster and high-frame-rate workflows.

Record 4K/UHD and 2K/HD sources to reliable and affordable AJA Pak SSD media, available in capacities up to 1TB. A twin-media bay drive enables extremely fast media changes and rollover recording. The Ki Pro Ultra has a wide range of connectivity with 3G-SDI, fibre and HDMI inputs and outputs, AES and analogue XLR balanced audio, LTC, RS232 and LAN.

The Pak Dock and KiStor docking stations provide both Thunderbolt and USB 3.0 connections for ultra-fast file transfers between either PC or Mac host computer and Pak modules. Works with all Pak media and Pak adapters – now with a £90 reduction in cost!

Ki Pro Ultra, Pak Dock, and KiStor are available from specialist AJA resellers (ourselves included).

If you want to know more on the biggest and best NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2017: Canon launch new upgrade service for EOS 5D Mk IV

NAB 2017: Canon launch new upgrade service for EOS 5D Mk IV

Canon have announced a new paid upgrade for EOS 5D Mk IV users, available exclusively from Canon-authorised service centres. 

The upgrade brings Canon Log (C-Log) capability to the EOS 5D. A staple feature in Canon’s Cinema EOS range, C-Log will provide EOS 5D users with enhanced dynamic range and easier colour grading.
 
The key things to remember when debating whether this upgrade is for you include: 

– This chargeable service and must be performed by Elstree.

– The charge will be “approx £85″ (this is the most exact figure we have, sorry) as Canon have to pay a licence fee in order to furnish you with the upgrade.

– The fees do not include postage for your camera.

– After the upgrade, the normal firmware upgrades can be applied without needing to return to the RCC (as was required for the 1D C).

The C-Log upgrade for EOS 5D Mk IV will be available in June.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2017: Canon unveil new pro lens

NAB 2017: Canon unveil new pro lens

Canon are out of the gate early this year, releasing news of a new lens just as our team set off for NAB. 

The CN-E70-200mm T4.4 L IS KAS S, which we look forward to watching our product managers attempt to spell, is designed for professional and advanced amateur videographers who use large-format, single-sensor cameras.

Canon’s official statement says that it ensures that movies, documentaries, weddings and corporate videos can be captured with the utmost precision and quality. Offering an impressive focal length of 70-200mm in the Super 35 image circle, the versatile lens joins the CN-E18-80mm launched in 2016 and completes Canon’s compact cine-servo lens lineup.

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Here are the highlights from the press release:

Ideal for sports shoots The new CN-E70-200 is a parfocal lens with three modes of image stabilisation. By combining with the CN-E18-80 lens, videographers can enjoy a versatile focal range of 18-400mm, perfect for when filming must take place from a safe distance such as in sport.

Dual Pixel CMOS AF Designed to function with Canon EF mount DSLRs and compatible detachable lens video cameras, the CN-E70-200 leverages a wide range of mount functions and super-fast autofocusing (AF). Powerful Dual Pixel CMOS AF enables a quick and accurate focus via a single button push (one-shot AF), while continuous AF allows for a subject to be tracked with no loss of focus, ideal for capturing wildlife footage.

4K optical quality Canon’s heritage in optical design and performance means the CN-E70-200 has super accurate resolving power; maintaining quality from the middle of the lens to the edge. The modulation transfer function has been specifically enhanced for the requirements of 4K cameras and with colour balance matched to other Canon cinema EOS lenses, the CN-E70-200 delivers exceptional image quality – whether filming in 4K or HD.

Enhanced operability Thanks to its compact size and lightweight, the CN-E70-200 can be used in a range of challenging shooting scenarios such as on spider cameras or drones. This, combined with its ergonomic design and optional Canon ZSG-C10 zoom grip, means the lens is able to unlock a broad range of new shooting styles. Attached to the body of the lens with a 20-pin cable, the ZSG-C10 allows for smooth remote activation of the zoom servo and one-shot AF. It can be operated while mounted on the lens barrel for comfortable shoulder-mounted shooting, or removed from the lens and operated by hand. The ZSG-C10 comprises an easy-to-use rocker switch, start/stop record button, one-shot AF button and an adjustable grip angle for optimum comfort.

If these are the features you need, you’ll have to wait until October to get your hands on a CN-E70-200mm T4.4 L IS KAS S, but you can pre-order now for £5045 ex VAT (£6054 inc VAT).

