Trouble at the Old Mill IV: IT – Behind the scenes

Trouble at the Old Mill IV: IT – Behind the scenes

MacBook Pros have been disappearing all over Jigsaw24 HQ, and there are reports of a mysterious red balloon making its way around the office. Three intrepid team members headed down to the depths of the basement store room to take on the ghoulish clown causing all the trouble…

We had a blast filming the latest instalment of Trouble at the Old Mill, starring our very willing junior copywriter Joe as the titular clown. Aside from a rubber mask, some face paint and a bright yellow raincoat, our kit list for filming the video featured a range of great products from Canon to Adobe. Our director and in-house videographer Simon let us know what was used to create the Halloween magic…

The kit

CAMERA: Canon C100

“The C100 is nice and simple to use,” says Simon. “The controls are quite similar to Canon’s DSLRs, so setting white balance, aperture and ISO is all very quick and straightforward. It’s also pretty compact for carrying around and setting up – the camera, lens, multiple mics and power all fit in one backpack-style camera bag.

“The camcorder is known for its ability in low light, which was useful for some of those dark storeroom shots where I bumped the ISO up pretty high without the noise getting unbearable. I tried out a different picture profile for this video than I usually use for normal corporate videos. The ‘cinema’ profile is very flat in tone and desaturated in colour, which provides greater scope for grading later on.”

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“One thing that I wish this model had (which the C100 Mk II and other cameras in the range have) is higher frame rate shooting options. A couple of shots would have looked really good in slow motion, but at 25fps I couldn’t slow it down without the image visibly lagging.”

You can still pick up the Canon C100 Mk I at only £2039, or treat yourself to the C100 Mk II at only £2999, which now comes with a FREE Atomos Ninja Blade!

LENS: Canon EF 24-70mm f/2.8L II USM Telephoto Lens

“This range of focal lengths provides great versatility without having to keep buying and swapping lots of lenses. I used the longer focal lengths (and positioned myself further from the subject) for getting shots with nice shallow depth of field, and shorter ones for fitting everything in the shot where space was restricted. At 2.8L it’s also pretty fast, which again helped in those low light situations.”

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Get the Canon EF 24-70mm f/2.8L II USM Telephoto Lens for just £626, now with a 3 year warranty!

MICROPHONE: Sennheiser MD 46 Handheld Cardioid Dynamic ENG Microphone

“I’d never used this mic before, but my usual lapel and shotgun mics were picking up too much background noise when we were trying to record dialogue in a noisy office. Its intended use is for reporters, so it’s very directional and cuts out a lot of peripheral sound. This meant we had to position it very carefully when trying to pick up multiple voices, hence some very precarious boom setups (that actually appear in the video once or twice if you look closely…).”

The Sennheiser MD 46 is just £190 right now!

MICROPHONE: Rode NTG-2 Shotgun Condenser Microphone

“For backup, and because I had a spare channel I thought I may as well use, I kept my usual shotgun mic attached to the top of the camera and pointed at the action the whole time. I didn’t end up mixing this into the edit very much, but at low levels it occasionally added a subtle ambience when combined with the Sennheiser.”

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Get the Rode NTG-2 for just £174!

LIGHTING: Photoflex Medium Starlite Kit

“We have two big softboxes and a smaller Dedolight. I don’t really have any clue on how you’re meant to use these, but spent a lot of time aimlessly moving them around so everyone else would think I knew what I was doing.”

If you know more about lights than Simon, we’ve got the Photoflex Medium Starlite Kit for £440

 

The editing software

INGEST: Adobe Premiere Pro and Media Encoder

“One feature in Premiere Pro which I’m a big fan of is Proxy Workflow. I set the project ingest settings to automatically create proxies, so whenever I imported from the browser window into the project in Premiere Pro, Media Encoder would open and do its thing in the background. This then meant I could edit with lower resolution previews, so there was none of the frustrating stopping and starting that can occur when working with full HD footage. There’s a simple toggle switch for going between the proxies and the full res files, which I used when working on finer detail grading and sharpening.”

EDITING: Adobe Premiere Pro

“I used Premiere Pro for sorting through the source files, adding markers at points in the shots that I thought I was going to use, and started dragging clips on to a timeline. Because the video has distinct scenes, with different looks and sound requirements, I edited each one separately in a nested sequence, then lined them all up and worked out the transitions between them on a master sequence. I used a lot more film dissolve and crossfades from the Effects pane than I would on a normal corporate video to try and get the edits flowing smoothly and to accentuate the atmosphere of the scenes.”

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COLOUR CORRECTION AND GRADING: Lumetri Color in Premiere Pro

“Lumetri Color is an incredibly powerful and versatile colour tool in Premiere Pro. My process with it was to use its ‘basic’ controls to hone the white balance and overall levels so that the shot looked neutral. Then it has a set of ‘creative’ controls for giving the footage more of a distinct look.

