JVC release 120fps slow-mo firmware update

JVC release 120fps slow-mo firmware update

JVC have just released a firmware update for their fixed lens 4KCAM models, the GY-HM170 and GY-HM200, including 120fps recording in HD mode for smooth slow motion effects (along with audio recording). 

This high speed recording mode will, JVC say, add creativity to your recordings, ideal for creating a slow motion effect for filming dancing, rain etc. Or indeed, for capturing dozens of M&Ms (other sugar-coated chocolate beans are available) being dropped onto a saucer, as can be seen in the colourful slow motion sample footage below, filmed with the GY-HM200 in 120fps. One to try this Christmas.

You can download the new firmware update from JVC’s service site here.

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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.

Interview: Neil Rostance, Managing Director, Fat Free Media

Interview: Neil Rostance, Managing Director, Fat Free Media

Having to tailor content for multiple platforms and screen sizes, the demand for new formats and resolutions such as 4K – there’s always some new challenge digital creatives have to contend with. To find out more, we chatted to Neil Rostance, who’s Managing Director at Fat Free Media, a Nottingham-based video production company specialising in content for the web…

Who are Fat Free Media, and what kind of services do you currently offer clients?

We’re a video production company sitting firmly on content marketing for the web, doing video and animation – 2D and 3D – 99% of the time for online brands. We’ve specialised in that for about eight years now, but obviously in that time the landscape has changed massively for online digital content. We now try to make as exciting and authentic video content as possible, in whatever shape or form. Our team covers everything from live action and production through to 2D animation, and then the more specialist 3D visualisation and animation side.

Does that set you apart from other companies in the region, having all those different services and content available in-house?

It’s a little bit unusual for a regional company, having it all in-house, and it’s something we’re proud of. It’s really cool to be able to say to clients when they ring up that you’ve got someone who’s able to answer any questions. A lot of other companies outsource, or there’s a network they rely on, but from the start we were never interested in that. I wanted to have a team that works all at once on projects and make that the offering, and clients have really responded to that. That does set us apart both technically and also just with the rapport with clients – if they’ve got a team on their site and not working remotely in a city they don’t know, they can get answers quickly.

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What kind of brands have you worked with before? Do you have any favourites, or any that stick out as being particularly challenging?

We do a lot of work with larger, well-established brands, so at the moment, we’re doing some cool projects with Center Parcs and Genting Casinos, as well as the industrial wing of Toyota. They’ve come to us specifically for something that is either outside their comfort zone or a new way of speaking to their clients – video. Even though these brands are household names, we get the exciting challenge of starting from scratch on how their brand talks and feels on video. You’re really going into uncharted territories when a brand that everybody recognises hasn’t done video before or maybe has but it hasn’t been as strategic as their print or direct marketing. That’s equally challenging as it is exciting.

So you can really tailor your offering to clients’ needs?

We’ve been surprised how niche we can get. Someone will come to us with a brief that sounds really specific but we’ve been lucky enough to be able to say ‘Yes, we’ve done that three or four times in different ways’, and we can show our track record. It doesn’t matter what industry it is, they get a feeling for video, and then can apply that to their own brand.

What do you think are the biggest challenges facing digital creatives like you these days?

I still think there’s a lot of education to be done both as content creatives and brand holders in defining what the purpose of video content is and how people consume it. There’s still a bit of a hangover from the corporate video days and practices that do not sit well in highly interactive short form content. Big brands still seem to be thinking in old ways, and one of the biggest challenges is trying to reflect how people today consume video, and work backwards from that, rather than start by saying ‘Let’s make a ten minute video’. It’s trying to get what the viewer wants and work back from there, rather than applying content onto them.

Have you found there’s a big demand from clients for newer formats like 4K, and has that challenged your workflow?

We’ve only just tested the water with a 4K workflow, and although we want to incorporate it, we’ve only had a handful of clients even mention it, let alone require it yet. If you look at the delivery outputs we’re going through, which is web, there’s an even smaller portion of our viewers that can even access on 4K. So our output is not particularly screaming for it, but that doesn’t stop us wanting to explore it. We shoot in 4K, we sometimes edit in 4K, but to us it’s more of a testing ground rather than ready to go.