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

 

Tips for tackling ecommerce in 2017

Tips for tackling ecommerce in 2017

Over the course of last year, ecommerce was worth £133 billion to the UK economy – a 16% year-on-year rise that was due in part to a 47% jump in the number of transactions carried out via smartphone.

With experts predicting ecommerce sales will jump by another 14% this year, failure to make the most of your online and mobile sales channels soon could see you missing out on a hefty slice of potential profit. With that in mind, we asked Jigsaw24’s ecommerce manager, Craig, to share some of his top tips.

Optimise your website for mobile use

“Last December saw a 47% year-on-year increase in the number of people doing their Christmas shopping on their smartphone, so having a responsive website that can recognise when a user is on their phone and present them with a mobile-friendly view is important. Nobody wants to have to click on extra links to be taken to the right version of the site, or be prompted to click out of their browser to download your app, which won’t have their browsing history in. Similarly, you need to make sure that any email comms you send out are optimised for mobile viewing in order to ensure maximum engagement.”

A/B test your checkout pages

“People are quick to A/B test subject lines, landing pages and content on their outbound comms, but often overlook their checkout pages. If you’re seeing a lot of dropped baskets (ie customers who start the purchasing process, but leave your site without confirming a purchase), try A/B testing the pages they encounter along the way to see which one is tripping people up.”

Get your logistics team on board

“The key to getting good word of mouth online, as in life, is to consistently deliver what you’ve promised. Yes, it feels good to write ‘free next day delivery’ in large letters on your checkout page, but if you can’t actually do it, all you’re going to do is disappoint people and lose repeat custom. Before launching a new offer or pushing a particular capability, put your heads together with your logistics crew and work out what’s feasible. By a similar token, you’ll need to brief your salespeople when you launch online or social-only offers, so that they don’t muddy the water or offer conflicting pricing.”

Know when to automate and when to personalise

“People are talking a lot about personalisation at the moment because, as we’ve previously reported, it can lead to increases in sales of up to 31%. Emails, welcome screens and offers that are directed at a single user can all increase engagement and promote brand loyalty, but while creating that content is worthwhile, it does take a little longer than producing your standard issue content.

“Happily, though, not everything has to be personalised, and you can automate or pre-schedule run rate tasks to save time. One area where this can be particularly effective is in social media. Obviously you need to have a real person keeping an eye on your accounts to respond to queries, follow up complaints and jump in with reactive marketing where appropriate, but a good scheduling tool will let you pre-plan updates ahead of time and automate their delivery and cross-channel sharing. Try scheduling posts for similar audiences at a range of times and measuring the response you get, so you can gauge when in the day it’s best to target those customers.”

 Use the right tools for the job

“The market leader in ecommerce analytics monitoring is obviously Google Analytics, and I recommend anyone looking at their ecommerce performance use it. However, in order to check that your traffic is being monitored correctly, it’s always best to take a look at your site through a second system, too – we like Clicky for this.

“If you want an at a glance overview of how different page elements are performing, heat maps are always good (and go down well in meetings, where no one wants to look at graphs). Hotjar and Crazy Egg are both popular here. I also like Screaming Frog for content audits.”

Not sure what you’re measuring?

If you want to see whether ecommerce platforms are helping your business grow, the KPI you want to be measuring is your cost per customer acquisition (CAC, for all you acronym collectors). This is the total spend on these channels over time, divided by the number of new customers you gain over the same period – ad spend divided by customers is a common shortcut to get to this number, but to get a truly accurate picture you need to factor in time, effort and internal systems costs as well.

It’s also worth bearing in mind that this is a distinct measurement from cost per action (ie how much you have to spend to close a deal), which is your total spend on ecommerce over time divided by the total number of transactions in that period from new and returning customers.

Where does Matrix come into this?

A valid question, given that it’s not a social media engine, or an analytics tool or any of the other things Craig mentioned. What it is, however, is a great way to speed up your core marketing activities so that you’re free to pay closer attention to new channels. As well as speeding up catalogue production for customers like Next, Boden, Christie’s Auction House and Bauer, MatrixCMS also allows you to automate the updating and management of your ecommerce platform, and can even be used to customise channels for different market segments, distributors and suppliers.

You can use it to convert print-ready images and assets into web-ready ones, and to enter data once and use it across all channels in a consistent and efficient way. This will not only enable you to get your products to market faster, but also improve the efficiency of your processes and ultimately reduce costs or increase capacity.