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“After trying out a LOT of third party LUTs, I ended up using the same one throughout (but increased and decreased in strength), which just seemed most natural with the footage we’d shot and added an extra level of consistency between shots. I did all of this on adjustment layers above the source footage on the timeline so that each clip was treated the same without having to go in and apply to each individually.”

SOUND MIXING: Premiere Pro

“All of the sound was mixed in Premiere Pro too. The source footage generally needed some gain control for consistency between clips and then a bit of EQ, compression and a tiny hint of reverb. I also used noise reduction for most of the dialogue because the ambient office sounds were distracting and inconsistent between shots. Because it then sounded unnaturally quiet between lines, I mixed in a stock effect of an office environment.”

SPECIAL EFFECTS: After Effects

“Titles and a few special effects were done in After Effects. The dynamic link between the apps allows me to see the graphics I’m working on in After Effects over the video footage in Premiere Pro instantly.

“Trying to make the cloud of bats was my first experience with the Particle World effect. I think it’s more designed for small, non-descript particles that look like rain drops or suchlike, but I applied it to a bat shape I made in Illustrator and it turned out pretty much how I wanted.”

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“The clown coming out of the computer was also my first go at filming against a green screen. I tried to get the lighting even and consistent with the shot I needed to composite it with while shooting, then used the Keylight effect in After Effects. Playing around with the Keylight controls managed to isolate the clown how I wanted, but I found I still had to animate a couple of masks frame by frame to get it looking right as it moved in and out of the laptop.”

Find out more about Adobe’s great video-editing apps here.

You’ll save too… check out our scarily good savings at www.Jigsaw24.com/offers, get in touch with the sales team on 03332 400 888 or email sales@Jigsaw24.com. For all the latest news, events and hauntings, follow us on Twitter @WeAreJigsaw24 or like us on Facebook.

 

Get up to £855 cashback when you buy a Canon camera and lens

Get up to £855 cashback when you buy a Canon camera and lens

If the prospect of getting a new lens with your new camera wasn’t tempting enough, Canon are now offering up to £855 cashback to customers who buy a compatible camera and lens within 90 days. 

If you’ve recently purchased, or are about to purchase, a camcorder from Canon’s Professional or Cinema EOS lines, you can claim cashback of between £60 and £855 if you buy a Canon lens within 90 days of buying your camera.

In case, unlike us, you haven’t dedicated yourself to memorising Canon’s camera sub-categories, the eligible models are:

– C700

– C300 Mk II

– C300

– C200

– C100 Mk II

– C100

– ME200S-SH

– 1DX Mk II

– 5D Mk IV

They’re available for order here on our website.

The amount of cashback you receive depends on which lens you opt for. The EF 16-35mm f/4L IS USM will get you £65, while a 200 – 400mm f/5.6 IS USM will net you the princely sum of £855. Here’s the list:

Screen Shot 2017-10-23 at 14.03.52

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You can read the full terms and conditions here, or get in touch with our team on the details below to choose your camera/lens combo.

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.

Canon release 24-inch 4K reference display with 12G-SDI and HDR

Canon release 24-inch 4K reference display with 12G-SDI and HDR

On top of the five new cameras they’re announced this week, Canon have dropped details of the DP-V2411, a 24″ professional reference display offering stunning image quality with high luminance and a wide colour gamut, along with extensive functionality for HDR production.

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The DP-V2411 is Canon’s first display to feature 12G-SDI interface to receive 4K signal over single cable. It has four 12G-SDI inputs, which can also accept four-channel 4K inputs, plus legacy Quad 3G and 2SI signals. The DP-V2411’s HDMI port will also accept 4K UHD signals up to 50P, so you can connect to cameras and playout systems.

The DP-V2411 comes with “extensive 4K HDR shooting assist functions”, a feature set that includes an HDR and SDR comparison function, a built-in 4K HDR waveform monitor, and an HDR False colour function to enable more efficient and higher quality production. “The DP-V2411 is perfectly equipped for HDR production workflow,” the press release tells us confidently, and who are we to question it?

“Delivering accurate colour reproduction, high uniformity and smooth gradation, DP-V2411 uses a direct matrix backlight LED panel which has been optimised to the LCD panel to achieve stable, uniform and a much wider colour gamut,” it continues. “The DP-V2411 supports 4K, UHD, 2K and HD with various frame rates and XYZ, RGB and YCbCr signals are also supported.”

A new feature of the DP-V2411 is what Canon are calling the Camera Link Up, which allows seamless linking to the Cinema EOS system cameras and the ARRI camera system, allowing for increased flexibility when you’re monitoring on set. Additionally, the DP-V2411 supports real time RAW development from Cinema EOS camera RAW signal output.

