Edit any PDF in Quark with PDF2DTP

Edit any PDF in Quark with PDF2DTP

It’s one of those design nightmares – a client comes to you with a PDF and wants it amending, but you don’t have any of the original source files! Short of manually converting the PDF one page at a time or recreating the entire document (all the while mentally editing an image of your client’s head into a vicious animal attack), what can you do?

Markzware, creator of tons of plug-ins for Quark, think they have the answer with PDF2DTP. This new plug-in, or ‘XTension’, lets you easily import an entire multipage PDF into QuarkXPress 9, converting the whole thing into an editable Quark file. Then you can simply make your edits with familiar tools and export it back out to hand to your client as a new PDF.

How well does it work?

Have a look at the PDF2DTP XTension for QuarkXPress 9 in action and get the full word from Markzware in the video at the bottom. It’s already getting rave reviews from designers for its conversion speed and accuracy – Paul Ramos, a publishing professional at Difusao Cultural enthused, “PDF2DTP is fantastic! I tried it on a PDF for a book that had 524 pages, and it took less than five minutes to make the total conversion. It even isolated the images in separate files.”

Our resident Quark expert Priya Saggar reckons PDF2DTP will be a very welcome addition to designers’ toolbelts. “This is going to take a lot of tedious work out of converting PDFs to make minor edits, or quickly recovering a document when all you’ve got left is the PDF,” she said. “It does usually retail for £179 but, for a limited time, you can get it free with every QuarkXPress 9 purchase or upgrade. PDF2DTP comes as an electronic download for either Mac or Windows – all you need to do is register your Quark and fill in the online redemption form.”

You can also get more info by calling our team on 03332 409 306 and emailing sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Adobe Creative Week 2012: Our design team’s thoughts

Adobe Creative Week 2012: Our design team’s thoughts

Our design team spend most of their waking hours toiling over Photoshop, InDesign, Illustrator, Premiere Pro and Dreamweaver, so we thought it would be a good idea for us to check in with some of Adobe Creative Week 2012’s online seminars and see what other creatives were up to.

With the UK economy still idling in recession, big themes up for discussion were how creativity could help push growth, the decline of print, constrained budgets and changing skill sets. Adobe also showcased their new Touch apps for Apple’s iPad, Creative Cloud and Creative Suite 6. Here’s Liana, Ed and Paul’s thoughts on the week’s hotly contested debates…

Day 1: Creative Industry Overview

The overarching question to kick off Creative Week was ‘Can creativity help drive the UK out of recession?’, and the results showed the viewers had a pretty sunny outlook, 88% of them voting ‘Yes’. One of the themes touched on was creativity in education, and whether we were failing the younger generation by not giving art and creative subjects enough credibility.

Designer Liana Jackson wasn’t so sure it was such a big hindrance: “While gaining basic skills in maths and science is necessary, I’ve never felt like I wasn’t able to pursue a career in design because art wasn’t ‘credible’. I suppose it can be seen more as a hobby than an actual job, and I think more people are trying to get into creative roles now, and earning money doing jobs for people because they ‘kind of know’ what they’re doing. This can lead to a lot of pants design out there and a lot of qualified designers out of a job.”

With the rising use of mobile devices in the classroom (Adobe showed an interesting case study from Ravensbourne College), students are getting far more collaborative and diverse design skills. Whether this new crop of creativity can provide the stimulus the UK needs for economic growth remains to be seen.

Adobe Touch apps and Creative Cloud

Throughout Creative Week, Adobe evangelists were showcasing their latest products with in-depth video tutorials, which are all handily uploaded to the Adobe Creative Week site to watch back at your leisure. Of particular interest to our iPad expert Ed Reisner were the new Adobe Touch apps and Creative Cloud, as presented by Rufus Deuchler (Senior Worldwide Design Evangelist at Adobe Systems – @rufusd on Twitter).

“While Apple have been pushing their cloud services for a while, it’s great that you can now ‘work in the cloud’ with Adobe,” he said. “Creative Cloud also lets you download and manage desktop apps like Photoshop, Illustrator and InDesign or the Touch tablet apps such as Kuler and Proto, a bit like Apple’s App Store. Interestingly, you can also download an app for a specific time period. This would be useful if you’ve taken on a contractor for a month or two, and only need a Photoshop licence for that time.”