To find out more about MatrixCMS at an online demo, pop your details in the form here.

Want to know more? Call 0161 804 1850 or email info@matrixcms.com. To keep up with all the latest news and blogs, follow us on Twitter @matrixtweets or ‘like’ us on Facebook.

What’s the difference between a hosted and managed Jamf Pro deployment?

What’s the difference between a hosted and managed Jamf Pro deployment?

We’ve been helping our customers work with Jamf Pro since 2009, and have deployed more licences than any other UK provider, so there are no safer hands for your Jamf deployment. We offer Jamf Pro as a hosted service, a managed service, and a hosted, managed service – read on to find out which option is right for you. 

A hosted, managed Jamf Pro deployment (we host your server and manage all the devices)

In this scenario, you don’t have to do anything. You tell us how many devices you need managing and which permissions your various user groups will need, then we host the licences at our UK datacentre and manage the deployment and maintenance of them. If you ever want to add new licences or change settings, all you have to do is give our team a call, and we’ll arrange everything from this end.

Why choose a hosted, managed deployment? 

Predictable per device pricing. Let’s get this out of the way early. Our managed, hosted solution is billed on a per device basis, so you’re only paying for the licences you use and you don’t incur any hardware, power or cooling costs.

Focus on core skills. Maintaining another skill base in your company is a financial and logistical challenge. It takes staff away from their core tasks, which can impact the smooth running of your organisation. However, a managed solution means that our team take responsibility for the management of your licences, and your team can focus on their core capabilities.

Time savings. Don’t tie up your team managing another platform. All you have to do is tell us how you want your devices to behave. We’ll then build profiles, register devices, apply settings, monitor usage, troubleshoot and generate reports for you – just let us know your requirements and sit back while we run around on your behalf.

Secure access to a UK-based datacentre. Your licences will be hosted at our UK-based datacentre, and you’ll be given private, secure access.

A hosted Jamf Pro deployment (we host the server but you manage the devices)

All hosted Jamf Pro deployments are held in our UK datacentre, and you are given secure VPN access to the servers holding your licences. In this scenario, your team would manage the devices themselves (you can still ask us for tech support, though).

Why choose a hosted deployment? 

No onsite costs. Hosting licences in our datacentre costs you a flat, predictable fee per licence, and lets you sidestep internal hosting costs. It also means you don’t have to buy any hardware as part of your initial outlay.

You maintain ultimate control over your licences. If you’ve already got the know-how in-house, have a very delicate mixed environment that you don’t trust outsiders with, or have users whose needs and permissions will have to change frequently, you might prefer to manage your devices in-house. A hosted deployment lets you do this without having to assume responsibility for the maintenance of any new hardware.

Develop in-house expertise. Who are we to stand in the way of professional development? You may want to get members of your team trained up on Apple and Jamf Pro workflows, in which case getting the right training on managing your devices yourself is essential. Find out how we can help below.

Our expert support and training. Our accredited team offer support contracts that can include remote and onsite support, regular system health checks, access to our help desk for your end users and more, all backed up by our 25 years’ experience in mixed platform environments. We’ll even include a JSS health check as part of your service level agreement. We can also provide four levels of official Jamf Pro support, and offer training courses of our own for technical teams and end users.

A managed onsite Jamf Pro deployment (you host the server, we manage the devices)

If you want to host your own licences but don’t have the time to take on device admin or the funds to take the training that enables you to do it, choose a managed onsite deployment. Your hardware stays in your server room where you can monitor and control it, and no one has to VPN into our datacentre, but we still take care of all the behind the scenes stuff.

Why choose a managed onsite deployment? 

You can choose and check your own hardware. We’re very protective of our server room and security practices too, so we understand some people want to keep their servers where they can see them.

Obey strict storage policies without having to take on management tasks. If you don’t want to deal with Jamf Pro admin, but want or need to keep your data onsite to comply with contractual or legal obligations, a managed solution allows you to do this without taking on any additional admin tasks.

No support or training costs. Support comes under the umbrella of us managing your deployment, so there’s no extra cost for that. And with our team handling things, there’s no need to retrain your in-house team.

Already got Jamf Pro? Ask us about…

Transitioning your existing Jamf Pro deployment to the cloud. If you already have Jamf Pro onsite but would like to move to a hosted or hosted and managed setup, we can help make the move quick, seamless and cost effective.