Body-wise, a light but sturdy aluminium casing helps keep the DP-V2411’s weight down, tipping the scales at just 12kg. Its slimline body is just 105mm thick, meaning it’s easy to find space for in an OB van, and a removable carrying handle ensures optimum convenience.

Availability

Like the XF405, the DP-V2411 is going to be available in November, but final UK pricing is yet to be confirmed.

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: The highlights

IBC 2017: The highlights

Half the team have decamped to Amsterdam, our product managers are poised to start making manic calls to suppliers and there’s a master post on the blog. It must be IBC again. 

As per usual, we’ll be linking to all the biggest news stories from this post, as they happen, so all you need to do is bookmark it and hit refresh every time you want another hit of news. Enjoy!

Adobe

IBC 2017: Adobe reveals new tools for Premiere Pro and Audition

Adobe’s MAX conference isn’t until October, but being good sports they’ve joined the general IBC announcement scrum and announced some exciting new video and audio tools to coincide with the show. (They’re also live streaming demos on Facebook, if you need something to distract you from the fact that you’re not in Amsterdam.) Read more.

AJA

IBC 2017: AJA debut openGear 3G-SDI multi-mode Fiber cards

AJA Video Systems announced today that it has added new 3G-SDI Multi-Mode fiber extender cards to its line of openGear compatible video and audio rack cards for use in openGear frames and AJA’s OG-3 2RU frame. openGear is Ross Video’s open architecture, modular frame system supported by a diverse range of equipment manufacturers. Read more.

AJA announces HDR 10+ SDK support for KONA 4, Io 4K, Io 4K Plus and Corvid 4K developer cards

AJA Video Systems today announced support for HDR 10+ in the developer SDK for the company’s award-winning video and audio I/O products that support 4K workflows. This new development will be demonstrated at IBC with pre-release SDK software supporting the dynamic metadata that HDR 10+ delivers. Read more.

IBC 2017: AJA debuts Ki Pro Ultra Plus firmware v2.0 with HLG and HDR 10 support

At IBC 2017, AJA Video Systems announced new v2.0 firmware for the Ki Pro Ultra Plus multi-channel HD recorder and 4K/UltraHD/2K/HD recorder and player. The new update enables the latest HDR formats with HLG and HDR10 playback, and adds support for recording and playing ProRes 4444 XQ up to 2K60p, among several other feature enhancements. Read more.

IBC 2017: AJA introduces new FiDO 12G SDI/optical Fiber mini-converters

At IBC 2017, AJA Video Systems unveiled a new line of FiDO 12G to Fiber/Fiber to 12G Mini-Converters. New price reductions have also been announced for the Hi5-4K-Plus (3G-SDI to HDMI 2.0) and 3GM (3G/1.5G Mux/DeMux) Mini-Converters, bringing the costs down from $695 to $595, and $795 to $495 respectively. Read more

IBC 2017: AJA announces desktop software v14 for KONA, Io and T-TAP products

AJA Video Systems today announced new Desktop Software v14 for its family of KONA, Io and T-TAP products. Desktop Software v14 adds new features that simplify 4K/UltraHD and HDR workflows, as well as new audio capabilities for individuals working in broadcast, TV, film, post-production, ProAV and OTT. Read more

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

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

Atomos

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). Read more.

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. Read more.

Avid

IBC 2017: Avid add SSD support to NEXIS storage

Avid’s NEXIS software is ‘software-defined’, meaning you can manage the storage system independently from its underlying hardware – something you’ll get to do very soon, as Avid have released another update. Read more.

IBC 2017: Avid unveils next gen post-production workflow solutions based on MediaCentral

Avid have introduced new MediaCentral solutions for post production. Integrating industry-leading Media Composer video editing software with a new cutting-edge collaborative asset management module, new video I/O hardware and Avid NEXIS software-defined storage, MediaCentral for Post is a scalable solution for small and mid-sized creative teams to enhance collaboration and deliver their best work faster, as well as working more efficiently with 4K and other demanding formats. Read more.

IBC 2017: Avid accelerates UHD/4K production and move to IP with new generation video server family

Avid have announced the new Avid FastServe family of video servers. Building on the rich heritage of industry-leading AirSpeed and PlayMaker video servers, Avid’s new generation of video servers are tightly integrated into the Avid MediaCentral platform as part of the industry’s most comprehensive UHD/4K workflows. Read more.

IBC 2017: Avid leads the media industry forward with new cloud solutions

New Avid cloud offerings and certified solutions for Azure deliver on Avid’s promise to help media professionals navigate the media cloud era with unprecedented workflow efficiency and flexibility. Read more.