So it’s more about being ready for what clients may demand in the future?

I’m not saying there’s no future for it – it could be that we are suddenly working 100% in 4K from next month – but we don’t want to be behind the times. It does exist on the web, it’s just that we don’t get requests for it. Again, it’s a case of telling our customers that it does exist and that we can work with it, which is all part of our package.

As you’ve been going since 2007, you’ve probably seen formats and resolutions evolve quite a bit since then?

When we started, it was just at the tail end of DV tape. I started my studies shooting on reel to reel. So I have experience of analogue all the way to digital, and even though it moves very fast, 4K just means clients have more choices. Why not go with the best possible quality and work back from there? It gives more flexible options for the viewer, really.

Does it mean you’re having to update your infrastructure to cope?

The only issue that we’ve found is processing times. We’ve not had to change our infrastructure too much – luckily we’ve been given a good infrastructure from Jigsaw24 that can already handle it quite well. 4K just extends projects and takes longer to do anything, which is purely down to computer processing. So we can do it, there’s no extra special magic we’ve had to add to the workflow, we’ve just had to be a bit more patient with it. That will change and we will get used to it.

Are there any other challenges you can see on the horizon?

I’ve been seeing that our content is getting shorter and shorter, and spread across many more platforms, and many more outlets and channels. So the creative challenge has changed from creating one video for one set of viewers, in one channel, and building it from the start, to having to consider all different forms of content and how it’s consumed. That’s the biggest challenge at the moment – having to think ‘What would it be like if someone watched this on a train?’, ‘What would it be like if someone watched this on a 4K monitor?’, and having to be prepared to adapt for that full range, from a smartphone to a 4K monitor and beyond.

So you want to come up with a concept that can cover all platforms…

It’s the chicken and egg scenario when we’re brainstorming – do we create an idea and fit it to the technology, or do we bear in mind the technology and come up with an idea that forms around that? Do we let it always sit on technology that’s relevant to that idea, or do we look at all the available channels and really build the idea around the technology? I’m not fond of that, because it’s undermining the potential of the content. That’s the biggest consideration and challenge that we have creatively and technologically in our business at the moment.

Want to know more about our solutions for digital creatives? Get in touch with the team on 03332 409 306 or email solutions@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

 

MatrixCMS: Untangling your marketing team

MatrixCMS: Untangling your marketing team

Marketing team being pulled between updating websites, catalogues, mobile content, emails and ERP systems? This video shows how MatrixCMS can help untangle your marketing team… 

Want to find out more? Give our team a call on 03332 400 888, email sales@Jigsaw24.com. For all the latest news and tips, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Canon launch new lens mount service for EOS C300 Mark II

Canon launch new lens mount service for EOS C300 Mark II

Anyone rocking a Canon EOS C300 Mark II can now benefit from a new lens mount service option. This offers the capability to change the 4K Digital Cinema Camera’s original EF mount to EF Mount with Cinema Lock, or to a PL mount and back again.

You can book in for this service through Canon Regional Competence Centres (RCC). Alternatively, the PL lens mount and shim kit are also available for direct sale.

Canon have also revealed that, from early 2016, a PL mount version of the C300 Mark II will be available to purchase. Up until now the camera has only been available in an EF mount but by January 2016 customers can choose whether to purchase an EF mount or a PL mount version. The upcoming PL mount version of the camera will provide support for all of Canon’s PL mount Cinema lenses and other industry-standard PL lenses, thus allowing for even greater shooting possibilities.

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How to book a replacement or buy parts

From 16th November, 2015, owners will have the option to either send their EOS C300 Mark II to an RCC in order to perform the Lens Mount Service or to purchase a PL Lens Mount and/or SHIM kit directly for self-installation or installation by an RCC.

Available service options and prices are as follows:

Mount replacement service. If you choose to purchase a PL Lens Mount directly, or would like to revert the camera back to the original EF mount from a previous mount change, the RCCs will be able perform the mount replacement using your purchased or original Lens Mount. £330 ex VAT.

Mount replacement service and mount. Depending on your requirements, the applicable RCC will supply and install either an EF Mount with Cinema Lock Lens Mount or a PL Lens Mount. £880 ex VAT.

