When does production become post?

When does production become post?

The increasingly common combination of high shoot ratios and tight deadlines puts pressure on facilities to increase efficiencies across production and post. In an effort to reduce turnaround times and cut down the amount of time spent on non-billable activities, production and post teams are now working together from far earlier into the production schedule, with post houses sending staff to set to ensure footage is logged as soon after the shoot as possible, and DITs performing post-critical functions.

Manufacturers are keen to facilitate this collaboration – AJA seem to have kicked off the scramble to unite the two when they released the first Ki Pro back in 2009, and noone seems to have paused for breath since. But there are dozens of factors to consider when planning your workflow, from whether you’ll be handling HDR footage, to IP integration, to the impact of the incoming 5G connectivity standard. With that in mind, we’re taking a look at a few different points of contact, and how you can make sure your workflow there is mutually beneficial for production and post.

Shooting and monitoring

Accurate metadata can speed up post-production immensely, by making it far easier for artists to match the original scene conditions when compositing, compensate for issues with specific cameras or lenses when correcting footage, and more.

Zeiss are currently setting the standard for incredibly detailed metadata with the new eXtended Data lens, the CP.3 XD. As well as giving your DoP precision, quality and all the other benefits of working with Zeiss glass, XD lenses create a huge amount of metadata about each shot, containing details not just of features like focal length and exposure, but details about the lens itself. In post, tweaking this metadata becomes a quicker, easier way to compensate for lens shading, or to correct for the different distortions of individual lenses used in production. When compositing, the metadata drastically cuts down the amount of trial and error (and therefore time) needed for artists to match on-set lighting conditions. This ultimately drives down the time and money needed for post, and so could even help buy you more time on set.

Monitor and recorder manufacturers Atomos have attempted to bring a similar spirit of cooperation to monitoring with their newly announced SUMO 19 HDR production/grading monitor, which can record dailies, proxies or 4Kp60 masters as needed.  This means camera crews can see what they’ve captured in HDR, as it will appear to post teams, and be sure they’re happy with the shot as it appears, rather than having to guess based off a Rec.709 image. The recording feature also means that dailies (or a low res proxy, if you have limited bandwidth/storage) can be send to a post facility immediately, and assembly can begin far earlier than usual.

Solutions like this are making it easier for production and post crews to maintain a common vision of the project throughout, and reduce the time taken to create the final product without limiting either party’s options in that way that, say, Sony baking HLG into footage from some of its lower-end cameras does.

Logging and metadata

Loggers and ingest technicians are increasingly venturing out to log footage as close to set as possible. While data and asset management has been an intrinsic part of post for a long time, it’s now widely acknowledged that by focusing more on this on set, crews can increase the overall efficiency of the project, and drastically reduce the time needed to put everything together in post.

Asset management systems like axle Video are excellent – axle is particularly good if you’re new to this, as you can just point it at your file system and it will automatically index all media files, then update its database automatically in realtime as you add new footage. You can then share low res proxies through a web browser so that people can reject, trim and comment on clips; it’ll even integrate with NLEs so that editors can search new footage without leaving their editing application. It ships with a standard metadata schema, but you can customise this to the requirements of your shoot.

Avid’s MediaCentral | Asset Management option (formerly Avid Interplay MAM) performs a similar function, indexing media in a range of formats and allowing you to add custom metadata in order to make it easier to find. It even allows you to remotely access assets from multiple locations, so if crews at different locations both log footage, all of it will be available for review at the same time. Avid’s MediaCentral system also allows for a high degree of automation when it comes to things like ingest, logging, archiving and sharing footage, meaning you can achieve more in less time, and with a smaller team.

Cloud delivery

Once footage has been logged, it can be sent back to the post facility, or to a staging post if you’re in a remote location. As the available networks have become faster, cloud delivery has gained popularity, whether that’s ENG crews using in-camera FTP capabilities to send footage back to the newsroom, or crews on location leveraging file sharing services to deliver footage to post as quickly as possible. And with 5G set to make 100Mbps over the air file sharing a reality over the next few years, this option is only set to get more popular.

If you’re collecting or monitoring footage from drones, car-mounted cams and other inaccessible recorders, Soliton’s on-camera encoders and receivers are a great investment – they use a mixture of H.265 compression and proprietary RASCOW technology to ensure you see an HD live stream of your footage even in areas where 3G and 4G coverage is patchy, with delays as low as 240 ms.