Ed also thought Adobe’s six Touch apps – Photoshop, Kuler, Proto, Collage, Ideas and Debut – would be really useful for designers on the move: “Each of the Touch apps is designed specifically for multitouch use, and as they integrate with Creative Cloud, will let you work on initial concepts and save them while you’re out of the office.

“Photoshop Touch gives you control of some basic Photoshop commands, but also lets you add comments so you can collaboratively review ideas with colleagues and clients. The Ideas app is great for sketching out concepts, letting you draw intuitively with touch gestures as vector paths, ready to scale up in Illustrator when you’re back at your desktop computer. Of all Adobe’s Touch apps, the most interesting is probably Proto, which integrates with Dreamweaver to let you create basic websites on the fly. You can be with a client and sketch out ideas on your iPad as you’re talking, using multitouch gestures to put in headers, tabs and more.”

Day 2: Design and Publishing

The decline of print media is no big news, so it was heartening to see that 69% of people surveyed on Day 2 thought that print could survive the digital revolution. Jeremy Leslie from the magCulture blog said that having both print and digital “gives us the option to pick and choose the right solution for the project in hand”, while Future Publishing’s digital Editor-in-Chief Mike Goldsmith enthused that “digital technology gives you permission to fail”, as it’s so much easier to rectify mistakes and make amends.

“Digital media can reach people far quicker than print, and with platforms like Twitter, it’s changed how we read and consume content,” said Liana. “But they reminded viewers that the challenge is still engaging that person to want to follow a link and read on.

“Design, like fashion, is also cyclical, and Adobe brought up the good example of InDesign’s first introduction, and people moving over from Quark. Everyone learned to use new tools like drop shadow, but then it became so ubiquitous that it fell out of favour, only to come back when it started being seen as different and original again,” she added.

Tutorials for Day 2 focused on Adobe’s big three apps for design and publishing – Photoshop, InDesign and Illustrator – as well as newcomer Muse, which lets you do WYSIWYG web design without lines and lines of code. Check out the videos on the Adobe Creative Week site.

We’ve been using Creative Suite 6 for a while now, and our videographer Tom has also put together his own handy tutorials for Photoshop’s Content-Aware and text extrusion tools, and Image Trace in Illustrator, which you can see over at our YouTube channel.

Day 3: Film and video

‘Do smaller budgets make for more original ideas?’ Last year, the BBC spent 13% less on TV, and ITV spent 21% less (2011 compared to 2010), yet revenue went up for both. Pressure and expectation from above to do more with fewer resources and less technology can force creatives to think differently, seemed to be the reasoning.

One new avenue which has helped is social media platforms like YouTube and Twitter which, former BBC social media expert Marc Goodchild reckons, “brings producers closer to their audience”.

Liana agreed that social media is now a key part of creativity: “As Marc said, YouTube allows you to test your work and fine tune it before the final cut, decreasing risk and making it as good as it can be. It’s also great for talent scouts and HR managers looking to hire people. Pilots used to be secretive and for a specialised audience, but now they’re expected to be seen by lots of people, thus giving more constructive feedback.

“The panellists also discussed how Twitter is now a valid source of openly eavesdropping – people aren’t afraid to give their opinion because they aren’t talking to your face. There are also enough people to get a rounded, calculated result, from a different range of expertise and backgrounds.”

Day 4: Web and mobile

Cross-disciplinary skills are all well and good, but the fourth day of Creative Week asked – ‘Should you be a Jack of all trades instead of a master of one?’. A very talented 64% said designers should be skilled in newer processes like app design in addition to traditional skills.

With the ways people consume media changing, and clients wanting to be at the forefront of that change, keeping up to date with technology has never been so important. Just as a coder needs a basic grasp of design, designers should have an understanding of coding, they said.

Adobe demoed a great new resource – The Expressive Web – showcasing CSS3, HTML5 and content aware pages. As Ed mentioned above, there’s also the new Touch app Proto. Proto lets you create a website wireframe directly on your tablet device, preview in on the tablet and then export it out to the Creative Cloud where you can then start fleshing the website out in Dreamweaver.

Day 5: Photography and Imaging

The last day’s topic was bound to cause a bit of controversy – ‘Is digital imaging all tech and no talent?’. Any designer worth their salt knows that software is a brilliant addition to photography, but it can’t make a great photo on its own, and an overwhelming 70% agreed that ‘No’, you need talent too.