Mount replacement service and mount and shim kit. Depending on your requirements, the applicable RCC will supply and install either an EF Mount with Cinema Lock Lens Mount or a PL Lens Mount. A shim kit will also be supplied for self-installation. £990 ex VAT.

interested_orange_buttonWant 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.

Highlights from JAMF Software’s JNUC 2015 event

Highlights from JAMF Software’s JNUC 2015 event
Our team headed to the JAMF Nation User Conference in Minneapolis last week to catch the latest news in Mac management. Hundreds of Apple IT admins packed into the Guthrie Theater for the annual event based on freely sharing IT information and best practices.
 
Over three days and dozens of sessions, there was insight from a wide range of organisations – from large and small schools to global companies – all with the common thread of enabling scalable Apple technologies at scale through creative practices, from security to deployment and management. Just a few of our highlights included:
System Integrity Protection (SIP)

here was a lot of chat at the show about System Integrity Protection (SIP), which is part of OS X El Capitan 10.11, which was interesting to hear as it’s a new direction from Apple and affects Mac admins. csrutil, NetBoot and any old packages and software that install into protected directories will no longer run, however JAMF binary is on the white list so will continue to work.

Rich Trouton, an Apple veteran with over 18 years of experience supporting Macs, provided an overview: “All malware tries to get root access,” Trouton mentioned as he explained why SIP became important for Apple to implement. SIP disables root access to certain system files and kernel extensions. “SIP is a big change, but still a work in progress. I expect Apple to update this in the future.”

He also warned against disabling SIP and suggested that If you are using software that requires SIP to be disabled, “demand more from those vendors or leave them.” You can check out his full presentation here.

A new CEO at JAMF Software

JNUC 2015 was also the first JNUC with Dean Hager as JAMF Software’s Chief Executive Officer. Hager has more than 20 years of experience in leadership positions at high-growth software and technology companies including Kroll Ontrack and Lawson Software.

On his appointment, he said: “Businesses and schools love Apple products, and are continuing to adopt Mac, iPad, and iPhone devices in droves. This creates an enormous opportunity for JAMF by providing an easy way to manage these devices, helping organisations both large and small succeed with Apple. I am thrilled to be a part of it and to be leading JAMF in its next stage of growth.”

The JNUC 5k

The event wasn’t all Apple IT admin (and posh dinners) though – there was also the small matter of a 5k run open to all delegates. One of our heroic Solutions Architects, Thomas Holbrook, took it upon himself to dash around Minneapolis in the October cold, so well done, Tom!

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Want to find out more about JAMF Software Casper Suite and our partnership with them? 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

Education app of the week: PureFlow for iPad

Education app of the week: PureFlow for iPad

If you’re looking for a really simple way to create flowcharts, you’d do well to take a look at PureFlow for iPad, which our Apple Education Trainers have recently been using in computing curriculum workshops.

What is PureFlow for iPad?

There’s nothing fancy about PureFlow (Aleksandr Kozlov, free); it’s simply a very easy way of creating flowcharts on iPad. Open up the app, tap to create a new flowchart and you have a blank canvas on which to create any kind of flowchart. Tap anywhere to create a start point, and branch out from there choosing different types of objects and dragging arrows to extend your chart outwards, drag elements around, and more. Once finished, you can share your flowchart via email, Facebook, Twitter, PDF, or save it as an image.

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How can it benefit the classroom?

As mentioned, the team have been using PureFlow in computing workshops, helping to visualise ideas through mind maps and flowcharts (maths, design, even projects in creative subjects like English and drama). But it could really be used in any subject, both for presentation and in the concept and planning stages of a project to share ideas with teachers and peers, as having a visual aid is a great way to help people make decisions.

What’s the best feature?

We’ve tried a few different flowchart apps, but for basic flowcharting, PureFlow really can’t be beat. In fact, its lack of bells and whistles is probably its greatest feature (that, and the fact that it’s completely free too).

Where can I get it?

PureFlow (Aleksandr Kozlov, free) is completely free to download. You can get it on the App Store, or here on iTunes.

– Missed our last app review? Catch up with Videon for iPad here.