For reliable file transfer, we’d recommend IBM’s Aspera service. While it’s pricier than WeTransfer, it uses end to end encryption to to keep your footage secure and, unlike consumer services, doesn’t get slower the larger your files are. Another feature we’re particularly keen on is that it calculates the precise time a transfer will take on your current connection before it begins, so if it says a transfer will take seven hours, you can ring ahead and let your colleagues know when to expect the file with a fairly high degree of certainty.

How does this all fit together?

We can help you develop workflows to maximise efficiency in production and post, and advise on ways to prepare your existing infrastructure for the future, or fold new releases into your existing workflow. As well as providing consultancy, workflow design and specialist hardware, we can provide ongoing support and maintenance for your core kit. To find out more, get in touch with the team on the details below.

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

IBC 2017: Atomos’s Connect convertor storms the show

IBC 2017: Atomos’s Connect convertor storms the show

The new Atomos Connect converter range has landed and is ready to colour-code your world. They form a comprehensive and versatile lineup of 15 different conversion, signal processing and system integration boxes that connect, convert, scale, sync, split and repeat your video signals.

These brightly colored devices make finding the right product for the right job easy, with all common analogue, SDI, Fiber and HDMI connections for conversion and distribution tasks taken care of for SD, HD and 4K. They feature a robust construction with locking DC and HDMI connectors, USB power and detachable mounting ears. Status is clearly displayed on bright LEDs and they can be quickly and easily configured using the free ConnectOS software.

Reliability, durability and easy integration were key criteria when designing the range: no corners were cut when it comes to construction.

“We know the way to gain the trust of integrators and broadcasters is to back our products with a three year warranty. With this bold statement, there’s no question that the Connect range will become the de facto converters for the industry,” says Atomos CEO Jeromy Young. “These converters are designed to be extremely durable and reliable yet cost-effective – making them immediately stand out from existing converters. We have a Connect unit for practically everything and I’m certain they will quickly find homes in productions big and small.”

Each converter is colour-coded according to use, making life easier for broadcast and AV system integrators: blue for connect, red for convert, yellow for scale, green for sync, black for split and white for repeat. Bright LEDs clearly display the status of each unit at a glance. Finding the right box and confirming its status has never been easier.

The new range come in slim line metal housings with removable mounting ears, allowing for flexible mounting options for Broadcast and ProAV applications. Power is via the locking DC power connectors for the included AC adapters, or via USB, providing the ability to run for hours from simple cell phone power banks, or from the USB sockets of many modern monitors or TV sets. HDMI connections also have an included locking mechanism that screws into the unit and allows different sized connectors to be secured with a cable tie. This increases the reliability when using the consumer cables.

Setup is straightforward with physical dip switches that allow rapid access to main settings. Atomos will also provide ConnectOS software free of charge that allows full control of scaling and converting parameters from a PC via USB.

The Connect Convert TC and Connect Convert 4K models also have a standout feature that adds scope and audio overlay to any connected display. Timecode, waveform and audio VU meters can be overlaid on the video signal with the toggle of a dip switch.

Reliable performance

Atomos has already gained many fans in live production, who need to know they can count on their equipment. Gene Greenwood, owner of Rock and Roll Sherpas, routinely provides tour video for some of the world’s biggest bands like The Rolling Stones, Led Zeppelin, Rod Stewart and Guns N’ Roses, and depends on a small army of Connect converters for his productions.

“The reliability is great,” he enthuses. “I just know that whenever I grab one it is going to work.”

No job is too big or too small for Connect convertors. The connect, convert, scale, sync, split and repeat capabilities also fit perfectly with other Atomos products. “With powerful scaling and standards conversions we provide the digital glue that binds legacy infrastructure with our class-leading monitor recorders, either on set, out in the field or in the studio,” explains Young.

Applications

Integrate HDMI devices into a SDI world If you need to simply convert the HDMI output from your mirrorless camera to SDI to go into a wireless transmitter or switcher, then the Connect Convert HDMI to SDI will do the task for you. If you want to integrate HDMI devices into a more professional broadcast system, then use the HDMI to SDI Convert unit with a built-in synchroniser. It is signal-referenced to provide a proper input to switchers or vision mixers and provides an extremely cost-effective solution for systems integrators.

Extend your SDI over great distances Long SDI cable runs are catered for with the Connect SDI repeater, which can be used on its own or combined with the Connect SDI Splitter for a one-to-many signal distribution using standard coax cable. Want to run a SDI cable longer than 400m from your camera channel to your OB truck? We have you covered with the Connect Convert Fiber SDI-to-Fiber and Fiber-to-SDI boxes. These standalone or integrated solutions will save a lot of money and time – a must in every video engineer’s tool kit.