It was said that Photoshop gives you the opportunity to experiment using techniques and ideas without massive costs – for example award-winning photographer Timothy Allen (BBC’s Human Planet) argued that it was much more cost-effective to use the Tilt-shift feature in Photoshop than it was to buy new lenses to shoot with to achieve the same effect.

Senior designer Paul Shillabeer thought the rise of ‘iPhoneography’ and photo-sharing sites was having a very real effect on the industry. “More amateurs and professionals are using apps and iPhones to create imagery,” he said. “This movement is getting bigger and is very accessible to all levels of photographer from pros to casual snappers. Erin Moroney [of the UK Young Photographers’ Alliance] also noted that photo stock libraries are finding it hard to compete and cannot command the high price tags they used to because people are sourcing images from so many other sources – a very similar image to what a client’s looking for could easily be found on Flickr.”

– A good taster of the current state of the design and media industries, Adobe’s Creative Week 2012 managed to wrap up all the big questions about the changing face of digital creativity. If you missed any of the debates and tutorials, you can catch up on demand here.

You can find out more about Adobe Creative Suite 6 and our full range of design tools at our site, or by calling our team on 03332 409 306 or emailing CAD@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

HP Z820 gets super fast RED edition

HP Z820 gets super fast RED edition

Any video companies working with RED cameras have been given a reason to let out a big ‘whoop’ – HP have teamed up with RED to bring out a custom, turbo-powered version of their powerful Z820 workstation.

Depending on how much you want to spend (read: lots), the RED Z820 is able to take up to half a terabyte of RAM as well as 16 CPU cores, up to 2.93GHz processor and is RAID-expandable. With its speedy 10,000rpm SAS boot drive and SSD upgrade options, it will also launch apps even faster. And just in case you forget which of your towers is the RED edition, they’ve updated the LED light on the front to a fetching crimson colour.

Video consultant James Graham reckons the souped-up version of the HP Z820 workstation will be great for DITs using the RED file format. “RED has always been a notoriously complex file format to work with,” he said, “and because you’re editing hours and hours’ worth of footage, you need a workstation that’s up to the job. With up to 16 CPU cores and the liquid cooling technology, the RED edition Z820 will be more than able to stand up to those intensive workflows.”

The full specs include: “HP Z820 (16) 3.21GHz Cores, Liquid Cooled, 32GB 1600MHz Quad Channel Memory, Nvidia Quadro 5000 GPU, RED ROCKET, (1) Internal BluRay/REDMAG Reader, 300GB, 2.5″ 10K SAS 6Gb Boot Drive.”

Want to find out more about the powerful HP Z820 workstation? 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.

Video: Tascam DM3200 mixing desk, integrated audio interface, control surface and DSP

Video: Tascam DM3200 mixing desk, integrated audio interface, control surface and DSP

Rob Holsman of talks us through the features of Tascam’s DM3200 digital console and explains why this is a relevant choice for someone looking for a DAW controller and high quality audio interface.

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

NAB 2012 news: Magma ExpressBox 3T Thunderbolt to PCIe expansion

NAB 2012 news: Magma ExpressBox 3T Thunderbolt to PCIe expansion

After first surfacing a good few months ago, there’s news from Magma on their ExpressBox 3T Thunderbolt to PCIe expansion at NAB 2012. It’s good to see the device, which brings PCIe slots to iMacs and MacBook Pros, is being shown off on the Avid and RED stands too.

This makes the Magma ExpressBox 3T Thunderbolt to PCIe expansion a very interesting proposition for those in audio and video who currently need PCIe slots to run their apps. The ExpressBox 3T would open something like Pro Tools HDX or HD Native up to older machines, and Rob explained that will be a major boost to Pro Tools HDX or HD Native users, with the future of Mac Pro machines hanging in the balance.

“Irrespective of what may or may not happen with Mac Pros, it at least opens the market for HD Native to those who have a decent iMac and want to get into the Pro Tools HD market but don’t want to buy a whole new machine as well as the hardware,” said Rob.

James thinks the ExpressBox 3T will be equally useful for broadcast work. He said: “I can imagine this being used for treating rushes and doing rough cuts for test shots on set. Also for the smaller environment, this can sit on the desk and really beef up an iMac Avid suite.”