IBC 2017: Avid extends MediaCentral platform with next-generation media production suite

It’s a “groundbreaking modular platform design with innovative user experience delivers a full suite of applications, modules, services, and connectors to drive unprecedented scalability, extensibility, and efficiency,” according the the latest IBC press release. Read more.

BirdDog Studio

Don’t miss BirdDog Studio NDI and more at IBC 2017

BirdDog are bringing their new Studio NDI to IBC in Amsterdam this month. First demoed back at NAB to resounding success, this impressive bit of kit allows your existing cameras to be included in a new IP workflow for your live productions. Read more.

Blackmagic Design

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. Read more.

Canon

Introducing the XF400 and XF405

Not content to wait sensibly for IBC like everyone else, Canon have released a slew of new kit, including two new CMOS compact camcorders, the XF400 and XF405, which sit above the XC15 in Canon’s range and offer ENG crews the chance to shoot 4K UHD at up to 60p. Read more.

Canon launch two new Full HD cameras, XA15 and XA11

For those of you who don’t need the full 4K functionality of the newly-announced XF400 and XF405, Canon have also announced Full HD camcorders in the shape of the XA15 and XA11 (the XA15 gets an SDI output; the XA11 does not). Read more.

Canon unveil new 4K handheld camera, the Legria GX10

Canon’s latest handheld camera captures 4K 50p video, supports dual pixel CMOS autofocus and can shoot 100fps full HD slow motion. We already want one. Read more.

FilmLight

IBC 2017: FilmLight releases Baselight 5.0

At IBC2017, FilmLight is celebrating the formal release of Baselight 5.0, as well as exhibiting the 5.0 colour tools across its entire product range. The update includes over 50 features, including a new primary grading environment known as Base Grade, a new Gamut Compression tool for HDR workflows. Read more.

G-Technology

IBC 2017: G-Technology releases SDK for G-RACK 12 high-performance NAS solution

Western Digital Corp., a global data storage technology and solutions leader, today announced the availability of a new software development kit (SDK) for its G-Technology 12-bay G-RACK 12 high-performance NAS solution for content creation professionals managing libraries of video and audio. Read more

HP

IBC 2017: HP launch HP Z workstations with up to 3TB RAM

In news that we’re sure will be of interest to IBC attendees , HP have announced a new line of HP Z workstations, the Z8, Z6 and Z4, that are designed to be the most powerful, scalable workstations on the planet. Read more.

NewTek

IBC 2017: NewTek demo new LivePanel

It’s day one of IBC, and NewTek have already unveiled LivePanel, a fully customisable browser-based control system that they’ll be including with NewTek IP Series multi-camera production systems, and which will be available as an option with TriCaster TC1. Read more.

Panasonic

IBC 2017: Panasonic showcase first footage from the EVA1

Panasonic introduced the EVA1 at Cine Expo, and we’ve been waiting to get our hands on it ever since. Those of you lucky enough to be in Amsterdam can see it on their stand at IBC, but we can all enjoy the first test footage, released today. Read more.

IBC 2017: Panasonic announce new live mixer and 360 degree camera

Panasonic’s IBC offering are focused live streaming and broadcast, with the announcement of a new “live streaming production centre”, the AV-HLC100, and a 360 degree 4K live camera. Read more.

Rohde & Schwarz

IBC 2017: Rohde & Schwarz introduces new generation of ingest, live production and channel playout platform

At IBC 2017, Rohde & Schwarz will introduce a new approach to live ingest, media processing and channel playout that cost-effectively provides bridging technology between hybrid SDI and IP broadcast operations. Designated R&S VENICE, such is the stability of this software-based media processing and distribution platform that it can be used as a channel playout solution in 24/7 operation applications within medium and large-scale broadcasters. Read more

IBC 2017: Encoding and multiplexing solution from Rohde & Schwarz with premium transcoding for OTT live streaming

Rohde & Schwarz enhances its successful R&S AVHE100 encoding and multiplexing solution by adding premium-quality adaptive bit rate (ABR) encoding as well as packetising for all established formats for OTT live streaming. The R&S AVHE100 also fully supports high dynamic range (HDR) video transmissions. Read more.

IBC 2017: Rohde & Schwarz to present monitoring and multiviewer solution

Rohde & Schwarz will showcase its recently launched R&S PRISMON monitoring and multiviewer solution for broadcast and streaming media with enhanced functionality at IBC 2017. The new solution will also be presented in live demonstrations at IP Showcase, a highlight of the trade show. At IP Showcase, vendors can demonstrate IP interoperability of their products under real-world conditions, based on SMPTE 2110 final draft standards and AMWA IS-04. Read more.