Find out more about our favourite apps and Apple iPad for the classroom. Get in touch with the team on 03332 409 306, email education@Jigsaw24.com, follow @Jigsaw24Edu on Twitter or ‘Like’ our Jigsaw24 Education Facebook page for all the latest technology in education news, reviews and articles.

Win a Wacom Bamboo Spark by tweeting us your creations

Win a Wacom Bamboo Spark by tweeting us your creations

Want to win a Wacom? We have a Wacom Bamboo Spark with Gadget Pocket worth £118 up for grabs, and all you need to do to get your hands on it is tweet us a pic of the best work you’ve created using any Wacom tablets, before the 29th October.

How do I enter?

To be in with a chance of winning, send us any piece of creative work you have designed using a Wacom product via our Twitter account (@WeAreJigsaw24). This could be anything from a favourite illustration you’ve crafted with your Intuos Pro, your best Photoshop retouching work on a Cintiq, or simply a quick sketch made with your Bamboo tablet.

About the Wacom Bamboo Spark

The Bamboo Spark is a smart folio that enables you to save your handwritten notes and sketches digitally. Simply write or sketch by hand, press a button on the centre of the folio, and your ideas are saved digitally for editing, archiving, sharing and accessing anywhere. Read more here.

What’s the small print?

The only caveat to entering our Wacom Bamboo Spark competition is that you must be a UK resident, and we can’t ship the prize anywhere outside the UK. The competition closes on 29th October. We will then randomly choose the two winning designs and announce the two competition winners via our Twitter account (@WeAreJigsaw24) on Tuesday 10th November, as well as posting the winning creations here on our blog.

We look forward to seeing your great creative work!

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

How to buy apps with VPP Credit

How to buy apps with VPP Credit

When Apple first introduced their Volume Purchase Programme (VPP) – it was great news for schools using iPad, letting you easily buy multiple copies of apps, and dish them out to pupils’ devices via managed distribution (as well as getting you bulk discounts of 50% off on many apps too!).

The only problem with VPP previously was that you needed a credit card to facilitate the purchase – not the best way to buy for some schools. But now, with VPP Credit, you can simply pay for credit to use in the VPP App Store with a purchase order, meaning more flexible payments. And you can do it really easily through us, without needing to go to anyone else.

Here’s how it works:

1. Sign up for the Volume Purchase Programme

The first thing you’ll need to do, if you haven’t already, is enrol onto Apple’s Volume Purchase Programme (if you’ve done this already, you can happily skip to Step 2). You’ll need to set up an Apple ID for your institution by entering your details and your institution’s details before verifying your contact details and Apple reviewing your application.

Sign up for VPP here.

2. Buy your VPP Credit

Once you’re enrolled, you can now actually buy your VPP Credit. Just send us, as an Apple Authorised Reseller, a purchase order from your school with the following information, so we can begin to process your order:

– Amount of VPP Credit required (please only use increments of £1).

– First and last name of VPP account holder (the one you set up in Step 1).

– Email address on VPP account.

– School name (if the order comes from the LA, they need to state your school name).

– The part code you need to order for VPP Credit is: D6701Z/A – VPP Credit for Education.

We’ll then process your order, and when it’s ready, you’ll receive an email from Apple sent to the email address registered to your VPP account, with a link to a secure inbox which you can use to access VPP Credit for your institution.

3. Use the secure inbox to purchase apps
You can now sign in to the secure inbox with your Apple ID and, after signing in, download a spreadsheet with a redemption code for each VPP Credit order. Now, use this code to start buying apps and books from the VPP Store. You’ll have four weeks to download VPP Credit from the secure inbox. After that time, you (or we) can resend the VPP Credit.
 4. Distribute apps to devices

Once you’ve bought your apps, it’s now time to distribute them to your iPad deployment. VPP makes it easy to push out content to student and staff devices, letting you distribute to selected devices either through USB with a Mac and Apple Configurator or over the air via a mobile device management (MDM) solution. MDM solutions will let you control the entire distribution process, assigning apps to users, and revoking and re-assigning unused app licences.

Of course, if you do have any trouble at any step of the process – from setting up VPP to purchasing credit to distributing content – don’t hesitate to get in touch with our team for help on the details below.

