Meet the experts: Phil Crawley

Meet the experts: Phil Crawley

Chief Engineer Phil Crawley was a customer for a number of years while working as a broadcast engineer, before jumping the fence and joining the team in 2002. He’s since helped hundreds of customers get to grips with the future of broadcast as well as designing bespoke fibre installations. As our resident king of colorimetry, we challenge you to find anyone who know more about HDR than Phil.

Putting news first

“I started off at the BBC in the 80s, and the BBC rotate engineers round everything – studio work, maintenance and outside broadcast – so you end up doing every job in TV engineering. After that I worked at Carlton, Oasis Television, which was one of the bigger editing facilities at the time, and Resolution, where I worked mostly on location shows. I was the Technical Supervisor for the first three years of Big Brother, then I did Fame Academy and a few more of those sort of on-location shows before joining root6 in 2002.”

Fibre a la mode

“I do a lot of bespoke fibre installations, and one of the things that is fundamental to the way that customers build their facilities is the difference between single and multi-mode fibre. Even quite experienced engineers can be a bit flakey about it, so we do a lot of knowledge transfer to customers around that. They’re often quite surprised when they ask, ‘how can I send 20 video feeds between a datacentre and our premises?’ and I can give them a proper, economic solution.”

Moving with the times

“There’s a real variation in how customers approach new things. There’s one sports team we’ve been working with for several years now, and I’ve seen them move from a very traditional, standard definition channel that went out on Sky to a HD web-delivered channel with virtual studios and distributed editing. They’ve really embraced everything we’ve shown them and pushed forward in a way that other teams haven’t. We’ve also done studios for teams who are still delivering in a traditional, linear way, and they’re only getting a few thousand viewers at any given time, whereas those who have moved with the times are getting hundreds of thousands of unique hits on their web channel.”

The most important meal of the day

“We’ve been running Tech Breakfasts for engineers and their managers to catch up on things that are in flux, because the underlying infrastructure at facilities is getting more complex. For example, there are a few tricks to make high speed Ethernet work reliably, compared to previous standards that just worked because they worked, and then there are a lot of considerations around dark fibre, multi-modal fibre, and more. You can sign up for the next event here.”

For future reference…

“One of the hottest topics at the moment is the difference between scene-referred and display-referred HDR. The HLG standard developed by the BBC and NHK is popular because, as dimensionless video, it’s backwards compatible with SDR and means you can continue using your existing 10-bit installations. As we’ve said before, HLG uses relative brightness values to dictate how an image is displayed. This means that the image can be displayed on monitors with very different brightness capabilities with little impact on the artistic effect of the scene. Because it uses relative values, HLG does not need to carry metadata, and can be used with displays of differing brightness in a wide range of viewing environments.

“Dolby, on the other hand, are promoting their DolbyPQ display-referred system, which uses absolute dimensioned values for the light captured. The metadata that travels in the SDI payload defines how video levels equate to light levels, and how they should be reproduced at the DolbyPQ display end. The display then reports back to the playback device via EDID or SDI payload to convey its maximum light output. To work out which is right for you, get in touch – our details are below.”

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Meet the experts: Jamie Allan

Meet the experts: Jamie Allan

We found Jamie Allan running a multimedia business providing live event AV services, live video mixing and projection, photography, concert DVD production and documentary work. With such a varied skillset, he quickly made himself indispensable and has spent the last 11 years helping Jigsaw24 customers navigate the pitfalls of facility design, post workflows and DaVinci Resolve systems. 

Working from the ground up 

“One of the things I specialise in at Jigsaw24 is complete facility design. If you’re looking at a greenfield site, or starting a new facility or department, I can look at your business requirements and projections, take an imprint of your existing business plan and your clients’ expectations, and make sure the facility you design and implement gives you all the tools you need to deliver on those requirements now and go beyond them in the future. I’m also talking to people about zero-footprint expansion, so they can move big, heavy kit into datacentres rather than paying higher rents on it in London, and expand their facilities without having to increase the amount of kit they keep in the building.”