The ExpressBox 3T hosts three PCIe 2.0 slots – two x8 (of which one can hold a x16 card) and a x4 – which connect to your machine via Thunderbolt. It also houses its own 220w power supply. In terms of availability, Magma say they have “begun the Thunderbolt compliance process with Intel and Apple and shipments of ExpressBox 3T will start immediately after completion.”

If you’re at NAB 2012, check out the Avid stand (SU902) to see it in action, or get dibs on one by pre-ordering your ExpressBox 3T from Jigsaw24 now! For more information, get in touch on 03332 409 306 or email broadcast@Jigsaw24.com.

And remember to keep up with all the latest announcements by following @Jigsaw24Video on Twitter and ‘Like’-ing our Facebook page, or keeping an eye on our round up post

Babyface vs. Fireface: Battle of the interfaces

Babyface vs. Fireface: Battle of the interfaces

Audio interfaces come in all shapes, sizes and numbers of inputs. To see what difference size makes, we’ve pitted the small but mighty RME Babyface against the heavyweight RME Fireface UFX. Our audio consultants have each taken a corner to argue why their choice should be champion.

RME Babyface

Backing the RME Babyface interface is Alex Judd, who reckons the ultra compact, bus-powered interface packs more of a punch than you’d imagine. “Marketed as the entry level RME interface, don’t be fooled into thinking it’s not a serious production tool,” he said. “The Babyface boasts the same amazing sound and ultra low latency as the Fireface series, and comes with a breakout cable for connecting two mic preamps, an instrument input, two headphone outputs, stereo line out and eight‑channel ADAT I/O.”

Alex also points to the Babyface’s fantastic routing, mixing and signal processing software, Totalmix FX, which allows you to perform complete routing and mixing, as well as adding effects (DSP-based EQ, and host based delay and reverb). But it’s the portability factor that’s the real winner for him. He said:

“It  will fit into the most crowded of studios, and easily tuck into your laptop bag (or man bag). Just hook the RME Babyface up to an eight‑channel preamp via ADAT and you have the ability to record multitrack sources when and where you need to. It’s ideal for musicians and producers who are after a simple stereo source for mixing, but who also need something to take on tour or out on location. It’s a very clever way of RME sucking you in,” Alex added.

RME Fireface UFX

Rob Holsman has been using the larger RME Fireface UFX for recording guitars and drums for his band for a while, with one of his standout features being direct USB recording. To see how to set up this function in action, check out Rob’s video below.

“There are clear uses for this technology,” Rob said, “from having a safety recording running in the event of a DAW crash to being able to record live gigs where using a computer might be ill-advised […] Sometimes there are just situations where a standalone recorder is what you want to use, and that’s exactly what this firmware update turns the UFX into – a standalone hard disk recorder.

“The decision to record a single multichannel audio file is a good one too, as it makes it much easier to write high data volumes to slower devices (such as memory sticks) than trying to simultaneously write multiple files. It also ensures that all files remain synchronous when importing into an editing program like Pro Tools or Cubase, which both handle multichannel files natively, automatically showing each channel as a separate region.”

Rob went on to deliver his verdict on the interface. “The RME Fireface UFX was already one of the best professional audio interfaces available based on stability features and sheer audio performance, but [this update makes it] stand out from the competition, pushing the UFX into an exciting class of its own and making it a simple choice for people looking to record critical, non-repeatable performances.”

The results

We’ve used a very complex system of calculations to tot up the points, and it turns out it’s a draw. Which audio interface you go for really depends on how it’s going to fit into your recording and production. As Rob said, the Fireface UFX has top quality sound and a handy direct USB recording feature, but if you’re recording on the move, you really can do no worse than the incredibly portable and affordable RME Babyface interface.

We’re an RMExpert Dealer, which means we can offer expert advice, demonstrations and even loan a wide range of units for customers to try in their own setup. Get in touch for more info.

To find out more about the RME Babyface, call us on 03332 409 306 or email audio@Jigsaw24.com. You can also keep up with the latest audio news and offers on our Twitter (@Jigsaw24Audio) and Facebook page.

To get your hands on an RME Babyface with a free Audio Technica AT2020 microphone (worth £89), visit Jigsaw24.com now!

Canon release MXF plug-in for FCP X

Canon release MXF plug-in for FCP X

Good news for anyone with a Canon C300, XF300 or XF100 – you’re now supported in Final Cut Pro X! With the new plug-in, any .MXF footage can be loaded directly into Apple’s latest NLE, solving a bit of a headache for those capturing on Canon camcorders but wanting to edit in FCP X.