Connect your front of house computers For live event and pro AV users you can use Connect converters to get signal sources from the front of house to your video village. Your presentation PC or Mac can be easily output to a vision mixer.

Integrate legacy HD kit Legacy HD products, such as tape decks and older cameras can be easily integrated into modern systems with the Connect Analogue to HDMI/SDI converters. Couple these with an Atomos recorder and you can easily archive content to ProRes or Avid DNxHD.

Price and availability

Prices start at just $95, going up to just $595 US for the 4K Line (+ local taxes).

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

IBC 2017: Atomos launches $2K Sumo19M HDR 1200nit high brightness monitor

IBC 2017: Atomos launches $2K Sumo19M HDR 1200nit high brightness monitor

Atomos are always good value at IBC, and this year they’re on our must-see list yet again thanks to their sub-$2K high brightness HDR monitor, the Sumo19M (UK pricing to follow). Video and press release below. 

 

 

Atomos today launches the Sumo19M, an affordable high brightness production monitor with HDR capabilities, 3D LUTs and touch control. At $1995 US it is perfect for professional film and video shooters wanting to up their game on set, without breaking the bank. Sumo19M is a monitor-only variant of the Sumo19 launched at NAB earlier in the year. The Sumo19M is optimised for monitoring, with a reconfigured user interface and dual SDI inputs for A/B comparison. It shares the same screen, ergonomics and industrial design as its sister model, but without recording. As a result, the Sumo19M is set at a lower price point.

HDR, high brightness and LUTs

The Sumo19M has a daylight-viewable 1920 x 1080 IPS screen capable of stunning 1200nit brightness, combined with the ability to display a wide range of 4K and HD sources. The Sumo19M features 10-bit processing coupled with Atomos’ unique AtomHDR engine for easy and accurate HDR monitoring. You can easily set optimal exposure when exposing for Rec.709 or HDR material. There is a comprehensive set of manufacturer-specific Log gamma settings pre-installed and multiple custom LUTs for creative looks can be stored and displayed on the Sumo19M. These LUTs are loaded via a standard 2.5 inch drive placed in an Atomos Master Caddy. The unique HDR slider allows users to rapidly examine Log images when shooting for either HDR or SDR. In SDR the slider can be used to set exposure to prevent excessive noise in shadow areas, or blown-out highlights.

In addition, the Sumo19M has the full range of exposure and composition tools found on other Atomos 4K monitors. Waveform monitoring, zebras, 1:1 and 1:2 magnification, peaking, false color, vectorscopes, anamorphic desqueeze and frame guides are all available at your fingertips. Display accuracy can be guaranteed over time using a i1DisplayPro probe and calibration software from color specialists X-rite. An optional sunhood is also available which can be left on the unit and folds down for transport.

Perfect for productions large and small

The result is that the Sumo19M gives DPs, directors, producers, gaffers, focus pullers and clients a precise way to assess their images on-set. “The idea with the Sumo19M is to bring the latest advances in modern on-set monitoring to a much wider range of cinematographers, directors, producers and other creatives than ever before.” says Jeromy Young, CEO of Atomos. “We have harnessed our engineering knowhow and mass production techniques to make the Sumo19M available to our customers for much less than any monitor with similar performance. Now anyone will be able to utilise a high brightness on-set monitor and HDR, not just high-end productions.”

In the edit suite

Sumo19M is just at home in the edit suite as on-set. The color-accurate display allows productions the ability to grade their footage with confidence. Unlike a regular computer monitor, the Sumo19M directly accepts broadcast spec video signals over SDI and HDMI for accurate monitoring.

Connections

The Sumo19M has two 12G/6G/3G SDI inputs for A/B input comparison of 4K or HD sources, plus a HDMI 2.0 input for easy connection to consumer imaging devices like DSLRs, camcorders or mirrorless cameras. Frame rates of up to 60 fps are supported. Signals can also be output and also cross- converted between SDI and HDMI, with the added ability to output a signal with LUT applied, or to convert a Log image to HLG and PQ HDR standards on the fly.

User interface

The reconfigured user interface gives direct access to all key functions via the touchscreen. To make it feel more familiar the layout emulates a traditional push-button monitor, but with the key advantage of more rapid touch selection and easier advanced option access. The elegant and intuitive layout means you and your crew won’t get confused setting up.