Growing with our customers

“It’s been great to see companies grow over the years – companies like Timeline, who we’ve worked with as they’ve grown from a small team to running BT Sport, and Goldcrest, whose move into feature film post-production was a big thing for Soho and for us. Working with customers over a number of years and helping them grow is the most interesting part of my job.”

The many faces of DaVinci Resolve

“We were the first ever reseller in the UK to supply DaVinci Resolve and Revival back in 2010, and following its development with all the major facilities that use it, like Company 3, Goldcrest and Smoke and Mirrors, is something I’ve worked on consistently over the years, and I’m very proud of our work with Resolve. The application itself is much broader now than it was in version six, and people want to talk about it from different angles. We can help you understand how it will work best with your company, not just how it would work for a major film or post-production facility. Whereas other systems are pitched solely at the high end, Resolve is so scalable now that you need a consultant who understands how it scales and how it will work best for you.”

HDR (almost) demystified

“A hot topic at the moment is the delivery of HDR and 4K content to the new kids on the block, Amazon and Netflix. Traditional broadcasters are catching up and starting to ask for the same things for their OTT platforms, and the complexity of HDR deliverables is something that a lot of our customers are talking about, especially as things are set to get more complex before they’re finally standardised. We’re helping people to adjust their colour grading workflows, monitor calibrations and colour pipeline design to accommodate the deliverables.”

Inspiring the next generation of media pros

“I really enjoy helping our clients in Higher Education bring through the next generation of people into our industry, it’s something that has always really excited me. Helping the major media universities take our knowledge and put it into their courses and their infrastructure is really satisfying – the best thing is when you meet people who have gone through a course that you helped with, or used kit that you designed and put in.”

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

IBC 2017: AJA Announces Io 4K Plus with Thunderbolt 3

IBC 2017: AJA Announces Io 4K Plus with Thunderbolt 3

AJA Video Systems today announced the new Io 4K Plus capture and output device with support for Thunderbolt 3. Io 4K Plus offers the latest 12G-SDI and HDMI 2.0 I/O connectivity, advanced audio features and 4K/UltraHD support up to 50p/60p frame rates.


Io 4K Plus is the next generation of AJA’s capture and output hardware devices and AJA’s first Thunderbolt 3 product. Offering a range of connectivity, including 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O, Io 4K Plus is compatible with the latest 4K/UltraHD devices. Using AJA’s proven drivers and application plug-ins for macOS or PC, Io 4K Plus integrates with standard creative tools such as Adobe Premiere Pro, Apple FCP X and Avid Media Composer. AJA’s proven conversion technology facilitates real time, high quality scaling of 4K and UltraHD to HD for monitoring and output. Io 4K Plus also includes an additional Thunderbolt 3 port for daisy chaining flexibility.

Thunderbolt 3’s broad bandwidth allows Io 4K Plus to support 4K/UltraHD and HD large raster, high frame rate, deep color and HDR projects to Thunderbolt 3 via USB-C equipped workstations or laptops.

“Tight deadlines and technology shifts have introduced a new layer of complexity to post-production workflows. Io 4K Plus with Thunderbolt 3 support reduces that complexity by moving high resolution, high frame rate files through a single cable with ease,” said Nick Rashby, President, AJA Video Systems.

Io 4K Plus feature highlights include:

– Thunderbolt 3.
– Backwards compatibility with existing Thunderbolt hosts.
– 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O for 4K, Ultra HD, 2K, HD and SD with HFR support up to 60p at 4:2:2.
– Realtime 4K/Ultra HD to 2K/HD down conversion.
– 8, 10 and 12-bit 4:2:2 and 4:4:4 over 12G-SDI or HDMI 2.0 workflow support.
– Two Thunderbolt 3 ports allow easy daisy-chaining of up to six Thunderbolt devices.
– 16 channel embedded audio on SDI; eight channel embedded audio on HDMI; eight channel analogue audio via XLR breakout.
– Downstream keyer.
– Standard 12v four pin XLR for AC or battery power.
– Compatibility with creative applications including Adobe Premiere Pro, Apple FCP X, Avid Media Composer; FilmLight products; AJA Control Room and more.
– Three year international warranty.