JSS Healthchecks. If you want to keep your deployment onsite but don’t think it’s running as efficiently as it could, we also offer JSS Healthchecks. These are designed to ensure your Jamf Pro deployment and associated networking are optimised for each other, so you can improve performance without the need for costly upgrades. Find out more here

Legacy JSS If you’ve previously installed Jamf Pro (perhaps in its previous incarnation as Casper Suite) but it’s fallen into disuse or the expertise has left your organisation, call on us to give your setup the kiss of life. We’ll revitalise your hardware and policies to make sure you’re getting the most out of your investment.

Jamf Jumpstart training. This is mandatory training that Jamf insist you have if you’re going to manage your own devices (if we’re managing your devices for you, you can skip it). Depending on the size and complexity of your deployment, you could need to undertake anything between four hours of remote training and a three day onsite course that costs £3500. Ask our experts what you’ll need.

Additional training. We offer training for tech teams and end users on Apple devices, their operating systems and the solutions you can use to manage them. Get in touch with the team to arrange Jamf Pro training that’s tailored to your needs. Book your training here.

Official tech support. We offer five tiers of support for Jamf Pro deployments, all at fixed, predictable annual costs. They range from general remote support and troubleshooting packages to our Gold package, which includes eight days with an engineer onsite, six half days of dedicated remote support for ongoing issues, ongoing end user support, annual health checks of your hardware and networks, roadmaps for future system development and the packaging and deployment of up to 12 business apps.

Why choose Jigsaw24?

Scale We’ve deployed more licences of Jamf Pro and carried out more Jumpstart training than any other company in the UK.

Longevity We’ve been working with Jamf since 2009, and were one of the first companies in the UK to work with them, meaning we have the most experienced team of engineers available to you.

Apple expertise But it’s not all about Jamf. We’ve been providing Apple devices, solutions and services for 25 years. Our support team really understand your devices, their underlying architecture and how they’ll interact with Jamf Pro and your wider IT ecosystem, whether that be Windows or OS X-based.

Security As well as providing secure access to your licences, our Tier UK datacentre offers redundant power and disaster recovery in case of emergency.

Our satisfied customers include SuperGroup, Lincoln University, King’s College London, News UK, Pret-A-Manger, MTV, The AA, Jamie Oliver, Williams Lea, The Guardian, Pentland Brands and Burberry. If you’re ready to get started with Jamf Pro, or unhappy with your current provision, our team can migrate you from an onsite deployment to a hosted or hosted and managed one in order to reduce your running costs. Email our engineers to find out how.

Want to know more? Give us a call on 03332 409 306 or email solutions@Jigsaw24.com. For all the latest news and reviews, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

 

Inferno or Flame? What you need to know before choosing a Ninja

Inferno or Flame? What you need to know before choosing a Ninja

There have been some big changes to the Atomos Ninja family recently, with Ninja 2 and Ninja Star going end of life (we have the last stock of the Star over on our official eBay page) and the price of the Ninja Blade getting slashed. So which of the surviving models, the Ninja Flame and the Ninja Inferno, is right for you? 

Ninja Flame: basic vs bling versions

A 4K 30p-capable monitor and recorder, the Flame comes in two flavours: the original kit, complete with accessories that include an HPRC case, cables, batteries and charger, a docking station, five Master Caddy IIs, two AC adaptors and HDR sun hood, which will set you back £970 ex VAT; and a no frills Basic Kit for £695 which just includes a Master Caddy, power supply and travel case.

If you’re new to the Ninja range, or the Atomos lineup generally, it’s a good idea to go for the full kit, as the interchangeable cables, storage etc will serve you well as your Atomos lineup inevitably grows (we’re yet to meet anyone who’s managed to stop at one Atomos device). If you’ve already got a full complement of accessories, obviously feel free to save yourself a few quid and opt for the Basic Kit.

Ninja Flame vs Ninja Inferno

The Ninja Flame and Inferno share many similar specs: they’re both HDMI-only, they both sport HDR-ready monitors supported by Atomos’s AtomHDR technology, they can both be linked to larger HDR-ready monitors, both have 10-bit processing and 1500 nits of brightness, and both support ProRes and DNxHR.

They also boast all the features that made us fall hard for the original Ninja monitor, such as start/stop trigger recording, metadata tagging and the ability to record to spacious SSDs rather than SDXC cards.