Until now, users had to go the long way round to load movie clips using FCP 7’s Log and Transfer to save the .mxf files as XDCAM HD422 .mov files before importing them into FCP X. But as long as you have the latest version of Final Cut Pro X – v10.0.3 – installed on your Mac, files from your XF300, XF305, XF100, XF105 or EOS C300 are now supported.

This was big news for Jigsaw Video Consultant and XF300 fan, James Graham. “The XF300 is a very popular small broadcast acquisition camera and for good reasons,” he said. “The only drawback for an FCP X user was getting the files in.”

And filmmakers who have got on board with Canon’s latest foray into cinematic cameras – the C300 – will also benefit from the new interoperability between Canon Long GOP cameras and Apple FCP X. James said:

“The C300 looks set to become the low budget advert, drama and film camera of choice, squaring off against the mighty Sony F3. There’s been a lot of debate around the F3 vs the C300, but suffice to say owners can now edit natively in the platform they are most comfortable. And if that’s FCP X, then there will no longer be any issues.”

How to get it

The 3.4 MB plug-in is available for any Mac users running Apple Final Cut Pro X 10.0.3 over at the  It will enable any users of Canon’s EOS C300, EOS C300 PL, XF305, XF300, XF105 or XF100 camcorders to load movie clips into FCP X. Here’s what you do once you’ve downloaded it:

1. Confirm that Final Cut Pro X 10.0.3 has been installed to the computer.

2. Download “xpfm-2-0-0-4-8l.dmg.gz” from the download page.

3. Double-click “xpfm-2-0-0-4-8l.dmg.gz”. After decompressing the file, “xpfm-2-0-0-4-8l.dmg” will be created.

4. Double-click “xpfm-2-0-0-4-8l.dmg”. The disk image “XPFM20″ will be mounted.

5. Double-click the installer, “UpdateInstaller” in “XPFM20″.

6. Follow the on-screen instructions to complete the installation.

Having trouble installing, or just generally want to shout about how this news is making you feel? Let us know in the comments box below.

To find out more, call us on 03332 409 306 or email broadcast@Jigsaw24.com. For more articles, reviews and news, follow@Jigsaw24Video on Twitter and ‘Like’ our Facebook page.


HP or Epson: What’s the best draft printer?

HP or Epson: What’s the best draft printer?

Looking for a print solution for your drafting workflow? There are dozens of large format printers out there which will all produce good quality results, so we’ve pitched two of the top offerings from HP and Epson against each other so you can see what kind of printer is best for your needs…

HP DesignJet T790

HP are primarily known for producing technical CAD printers for use in architectural, engineering, surveying and construction environments. Their 44″ DesignJet T790 is a plug-and-play large format printer which combines high-speed results with intuitive use. The real stand-out points here are the ability to easily create print-ready PDFs with the optional AutoCAD plug-in and the collaborative aspect of HP’s exclusive ePrint & Share application. This free web-printing solution allows you to select, print and share files directly from the colour touchscreen.

Epson Stylus Pro 9700

Epson’s range of photo and graphics printers have a heavy emphasis on print quality, and so are mainly used in the print for pay, production graphics, pre-press proofing and photographic sectors. They may seem a little over-qualified if you only need a printer that’s adept at producing 2D drafts, but if you’re working in an environment where you work with a range of designs and media, the flexibility of the 44″ Epson Stylus Pro 9700 could be what you need. ENERGY STAR-qualified, it also boasts plenty of eco-features such as a fixed printhead and low power consumption to boost your green credentials and keep printing costs down at the same time.

How they stack up

The stats you need to know, at a glance.

Printer HP DesignJet T790 Epson Stylus Pro 9700
Printhead HP Thermal Inkjet Epson Micro Piezo TFP Variable-sized Droplet Technology
Max resolution 2400x1200dpi 1440x1440dpi (special line mode)
No. colours/cartridges Six cartridges (C, M, Y, Photo Black, Matte Black, Grey) Four colours, five cartridges (C, M, Y, Photo Black and Matte Black), ten ink channels
Nozzles 2,112 nozzles per colour, 12,672 nozzles 720 nozzles per colour, 3,600 nozzles
Minimum droplet size 6-9pl 3.5pl
Max print speed 50m^2/h 50m^2/h
Best quality print speed 2.8m^2/h 4.2m^2/h
Paper thickness 60 to 328g/m^2 up to 0.8mm 0.08 to 1.5mm
Memory 8GB 256MB
Power consumption 120W 85W
Warranty One year onsite ex printhead One year onsite inc printhead