Pricing and availability

Io 4K Plus will be available mid-October 2017 for US MSRP $2495.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our IBC roundup.

Introducing the XF400 and XF405

Introducing the XF400 and XF405

Not content to wait sensibly for IBC like everyone else, Canon have released a slew of new kit, including two new CMOS compact camcorders, the XF400 and XF405, which sit above the XC15 in Canon’s range and offer ENG crews the chance to shoot 4K UHD at up to 60p. (If you only need Full HD, take a look at the equally new XA15 and XA11 here.)

According to the Canon press corps, the XF405 offers “broadcast quality UHD and Full HD capability into a handheld, lightweight body with a 1.0 type CMOS sensor, a 15x 4K zoom lens and Dual Pixel CMOS AF. The XF405 produces outstanding clarity and sharpness. With the addition of a 100P high frame rate and network capability for FTP transfer and remote control, this camcorder is ideal for newsgathering, documentary or corporate use.”


What’s the difference?

The only difference between the two is that the XF405 includes a 3G-SDI terminal, providing a secure BNC connection and enabling a 1920×1080 4:2:2 10-bit signal output for broadcast. The XF400 doesn’t, but still boasts all the features listed below…

Key features

4K UHD/50P recording on SD cards with high frame rates.
– The XF405 supports UHD/50P MP4 and XF-AVC format (150Mbps) recording along with additional XF-AVC support coming via a firmware update in 2018.

– The XF405 offers 100P high frame rate recording, which brings stunning slow motion in Full HD.

– The combination of 1.0-Type CMOS sensor and dual DIGIC DV6 offers high image quality footage with clarity and detail with outstanding high sensitivity and low noise.

– ‘Wide DR’ mode enables the user to shoot with an 800% wide dynamic range, providing details in mid to high tone.

High quality 4K lens with 15x zoom
– A newly developed 4K lens for the 1.0 type CMOS sensor, using Super UD elements which minimise chromic aberration.

– The XF405 features an ultra-wide 25.5mm along with high magnification 15x optical zoom in 4K.

– A 30x Advanced Zoom capability in Full HD mode without image deterioration.

– A 9-blade iris diaphragm allows the operator to shoot beautiful and natural bokeh.

– An advanced five-axis image stabiliser helps to reduce image distortion.

– XF405 features three built-in ND filters of 1/4, 1/16 and 1/64 (2, 4 and 6 stops).

– 0.8x Wide angle and 1.5x tele-converter for additional flexibility and coverage in 4K and Full HD.

Dual Pixel CMOS AF for high-speed, precise autofocus
– The XF405 offers Dual Pixel CMOS AF, fast and accurate autofocusing in area of approx. 80% (vertically) x 80% (horizontally) of the image.

– The XF405’s touchscreen allows focus control and camera operation for an intuitive operation.

– Various AF options are offered including Face Priority AF and Face Only AF.

– The innovative Dual Pixel Focus Guide supports manual focus shooting by telling the focus position visually.

Network capability with FTP transfer and remote control
– The XF405 gives you more mobility – FTP files transfer directly from the camcorder or wirelessly by built-in WiFi.

– Using the XF405’s built-in WiFi, it is possible to control via a smartphone or tablet using a Browser Remote. Additionally, the camcorder is fully compatible with the Canon Remote Controller RC-V100.

– IP Streaming (Full HD) firmware update planned in 2018.

Compact and lightweight body, professional operability
– Compact in size, lightweight and fully featured, the XF405 can meet a wide range of individual needs.

– The XF405 features an Infrared Mode allowing users to capture video in conditions with little to no ambient light.

– With Dual SD card slots the XF405 can record simultaneously to each of the two SD cards, providing an instant backup. With relay recording, the camera automatically switches recording from one SD card to the other when the first memory card becomes full.

– Variety of connectivity options feature on the XF405, including 3G-SDI (A model only), HDMI and two XLRs on the detachable handle.