Ready for production

Not only is the Sumo19M beautiful to look at, it is robustly built to handle the rigours of daily production. It has an aluminium chassis with built-in armor and distinctive grey protective bumpers on each corner. There are multiple mounting holes on each side for attachment of handles, wireless video systems or other accessories. The Sumo19M has a 3.5mm headphone jack for on-set review of audio.

Mounting options

On the rear of Sumo19M there is an industry standard VESA hole pattern for mounting to a wide variety of third party brackets. The monitor also comes with solid metal feet for desktop use.

Flexible power

Sumo19M has three separate XLR power inputs. Along with one for a regular mains supply, it has a further two for the Atomos hot swap battery system which provides the ability to power continuously in the field. The battery wing plate included allows two V-Lock or Anton Bauer battery plates (not included) to be attached to the Sumo19M; when one battery runs out the other takes over, allowing the flat one to be replaced without powering down the monitor.

Availability

The Sumo19M will ship by the end of September for $1995, plus local taxes. It sits alongside the Sumo19 that offers the same high brightness AtomHDR screen for monitoring, but adds recording and playback of up to 4Kp 60 and 2Kp 240 from a wide variety of cameras.

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

Get HDR ready with the latest from Atomos, Sony, Blackmagic Design and more!

Get HDR ready with the latest from Atomos, Sony, Blackmagic Design and more!

HDR has taken the industry by storm, and makes such a difference to the quality of your images that soon we’ll be wondering how we got by without it. To get the latest tips on getting the most out of your HDR-capable technology, we brought in the experts and laid out the kit for our drop-in session on utilising your Atomos monitor and recorder to create HDR content.

Why is HDR so important?

HDR is arguably the biggest step forward for moving pictures in a generation. New standards set in REC.2100 take advantage of the luminance and colour reproduction capabilities of modern displays to produce high levels of brightness, contrast and colour volume, leading to images that closely resemble what our eyes naturally see.

Content producers have long been working with high dynamic range source material through Log and RAW captured images. But output and delivery standards haven’t progressed much for decades, meaning we’ve spent years compromising. HDR is a new way forward as it is a resolution independent technology, with the new standards outlined in REC.2100 being applicable to both 1080p (HD), UltraHD and 4K – even 8K come 2020.

Unlike previous technological progression that required significant hardware overhauls, HDR doesn’t require lots of new hardware. The most significant piece of new kit is the display we monitor HDR material on, and how we process the signal to see the images we are creating appropriately. This is where Atomos, one of the fastest growing companies in pro video, are pushing the envelope in the field, on set and in the studio.

Our HDR portfolio

Up your game with Atomos recorders and monitors

We featured a great range of HDR-capable products, and much more at our recent Production Drop in event. We were excited to demo the Sumo On-Set and Studio monitor/recorder, the first production monitor that also records 4K 12-bit Raw, 10-bit ProRes/DNxHR and 1080p60 live switching and recording. With the Sumo, for the first time your on-set production monitors can be HDR capable as well as having recording capabilities.

We also had the Atomos Shogun Inferno monitor/recorder on show, a combination of the most advanced monitor technologies, the latest recording capability, and playback and editing functionality that encourages on set collaboration. Rounding off our Atomos offering was the Ninja Flame monitor/recorder, with its true-to-life vibrant colors, 7″ 10-bit 1500nit panel, AtomHDR engine and HDMI connections to record and play back video to 4K/HD 10-bit ProRes/DNxHR.

Shop Atomos monitors and recorders now!

 

Get HDR ready with our favourite camcorders

Camera-wise, we had some of the newest models to be announced, plus some of our old favourites. The new Canon Cinema EOS C200 camcorder is the latest in the EOS range, big brother to the very popular C100 MK II and following in the footsteps of the C300 MK II. With this camcorder, you can easily capture and record UHD/50P footage to internal SD cards in MP4 format, and use the new Cinema RAW Light codec to film moments in stunning 4K to internal CFast 2.0TM card.

We also showcased the Sony FS5 and FS7 camcorders, both firm favourites with Jigsaw24. The FS7 is a must-have run and gun camera equipped with a Super 35mm CMOS image sensor, while the FS5 is an amazing small form factor, large sensor 4K camera that’s great in terms of weight, balance and ergonomics.