IBC 2017: GMIT launches enhanced RelayCaster for live content contribution over public Internet

At IBC 2017, GMIT GmbH will showcase its newly acquired RelayCaster and CodecCaster products for the first time since acquiring the technology of Motama GmbH earlier this year. The company will introduce the latest version of RelayCaster for content contribution over public IP networks and CodecCaster for high-density live transcoding. Read more.

IBC 2017: GMIT with world’s first internet-based broadcast and OTT network monitoring app

At IBC 2017, GMIT GmbH will introduce a new commercial web service to supplement the Rohde & Schwarz content monitoring and multiviewing solution R&S PRISMON. R&S PRISMON was launched early this year as a convergent solution for content monitoring in both broadcast and streaming media/OTT environments. Read more.

SmallHD

IBC 2017: SmallHD debuts brighter daylight viewable 17″ monitor

Due to the success of its daylight viewable monitors, SmallHD introduces its brightest, full-featured 17” reference grade monitor ever made, the 1703-P3X. Double the brightness of other 17” reference monitors, it is at home in full sunlight, and covers 100 percent of the DCI-P3 and Rec 709 color spaces. Read more

See SmallHD’s great show deals here.

Sony

Sony announce VENICE ahead of IBC 2017

Sony have announced VENICE, their first full frame camera designed for high end film production. Pitched as a camera “created by and for the cinematographer”, VENICE has had a cracking reception so far, including a winning review from Life of Pi cinematographer Claudio Miranda. Read more.

IBC 2017: Sony announce support for SMPTE ST 2110 in HD

Sony will support the SMPTE ST 2095 and 2022-7 media transports over IP, the company has revealed at its IBC press conference. Read more.

IBC 2017: Sony’s Z450 gets new firmware

PXW-Z450 users, there’s new firmware coming your way. Granted, it’s not due until December, but in three short months you’ll be the proud owner of a camera with far better HDR, 4K and audio support. Read more.

IBC 2017: Sony update their monitor range

Sony have released updates for several monitors at IBC, including improved brightness and colour performance for many monitors. Read more.

IBC 2017: Sony announce support for SMPTE ST 2110 in HD

Sony will support the SMPTE ST 2095 and 2022-7 media transports over IP, the company has revealed at its IBC press conference. Read more.

IBC 2017: HLG comes to SR Live

Sony have announced a major update to their SR Live workflow at IBC, with new features including S-Log3 and Hybrid Log-Gamma support. Read more.

IBC 2017: Sony announce PXW-Z90 and HXR-NX80

Sony have kicked off IBC by announcing two new small form factor cameras, the PXW-Z90 and HXR-NX80. Both offer 273-point phase detection autofocus and an instant HDR workflow, thanks to HLG and BT.2020 support. Read more.

IBC 2017: Sony unveils its first 8K System Camera

Sony today unveiled the UHC-8300, its first 8K camera system to include 1.25-inch three 8K sensors, which will be demonstrated at the Sony stand 13.A10 at IBC 2017 for the first time globally. It opens up the world of 8K with the flexibility to offer customers new capturing technology for shooting in 4K and more. Read more.

IBC 2017: Sony announces a new generation DWX Series digital wireless microphone system with 1.2ms latency

At IBC 2017, Sony is announcing a new generation digital wireless microphone system to meet the demands for theatres and live applications. The latest DWX series provides high-quality sound with low audio latency of 1.2ms, reliable operation by using a high dynamic range RF circuit and four diversity antenna operation, and supports Dante, a digital audio over IP networking technology. Read more.

Soliton

Soliton announces NewTek integration and improved live streaming ahead of IBC

Ahead of Europe’s leading media, entertainment and technology show, Soliton have announced exciting new updates to their leading H.265 bonded solutions, ZAO and Zao-S. For those of you who are already fans of the Soliton products, updated features to enhance their Smart telecaster range are below. Read more.

For more on any of the new releases at IBC, or to place pre-orders, 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.

Introducing the XF400 and XF405

Introducing the XF400 and XF405

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

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

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What’s the difference?

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

Key features

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Availability

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

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

Canon unveil new 4K handheld camera, the Legria GX10

Canon unveil new 4K handheld camera, the Legria GX10

Canon’s latest handheld camera captures 4K 50p video, supports dual pixel CMOS autofocus and can shoot 100fps full HD slow motion. We already want one. 

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Other key features of Legria GX10, for that be its name, include a large sensor, a 8.3 – 124.5mm lens with 15x zoom, an 8-stop ND filter with three densities and support for wide dynamic range. The camera allows for manual control via buttons and dials, but also features an optimised 4K Auto Mode. There’s a built-in image stabilisation function, should you have a particularly shaky day, and a face tracking feature should you need to track a face (the GX10 can detect up to nine faces in a shot, but only track one face or object).