Got another VPP question? Get in touch with the team on 03332 409 306 or email education@Jigsaw24.com. For all the latest news and FAQs, follow @Jigsaw24Edu on Twitter or ‘Like’ us on Facebook

Last chance to save when you move to Adobe Creative Cloud!

Last chance to save when you move to Adobe Creative Cloud!

We really mean it this time. If you’re still on old versions of Creative Suite, you only have until 27th November 2015 to migrate over to Adobe Creative Cloud (and save a cool £543 over three years). After that, you’ll only be able to buy new, full price seats, so it’s definitely time to make the move!

Adobe have been offering discounted migration pricing ever since they first launched Creative Cloud (way back in 2012!), so the fact that it will no longer be available is a really big deal for anyone who hasn’t moved over to Cloud yet. And they’re making migration an even more enticing prospect by also reintroducing their three year price lock.

Calculating Creative Cloud costs

Now for the money bit. Adobe migration pricing costs £455 ex VAT per seat for a 12 month term, but with the three year price lock taken into account, seats purchased now at £455 will be locked in for the next two renewals – which all saves you a whopping £543 per seat. After 27th November, however, new licences can only be purchased at the standard cost of £636 ex VAT for a 12 month term. It’s a massive opportunity for anyone who hasn’t yet migrated, as well as anyone who is looking to expand their estates, especially when you consider everything you get in Adobe Creative Cloud for teams

Why migrate to Creative Cloud?

We don’t really need to tell you that using legacy versions of software means you’re missing out on all the new features and workflow improvements that have come out since Adobe moved to Creative Cloud, not to mention the issue of file compatibility. For more info on how it works, check out our handy Adobe Creative Cloud infographic here, or for more on the new features, Adobe tutorials, customer stories and tons of other Adobe resources, head to our Adobe Creative Cloud hub.

Migrate to Creative Cloud now

To migrate to Adobe Creative Cloud and take advantage of this limited time offer, you’ll need to get your orders in before 27th November. Just give us a call on 03332 409 251 or email adobe@Jigsaw24.com and we’ll sort you out!

Interested in Adobe Creative Cloud for teams? Give us a call on 03332 409 251 or email sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Jigsaw24 scoop Blackmagic Design Outstanding Achievement award

Jigsaw24 scoop Blackmagic Design Outstanding Achievement award

It’s official – we’re excellent. Or at least, that’s what Blackmagic Design think, handing us an Outstanding Achievement award for excellence in distribution. We’re really proud of being honoured with such an achievement, so we want to say a big thanks to everyone at BMD!

The award was dished out at the Blackmagic Design dealer briefing on 10th September by Director of Channel Sales at Blackmagic Design, Tim Siddons, and our very own solutions and business development guru Jamie Allan went up to receive it. There were no Gwyneth/Kanye-style speeches, but Jamie and everyone at Jigsaw24 was very chuffed to be recognised by Blackmagic Design (just check out that proud dad look in the pic below). Now we just need to find somewhere to display the shiny statuette!

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Jigsaw24 and Blackmagic Design

We like to think our close relationship with Blackmagic Design stood us in good stead for the award. As well as excelling in distribution (we were the first in the UK to get our hands on their Cinema Camera and Pocket Cinema Camera), we’re also the UK’s sole provider of the DaVinci Resolve for Linux systems, as well as the leading provider of DaVinci Resolve for Mac, so it’s safe to say we know Blackmagic Design pretty well.

On top of all that, we now have our Soho service and customer experience centre, featuring our Steampunk demo room which is completely kitted out with the Blackmagic Design Resolve panel, as well as the Avid Pro Tools | S6 surface, and more.

Exclusive Resolve 12 and Cintel Scanner launch

To further boost our Blackmagic Design credentials, we’re even playing host to the official Blackmagic Design DaVinci Resolve 12 launch at our place in Soho. During the day we’ll be showing Resolve 12 running on Linux, Mac and Windows, with stations set up to show project collaboration, editing and grading. We’ll also be showing the latest versions of the Cintel Film Scanner and Fusion Studio fresh from IBC. During the evening, we’ll be welcoming a series of special guest speakers to present on their experiences using these products in the real world. Just pop your details in the form below to RSVP!

Want to know more about Blackmagic Design products? 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.