Also on show was the long-awaited Panasonic Lumix GH5, which gives you the highest picture quality in the history of Lumix G compact systems cameras. With its compact design, high frame rate and intuitive controls, the GH5 has been described as a great fit for creative agencies, photographers and videographers. And let’s not forget the Blackmagic Design Ursa Mini Pro 4.6K, a professional digital film camera that combines the incredible image quality of URSA Mini 4.6K with the features and controls of a traditional broadcast camera.

Shop camcorders now!

 

Complete your kit with lenses and lighting

Top of the range lenses and lighting were provided by Zeiss and Cirro Lite, rounding off the perfect shoot setup.

Shop camera accessories now!

 

Our HDR events

If you missed out on our exclusive Atomos and HDR drop-in, we’ve got plenty of upcoming events where you can check out the latest kit. You can have a look at our past events and register for upcoming ones on our Jigsaw24 events page.

 

Still not sure whether you’re ready to commit to purchasing, or have any questions about products that could help you create HDR content? Give us a call on 03332 409 284 or email broadcast@Jigsaw24.com

 

NAB 2017: 19” Sumo monitor-recorder delivers 4KP60 HDR to the set and the studio

NAB 2017: 19” Sumo monitor-recorder delivers 4KP60 HDR to the set and the studio

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

sumo-product-small

 

Adding HDR and 1200nit brightness to a 19” monitor at an MSRP of $2,495 is an amazing feat itself, but the addition of recording, switching and playback is a true revolution, completely redefining how production monitors will be used on set and in studio. It gives clients and crew on set instant access to review recorded content in HDR quality and doubles as a grading and editing monitor for laptops in the field. The live switching and recording is another dimension again adding the flexibility to live switch between four 1080/60p channels, record 4 x ISO channels and mix a live record complete with cueing, cross fade and hard cuts.

“Seeing innovation come to life is the most exciting part of making technology products. Sumo is one of the most remarkable video products I have worked on,” said Jeromy Young CEO and co-founder of Atomos. “Versatile and highly advanced yet simple to use, it covers all kinds of high quality production from end to end at a fraction of traditional costs. The Atomos Sumo is truly revolutionary.”

 Go HDR in the field and the studio


Sumo’s 19” 1920 x 1080 10-bit LCD panel is driven by the AtomHDR engine which precisely maps the Log/PQ/HLG from popular cameras, game consoles or TV makers to perfectly resolve 10+ stops of HDR in real time. The brightness range and vivid colors of HDR bring scenes to life, either on the monitor itself, or when output to larger HDR/Rec709 displays for on-set review. It can also be used with popular NLE or grading suites for affordable HDR or SDR editing or grading in the studio.

12-bit RAW, 10-bit ProRes/DNxHR up to 4Kp60


Capture the RAW output from Sony FS5/FS7/FS700, Canon C300MKII/ C500 or Panasonic Varicam LT over SDI up to 12-bit 4Kp30 as CDNG, or 10-bit Apple ProRes / Avid DNxHR up to 4Kp60 / 2Kp240 depending on the camera’s capability. The processing power of Sumo can preserve pristine quality direct from the sensor with data rates of up to 3.2 Gbps. Record direct to high capacity and widely available 2.5″ SSDs that provide an affordable solution for long recording times.

Live switch and record up to four 1080/60p channels, 4 x ISO record and playback

Switch and mix a live record and stream or record 4 x HD ISO recordings using the QuadLink SDI connections. Switch between feeds on screen with cueing, cross fade and hard cuts from the locked sources or tag and adjust final edits with advanced metadata tagging preserving ISO feeds, with the desired final result infinitely editable.

Balanced XLR monitor and record with 48V Phantom
1

Eliminate the need for a separate audio recorder by using the full size XLR connections to connect and power external microphones for balanced analogue audio with dedicated meters and adjustments for frame delay and gain. 48V phantom mics or line level audio are all seamlessly synchronised for the most advanced audio feature set in a monitor today. There is also a 3.5mm stereo headphone jack and built-in speakers for on set instant immersive review or complete internal recording review anytime anywhere with clients or production team.

High Bright 1200nit 19” calibrated 1920×1080 monitor


The extremely bright 1200nit display means you can accurately monitor, even when outside in daylight. Additionally, for the ultimate isolated viewing performance an optional hood is available. Like all high-end monitor’s, Sumo also has calibration to compensate for the natural color and brightness drift that monitors exhibit over time. Sumo’s calibration input lets you use X-Rite’s i1DisplayPro to always ensure accurate HDR and Rec709 monitoring.