So what’s the difference between a Flame and a full-blown Inferno? Well, while the Ninja Flame tops out at 4K 30p, the £875 Inferno can keep going all the way up to 4K 60p. Because of this, it’s done particularly well as a partner to the Panasonic DC-GH5, the first compact camera to ever hit the 4K 60p milestone, but we also like it with the Sony FS7 (on which you can now get £346 cashback) or the Panasonic DVX200.

The Inferno is also the only model that’s able to record 4K DCI – aka ‘cinema 4K’ rather than the kind used for television, so if you’re shooting for the big screen, opt for an Inferno over a Flame.

And let’s not forget G-Tech

atomos_master_caddy

Whether you opt for the Flame or the Inferno, we’d recommend investing in a G-Tech Atomos Master Caddy, too. It may sound like a piece of futuristic golfing equipment, but it’s actually an Atomos-endorsed line of storage made of G-Technology SSDs (which can achieve transfer rates of 500 MBps +). The Atomos Master Caddy (pictured above) inserts directly into any Atomos recorder. The caddy then slides into the ev Series Reader Atomos Master Caddy Edition, which slips into any G-DOCK ev or ev Series Bay Adapter, so footage is part of your established G-Technology storage workflow as soon as you’ve finished shooting.

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

Media Composer v8.8 is here!

Media Composer v8.8 is here!

Media Composer v8.8 is here and ready for download! Head to the Download Centre in your Avid account to get the update now, or keep reading to see what’s been updated.

New features

Version 8.8 has seen a raft of tweaks and new features to make your editing workflow even smoother. Here are the highlights – a more detailed breakdown is available in the Avid documentation:

– Timeline Clip Notes You can add notes to clips in the Timeline and view all the notes in the Timeline Clip Notes Window. (Used to be Adding Comments.)

– Frame Cache for Effects Editing enabling frame cache when performing colour correction.

– ScriptSync ScriptSync uses phonetic-indexing technology to analyse the audio portion of a clip and match it to lines of the script text.

– Bin sharing on non-Avid storage The editing application will notify you if your third party storage is emulating Avid NEXIS or Avid ISIS storage.

– Change to Find Window A few changes have been made to the Find Window.

– Change to the Script Window A few changes have been made to the Script Window.

Bug fixes

As well as new features, v8.8 also brings with it a range of welcome bug fixes, including:

– Not being able to open a project if the project was named Clip.

– Not being able to successfully drag and drop audio clips above or below the TC track.

–  Custom Colours not staying in the colour palette when using clip colour.

–  Disabling the ‘Auto-create new tracks’ setting was ignored when using Edit While Capture clips.

–  The Cutlist EndHdl timecode was short one frame.

–  (List Tool) The marker values were empty in an Optical List.

–  (List Tool) Markers did not display on Opticals in an Assemble List.

–  When performing an Export to Device with an XDCAM device attached, you might have received a ‘Please connect XDCAM device or insert disk’ message.

–  In some instances, exporting a graphic from linked XAVC Long GOP media failed with an assertion error.

–  In some instances, rendering a sequence with muted clips resulted in clips being partially rendered.

–  The Project Window summary might have been empty on a Mac system, or contained garbled text on a Windows system.

–  When importing some .wav files, the name of the files include a / which is an illegal character that is not supported in Interplay. This is because Media Composer uses the values of Scene/Take for the file name when importing Broadcast Wave files. An additional Import Setting has been added to the Import Settings dialogue. The ‘Use Broadcast Wave Scene and Take for Clip Names’ is defaulted on. If you are importing Broadcast Wave files and you do not want them named using Scene/Take, you must deselect this option in the Import Settings:Audio dialogue box.
Limitations:  There are 5 limitations and workarounds outlined in the ReadMe for Media Composer v8.8.
New Nvidia Driver: Nvidia Driver v375.86 is supported with this release.

Availability

Media Composer v8.8 is available now. If you have already installed the latest version of Media Composer, you will be notified of the availability of the v8.8 upgrade via the Application Manager v17.2. The Apps tab will also provide a link to download and install the update.

If you bought Media Composer on or after 16th February, 2017 you will receive this v8.8 update in your Avid Master Account.

If you are on a current Upgrade & Support plan you can download the Media Composer v8.8 update either from your Avid Master Account or the Avid Download Centre (login and password required). However, if you are not on a current Upgrade & Support contract, you must purchase either a new Media Composer Subscription or Perpetual licence to receive this update.

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