– Flexible and high quality linear PCM 4ch audio is supported

– Five assignable buttons on the XF405 body provide a convenient way to set up the camera to individual requirements and to customise control based on user preference.

– Remote operation of the XF405 is possible with the Canon Remote Controller RC-V100, allowing users to operate from a distance.


The XF400 and XF405 are due to ship in November, but you can pre-order them on our site now. Here’s the XF400, and here’s the XF405.

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic have surprised us with a brand new camera at this year’s Cine Gear Expo. Called the AU-EVA1, it’s a 5.7K EF mount cinema camera that weighs just 1.2kg and shoots to low cost SD cards. 


Positioned between the GH5 and the VariCam LT 4K, the AU-EVA1 is designed for handheld shooting of documentaries, music videos, adverts and the like. The camera’s small size and light weight mean it’s also good for gimbal and rig mounted shooting.

The AU-EVA1 has a 5.7K Super 35mm size sensor, delivering an image that can be sampled down to 4K, UHD, 2K or even 720p. The camera is capable of shooting 10-bit 422, with RAW output to be added in a future update. The AU-EVA1 can shoot 4K 60p and 2K at up to 240p.

Like the Varicam LT, the AU-EVA1 is capable of dual native ISO, a technology that allows you to extract more information from the sensor increasing the level of noise or artefacts in the film, leading to crisper images and better low light performance.

Also imported from the VariCam range is V-Log/V-Gamut capture, which gives you high dynamic range, bolder colours and more realistic skin tones – the log curves of V-Log are reminiscent of those of negative film, and V-Gamut delivers a colour space even larger than that of film.


Port-wise, you get 4K HDMI and SDI outputs, plus two balanced XLR audio inputs so you can get professional quality audio.

Prices are yet to be completely confirmed, but Panasonic have promised us a body only camera this autumn for under €8000.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the also-recently-released Canon C200, (a whole 200g heavier and with Cinema RAW Light support already built in; shoots Full HD at up to 120 fps HFR).

The EVA1 is expected to ship in October, but you can pre-order yours here. If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Introducing the Canon Cinema EOS C200

Introducing the Canon Cinema EOS C200

Canon have added a new camera to their Cinema EOS range, the C200. The camera uses newly developed Canon Dual DIGIC DV6 processors to record 4k UHD 50p MP4, 4k DCI RAW and continuous 120 fps High Frame Rate in Full HD without crop, all internally.


As well as this advanced capture technology, the C200 boasts Canon’s best ever Dual Pixel CMOS Auto Focus technology and a new touch screen LCD monitor, providing smooth autofocus operation and effective tracking. All this is packed into a lightweight body of just 1.4kg, making the C200 ideal for long handheld shoots, or drone or gimbal mounting.

Key features include:

– Internal 4k 50p recording with Cinema RAW Light and MP4.

– Continuous 120 fps (maximum) High Frame Rate with no cropping at Full HD.

– 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3).

– ISO range of 100 to 102,400.

– New dual DIGIC 6 processors.

– Dual Pixel CMOS autofocus with touch control and face detection, face priority and face only focus options.

– New 4” touch panel with touch autofocus capability.

– Single CFast 2.0 and dual SD card slots.

– XF-AVC video format will be available as a future firmware upgrade in 2018.

Cinema RAW Light workflows

Canon’s Cinema RAW Light codec enables the camera to process RAW image quality, but with the flexibility of a smaller file size – you can fit about 15 minutes of Cinema RAW Light footage on a 128 GB Cfast 2.0.

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in Blackmagic Design DaVinci Resolve. Editing will be possible in Avid Media Composer, using the Canon RAW plug-in for Avid Media Access. This format can also be processed using Canon’s Cinema RAW Development application,.

Availability and pricing

The C200 can be pre-ordered now and will be shipping from late July. You can choose between a body-only model for £6415 ex VAT or one with a 24-105mm f/4L IS USM kit for £7150 ex VAT.