Quad SDI & HDMI 2.0 in/out


Seamlessly connect any SDI or HDMI device and convert between HDMI 2.0 & 3G QuadLink/6G/12G SDI in any combination. Quad SDI inputs connect cameras with multiple 1.5 or 3G SDI outputs without the need for converters. HDMI 2.0 supports up to 4Kp60 input/output along with the very latest Atomos open protocol that supports HDR automation including importing of camera settings. There is also support for Genlock and LTC timecode.

Rugged construction and mounting options


The Aluminium alloy chassis with built-in armor houses ten mounting points around the bezel/top/bottom/side, a rear panel VESA mount and an included stand for a variety of mounting configurations. The optional mounting plates connect 2 x V-Lock / Anton Bauer batteries which in tandem with our patent pending continuous power system allows batteries to be hot swapped to ensure you’re never without power in the field. The Sumo delivers all of this connectivity while still maintaining a total weight of 6.2kg (13.7lb).

You can pre-order the 19” Atomos Sumo from Jigsaw24 now for £1995 ex VAT.

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

 

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

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

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

Ninja Flame: basic vs bling versions

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

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

Ninja Flame vs Ninja Inferno

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

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

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

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

And let’s not forget G-Tech

atomos_master_caddy

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

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

How to set up the Atomos Flame series with the Sony FS7

How to set up the Atomos Flame series with the Sony FS7

Want to get the most our of your Sony PXW-FS7? This video takes you step by step through how to set up an Atomos Flame series recorder with the FS7, and how connecting with Atomos dramatically adds value with more professional monitoring and recording functionality.

Sony FS7 Setup with the Atomos Flame Series from Atomos Video on Vimeo.

For more information on the Sony FS7 and Atomos Flame range, email broadcast@Jigsaw24.com or call 03332 409 306. For everything else, ‘like’ us on Facebook or follow us on Twitter @WeAreJigsaw24.

The year in production: Our highlights from 2016’s trade shows

The year in production: Our highlights from 2016’s trade shows

As well as hitting old favourites like NAB and IBC, 2016 marks the year we made our Media Production Show debut. I asked the production team to whittle down their trade show experience to just the most memorable, non-casino-related moments. Here are the results. 

NAB 2016

We’ve been big Atomos supporters from day one, and getting to see the Atomos Shogun was definitely one of the highlights of NAB. We were happy enough to hear that eight of the Atomos lineup were getting a free software update to support HDR, but the Shogun Inferno’s combination of the most advanced monitor technologies (1500nit/10bit/HDR) with 4Kp60 over Quad-SDI, and playback and editing functionality for on-set collaboration made it a real standout for us.

See our full NAB coverage here.

IBC 2016

IP workflow solutions got their first major airing at NAB and have continued gaining traction ever since, with NewTek continuing to expand their NDI lineup, Sony partnering with manufacturers and standards bodies to develop their own solutions portfolio, and production kit manufacturers releasing IP-ready kit.

We knew IP was going to be a big deal at IBC, but we had no idea just how IP-based the show was. As we’re primarily an IT reseller, this was right up our street. Some of our team attended the IP Interoperability talk with the likes of AIMS/Grass Valley and SMPTE, and the theme was very much how the industry is working together to advance IP workflows, although the standards are still yet to be ratified.

See our full IBC coverage here.

Media Production Show 2016

Back in June, we were at the Media Production Show, demonstrating our key solutions and services around Avid, Blackmagic Design, HP and Rohde & Schwarz (as well as dishing out the pic’n’mix and playing splat a rat). Catch up with everything that went down on day one in this official video from the Media Production Show. 

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.

IBC 2016: Atomos and G-Technology team up to improve your on-set storage

IBC 2016: Atomos and G-Technology team up to improve your on-set storage

The show’s not officially open yet and G-Technology and Atomos have already managed to get our storage team in a tizzy by teaming up to improve on-set storage for us all. 

The result of their collaboration is the Atomos Master Caddy by G-Technology, a new range of ev series-comptible, high performance solid state drives, described it thusly in the official blurb:

“With SSD configurations achieving transfer rates surpassing 500 MB/s (ideal for 4K, HDR and other demanding content formats), the Atomos Master Caddy inserts directly into any Atomos-compatible recorder. The caddy then slides into the ev Series Reader Atomos Master Caddy Edition, which slips into any G-DOCK ev or ev Series Bay Adapter. The Atomos Master Caddy by G-Technology makes quick, cable-free work of transferring footage into main project storage, creating backups, and quickly turning around formatted media.”

