Blackmagic Design release DaVinci Resolve 14.2

Blackmagic Design release DaVinci Resolve 14.2

Headlines in the latest update to Resolve include support for importing audio-only AAF clips, the ability to name Gallery stills with user defined tags, a bug fix for the audio playback issues you may have been having while dynamic trimming, and improved Fairlight keyframe editing and more.

The full feature list is below and contains a wide variety of additions and bug fixes. The download is free, and available now from the Blackmagic Design site.

So what’s new in Resolve 14.2?

Users focusing on audio and Fairlight will be able to enjoy:

–  Added support for the DeckLink 8K Pro monitoring modes.
–  Added support for importing audio-only AAF timelines.
–  Added support for rendering audio handles in Pro Tools round trip mode.
–  Added support for audio playback when performing dynamic trimming.
–  Added support for import and export of Final Cut Pro 10.4 XML.
–  Added support for automatically naming Gallery Stills using user-defined tags.
–  Added support for 16 and 18 fps timeline frame rates.
–  Added support for 95.905 fps timeline frame rate.
–  Added support for more fine-grained preferences for Performance Mode.
–  Improved support for keyframes in the Fairlight page.
–  Added support for listing multiple DeckLink SDI devices with unique names.
–  Added visual indicators for distinguishing between timeline clips without media in the Media Pool and without media on disk.
–  Added the ability to change the playhead position without stopping playback on the Fairlight page.
–  Added support for Enable 2D Timeline Scroll on the Fairlight page.
–  Added support for context menus for markers in the Fairlight page.
–  Added support for automatic creation of a timeline when dragging in an audio clip in the Fairlight page.

There have also been updates to collaborative tools, and several glitches have been ironed out. Blackmagic have:

– Addressed issues with acquiring and releasing the lock for a bin in a collaboration project.
–  Addressed an issue where network connectivity issues could cause unexpected results in a collaboration project.
–  Addressed an issue where a blank node graph would sometimes be displayed when switching between clips in collaboration mode.
–  Addressed an issue where two users could sometimes load a non-collaboration project in write mode without a warning.
–  Addressed an issue where “Update Timecode from Audio using LTC” would not work on clips starting with blank audio.
–  Addressed an issue where retiming an audio clip would sometimes result in audio glitches.
–  Addressed an issue where unlinking linked audio groups with the Pan dialogue open would cause a crash.
–  Addressed an issue where starting or stopping playback would sometimes cause a momentary glitch in the audio on the Fairlight page.
–  Addressed multiple issues with fader behaviour for direct track outputs in the Fairlight track mixer.
–  Addressed an issue where the Fairlight timeline would sometimes show an incorrect number of audio tracks.
–  Addressed an issue where the Fairlight control room widget would sometimes become invisible when resetting a dual screen UI layout.
–  Addressed an issue where JKL playback would not honor the looped playback state on the Fairlight page.
–  Addressed an issue where moving an audio clip would not refresh the keyframe navigation buttons on the Fairlight inspector.
–  Addressed an issue where some Fairlight dial widgets would not reset their values correctly on double click.
–  Addressed an issue where audio EQ band adjustments might be incorrectly saved.
–  Addressed an issue where stopping playback would continue audio output for a few frames on the Edit page.
–  Addressed an issue where LTC timecode output over SDI would not work when playing back on the Edit page.
–  Addressed an issue where the Mute status would not be reflected correctly in the Edit page on a track with automation.
–  Addressed an issue with titles where using certain fonts would result in cropped glyphs.
–  Addressed an issue where bypassing colour grades would bypass OpenFX applied on the Edit page.
–  Addressed an issue where deleting a clip with an OpenFX transition would sometimes crash.
–  Addressed a crash when switching multicam angles if the viewer was in source mode.
–  Addressed an issue where reconforming multicam clips from a bin would not retain the original angle information.
–  Addressed an issue where performing a blade operation on asymmetric linked edits would result in incorrect linking.
–  Addressed an issue where previewing compound clips and timelines in the source viewer would activate the timeline audio meters.
–  Addressed an issue where previewing video-only clips in the source viewer would sometimes be slow on the Edit page.
–  Addressed an issue where importing older projects using a Sony IDT in an ACES workflow would sometimes cause a crash.
–  Addressed an issue with audio playback when applying clip filters on the Colour page.
–  Addressed an issue where Colour Tracing Power Windows from proxy files would result in incorrect window positions.
–  Addressed an issue where copying grades between clips would unnecessarily invalidate the clip source cache.
–  Addressed an issue where bypassing colour grades on speed changed clips would disable the optical flow or frame blending.
–  Addressed an issue with incorrect results when stabilising multiple edits from the same source.
–  Addressed an issue where switching databases would sometimes incorrectly hide the second screen in a dual screen monitor layout.
–  Addressed an issue where GoPro CineForm clips would decode with a watermark applied on Linux.
–  Addressed an issue with decoding some Sony XAVC-I clips.
–  Addressed an issue with incorrect cropping for certain QuickTime ARRI clips.
–  Addressed an issue with colour shifts when decoding certain Panasonic AVC-Intra clips.
–  Addressed an issue where the stereo audio format of some MXF clips was not recognized correctly.
–  Addressed an issue with reading drop-frame timecodes for DPX clips.
–  Addressed an issue when decoding some QuickTime clips with large timecode values.
–  Addressed an issue with colour shifts when rendering stereoscopic 3D clips in side-by-side mode using H.264.
–  General performance and stability improvements.