Canon also plan to release a single unit CG-A20 charger with an RRP of £325 ex VAT and a new CL-V2 Clamp base with an RRP of £358.35 ex VAT.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the UA-EVA1 that Panasonic announced at Cine Gear Expo (200g lighter with a 5.7K Super 35mm size sensor; no current RAW support but Panasonic have confirmed it will arrive in a future update.)

If you want to know more, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.


NAB 2017: Blackmagic Design announces Blackmagic Duplicator 4K now with H.264

NAB 2017: 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.

Blackmagic Duplicator 1.1 Update will be demonstrated on the Blackmagic Design NAB 2017 booth at #SL216.

The Blackmagic Duplicator 4K lets content creators dramatically increase revenue because it gives them a way to sell content right after a live event, while attendees are still excited about the performance before, and after they walk out the door. Now customers can sell concert videos to fans as they leave the venue, to parents after their children’s latest performance or recital, after sporting events, conferences, sales seminars and more.

Blackmagic Duplicator 4K makes it easy to deliver multiple copies of content to customers the moment an event is finished. Blackmagic Duplicator 4K is an SD card duplicator with built in realtime H.264 and H.265 encoding. H.264 works with the devices customers have today, while H.265 is the new standard for delivering Ultra HD. The Blackmagic Duplicator 4K is the best way to deliver Ultra HD content that customers can actually view on their 4K televisions today.

The multi rate 12G-SDI connections let customers record in all SD, HD and Ultra HD formats, up to 2160p60. H.264 and H.265 encoding produces high quality video in small files that can fit on commonly available, inexpensive SD cards. Customers can even connect multiple duplicators together to make hundreds of recordings all at once!

Featuring 25 SD card recorders miniaturized into a single rack unit, the Blackmagic Duplicator 4K uses standard, common SD cards that are readily available, super thin, inexpensive and very fast. Cards can be used for SD, HD and Ultra HD video up to 2160p60 and are compatible with Windows 10 computers. With the addition of a USB adapter, SD cards can even be plugged directly into most consumer Ultra HD televisions for immediate playback of the video.

The built in H.265 encoder is so efficient that a one hour Ultra HD program can easily fit onto a very inexpensive 8GB SD card. SD cards are also easy to label and completely re-usable so customers can reformat unsold cards and record over them again at their next event. Unlike proprietary disc based formats like Blu-Ray, customers don’t have to buy a slow and expensive player. Blackmagic Duplicator 4K is the easiest, most compatible and cost effective way to distribute Ultra HD content to consumers today.

The front panel controls are designed to make duplicating content as easy as possible and feature 6 large illuminated buttons for record, stop, lock, append, menu and remote. The lock button prevents accidental interruption of recording during an event, and the append record button seamlessly combines recordings from different parts of an event into a single file.

This revolutionary new append recording feature is perfect for events that have natural breaks, like weddings with a ceremony and reception in different locations. Append recording makes it easier for consumers to watch the final program because they only have to play back a single movie file.

The Blackmagic Duplicator 4K features advanced, multi rate 12G-SDI connections that can record all SD, HD and Ultra HD formats up to 2160p60. For larger events, multiple duplicators can be stacked using the SDI loop thru and RS-422 deck control. This lets customers encode and duplicate to an unlimited number of SD cards in realtime. When recording is started or stopped on the first duplicator, the others automatically follow.

There is also an optical fiber SFP socket for adding an optional SMPTE compatible optical fiber SDI module when working in larger venues with long distance between equipment. Adding optical fiber SDI directly into the duplicators could be very useful when duplicators are set up close to the merchandising stands away from the production area so that cards can be handed to customers for quick sale.

“Blackmagic Duplicator 4K makes it possible to distribute content at live events the moment they finish,” said Grant Petty, CEO, Blackmagic Design. “The addition of H.264 is exciting because it makes Blackmagic Duplicator 4K compatible with even more playback devices than ever. This gives customers a larger audience for distributing and selling their content!”

Blackmagic Duplicator 4K Key Features

– 25 SD card recorders for simultaneously recording onto multiple cards at once.

– Realtime H.264 or H.265 encoding technology which is the standard for Ultra HD.