Master Caddy drives

atomos_master_caddy_gtech

The Master Caddy comes in two flavours: Master Caddy 4K and Master Caddy HD. The Master Caddy 4K boasts read speeds of up to 540MBps and write speeds of up to 520MBps. It’s available in 256GB, 512GB and 1TB capacities. The Master Caddy HD is a 7200RPM HDD that tops out at 136MBps, and is only available in 1TB capacity. Both versions support drive labels and QR code labels.

Master Caddy readers

However, the really interesting bit is that these can be used in the G-DOCK and ev Series G-SPEED RAIDs to ingest, edit, duplicate and distribute data straight from RED Mini-Mag and, now, Atomos media, meaning that Master Caddy drives will slot right into your existing storage workflow with a bit of help from an adaptor.

The ex Series Reader Master Caddy Edition is ev Series compatible (though not with the ev All Terrain Case). It’s bus powered, and uses USB-C (Gen 2) connectivity, though you get USB-C to USB-C and USB-C to USB 3.0 cables included in the box, so is backwards compatible with earlier USB standards.

As well as letting you transfer your footage to any ev-compatible storage, the reader can be used as a standalone device to review, log and back up footage.

gtech_ev_series_reader_cfast_edition

There is also an ev Series Reader CFast 2.0 Edition, which is designed to simplify and optimise your 4K capture workflow. It works with all CFast 2.0 media and is compatible with G-SPEED Shuttle, G-SPEED Speed XL (with an ev bay adaptor), G-DOCK ev Thunderbolt, ev All Terrain Case and G-DOCK Solo.

The ev Series Reader CFast 2.0 Edition is bus powered and uses USB 3.0 connectivity.

All these products will be available imminently from Jigsaw24. For more on the latest IBC releases, take a look at our roundup post, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

IBC 2016 as it happens

IBC 2016 as it happens

OK, IBC fans, here’s where we’ll be rounding up all the announcements from the media sector’s annual Amsterdam blowout. Expect new releases, upgrades announcements, official previews of products that were teased at NAB, and (event WiFi permitting) exclusive on-the-floor content from our team.

All you need to do is bookmark this post, then hit refresh occasionally to see any updates as they arrive, nicely organised by vendor. Easy.

Adobe

IBC 2016: Adobe unveils new virtual reality, character animation and 3D innovations

Keeping pace with high velocity content demands across both new and traditional platforms, Adobe will showcase advancements in VR, 3D, motion graphics and character animation supported by tools to deliver, measure and monetise TV and film content across multiple screens. Read more

AJA

IBC 2016: AJA expands IP-based workflow technologies 

AJA Video Systems has announced two new Mini-Converters supporting IP-based video and audio workflows at IBC 2016. The company simultaneously announced free v12.5 Desktop Software with new features for KONA IP that improve redundancy and reliability in Broadcast IP pipelines, including SMPTE 2022-7 support for protection switching. Read more 

Atomos

IBC 2016: Atomos and G-Technology team up to improve your on-set storage

The show’s not officially open yet and G-Technology and Atomos have already managed to get our storage team in a tizzy by teaming up to improve on-set storage for us all. The result of their collaboration is the Atomos Master Caddy by G-Technology, a new range of ev series-comptible, high performance solid state drives. Read more

Avid

Pre-IBC: Avid to unveil latest innovations and new products at IBC 2016

MediaCentral Platform innovations, new products and product enhancements will deliver unprecedented creativity, productivity and efficiency improvements to address the industry’s most pressing business challenges. Read more

IBC 2016: Avid demonstrates leadership in emerging IP and UHD workflows

By supporting real-time IP signals natively in key components of the Avid MediaCentral Platform, Avid is accelerating the industry’s transition to IP and delivering a unified environment for file-based and live signal-based media workflows that will ease the migration to emerging image formats, including UHD. Read more

IBC 2016: Avid introduce NEXIS | E5 and Avid NEXIS High Availability

New high-density, high-availability Avid NEXIS solutions enable large-scale broadcast and post-production organizations to accelerate production and increase efficiency. Read more

IBC 2016: Avid Pro Tools

Avid have made some major announcements at IBC 2016 which introduce a seismic shift in terms
of how customers are able to purchase their flagship Pro Tools|HDX and Pro Tools|HD software
range of professional audio production products. Read more 