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: Blackmagic Design announce Ultimatte 12

IBC 2017: Blackmagic Design announce Ultimatte 12

12 months after acquiring the company, Blackmagic Design have announced Ultimatte 12, a new realtime hardware compositing processor for broadcast quality keying, adding augmented reality elements into shots, working with virtual sets and more. Ultimatte 12 is available immediately, and US pricing is $9,995 – we’ll confirm the UK price as soon as we can. Here’s the press release…

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Ultimatte 12 will be demonstrated at IBC 2017 on the Blackmagic Design booth in Hall 7, Stand 7 H.20.

The all new Ultimatte 12 is more than the world’s best keyer, it’s an advanced realtime compositing processor designed for the next generation of broadcast graphics. Ultimatte 12 features entirely new algorithms and colour science, incredible edge handling, greater colour separation, amazing colour fidelity and better spill suppression than ever before.

The advanced 12G-SDI design gives Ultimatte 12 customers the flexibility to work in HD today and switch to Ultra HD when they are ready. Customers get sub-pixel processing for amazing image quality and textures in both HD and Ultra HD. Plus it’s compatible with virtually all SD, HD and Ultra HD equipment, so customers can use it with the cameras they already have.

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Ultimatte 12 can create incredibly lifelike composites and place talent into any scene, working with both fixed cameras and static backgrounds, or automated virtual set systems. Imagine presenting the weather, sports, news and entertainment in a cinematic quality environment, all composited in real time. Ultimatte 12 is also perfect for on set pre-visualisation in television and film production because it lets actors and directors see the virtual sets they’re interacting with while shooting against a green screen.

Ultimatte 12 is designed to be affordable, so customers can use it on even more cameras to increase production quality. For example, when working on live shoots with multiple cameras shooting from different angles, it’s common for the green or blue screen to suffer from variations. The keyers built into live production switchers use the same keying parameters for all cameras, which complicates keying and image quality because each camera sees the green screen a little differently. Ultimatte 12 eliminates this problem with incredible new technology at an affordable price so it’s now possible to add keyers to every camera for the highest possible quality keys. With the power of a dedicated keyer on every camera, Ultimatte 12 is perfect for live broadcast news, weather, sports, virtual studios and more!

Augmented reality is becoming more and more popular. On air talent now interacts with glass like computer generated charts, graphs, displays and other objects with coloured translucency on virtually every broadcast television show. Adding tinted translucent objects is virtually impossible with a traditional keyer and the results customers see on television don’t look realistic. That’s because when blue or green is subtracted out of a semi-transparent tinted object, it changes the object’s original colour. Now, with Ultimatte 12, customers get a revolutionary new “realistic” layer compositing mode that can add tinted objects on top of the foreground image and key them correctly. This means that the object properly transmits the colours seen through it. Talent can even walk behind it and the tinted colours are accurately preserved, making the shot look completely realistic.

Ultimatte 12 also features one touch keying technology that analyses a scene and automatically sets over a 100 parameters so pulling great keys is easy without having to do a lot of extra work. Of course, customers still have to ensure the scene is well lit and the cameras are properly white balanced. One touch keying is dramatically faster and helps accurately pull a key with minimum effort, leaving operators free to focus on the program with less distractions, while Ultimatte 12 takes care of the rest.

The incredible new image processing algorithms, huge internal colour space, and automatic internal matte generation lets Ultimatte 12 work on different parts of the image separately. It’s like having the power of multiple Ultimatte keyers all working together on the same image. Fine edge detail is preserved where it’s needed the most, like on hair, and transitions between colours or other objects in the scene is completely smooth. Everything is handled by new math and sub pixel processing that’s designed for incredible quality and clarity in both HD and Ultra HD.