– 12G-SDI input and loop thru output, along with RS-422 control.

– Uses open standard file formats that are compatible with computers and Ultra HD televisions.

– Records all SD, HD and Ultra HD formats up to 2160p60.

– Record unlimited cards by daisy chaining multiple duplicators together.

– Easy to use front panel controls with lock, record, append, stop and remote buttons.

– Built in universal 110V – 240V AC power supply.

Availability and Price

Blackmagic Duplicator 1.1 Update is available now for free download from the Blackmagic Design website for all Blackmagic Duplicator 4K customers.

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

NAB 2017: Sony goes Beyond Definition at NAB 2017

NAB 2017: Sony goes Beyond Definition at NAB 2017

At NAB 2017, Sony is highlighting innovations in imaging, High Dynamic Range (HDR), IP and media solutions that enable the creation of dynamic content and increase workflow efficiencies for a range of applications and productions.  

“In addition to driving the latest technological trends and innovations, Sony is honing our focus on the customer experience to become a long-term, strategic partner for our customers,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “At NAB we will be displaying new products, updates to current products and a range of workflow solutions that meet the ever-changing needs of customers – from 4K live to HDR to IP live production, media solutions, asset management and everything in between – allowing them to be in control of their future.”

At NAB, Sony will show products and technologies covering image capture including system cameras, handheld acquisition, ENG camcorders, motion picture cameras, interchangeable lens cameras, event production and compact production; HDR including select professional cameras and monitors: IP Live Production including live, high frame rate production servers and production switchers; and media solutions including storage, cloud and media asset management.

At NAB this year, Sony further evolves its 4K live solution adding metadata workflow to provide efficient content management over a Share Play-enabled network, allowing users to save significant time from production to on-air.

For HDR, Sony offers systems, workflows and choices of recording formats that deliver unprecedented flexibility in every HDR production. Sony has already established its SR Live for HDR workflow, a straightforward system enabling an efficient workflow for simultaneous production of 4K HDR and HD SDR.

Sony is also expanding its HDR capabilities in two enhancements, HD HDR Live broadcasting and Instant HDR workflow. Sony can offer the widest choice of video formats depending on users’ production requirements.

Sony is highlighting its IP Live Production workflow. 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. At NAB, Sony is highlighting its IP end-to-end capabilities, as well as its compatibility with industry standards such as SMPTE ST2110, ST2059 and NMOS IS-04.

For NAB 2017, Sony will introduce a range of new workflow solutions including:

XDCAM Air – Cloud-based ENG subscription service. This comprehensive ENG workflow platform bridges the field assets with the station infrastructure enabling speed to air. From shooting to post-production, XDCAM Air harnesses the power of cloud computing and XDCAM.

With XDCAM Air, camera operators and news crews now have the ability to work more quickly and efficiently, concentrating on the story at hand, with the camera directly integrated into the workflow.

Version 1.0, releasing in June, will provide intelligent functions such as live streaming, XDCAM mobile compatibility, and metadata workflow. XDCAM Pocket is XDCAM Air’s mobile application which can turn a smartphone into a small ENG camera by transmitting a quality live stream through the mobile device’s LTE network using QoS stream mode.

XDCAM Air will be interoperable with most of major systems, both from Sony and 3rd parties. Sony will continue to develop new features and workflow for XDCAM Air, with further versions planned to support content management, enhanced device control as well as edit integration with NLEs.

Media Backbone Hive orchestrates all phases of the familiar, tried and trusted news workflow that thousands of broadcasters depend on. Powerful yet intuitive applications are provided for planning, ingest, browsing, editing, publishing, playout, archive and management functions. Its outstanding technical achievement won the prestigious IABM Peter Wayne Award for Design and Innovation.

RTV Oost, a regional broadcaster in the Netherlands has selected Media Backbone Hive to streamline and future-proof its news operations, becoming the first European regional broadcaster to introduce the end-to-end media production solution from Sony.