The GX10 has dual SD/SDHC/SDXC card slots, and supports either continuous relay recording or simultaneous recording to MP4 format. Once you’ve captured your footage, you can share it wirelessly with the GX10’s built-in, dual-band WiFi, which can also be used to control the camera remotely, or connect to a third party audio recorder – the GX10 itself has a mono-directional mic built in, but no XLR port.

Here’s the official Canon statement on the GX10’s virtues:

“Capture incredibly vibrant Wide DR 4K footage at up to 50fps for smooth, lifelike results. Record pin-sharp, broad landscapes and shallow focus, detailed close ups – even in demanding light – with the 15x wide angle zoom lens, high sensitivity 1.0 type CMOS sensor and 8-stop ND filter.

“Use intuitively thanks to refined handheld ergonomics with dedicated controls, professional zoom rocker, lens ring and 8.8cm (3.5”) Vari-angle widescreen display with touch-autofocus. A 5-Axis Image Stabilizer with powerful optical lens shift and Dual Pixel CMOS AF ensure steady, smooth, sharp footage.

“Speed up operation – so you capture every shot – with customisable function buttons and dial plus included wireless remote control. Instantly get incredibly professional results using Automatic mode. A high resolution, tilting viewfinder allows comfortable, stable use in even the brightest conditions.

“Experience versatility to match your vision. Shoot 50p footage, even in 4K, for stunning fluidity and realism. Slow action to half or even quarter speed with 50fps 4K and up to 100fps Full HD. Enjoy dual card relay recording for long sessions and simultaneous recording confidence.

“Dual Band 2.4/5GHz Wi-Fi enables remote shooting and control via smart devices and browsers, as well as wireless transfer of your movies. The audio input and Canon Mini Advanced Shoe allow connection of a 3.5mm mic, line level audio source or the directly connected optional DM-100 Microphone.”

Availability

The Legria GX10 is due to join us in November this year, with an RRP of £1289.99 inc VAT.

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.

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

 

Introducing the Canon Cinema EOS C200

Introducing the Canon Cinema EOS C200

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

canon_c200

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

Key features include:

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

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

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

– ISO range of 100 to 102,400.

– New dual DIGIC 6 processors.

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

– New 4” touch panel with touch autofocus capability.

– Single CFast 2.0 and dual SD card slots.

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

Cinema RAW Light workflows

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

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

Availability and pricing

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

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

Looking for something similar?

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

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

 

NAB 2017: Canon releases firmware upgrade for professional displays

NAB 2017: Canon releases firmware upgrade for professional displays

Canon Europe, world leader in imaging solutions, today announces a firmware upgrade for three of its professional 4K displays – the DP-V1710, DP-V2410 and DP-V2420.

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

DP-V2410 Front_tcm14-1564783

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

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

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

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

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

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email 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: Your rolling news update

NAB 2017: Your rolling news update

It’s that time of year again. If you want to keep up with the news from NAB 2017, all you need to do is bookmark this post.

As big news breaks, we’ll add it to our blog and update this master post, so all you have to do is hit refresh to get the latest news from us and our friends at root6. (If you just want to pre-order product as it’s announced, keep hitting refresh on this page instead.)

Adobe

NAB 2017: Adobe propels video forward

Ahead of the National Association of Broadcasting (NAB) conference, Adobe today announced a major update for video in Adobe Creative Cloud to help filmmakers and video producers collaborate and streamline video workflows. Read more

AJA

Ki Pro Ultra, Pak Dock and Kistor Dock price reductions, and new Ki Pro firmware

Some early AJA news via Digi-Box: you can now save over £1000 on an Aja Ki Pro Ultra and £90 on Pak Dock and Kistor Dock – plus new firmware v2.2 for Ki Pro Ultra with Avid MXF support. Read more.

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

AJA Video Systems today announced Ki Pro Ultra Plus, introducing 1, 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0 (up to 12-bit capture and output) for 4K/UltraHD workflows. Read more

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

Building on AJA’s flagship FS4, and incorporating the latest HDR technology from Academy and Emmy Award twinning developer Colorfront, FS-HDR provides HDR and Wide Color Gamut (WCG) processing and conversion for realtime 4K/UltraHD and 2K/HD workflows. It will be demonstrated for the first time as a technology preview during NAB 2017 at AJA’s booth, #SL2505. Read more

NAB 2017:  AJA introduces new solutions for IP workflows

At NAB 2017, AJA Video Systems announced new firmware for its KONA IP desktop video and audio I/O card, along with two new IP Mini-Converters, significantly expanding flexibility in IP-based workflows. A new KONA IP license option for JPEG 2000, a preview of KONA IP firmware for SMPTE 2110, and new IPT-1G-HDMI and IPT-1G-SDI Mini-Converters will facilitate flexible and cost efficient delivery of work to and from creative suites via 1Gb Ethernet. Read more. 