When it comes to color handling, Ultimatte 12, has new flare, edge and transition processing to remove backgrounds, without affecting other colors. The improved flare algorithms can remove green tinting and spill from anything, even dark shadow areas or through transparent objects. This means Ultimatte 12 can retain and faithfully reproduce colors that are impossible on other keyers, such as a bright yellow dress in front of a green screen. Unlike other keyers, Ultimatte 12 delivers crisp clear, photorealistic images with vibrant colours that pop!

Ultimatte 12 is controlled via Ultimatte Smart Remote 4, which is a touch screen remote that connects via Ethernet. Up to eight Ultimatte 12 units can be daisy chained together and connected to the same Smart Remote, so customers don’t have worry about adding a video router or hub. Smart Remote 4 features physical buttons for switching and controlling any attached Ultimatte 12. There are also buttons for quickly loading and saving presets, along with a touch screen that provides total control over every parameter. Customers can also create their own custom control solutions because Ultimatte 12 uses a simple, open text based protocol. Simply Telnet into Ultimatte 12, to start developing and testing custom solutions.

“Ultimatte has been the world’s highest quality broadcast keyer for 40 years,” said Grant Petty, Blackmagic Design CEO. “We’re excited about taking this incredible technology to the next level! Ultimatte 12 is no longer just a simple keyer, it’s an Ultra HD realtime compositing engine designed specifically for the needs of today’s live broadcast, television and film production needs!”

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.

Blackmagic Design’s DaVinci Resolve 14 is shipping right now!

Blackmagic Design’s DaVinci Resolve 14 is shipping right now!

That’s right, the wait is over. The fourteenth iteration of Blackmagic Design’s DaVinci Resolve is shipping as we speak and we’re super excited. Existing Resolve users can upgrade free of charge, with version 14 promising up to ten times faster editing speeds, professional Fairlight audio, revolutionary collaboration and more.

Users will be able to take advantage of hundreds of new features and improvements for editors, colourists, and – for the first time ever – audio production professionals.

Resolve 14 comes packing a fresh playback engine that dramatically increases editing performance and responsiveness for trimming and playback, even when working with processor-intensive formats like H.264 and RAW.

Colour correction

Likewise, colourists will continue to enjoy the industry’s most powerful primary and secondary correction tools, complete with an advanced curve editor, tracking and stabilisation, noise reduction and grain tools, Resolve FX and the rest. They’ll also have access to a range of new filters, which include automatic facial recognition and tracking that allows users to quickly smooth skin tones, brighten eyes, alter lip colour and more.

Fairlight audio

For audio pros needing a complete end to end workflow, Resolve 14 includes Fairlight audio post tools that provide users with everything they need to record, edit, mix, sweeten and master sound for up to 1000 channels in realtime. The software also supports huge Fairlight audio consoles, and users can mix down and master to multiple formats, including 3D audio space formats such as 5.1, 7.1 and 22.2.

Collaboration

The latest version even boasts innovative new multi-user collaboration tools, including bin locking, chat and timeline merging that let editors, colourists and sound editors work on the same project simultaneously. That means you no longer have to waste precious time conforming or waiting for a locked edit before you can start work on colour and audio – ideal for hitting those tight deadlines and working in parallel so your team can spend more time being creative.

The free version of DaVinci Resolve 14 – which contains everything you’ll need for working on SD, HD and Ultra HD at up to 60 frames per second – is available to download now on macOS, Windows and Linux. If you require even more creative tools and options, Resolve 14 Studio, which you can purchase from our store here, provides support for 4K and higher along with frame rates of up to 120 fps, as well as lots of additional features that help make your work even more impressive.

Why Jigsaw24?

Working closely with Blackmagic Design and the DaVinci development team, developing qualified, scalable workstations on every platform has enabled us to become the go-to experts for Resolve in the UK and Nordic countries. We are one of the few partners chosen globally for DaVinci Resolve on Linux, showing that Blackmagic Design have a strong respect for our capabilities and understanding of the complexity and requirements in high-end grading systems and workflows. In 2015, we won the Blackmagic Design Outstanding Achievement award for our ongoing dedication to providing expert solutions and the best possible customer experience.

If you’d like to receive an expert demo (and a cracking cuppa) at our facility in Soho before upgrading, you can book in today by clicking here. Alternatively, you can arrange a test run with one of the team by dropping an email over to soho@Jigsaw24.com or calling 03332 409 285.

If you want to know more about DaVinci Resolve 14, 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.

The kit list: Expanding into live streaming on social media

The kit list: Expanding into live streaming on social media

Unsure about bringing video live streaming in-house? Looking for the best kit that will allow you to branch out into live social, and stream directly to various social media platforms? We’ve taken a look at the successful marketing trend that’s dominating feeds in 2017.