Media Backbone NavigatorX delivers easier, quicker and more efficient asset and workflow management. Designed to suit multiple modern workflow environments, it allows users to manage assets in a range of formats, with flexible options for production, archiving and workflow automation.

Optical Disc Archive Generation 2 provides a secure long term archive based on Sony’s proven optical disc format, rated with a 100 year shelf life, and designed to achieve 3.3TB capacity on a single cartridge.

Acceptance of Optical Disc Archive has been steadily growing with the following new customers including Christian Broadcasting Network, Embassy Row, Golf Channel, National Film Board of Canada, The Voice, and Wells Fargo. Developers and vendors can incorporate Optical Disc Archive Generation 2 into their own compatible products, with Sony ready to provide technical support to facilitate product development. The latest partner products for Optical Disc Archive include: NLTek for Avid Interplay, QStar Archive Manager, SGL FlashNet, StorageDNA DNAfusion, Object Matrix, XenData.

Other new Sony products at NAB include:

Monitors – Sony is highlighting a range of new and upgraded OLED and LCD HD monitors.

Version 2 firmware update allows new enhancements for on-set, Cinematography, Broadcast and graphics application, such as the new ITU-R BT.2020 and Adobe RGB colour spaces, and more. Applicable models are:
– TRIMASTER EL OLED HD picture monitors: The PVM-A250/A170
– LCD HD production monitors: LMD-A240/A220/A170

The new LMD-B240 is an affordable LCD basic grade full HD production monitor, with a lightweight and slim body for easy installation with natural ventilation (no cooling fan). The monitor is equipped with two HD-SDI, one composite and one HDMI inputs, as well as HD, SD formats, different frame rates, interlace, PsF, and progressive modes. The monitor uses the same video processing as the PVM-A series providing similar accuracy and low video latency. It also shares the same user interface with a unique Sync-Free Side by Side function.

AXS-AR1 – AXS memory and SxS memory card reader using a Thunderbolt 2 interface. The Thunderbolt 2 connector also enables daisy-chain operation. This new reader is Sony’s first card reader to have a card slot which can be used for both AXS Memory A-series and SxS Memory card slots. The versatile reader supports simultaneous recording workflow, i.e., RAW (or X-OCN) and XAVC (or MPEG50) files recorded by F55/F5 and AXS-R7. The new AXS-AR1 offers ultra-fast transfer speeds to reduce time on set or during Ingest of the recorded material.

DVF-EL200 – The DVF-EL200 is a high quality full HD (1920×1080) OLED viewfinder for the F55 and F5 that offers easy focusing and framing. With nearly twice the brightness of Sony’s DVF-EL100 and enhanced usability, the viewfinder is durable and resistant and can be quickly and easily attached to the CBK-55AT viewfinder stay for use with the F5 and F55 cameras. It features an improved eye sensor for increased sensitivity and better positioning, along with enhanced brightness, contrast and peaking level settings.

– UMC-S3CA – This new model is an Ultra high sensitivity 4K interchangeable lens video camera with a full frame sensor. Its Genlock support enables users to operate multiple cameras in synchronisation and widens the camera’s range of applications, such as shooting from multiple points or Virtual Reality use. Its small and light weight size make the camera easy to install on cranes and sliders ideal for crash cam use to capture exciting images from different angles and height.

– Ruggedised HDDs – PSZ-HC1T (1TB), PSZ-HC2T (2TB) – Improving on Sony’s previous HDDs, the redesigned 1TB and 2TB shuttle drives feature an extremely durable USB Type-A tethered cable and Type-C port, ideal for memory card backup in the field. The new bus powered HDDs, come pre-formatted in exFAT, are highly shock, splash and dust resistant and come packaged with a sturdy library box for additional content protection during shipping or storage. High speed data transfer has also been increased to up to 138MB/s (read/write) making any backup or storage operations even more efficient.