NAB 2017: AJA unveils new 12G-SDI and Fiber Mini-Converters

AJA Video Systems today announced new Mini-Converters that resolve interoperability and interconnectivity challenges in modern broadcast and ProAV environments. New products include the 12GDA 12G/3G/SD-SDI Re clocking Distribution Amplifier, 12GM 12G-SDI to/from 3G-SDI Muxer/Demuxer, and new Multi-Mode SFP options for its family of FiDO SDI/Optical Fiber Mini-Converters. Read more.

Atomos

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. Read more

Avid

NAB 2017: What editors need to know after Avid Connect

We’re all of four hours into and Avid have already announced new I/O hardware, VM options for Media Composer, and the welcome return of Script Sync and Phrase Find at their Avid Connect event. Here’s a quick roundup of their post offerings so far. Read more.

Avid Connect: Just the audio bits

Avid Pro Tools will now offer native support for Dolby Atmos mixing and expanded support for the NEXIS family, and cloud tools are on their way to Pro Tools | First. Read more.

Avid Artist | DNxIQ unveiled for 4K monitoring and universal mastering

Next-generation video/audio interface offers extensive format support, including 4K monitoring and universal mastering capability, to enable video professionals to quickly and easily meet today’s varied content demands and wide-ranging delivery requirements. Read more.

Avid NEXIS now delivers unparalleled performance, scalability and Pro Tools support

The new software release, available to all new and current customers of Avid NEXIS, delivers greater system bandwidths, enables scalability to larger storage capacities, and now offers support for Pro Tools to optimize professional audio production workflows. Read more

Avid unveils Media Composer | First—a free version of the industry-standard video editing system

Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. Read more

Avid Pro Tools to provide native Dolby Atmos mixing

Avid and Dolby collaboration delivers the industry’s deepest integration and the most efficient audio mixing workflows for powerful immersive audio experiences. Read more 

Avid unveils cloud strategy with launch of new offerings

Avid announces extension of its MediaCentral Platform and its industry-leading tools into the cloud with new hosted client applications, cloud media services, and infrastructure on demand that can easily be added to existing on-premises deployments. Read more

Avid ushers in next phase of Avid Everywhere with sweeping and groundbreaking innovations

Avid  today announced a broad and sweeping set of innovations for the Avid MediaCentral Platform. As the next phase of Avid Everywhere, the company is extending the Avid MediaCentral Platform to the cloud, showcasing end- to-end 4K/IP workflows, enhancing immersive workflows, and expanding the Alliance Partner ecosystem, with major advancements across all product suites. Read more.

Avid announces strategic cloud alliance with Microsoft for the media and entertainment industry

Comprehensive multi-year agreement includes technology collaboration, co-development and go-to-market cooperation that will set the pace for the industry in bringing media enterprises, creative teams and individual artists into the cloud. Read more. 

New Avid Media Campus Program provides flexible volume licensing and industry solutions for educational institutions

Offering a deeper partnership with Avid, and flexible volume licensing and deployment options, the new program helps educators better prepare the next generation of creative talents and media professionals for careers in the media and entertainment industry. Read more.

Blackmagic Design

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. Read more

Blackmagic Design announces DaVinci Resolve 14

Blackmagic Design today announced DaVinci Resolve 14, the biggest release in the history of the product, and an update that has been designed to be more than an incremental software update, but a complete revolution in post production. Blackmagic Design believes the new DaVinci Resolve will break through the stagnant toolsets used in post production, and offer a new path forward for the smallest as well as the largest facilities in the world. Read more.

Blackmagic Design announces new ATEM Television Studio Pro HD

The world’s most advanced all in one live production switcher with integrated hardware control panel and powerful features such as HDMI and SDI inputs, multiview, talkback, DVE and more! Read more.

Blackmagic Design dramatically reduces price of Ultimatte 11

Blackmagic Design today announced an immediate 60% price reduction for Ultimatte 11 from $24,995 to only $9,995. Acquired by Blackmagic Design in October, 2016, Ultimatte is the worldwide leader in blue and green screen removal technology for the broadcast television, commercial and feature film industries. Read more.

Blackmagic Design announces new UltraStudio HD Mini with Thunderbolt 3

Blackmagic Design today announced UltraStudio HD Mini, the world’s first portable Thunderbolt 3 capture and playback solution with 3G-SDI, HDMI and analog connections for broadcast quality 10-bit recording up to 1080p60 and 2K DCI. Read more

Blackmagic Design announces Blackmagic Duplicator 4K now with H.264

Blackmagic Design today announced the addition of realtime H.264 encoding to the Blackmagic Duplicator 4K. Now customers can choose to record H.264 for maximum compatibility with existing HD televisions and computers, or they can choose H.265 for delivering Ultra HD to the latest devices. Blackmagic Duplicator 1.1 update is now available as a free download from the Blackmagic Design website. Read more.

Blackmagic Design announces remote Bluetooth camera control for URSA Mini Pro

Blackmagic Design today announced a new open protocol for URSA Mini Pro cameras that will allow customers to create their own remote control solutions via Bluetooth. The protocol is being demonstrated at NAB, with the API and sample code anticipated to be released to customers free of charge in June 2017. Read more

Blackmagic Design announces new professional scopes and multi-lingual support for Video Assis

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. Read more.

Canon

Canon launch new upgrade service for EOS 5D Mk IV

Canon have announced a new paid upgrade for EOS 5D Mk IV users, available exclusively from Canon-authorised service centres.  Read more.

Canon unveil new pro lens

Canon are out of the gate early this year, releasing news of a new lens just as our team set off for NAB. Read more.

NAB 2017: Canon releases firmware upgrade for professional displays

Canon Europe, world leader in imaging solutions, today announces a firmware upgrade for three of its professional 4K displays – the DP-V1710, DP-V2410 and DP-V2420. Read more. 

DJI

DJI’s Ronin 2 is ready to take 30lbs of camera

It’s been a relatively quiet NAB in terms of production kit but this new gimbal from DJI has cheered us up no end, mostly by being twice as strong as the previous Ronin and having the most dramatic launch video we’ve seen in a while. Read more.

Dolby

Dolby announce new Atmos Production Suite and Mastering Suite

After Avid’s announcement that the forthcoming release of Pro Tools HD will offer native Dolby Atmos mixing, there was more Dolby news brewing at NAB 2017, with the release of two new software bundles – the Dolby Atmos Production Suite and Dolby Atmos Mastering Suite. Read more.

EditShare

NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

EditShare, a technology leader in intelligent shared storage and media management solutions, announced the introduction of the XStream EFS 200 and XStream EFS 300 storage products. Read more.

JVC

With the ProHD Mobile Bridge and the new ProHD Portable Bridge, JVC has created robust bonded cellular solutions for ENG and multi-camera live productions. Read more.

NewTek

Stream and publish anywhere with the NewTek TriCaster TC1

It’s the one that you’ve been waiting for… 4K. 60p. IP. 16 inputs and no compromises. The NewTek TriCaster TC1 is the first affordable end-to-end 4K IP video production system, and it’s available to pre-order now. Read more.

NewTek TriCaster offers native support of JVC KY-PZ100 PTZ cameras

JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced NewTek TriCaster multi-camera video production systems will offer native support of JVC KY-PZ100 robotic PTZ network video production cameras. Read more

Notes on NewTek TriCaster TC1, NC1 I/O module, NVG1 and NDI

A few weeks back, NewTek released the TriCaster TC1 and we managed to get more details at NAB. However, they were also holding a couple of other NDI cards up their sleeve in the form of brand new product releases. Read more

Panasonic

Panasonic showcases next gen technology and solutions to support 4K smart entertainment and connected stadiums

Panasonic have revealed that their NAB highlights this year will include the 4K AK-UC3000 studio camera system and the HD AK-HC5000 high-speed camera system, 4-sided LED videoboards, ballooncam, and augmented reality projection. Read more

Sony

NEP UK selects Sony HDC-4300s to deliver live 4K to sports broadcasting market

Today, NEP UK announces a significant investment in live 4K sport broadcasting, with the purchase of 85 Sony HDC-4300 4K/HD system cameras, PWS-4500 servers, and 43 TRIMASTER EL OLED monitors, including the BVM-E171. Read more

Sony announces new technical capabilities and interoperability achievements as broadcast momentum for IP Live continues to grow

Sony is introducing a series of new IP Live functions, interoperability milestones and customer success stories on the first day of NAB 2017. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. Read more

Sony’s 4K/HD Live Production Workflows enhanced with Content Management Station PWS-110CM1 and updated firmware for PWS-4500 Server

New solutions enable the addition of metadata management for streamlined, searchable, transferable content that saves users time. Read more

NAB 2017: Sony embraces HDR production with full end-to-end solution

From products, to workflow and format, Sony offers users end-to-end HDR production capabilities from acquisition to display, for cinema, live production, online video and event production. These solutions meet the industry’s growing demand for a wider colour gamut and increased dynamic range that creates more realistic viewing experiences with enhanced levels of detail. Read more

TVLogic

New TVLogic reference 4K and OLED monitors

LCD and OLED HD displays manufacturer TVLogic are choosing NAB 2017 to introduce several new 4K HDR and OLED monitors. The new displays are designed to address the ever-increasing demands of broadcast, production, post-production, and multi-viewer applications. Here’s the full press release… Read more

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