With faster internet speeds and the advent of mobile devices, video marketing has increased in popularity as a quick and easy way of showcasing your products or services to an audience. YouTube estimates that one billion hours of content are watched daily, across 88 countries – that’s a lot of reach.

Live streaming then adds another element of marketability to video, with audiences drawn to the appeal of experiencing something as it happens, rather than a recorded event. Live social media gives users immediate access to content and the ability to give instant feedback, heightening user engagement. In fact, according to the Livestream and New York Magazine Survey, 81% of internet and mobile audiences watched more live video in 2016 than 2015, with 67% of live video viewers more likely to buy event tickets after watching a live video of the same event or similar.

All of which begs the question, is this something you should be doing in-house? A case could be made for outsourcing to specialists, but the increased control and agility that comes with doing things in-house – especially when considering the immediate nature of live video – has led many creative teams, including ours, to wonder if they could take this on themselves.

What could you be creating?

As Facebook, YouTube and other large platforms add support for live video, it’s becoming an integral part of many social campaigns, and an extension of the traditional video content you might produce for a cross-platform project.

By utilising live streaming in your marketing, you can create:

Q&As and conversations with your audience. Engage directly with your end users to promote services or share general tips about your industry. Experian hosted a live chat in July on tips for buying a new car, with specialist speakers and interaction with users via the hashtag #CreditChat.

Special announcements and product introductions. Keep your audience up to date with live announcements and immediate access to information as it becomes available, as Nissan did with the launch of its 2016 Maxima at the New York auto show.

Live event streams. Drive ticket sales and participation by giving users a taste of the kind of live experiences your brand can offer. In June this year, endurance event brand Tough Mudder streamed a training event that offered tips and encouraged involvement.

Backstage pass and behind-the-scenes glimpses. Make your audience feel part of your event by granting exclusive live access to places they might not typically be able to go. Grazia UK had success with this by live streaming events from Facebook’s London HQ.

So what kit do you need to invest in?

Relying on one of your team being able to film and stream an event on their iPhone isn’t quite going to cut it for professional events – you need to be able to ensure professional quality audio and video across all your streams, especially if you want to record the stream and repurpose the footage elsewhere in your campaign. Phones typically can’t stream and record simultaneously, so you lose this feature entirely if you base your setup around a mobile, and adding titles and graphics that keep your stream on-brand isn’t something you can do with an iPhone setup.

Luckily, there are plenty of dedicated live streaming products that will give you the high quality, reusable footage. The range of options available can seem daunting, so we’ve asked our production experts to pick out a simple kit to get you started on creating and broadcasting live video directly to your social media platforms.

The Blackmagic Design Web Presenter allows you to stream to all popular platforms, including Facebook Live, YouTube Live, Twitch.tv and Periscope. It makes any SDI or HDMI video source appear as a USB webcam, so you can use professional cameras for higher quality web streaming.

Also from Blackmagic Design is the Micro Studio Camera 4K, the world’s smallest broadcast quality live production camera capable of HD, Ultra HD and 4K shooting. The camera body is not much bigger than the lens mount, so it’s a super flexible camera head that can be rigged for larger production, and you can control the focus, iris and zoom remotely with an ATEM switcher. Audio-wise, it has its own built-in mic, plus a 3.5mm jack so you can add a dedicated microphone.

And with the Blackmagic Design Hyperdeck Studio Mini, you can record and play back your live stream for later use. This professional deck records and plays back broadcast quality 10-bit video as ProRes files on commonly available SD cards.

How can we help?

We can provide all the kit you need for live streaming from one place, with 30 day credit accounts (subject to you passing a credit check) and next day delivery on many key items.

If you’re not quite ready to buy, our longstanding relationships with leading media vendors mean that we’re perfectly placed to advise on the directions different suppliers are taking with live streaming, and help you find kit, storage solutions and workstations to support the direction you want to take, as well as advice on how to fit them all together.

If you want to know more about live streaming, give us a call on 03332 409 306 or email designsolutions@Jigsaw24.com. If you’re ready to start shopping head to our design store, here.

What are we looking forward to at IBC?

What are we looking forward to at IBC?

Ready for IBC? Our consultants are gearing up for their annual trip to Amsterdam, where they’ll be getting hands-on with the latest releases, meeting our key vendors and finding out what the upcoming year holds for media and entertainment. We asked the team what they’re most looking forward to…

Jamie Allan, Solutions & Business Development for M&E

We’re looking forward to talking to more people about remote connectivity and new methods of collaboration this year. It’s a hugely exciting area of expansion for us and our customers, with many of our preferred vendors bringing updates to enable more advanced connectivity over long distances via public and private networks.

Having worked on some major connectivity projects recently between clients and datacentres, we’re starting to see the huge benefits of colocating or virtualising systems really come into effect on multiple scales. Hopefully at the show we’ll see more vendors embracing this and bringing new solutions to the table.