BirdDog Studio

IBC 2016: Digibox to distribute BirdDog Studio IP solution

DigiBox has been appointed Master Distributor for BirdDog Studio, a great solution that lets you include existing cameras in your new IP workflow. We highly recommend BirdDog Studio because a) it’s only £560 per unit and b) we really like their logo. Read more

Blackmagic Design

IBC 2016: Blackmagic Design acquires Ultimatte and Fairlight

Not content with bringing Resolve to the masses and supporting the Cintel scanner, Blackmagic Design have announced that they’ve acquired Fairlight, specialists in 3D immersive audio mixing and finishing, and Ultimatte,  the excellently-named world leaders in blue and green screen removal. Read more 

IBC 2016: Grant Petty on Teranex AV, DeckLink Mini 4K and Blackmagic acquisitions

Blackmagic Design always arrive at events like IBC with a raft of new releases, and for those among who struggle to keep up, Grant Petty’s regular roundups are one of the highlights of the event. Read on to see what the man himself has to say about this year’s releases and the future of Blackmagic Design. Read more 

GB Labs

IBC 2016: GB Labs launch Echo 36 with complete failover

GB Labs have launched some exciting new high availability storage at this year’s IBC. Called Echo 36, it offers complete failover in the case of disk failure or “localised disaster”, a phrase we do not hear enough. Read more 

G-Technology

IBC 2016: Atomos and G-Technology team up to improve your on-set storage

The show’s not officially open yet and G-Technology and Atomos have already managed to get our storage team in a tizzy by teaming up to improve on-set storage for us all. The result of their collaboration is the Atomos Master Caddy by G-Technology, a new range of ev series-comptible, high performance solid state drives. Read more

JVC

IBC 2016: JVC’s best IBC-only camcorder and monitor deals

JVC are running a load of amazing deals on camcorders and monitors during the IBC 2016 show, including freebie mics and lenses, and glorious cashback. We’ve rounded up the best offers below so you can buy online. Read more

Levels Beyond

IBC 2016: Jigsaw24 to reach the next level of MAM with Reach Engine by Levels Beyond

Exciting times at Jigsaw24 as we have taken on the mantle of sales and appliance integration for one of the world’s leading MAM platforms, Reach Engine by Levels Beyond. Read more

NewTek

Pre-IBC: NewTek strengthens its leadership in software-driven IP workflows with NDI version 2

NewTek announced today a second-generation Network Device Interface (NDI) technology with a host of new advanced features, performance improvements, and full compatibility with all existing versions of NDI. Read more

IBC 2016: NewTek and Wowza deliver the first ever global and local media distribution platform

NewTek and Wowza Media Systems today launched the MDS, a revolutionary real-time media encoding and live streaming video delivery platform. The MDS is a fully integrated hardware and software solution merging NewTek’s industry-leading live production technology with the powerful, proven Wowza streaming software in a 1RU footprint. Read more

Panasonic

IBC 2016: Codex and Panasonic continue their successful partnership with VariCam Pure

Panasonic has once again called on the engineering and technical expertise of Codex to develop with them a totally integrated and smaller VariCam camera – the new VariCam Pure digital cinematography camera. Read more

Sony

See the full Sony press conference here

Pre-IBC: Sony announce HXR-NX5R camcorder and more

Sony have confirmed three brand new products, including the HXR-NX5R Full HD camcorder, the much anticipated successor to the acclaimed HXR-NX5 and NX3, the MCX-500 mixer and the RM-30BP Multi-Function Remote. Read more

IBC 2016: Sony announce updates for the F5/F55 and PXW-X400

Not in the market for a new camera currently? Sony don’t want you to feel left out. That’s why they’ve announced new firmware for the F5 and F55, plus a sensor update for the PXW-X400. Read more

IBC Show: Sony unveil “transformational” advances in IP workflows

Today, Sony unveiled how it is reshaping the field of media solutions, introducing new ideas, approaches and technology on the opening day of IBC 2016. Read more

IBC 2016: Sony are bringing back Prime Support

Worried about the health and wellbeing of your Sony devices? Sony are bringing back Prime Support – this time in four new configurations – so you can be sure you’re covered. Read more

IBC 2016: Sony showcase Beyond Definition vision

In case you weren’t excited enough by Prime SupportIP workflow solutions and the NX5R, Sony have another ace up their sleeve: they’re demonstrating their Beyond Definition workflow solutions on their stand, including PTZ cameras, lenses and monitors. Read more

For more information or to pre-order new kit, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.