Sony’s free Memory Media Utility software download available at extends the value proposition by providing a record / rewrite life indicator, simultaneous content backup to multiple destinations, a re-formatting tool and much 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 For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Sony Professional Solutions delivers strategic new 4K OB Truck to broadcast market

NAB 2017: Sony Professional Solutions delivers strategic new 4K OB Truck to broadcast market

At NAB, Sony Professional Services announced it is delivering a 4K Outside Broadcast (OB) Van for media centre HDResources (HDR). The partnership cements Sony’s position as a trusted business partner and its commitment to delivering innovative technology and solutions for turnkey projects in the industry.

The latest truck delivered to HDR is the tenth to be provided by Sony and was turned around in record time, with initial contract to delivery completed in less than 3 months. Sony offered the customer a one-stop shop for the strategic project, working together with external System Integrators to provide a full solution and ensure total confidence and peace of mind for HDR.

Sony has previously developed hundreds of OB trucks for important turnkey projects, in addition to equipping on premise studios. These include developing the world’s first purpose-built 4K/IP OB truck for TV Globo, and providing a custom design Enhanced Live Production Control System for Netherlands broadcaster RTL. Flexibility, long standing expertise, and the ability to provide full 360 degree project management made Sony the ideal partner for HDResource’s project.

The 4K truck supplied for HDR is the latest in an ongoing relationship between the media centre and Sony. The truck is an evolution of the HD trucks provided last year, future proofing the company by allowing for 4K OB capability. Technology included in the truck includes an XVS-7000 Switcher and a number of Sony monitors, as well as third party technology.

Mats Dahlström, CEO at HDResources, commented: “We see Sony as a reliable and responsible project partner, which is why we have now partnered with Sony in the delivery of 10 trucks to date. They were our first point of call for developing this 4K OB truck, which will be the most technologically advanced truck in our fleet. We’ve been particularly impressed by the speed with which Sony turned around this project, as well as how Sony dealt with all the system integrators themselves to provide us with a single, full solution. We look forward to continuing to develop our relationship with Sony in the future.”

Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe, added: “We are proud to act as the prime contractor for turnkey projects such as with HDR’s latest 4K OB truck. With over 30 years’ experience in the broadcasting industry, Sony prides itself in being open and flexible to work as the prime supplier of technology for our trusted industry partners.”

Sony Professional Services employees over 70 people, from solutions architects, bid managers, project managers to support engineer’s right across Europe. Able to act as a prime contractor based on customer preference or due to a particular ground breaking technical innovation, Sony continues to deploy its long standing expertise and ability to work alongside independent systems integrators to equip and mobilise OB units for production partners globally.

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

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NAB 2017: Canon releases firmware upgrade for professional displays

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.

The new features include enhanced connectivity with digital cinema cameras and greater convenience when confirming images during High Dynamic Range (HDR) shooting, greatly improving on-location workflows.

DP-V2410 Front_tcm14-1564783

The update allows 4K RAW video captured on the EOS C700 or EOS C700 GS PL to be viewed directly on the display using only a 3G-SDI cable, without the need for an external intermediary device.

With the update, it’s now possible to acquire all image data from video captured on the EOS C700, EOS C700 GS PL, and EOS C300 Mark II by displaying image setting values from the connected camera and its metadata. Additionally, the update enables the display of the cinema aspect ratio 2.39:1 for specialised shooting using a digital cinema camera equipped with an anamorphic lens. The addition of these new features ensure enhanced user convenience when confirming images during shooting.

Thanks to the update, users no longer need to add a LUT to confirm video, dramatically improving ease of use. An ARRI digital cinema camera can be simply connected to the DP-V170, DP-V2410 or DP-V2420 allowing LOG C video to be displayed in HDR.

The update also allows a single 4K video image to be viewed in both HDR and Standard Dynamic Range (SDR) simultaneously by splitting the screen vertically down the middle, as well as offering the option of a downscaled side-by-side comparison of the same image. Colours can be overlaid on HDR video, with the colour depending on the actual luminance of the video area, allowing for the visual confirmation of luminance distribution.

The firmware upgrade will be available from June 2017. A demonstration of the enhanced functionalities can be seen at the Canon booth (C4325) at the National Association of Broadcasters Show (NAB) in Las Vegas from 24th – 27th April 2017.

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