As usual with a major trade show, we’re expecting our friends at Blackmagic Design to come with some exciting news. Hopefully a full release version of Resolve 14 will be made available, including all the amazing new features we’ve been playing with in beta since NAB.

In conjunction with this, the audio world is anticipating new hardware for Fairlight mixing consoles that will be tightly integrated with Resolve, allowing us to build end to end collaborative workflows for edit, grade and audio mix all in realtime!

Neal Kemsley, Pre-Sales Technical Specialist

I’m looking forward to hearing what Avid have in store for their NEXIS shared storage for media production users. It would be lovely to see more progress on their storage performance capability tiers, as well as built-in tools for migrating data stored in Workspaces among those tiers. Also on my wish-list are some features that have yet to make it to NEXIS, which were lost in the migration from previous Avid products, such as controlled shutdown from an external UPS system and deletion reporting. File access auditing would also be a valuable addition to the product.

I’m also looking forward to hearing about what’s being planned for their Interplay Production Asset Management system, as well as seeing progress on Avid’s Media Central Platform, which I understand has undergone a significant amount of redevelopment work.

David ‘Saxon’ Greenep, Senior Pro Audio Consultant

As the pace of technologies in the audio world continues to grow, I am looking forward to learning about new tech that will further streamline the process of content creation.

I am expecting to see developments in audio over IP as well as DAW and hardware solutions for both Atmos and VR audio. With the new standards available now from Dolby, I will also be interested to see if there have been further developments when it comes to both speaker specifications and speaker calibration systems.

Phil Crawley, Engineer

Although the rush to IP continues apace, some of our higher-end TV and Digital Cinema customers still need the near-zero latency and uncompressed quality that only SDI provides for UHD/4K. I’ll be paying particular attention to Barnfind’s product refresh with their 12G copper/fibre parts. Additionally, Amulet have refreshed their Teradici2 offerings; they uniquely offer external Tera2 parts as well as a soon-to-be-released update for existing customers to monitor their GUI displays at 4K resolution.

Rupert Watson, Sales Director for M&E

As a reseller questing for the latest useful technology on behalf of our customers, we will be out looking for vendors at IBC who are bringing something new to the processes and practice of production and post-production. As technologies advance and merge, we attempt to understand and assimilate new ways of working and to present them to our customers in ways that allow them to make money and prosper from our pathfinding on their behalf.

David Skeggs, Project Specialist

IBC is poised to bring the next round of HDR (high dynamic range) developments and offerings. Ultra HD or 4K coupled with HDR has put a real focus on accurate monitoring within post-production – I’d say now they are more acute than ever before.
Dolby and the BBC have led the development of two very different standards for creating an HDR image, but how has the industry been adopting these? We await to see what updates the monitor manufacturers bring around the wider colour gamut and greater bit depths. Equally, it will be interesting to see how manufacturers have been adopting HDR within products, supply chains and workflows.

Graham McGuinness, Operations Director for M&E
IBC is set to deliver hopefully more complete versions of some of the previews we saw at NAB earlier this year. Of particular interest will be remote editing and cloud-based offerings from manufacturers looking to meaningfully move significant elements of the post-production process online, and drive its potential development as a managed service model. Coupled with the push to high resolution and HDR, it’s going to be an interesting show as always.
Phillip Boettcher, Technical Architect for M&E
At IBC I’ll be most interested in checking out the latest updates to version 14 of Resolve, including any new tools around collaboration and shared projects. There’s a lot of potential in what we have seen so far from shared project databases and networked Resolve suites, but I would like to see more administrative control for this branch of the product now.With the qualification of a new line of servers for Resolve, it is going to be exciting to see the improvements to performance that v14 will bring on the latest hardware. I am also excited to see announcements from storage vendors, such as Ardis for DDP, and look at ways we can utilise their products to enhance our Resolve solution offering.
Want to meet the team?

If you want to meet up with one of the team to discuss your needs, how new releases could fit into your workflow, or what changes you need to make to take advantage of upcoming technologies like those behind remote collaboration, just get in touch on the details below. Who knows, they may even buy you a beer.

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.

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

 

Price drop on Blackmagic Video Assist 5 inch monitor and recorder!

Price drop on Blackmagic Video Assist 5 inch monitor and recorder!

We’ve got the Blackmagic Video Assist HD 5 inch monitor and recorder now priced at only £295 (£354 inc VAT) while stocks last!

The Blackmagic Video Assist is a great addition to your equipment, helping you to create high quality and professional video content. It provides a bright display with a 135º viewing angle thats much larger than the screens on regular DSLR cameras making creating professional looking work so much easier!

Shop now

It has both SDI and HDMI inputs making it compatible with any video camera from DSLRs to the latest digital film cameras. There is no need to worry about triggering the recording on the monitor itself as recording is automatic through the SDI and HDMI. Using high speed SD cards, it saves broadcast quality 10-bit, 4:2:2 ProRes and DNxHR in Quicktime or MXF compatible files compatible with modern NLE software but to a much higher standard than DSLRs record.

Equipped with a 5 inch screen, with focus peaking indicators, waveform monitor, RGB parade, vectorscope and histogram, it’s easier to frame shots and focus, and with 1920 x 1080p60 resolution, you can view your footage in the highest quality while you shoot. With a ProRes and DNxHD recorder, you will get 10-bit 4:2:2 files that work with all major editing software, so there’s no need to convert them, allowing you to work faster and more efficiently.

The monitor supports 3D LUTs and has a focus assist function and exposure tools such as focus peaking indicators and false colour tools to allow easier focusing, exposure and framing of shots to a professional standard. It also has a touchscreen function allowing you to control many key features of your recording, such as the histogram, audio meters and controls, easily and quickly while still looking at the shot, making it the perfect way to bring high quality recording to your work.

Want to find out more about the Blackmagic Video Assist Monitor and RecorderContact us on 03332 400 306 or broadcast@Jigsaw24.com. If you want to find out all the latest news and reviews, follow us on Twitter @WeAreJigsaw24 and ‘like’ us on Facebook!

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

From the 6th to the 8th of June, Blackmagic Design will be hosting a pop-up event at 19 Greek Street, Soho (W1D 4DT, for the satnav crew).

Doors will be open from 10am till 6pm every day except Wednesday, when they’ll be staying open late so you can mingle with your fellow Blackmagic Design users,

What’s on? 

Blackmagic are offering you the chance to see the exceptional new DaVinci Resolve 14 (to recap: 10 times faster than before, new editing and colour correction tools, full Fairlight audio post production and multi-user collaboration), and to get hands on with their DaVinci Resolve Micro Panel and DaVinci Resolve Mini Panels.

They’re also running free three-hour Resolve Training Classes twice a day – places for these are limited and likely to fill up fast, though.

There will also be the chance to try out the Blackmagic URSA Mini Pro in an indoor garden set, and of course you’ll be able to put all your questions to the Blackmagic team.

What’s it cost? 

Nothing. Nada. Zip.

Where do I sign up? 

You can register to attend here.

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.

NAB 2017: Blackmagic Design CEO Grant Petty on this year’s Blackmagic crop

NAB 2017: Blackmagic Design CEO Grant Petty on this year’s Blackmagic crop

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

DaVinci Resolve 14

Today we announced DaVinci Resolve 14, the biggest release in the history of the software! It’s quite a dramatic upgrade. With this update, we were really focused on solving some of the bigger problems in post production.

The first problem was performance. We have made some dramatic performance gains and DaVinci Resolve 14 is now up to 10 times faster than the previous release. It’s very fluid now and much more responsive.

Also another big issue in the film and television industry is audio. For years we have been sending audio off to people in the music industry to do our audio post production. Then we have to wait for them to finish and import the finished audio file back into our edit. It’s very slow and cumbersome.
What we really need are audio tools designed specifically for the film and television industry. With DaVinci Resolve 14 we have built in Fairlight audio on its own new page in the software. It’s incredibly powerful and can play back up to 1000 tracks with parametric EQ, dynamics and plug ins on every track, all in realtime, when used with the Fairlight Audio Accelerator card. It’s also very powerful when run on a stock computer system as well.

Because audio for film and television is a lot more complex, we think integrating it into DaVinci Resolve will make it so fast and easy. It’s just a button click away. Plus, it also works with the full sized Fairlight consoles so it makes an amazing combination.

To make this workflow really fast, you really want people to be able to edit, color and do audio post production all working together, on the same job at the same time. To make this easy DaVinci Resolve 14 now integrates extremely powerful collaboration tools to make that easy.

With editing, advanced color correction and these new Fairlight audio tools, DaVinci Resolve 14 is like getting 3 high end applications in one! We hope it dramatically changes post production from kind of a linear to a more parallel workflow, so everyone can work at the same time, giving editors, colorists and audio engineers more time to be creative.

Watch What’s New in DaVinci Resolve.

The performance improvements and new audio features are built into the free DaVinci Resolve software you can download for free. However, the new collaboration tools and some of the new plug ins are only available in the paid DaVinci Resolve Studio.

The good news is that we have reduced the price of the full DaVinci Resolve Studio to only $299, so it’s much more affordable now.

We have a public beta of DaVinci Resolve 14 available today, so you can download it from the Blackmagic Design website and try it yourself. We would love to hear your feedback!

Download now.

ATEM Television Studio Pro HD

Recently we launched ATEM Television Studio HD, a portable live production switcher for broadcast, professional and AV users which has been extremely popular because it had powerful features such as 8 inputs, re-sync in each input, built in DVE, aux out, support for talkback, chroma key, flash based media store and also a control panel on the front!

Today we released the new ATEM Television Studio Pro HD, which has all of the same professional features, but is integrated inside of a professional desktop mounted control panel. You can now get all those ATEM Television Studio HD features built right into a professional control panel!

Plus, you get a full CCU control area on the top of the control panel so you can control cameras for doing amazing multi camera live work. This works with all Blackmagic Studio and URSA Mini cameras that can be controlled via the SDI.

The control panel on ATEM Television Studio Pro HD is extremely high quality. It uses the same high quality buttons that our highest end switchers use, plus there are a lot more buttons for transition selection, keying and more.

ATEM Television Studio Pro HD adds an integrated hardware control panel which is great for more complex, fast paced live events. It features 4 HDMI and 4 SDI inputs so you can work in all formats up to 1080p60.

We think the new ATEM Television Studio Pro HD will be perfect for all kinds of work from professional studio or live sport broadcasts, to internet talk shows, concerts and seminars, and more!
ATEM Television Studio Pro HD will be available in May for US$2,295

Learn more.

Bluetooth for URSA Mini Pro

When we recently launched Blackmagic URSA Mini Pro, we kept its Bluetooth feature secret until now. We have developed a new iPad app that gives you full remote control of the camera settings as well as metadata entry. We are also going to open the protocol to developers who want to use the API to customize their own control solutions.

With a fully open API and developer support for bluetooth on URSA Mini Pro, customers can build applications to remotely adjust camera settings, control the built in DaVinci Resolve color corrector, add metadata, sync cameras and much more! The possibilities are endless and we’re excited to see what you’re going to make with it!

While this will be shipping next month, we will be demonstrating it on the booth at NAB and would love to show you!

Learn more.

Blackmagic Video Assist updates

We also announced Video Assist 2.4 update which adds support for localized interfaces in 10 different languages! So now it’s much easier to use worldwide because it runs in your native language!

We support Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish! All you need to do is connect your Video Assist or Video Assist 4K to the USB and select the language you want in the Video Assist Utility software!

This Blackmagic Video Assist 2.4 software update will be available today for download for all Video Assist models and free of charge.

But that’s not all we have done for Blackmagic Video Assist! This year we also have new professional scopes that have been added to the Video Assist 4K model. These new scopes are professional, highly accurate and include waveform, RGB parade, vectorscope and histogram. They can be used full screen, you can overlay them on top of the incoming video, or put them in a small picture in picture window.

I think these scopes are incredibly powerful. I want to use them next to my grading monitor so I can see RGB parade when doing editing and grading. But I think they also make a nice broadcast scope to use around production areas. Of course they are also great for setting exposure on cameras too!

The new scopes will be available in June as a free software update for all Blackmagic Video Assist 4K customers. We will be showing them in the Video Assist section of our NAB 2017 booth.

Download now.

New UltraStudio HD Mini

Today we also introduced UltraStudio HD Mini, the world’s first portable Thunderbolt 3 capture and playback solution designed for archiving, edit monitoring, streaming and live broadcast graphics.
With UltraStudio HD Mini, we have taken a different direction by including some new connections people needed, and dropping some of the connections people don’t use anymore. No one uses analog out anymore!

However, people are capturing from older analog and digital broadcast decks for archiving content to modern digital media files. People also want to run live graphics into switcher with fill and key and of course we often need to get high quality monitoring in HDMI and SDI when editing and color grading and need perfect AV sync. It also works with Open Broadcaster software for live 1080p streaming.

UltraStudio HD Mini has been designed to do these tasks well, and we have fit it all into the small Teranex Mini sized design. It’s even Thunderbolt powered so you don’t need to connect it to a power supply. You can even power it from your laptop battery! You can sit it on your desk beside your laptop, making it a great portable solution to take on the road.

If you add the optional Teranex Mini Smart Panel you also get video, audio meters and status, including a new frame buffer indicator to assist in evaluating disk performance on broadcast systems. You can also rack mount multiple units using the Teranex Mini Rack Shelf.

UltraStudio HD Mini includes 3G-SDI and HDMI outputs for edit monitoring. Plus the 3G-SDI outputs are dual link so you can output separate fill and key to live switchers.

The inputs include 3G-SDI as well as Y,Cr,Cb analog component or NTSC/PAL inputs, along with balanced analog inputs for connecting to older digital or analog broadcast decks for archiving. There are even deck control and reference inputs!

UltraStudio HD Mini is in stock and available now from Blackmagic Design resellers worldwide for only $495. The optional Teranex Mini Smart Panel is $85.

Learn more.

 

H.264 for Blackmagic Duplicator 4K

When we launched the Blackmagic Duplicator 4K last year, it was received well and people understood the idea of doing live production and selling content to customers directly.

The problem is that we got ahead of ourselves. H.265 has not been adopted as widely as we hoped. So this year we are releasing a software update that adds H.264 to the Blackmagic Duplicator 4K. It’s a free software upgrade and, because H.264 is so popular, everyone you sell content to can read the files!

This software update is available now and you can just download it to get this new format. Now you should have confidence that when you give someone the media from the duplicator that they can read it!

Of course the H.264 files are bigger than the same video compressed to the more modern H.265, however for the duplicator, that’s only a few dollars more for the blank media cost. We still hope that H.265 will become more widely adopted and people can start using it more, however H.264 will do well in the near future!

The Blackmagic Duplicator 1.1 update is available now as a free download from the Blackmagic Design website.

Download now.

Ultimatte 11 now more affordable

Finally, we announced an immediate price reduction for Ultimatte 11 from $24,995 to only $9,995.
Since we acquired Ultimatte in October, last year, we have been working on its production and we have made some very good improvements. We think this price reduction is dramatic, but the real reason for working so hard on making Ultimatte 11 more affordable is because we want to help people get an Ultimatte on every camera in a live set.

We think people can build their own virtual sets by using multiple locked off cameras on a green scene set. If the keying looks real, and Ultimatte does that, but also if you don’t move the cameras while they are on air, you can build your own virtual set using still frames keyed in behind the locked off cameras. It’s a nice simple way to get started into virtual environments, but the issue was Ultimatte previously cost way too much to be able to do this.

Of course for decades Ultimatte has been the worldwide leader in blue and green screen removal technology for the broadcast television and feature film industries, so you get a high quality keyer that can do an amazing job in making virtual sets look truly realistic. We hope this reduction in price helps people explore their creative options for virtual environments. In many ways you can almost get 3 Ultimatte 11’s for the same as what a single Ultimatte 11 cost a year ago!

We have a separate Ultimatte booth this year and its down the hall a little from our main Blackmagic Design booth, so people go and check it out!

Learn more.

That’s about it for this year. We are going to be filming the press conference again this year, so if you would like to learn more, please follow the link below to watch the video.

We really want to thank you for supporting us throughout the year. We couldn’t do it without you and if you are heading to NAB this year, please drop by our booth as we would love to catch up for a chat!

Watch the press conference video.

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.

NAB 2017: Blackmagic Design announces new professional scopes and multi-lingual support for Video Assist

NAB 2017: Blackmagic Design announces new professional scopes and multi-lingual support for Video Assist

Blackmagic Design today announced the immediate availability of Blackmagic Video Assist 2.4 update which adds support for multi-lingual support for 10 separate languages. This means customers can now use Video Assist in their native language. This update is available now as a free update for all Blackmagic Video Assist and Blackmagic Video Assist 4K customers.

Also demonstrated at the NAB 2017 show are powerful new professional scopes operating on the Blackmagic Video Assist 4K model, including waveform, RGB parade, vectorscope and histogram that can be viewed full screen for accurately evaluating video signals passing through Blackmagic Video Assist 4K. These scopes are shown as a development preview and will also be available in June as a software update free of charge for all Blackmagic Video Assist 4K customers.

Customers can see a beta demonstration of the new language support and preview the new professional scopes on Blackmagic Video Assist 4K at the Blackmagic Design NAB 2017 booth at #SL216.

The new scopes make the Blackmagic Video Assist 4K model perfect for live production monitoring, as portable test scope for broadcasters, and even for balancing color when color grading using the RGB parade scope.

The new localized Video Assist adds interface support for Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish. This broad language support now makes it easier for more customers to use Video Assist anywhere in the world.

“Video Assist has become an indispensable part of everyone’s production kit,” said Grant Petty, Blackmagic Design CEO. “It’s the perfect portable field monitor and recorder. The addition of full blown professional scopes makes it even more exciting and useful for customers. Plus, the new multi-lingual interface will make it easier for non-English speaking customers to use it!”

Availability and Price

Blackmagic Video Assist 2.4 update is available now from the Blackmagic Design website free of charge for all current Blackmagic Video Assist and Blackmagic Video Assist 4K customers. Blackmagic Video Assist 2.5, which will support scopes on the Blackmagic Video Assist 4K model will be available in June.

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