The verdict

In terms of initial cost, there’s little to separate the two printers (both have an RRP of around £3000), but the Epson does just edge the HP in terms of consumables, with printheads included in the guarantee and ink costing nearly half per ml. The real decider should be what you want your printer to achieve – for a dedicated drafting printer, you may be better off with the quicker, more accurate Epson 9700 and its collaborative tools, but if you need your printer to do more flexible colour design work, the HP T790 could clinch it for you.

To find out more about large format printing, give us a call on 03332 409 306 or email CAD@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Feds turn down the volume on US ads

Feds turn down the volume on US ads

For a long time, canny advertisers have used dynamic range and loudness as a way of drawing attention to their messages between programmes. Now, irked by increasing volume levels on US TV ads, the Federal Communications Commission has passed an act to keep them in line with the rest of the scheduled programming. In time-honoured fashion, it won’t be long before the shakedown hits these shores too…

The FCC’s Commercial Advertisement Loudness Mitigation Act (cleverly acronym-ed to ‘CALM’) will come into effect this December, and make sure adverts’ loudness stays within allowed limits. “The average volume of a commercial,” an FCC spokesman explained, “cannot be louder than the average volume of the programme during which the commercial airs.”

While the current standards in the UK exist as self-imposed guidelines from the broadcasters themselves, Jigsaw audio consultant Rob Holsman said it won’t be long before limitations similar to the US hit these shores. “The same standards will be brought in across Europe and the UK over the next few years, although many broadcasters have already adopted them.

“It is the broadcaster’s responsibility to ensure that their transmissions are in accordance with regulations, but of course they are already minimising their accountability by insisting adverts that are submitted hit those guidelines, and sending back submissions that don’t conform,” he added.

So what’s the best way to ensure your work is broadcast-safe? Jigsaw audio expert Alex Judd said many of our post-production house customers have already been gearing up for the changes with new products to keep their loudness levels in check. “Anyone making adverts and promotional videos, or producing the audio for them, will need to have or invest in metering equipment or software that shows the PPM [Peak Programme Meter] signal of their content,” he said.

Hardware such as TC Electronic’s TM7 and TM9 loudness monitors has been popular for providing a standalone solution with a consistent readout, and there’s also a native plug-in version for Pro Tools which provides much of the same functionality at a fraction of the price – the TC Electronic LM6 Radar loudness meter. Waves, normally known for their effects plug-ins, have also got into bed with loudness monitoring, releasing their WLM software. Plug-ins are a very affordable way to ensure you stay within acceptable loudness limits, so it’s likely these will feature alongside most post-production houses’ DAWs very soon.

For more information on PPMs and loudness monitoring solutions, call us on 03332 409 306, email audio@Jigsaw24.com or leave us a comment below and we’ll get back to you.  You can also keep up with the latest audio news and offers on our Twitter (@JigsawAudio) and Facebook page.

Swap your AutoCAD licence from Windows to Mac OS X

Swap your AutoCAD licence from Windows to Mac OS X

For some businesses a change of platform is akin to a divorce. However, far from being a lengthy and messy process, you can switch your software from Windows to Mac OS X relatively painlessly. In the case of AutoCAD it’s as simple as asking.

If you, or one of your colleagues, have bought yourselves a shiny new MacBook Pro (or iMac, Mac Pro, etc), and want to run AutoCAD 2012, simply run the Licence Transfer utility – a piece of software that’s installed along with AutoCAD – to transfer one of your Windows licences across to a version of AutoCAD for Mac. You can use the same licence number and activation code so there’s very little hassle involved and – thankfully – network licensing is supported, meaning you can run a mixture of OS X and Windows licences on the same network.

This is also applicable if you own a Design Suite that includes AutoCAD 2012, though only the latest 2012 licences seem to be eligible.

As the UK’s largest Apple dealer and the country’s only Enterprise Desktop Alliance Systems Integrator, Jigsaw can provide more detailed consultancy on platform integration. If you’re planning a major switch, get in touch with our professional services team.

Want to know more about Autodesk AutoCAD for Mac? Give us a call on 03332 409 306 or sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook..