NAB 2017: Canon launch new upgrade service for EOS 5D Mk IV

NAB 2017: 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. 

The upgrade brings Canon Log (C-Log) capability to the EOS 5D. A staple feature in Canon’s Cinema EOS range, C-Log will provide EOS 5D users with enhanced dynamic range and easier colour grading.
 
The key things to remember when debating whether this upgrade is for you include: 

– This chargeable service and must be performed by Elstree.

– The charge will be “approx £85″ (this is the most exact figure we have, sorry) as Canon have to pay a licence fee in order to furnish you with the upgrade.

– The fees do not include postage for your camera.

– After the upgrade, the normal firmware upgrades can be applied without needing to return to the RCC (as was required for the 1D C).

The C-Log upgrade for EOS 5D Mk IV 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 or ‘Like’ us on Facebook.

NAB 2017: Canon unveil new pro lens

NAB 2017: 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. 

The CN-E70-200mm T4.4 L IS KAS S, which we look forward to watching our product managers attempt to spell, is designed for professional and advanced amateur videographers who use large-format, single-sensor cameras.

Canon’s official statement says that it ensures that movies, documentaries, weddings and corporate videos can be captured with the utmost precision and quality. Offering an impressive focal length of 70-200mm in the Super 35 image circle, the versatile lens joins the CN-E18-80mm launched in 2016 and completes Canon’s compact cine-servo lens lineup.

canon_cne_blog

Here are the highlights from the press release:

Ideal for sports shoots The new CN-E70-200 is a parfocal lens with three modes of image stabilisation. By combining with the CN-E18-80 lens, videographers can enjoy a versatile focal range of 18-400mm, perfect for when filming must take place from a safe distance such as in sport.

Dual Pixel CMOS AF Designed to function with Canon EF mount DSLRs and compatible detachable lens video cameras, the CN-E70-200 leverages a wide range of mount functions and super-fast autofocusing (AF). Powerful Dual Pixel CMOS AF enables a quick and accurate focus via a single button push (one-shot AF), while continuous AF allows for a subject to be tracked with no loss of focus, ideal for capturing wildlife footage.

4K optical quality Canon’s heritage in optical design and performance means the CN-E70-200 has super accurate resolving power; maintaining quality from the middle of the lens to the edge. The modulation transfer function has been specifically enhanced for the requirements of 4K cameras and with colour balance matched to other Canon cinema EOS lenses, the CN-E70-200 delivers exceptional image quality – whether filming in 4K or HD.

Enhanced operability Thanks to its compact size and lightweight, the CN-E70-200 can be used in a range of challenging shooting scenarios such as on spider cameras or drones. This, combined with its ergonomic design and optional Canon ZSG-C10 zoom grip, means the lens is able to unlock a broad range of new shooting styles. Attached to the body of the lens with a 20-pin cable, the ZSG-C10 allows for smooth remote activation of the zoom servo and one-shot AF. It can be operated while mounted on the lens barrel for comfortable shoulder-mounted shooting, or removed from the lens and operated by hand. The ZSG-C10 comprises an easy-to-use rocker switch, start/stop record button, one-shot AF button and an adjustable grip angle for optimum comfort.

If these are the features you need, you’ll have to wait until October to get your hands on a CN-E70-200mm T4.4 L IS KAS S, but you can pre-order now for £5045 ex VAT (£6054 inc VAT).

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

 

FREE Canon firmware updates for the C100, C100 Mk II, XC10 and XC15

FREE Canon firmware updates for the C100, C100 Mk II, XC10 and XC15

Keep your kit up to date with the latest free firmware downloads from Canon.

Canon’s latest firmware for the C100, C100 Mark II, XC10 and XC15 is now available to download for free from their website. Check out some of the upgrades available below!

Canon C100

The firmware update for the C100 enables peripheral illumination correction for the following lenses:

·         EF 35mm f/1.4L II USM
·         EF 50mm f/1.8 STM
·         EF-S 18-135mm f/3.5-56 IS USM
·         EF 24-105mmf/4L IS II USM

This update also provides Cinema Servo Lens Support for the CN7x17KAS S, the CN-E18-80mm T4.4 L IS KAS S and CN20 x 50 IAS lenses.

Canon C100 Mk II

The C100 Mk II’s new firmware enables a shutter angle priority mode which maintains the shutter angle when the frame rate is changed.

The update also enables peripheral illumination correction data for the new EF 24-105 f/4 L IS USM II lens. This will compensate for any changes in T-stop throughout the zoom range of the lens.

Canon XC10 and XC15

Updates for both the XC10 and XC15 cameras enable support for the Video Performance Guarantee 130 standard for CFast cards. For more information about CFast cards that have been verified to work with this camera, please visit Canon’s website.

New firmware can be downloaded now by finding your camera model on the Canon website here. The downloaded folder contains a procedure manual for updating the firmware, so please check the manual carefully before starting update operations.

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

 

It’s time to get HDR-ready

It’s time to get HDR-ready

Remember 2010, when we were all very excited about shooting in native 3D? Well, I think we can all agree that that trend is now dying a death, and ceding its Cool Trend crown to High Dynamic Range (HDR) imagery. However, HDR is different. Rather than a hyped up flash in the pan, it’s actually offering something that filmmakers have been clamouring for – a return to filmic production values, without losing the agility of digital shooting. 

So what exactly do you need to know before you wade into the world of HDR content production? Can you shoot it with your current kit? And what does it really mean for your images? We asked our production team to give us the lay of the land.

First, for the newcomers: what is HDR?

So, the human eye has a functional range of roughly 100,000 nit from the darkest to brightest light it can perceive detail in, and the lens of a camera has a similar range. Until now, however, image processing, transmission and display technologies have reduced this range, meaning bright and dark objects that were perfectly visible to the naked eye appeared clipped or burned in a captured image. You could expose for the highlights and lose detail in the shadows, or expose for shadow but lose detail in the highlights, but there was no way to capture detail in both.

An HDR workflow preserves this full range from capture through transmission, all the way to final display, so your final image has the full dynamic range of the human eye, and therefore appears much more realistic and immersive, as shown in our illustration (alas, this will only work if you’re viewing this on an HDR-ready display). You’ll see more vivid colours, and more detail in shadows.

HDR

 

Screen Shot 2017-02-08 at 11.29.08

But to give some sense of the scale of this change, the brightest possible pixel on an HDR display is about 40 times what it used to be on an SD display, and when you’re working with an HDR image in post, you can tweak brightness levels pixel by pixel.

However, to get the full effect of HDR, you need more than a camera with a lot of latitude. For example, without support for a wide colour gamut, you won’t see as much colour variation in the newly visible section of your image. Support for high frame rates is also recommended, and you’ll need support for 10- or 12-bit capture too, depending on which version of HDR you’re working with.

There are competing versions of HDR?

Yep. The current frontrunner is HDR10, as it’s been picked up by various gaming platforms. Also popular is the more detailed Dolby Vision. The image displayed by Dolby Vision is ‘scene referred’, which means it varies from scene to scene, working with your display to adjust each image. By contrast, HDR10 is static.

Most consumer displays rely on Hybrid Log Gamma, an electronic-optical transfer function protocol  that combines standard gamma with log to create (wait for it) a hybrid that extends traditional gamma beyond the standard curve. Any TV can display HLG, as it displays the standard gamma. TVs brighter than 100 nits (i.e. most LCDs) will then display more highlight information until it reaches its point of maximum brightness, when it’ll clip.

Which of these is the one my smartphone camera can do?

Neither. The ‘HDR’ advertised on smartphones is actually HDR-I, which uses tone mapping to give the impression that you’re seeing images with a higher dynamic range than you are. This is not the same as the true HDR you’ll be capturing on a pro camera for a production workflow.

So what qualifies a camera as being capable of shooting real HDR?

There are several features that your camera needs to qualify as HDR-capable, but the main ones are:

– 10-bit capture to Log or RAW. As a minimum, your camera needs to support ProRes or DNX 10-bit 4.2.2., but don’t feel like you have to stop there. The more bits the better, really.

– Plenty of latitude. Canon’s C300 MkII is being touted as having 15 stops, which is ideal, but the Sony FS7 and FS5 both have 14, and if you have a C500 in your arsenal, that still has a perfectly respectable 12 stops of dynamic range.

– S-Log3/C-LOG 3 capture capability; if you are shooting RAW and recording to Log over SDI, this needs to be 10-bit. 12-bit CinemaDNG capture is also good.

– Rec2020 gamut support.

Your existing camera may already be able to record S-Log3 with the help of an external recorder. (The Atomos Flame and Inferno series are a good bet for this, as they incorporate high quality HDR-ready monitors so you can see your footage accurately on set.)

Which cameras are HDR-ready?

Several such cameras are on, or at least making their way to, the market, but as we mentioned earlier, our favourites among the current crop are Canon’s C500 and C300 MK II, Sony’s FS7 and FS5, and the Panasonic GH4 and GH5. All of these cameras output a RAW signal that can be recorded as ProRes or DNX with the help of external recorder, and all have LOG gamma encoding.

Apart from a camera and maybe an external recorder, what else will I need?

In order to see what you’re doing with your HDR images in post, you will need a monitor that can support HDR. Currently, the simplest and most affordable are the Atomos Flame and Inferno ranges, which offer on-camera HDR monitoring combined with the ability to play back and edit your footage at full res, making a collaborative HDR workflow possible for everyone on set. If you’ve already invested in a Atomos Ninja Assassin, Blade HD, Flame, Shogun or Shogun Inferno, HDR support is available as a free upgrade, but as their screens only hit 500 nit, you won’t be able to see more than seven or eight stops of dynamic range; the newer monitors are 1500 nit and showcase 10 stops.

When it comes to post-production, we can’t in good conscience recommend grading on anything less than DaVinci Resolve. Its ability to power through high resolution and frame rate files without slowing down or falling over is going to be extremely necessary if you’re going to be tackling HDR, and it features the industry’s most advanced and sensitive HDR toolkit. The ability to grade a project for multiple colourspaces at the same time is going to come in handy until you’re delivering HDR 4K all the time, too.

Will my current infrastructure be OK?

To be honest, that depends how much 4K work you’ve done so far, and how many changes you’ve made to accommodate it. That 10-bit workflow with its attendant file sizes and frame rates means you’re going to want to be working on a 10Gb Ethernet network, rather than the standard 1GbE.

You’ll also want to make sure you have plenty of high capacity storage both at your facility and on set. One of the reasons we’re so keen on Atomos devices is that they’ve teamed up with G-Technology to develop the Master Caddy range. These high capacity SSDs can slot into any compatible Atomos recorder to capture your footage, then be removed and inserted in to an adaptor that makes them compatible with G-DOCK and ev series storage from G-Technology, so there’s no need for you to invest in proprietary recording media that’ll only work with one of your cameras (you’ll get better speeds and capacities this way, too).

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

Sneak peek: Sony FS7 Mk II

Sneak peek: Sony FS7 Mk II

Sony’s new PXW-FS7 Mk II camcorder is now shipping, and we’ve managed to lure a demo unit to our Golden Square premises for customers to try out. Here’s what we’ve learned so far from testing the upgraded version of the FS7… 

fs7_full

The original FS7 was a fantastic run and gun camcorder at a fantastic price point. Because people have been so positive, the FS7 Mk II is not a totally new camcorder – Sony have simply added some much-requested extra features. While none of them are particularly groundbreaking in and of themselves, they are all based on common user requests, enhancing an already great camera with some higher-end professional features. (Purists will be happy to hear that the original is staying on the market for the time being.)

In a win for anyone who’s spent time building their perfect FS7 rig, the two cameras are the same form factor so most FS7 accessories will also work with the Mk II.

So, what are the new features? 

Well, the main differences in form are the new E mount lever lock and the additions to the unique arm design. This is a newly designed version of the Sony E mount, which is similar to a PL or B4 style lever lock in that you don’t have to rotate the lens to fit it on the lens mount, which is tricky with matte boxes and follow focus on the lens. This new style of lens mount means the Mk II is strong enough to take much larger and heavier lenses. This is particularly significant for B4 adaptors with lenses where the weight is further forward.

fs7_lens_mount

Another new feature is the variable ND filter (the same one as seen on the FS5). Like the FS5, it’s an easily over-looked enhancement, but it’s incredible. You can still adjust the ND filter to three options, but unlike most mechanical ND systems, Sony have uniquely created a variable ND filter that is electronically tinted.  This means you can set your three ‘ND filters’ to be any level of ND (1/16, 1/64, etc.) from within the menus. Very handy if you want to manipulate the depth of field in any given situation.

Other key changes include: 

– The handle now has two levers on it, so it can be adjusted without screws and can be mounted on the bottom of the body, similarly to the FS5, which should allow for easier control of the camera.

– The media slot has been adapted so that the XQD cards stick out more, making them easier to release and grab.

– There are three more assignable buttons, bringing the total on the camera to 10.

fs7_camera_controls

– The mic bracket has been redesigned to make it sturdier on top of the camera.

– The LCD viewfinder had been redesigned, with a much improved sun hood. The bar it screws on to is now square shaped, so it locks on – no movement!

– Rec2020 colour space compliance.

– The kit version now includes the SELP18110G – a much wider angle 18-110mm APSC lens (this can also be bought separately).

The Mk II can still only output 12-bit RAW via SDI, so you’ll need an XDCA-FS7 camera extension box and a Atomos Shogun Flame, Atomos Inferno or an Odyssey 7Q to get that RAW footage XDCAFS7.

 

– You can buy the Sony PXW-FS7 Mk II camcorder now from Jigsaw24.

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

Zeiss announce new Loxia 2.4/85 telephoto lens, plus new Milvus additions

Zeiss announce new Loxia 2.4/85 telephoto lens, plus new Milvus additions

Zeiss have just announced some new additions to their lens lineup, with the Loxia 2.4/85 telephoto lens, and three new additions to the Milvus range in 2.8/15, 2.8/18 and 2.0/135 flavours. And they’ll all be shipping in time for Christmas. 

The Zeiss Loxia 2.4/85 lens

The Loxia range are perfect for both photography and video, being both compact and portable, as well as the most affordable of Zeiss’s high quality lenses. Now, joining the current Loxia 2.8/21, Loxia 2.0/35 and Loxia 2.0/50 is this new focal length in 85mm moderate telephoto, the Zeiss Loxia 2.4/85. It features:

Zeiss 2.4/85 lens on Jigsaw24

Optimised Zeiss Sonnar design. Designed for digital sensors, with a minimum object distance of 0.80 metres and a manual focus ring with 220 degrees rotation for subtle focusing, large aperture and high-quality optical design for appealing bokeh, and electronic interface to transfer lens data (EXIF) and focus movements, and activate the camera’s magnification.

Great video features. The lens is designed for video as well as photography, in particular, mirrorless full-frame cameras with E-mount like the Sony PXW-FS7 and PXW-FS5. Video-friendly features include the De-Click function which lets you mechanically deactivate the click stops on the aperture ring for silent and smooth adjustments of the aperture while you’re filming, and a robust but compact design.

Zeiss Lens Gears. Loxia lenses can also be used with a follow focus system. Slide the Lens Gears onto your lens to mount your follow focus system for the precise focusing you’d get from a full-scale cine lens. The Zeiss Lens Gear Rings in the sizes mini (62 – 69mm, 60 – 67mm with GumGum) will fit Loxia lenses.

Zeizz 2.4/85 lens on Jigsaw24

New Zeiss Milvus lenses

Zeiss also announced the addition of three new lenses to the Milvus family of manual focus lenses optimised for high-resolution DSLR cameras – with two super-wide angle lenses, the Zeiss Milvus 2.8/15 and Zeiss Milvus 2.8/18, and the telephoto lens Zeiss Milvus 2.0/135.

All three lenses feature the floating elements design and ZEISS T anti-reflective coating for outstanding bokeh and a high degree of control over ghosting, flare or shading effects. Dust and water spray protection means they’re great for outdoor use too. On top of that, the Milvus 2.8/18 also boasts a newly-calculated Distagon optical design and now offers full-frame coverage.

Want to know more about Zeiss lenses? 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 debuts the EOS 5D Mark IV

Canon debuts the EOS 5D Mark IV

Canon today debuts the eagerly-anticipated EOS 5D Mark IV, the newest addition to the legendary EOS 5D family, designed for photographers on a quest to capture the perfect shot. Early reviews are positive, including this one from the good people of DP Review

Renowned for enabling people to tell the stories that need to be told, the EOS 5D series has captured many of the world’s most significant moments in history. As successor to the EOS 5D Mark III, the camera has been designed using first-hand feedback from the photographic community to create the most versatile EOS model yet.

Featuring a 30.4 megapixel CMOS sensor with wide exposure latitude, 7 frames per second (fps) high speed shooting, internal 4K movie recording and built-in WiFi and GPS, the camera fuses speed and resolution with excellent low light capability and movie functionality.

The EOS 5D Mark IV is also the first EOS camera to premiere the innovative Dual Pixel RAW file format, allowing photographers to fine-tune images in post-production by adjusting or correcting the point of sharpness, shifting the foreground bokeh or reducing image ghosting.

To work hand-in-hand with the camera, Canon today also introduces two new high performance L-series lenses; the EF 24-105mm f/4L IS II USM and EF 16-35mm f/2.8L III USM.

EOS 5D Mark IV key features include: 

– 30.4 megapixel CMOS sensor with high exposure latitude.
– Engineered to perform with the innovative Dual Pixel CMOS AF and Dual Pixel RAW.
– Step up to cinematic 4K with DCI 4K up to 30p.
– Stay connected with Built-in WiFi, NFC and GPS.

EF 24-105mm f/4L IS II USM key features:

– Versatile 24-105mm zoom range.
– Constant f/4 max aperture.
– L-series weatherproof construction.
– 4-stop image stabiliser.
– Advanced optical construction.

EF 16-35mm f/2.8L III USM key features:
– Versatile collection of wide-angle focal lengths.
– Premium image quality.
– Fast, constant f/2.8 aperture.
– Durable L-series construction.
– Advanced autofocus.

The EOS 5D Mark IV will be available as a body-only kit from 8th September, and the lenses will join it in October.

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

Zeiss talk new Batis lenses from NAB 2016

Zeiss talk new Batis lenses from NAB 2016

If you’re after the lowdown on all new Zeiss’s lenses, then look no further. We caught up with Zeiss’ Luke Tait who talked all about the shiny new Batis range and NAB 2016.

Jigsaw24: It’s an exciting time for Zeiss!

Luke: It is, there’s a lot to talk about.

So let’s get right to it, how does the Batis 2.8/18 fit in with the rest of the Zeiss Batis range?

Well, the 18mm Batis is the widest full frame prime lens currently available. With its extremely wide 99 degree field of view, it is well suited for astrophotography, interior and architectural photography.

Batis is a bit of an odd name, where did that come from?

Just like the other families of Zeiss lenses, Batis is the latin name for a species of bird. Batis (pronounced BAT-iss) is a genus of passerine in the wattle-eye family – it’s found south of the Sahara. 

So just how important is the OLED display to show the focus distance and depth of field?

The OLED display is very useful as it gives information on the distance to the subject and depth of field. Once you’ve used it, you won’t want to go back.

How do you think the lens was received at NAB?

The lenses were received very well. There was a lot of buzz surrounding the lenses when we were in Vegas, from both photographers and videographers. We were very pleased with the warm reception we got at NAB.  

What do you think sets the Batis range apart from other, similar lenses?

First off, the Batis 2/25 and 1.8/85 are the very first full-frame autofocus lenses with an OLED display. Not only that, but the new Batis lenses are built for professional use, with extremely durable construction and excellent sharpness. It’s everything you could want, and it’s pioneering a new era.

So, tell us, when can we get our hands on one?

The lenses have already started to ship!

You can find Zeiss Batis 2.8/18 lenses over at our store. 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.

 

Review roundup: Canon EOS-1D X Mark II

Review roundup: Canon EOS-1D X Mark II

Canon is looking to hit another home run as it comes back for round two with the EOS-1D X Mark II. It looks impressive on paper, but how do the camera buffs think it holds up? 

When it comes down to numbers, 1D X Mark II is a winner. Offering 14 fps shooting, and breakneck 16 fps when shooting in live view mode, it’s definitely up there as one of the highest resolution DSLRs available. Numbers aren’t everything, but this camera certainly isn’t lacking substance.

Design

We’re big fans of the 1D X Mark II, even down to the way it looks. It’s a fairly hefty bit of tech, and while its size may deter those after something smaller, the 1D X Mark II delivers in almost every way, more than making up for its size.

Pocket-lint.com said: “if you’re looking for something small then, well, this isn’t going to fit the brief. Having just reviewed the mid-range Canon 80D, the 1D X II is a whole different beast… despite the size everything falls to place in the hand well, catering for both portrait and landscape orientation thanks to dual controls.”

Tech Radar said: “the EOS-1D X [Mark II] feels almost identical to the 1D X. Both cameras are heavy and solid-feeling, with the characteristic ‘battery bulge’ in the base doubling up as a vertical grip for portrait format shooting. This has been revised for the Mark II with a deeper grip for a more secure hold.”

Autofocus

When it comes to autofocus, the 1D X Mark II packs a punch. Although it may initially appear similar to the autofocus system found in the previous model, Mark II delivers on a variety of upgrades and tweaks that set it apart from the last generation. While still operating on a 61-point system, the new Ai Servo III+ tracking system allows the camera to more accurately predict tracking movement.

Pocket Lint said: “all 61-points are sensitive to f/8 – which will be handy if you’re using a 2x converter and are forced to use a smaller aperture (21 of these AF points are cross-type to said sensitivity). You can choose to utilise all points or cross-type only in selection, with 1-point, 5-point group, 9-point group, centre/left/right areas and full 61-point arrays being available using the dedicated focus type button and M-fn button.”

canon_eos_1d_x_mark_ii_1220852 435

Resolution

This camera is fast, that’s for sure. When 16 frames per second isn’t enough for you, the Mark II’s 4K Frame Grab feature means you can capture 8.8 megapixel JPEG images at a whopping 60fps.  

ephotozine said: “The 1D X Mark II offers a wide range of 4K video recording options, as well as high-speed FullHD video, and the video capabilities of this Digital SLR are the best you will find in a consumer level interchangeable lens camera, better than most other cameras, with the ability to record full CINE resolution 4K video at 60/50fps, whilst others only offer 4K video at 30/25/24fps.” They called it the fastest shooting full-frame camera available.

Backwards compatibility

Canon’s latest offering may come at a price, but don’t worry, your kit and accessories from the last iteration will still work with the Mark II.

Digital Photography review said: “As well as offering familiar ergonomics, the camera offers a good degree of backwards compatibility. For example, the Mark II uses a new battery, the LP-E19 but is still able to make use of the LP-E4 batteries used by its predecessor.”

4K video

Making the big jump to one of the latest video standards, the EOS-1D X Mark II also introduces 4K video, which was lacking in the previous model. As mentioned above, the Mark II is capable of shooting beautiful 4K video at 60fps.

Tech Radar said: “the 1D X Mark II doesn’t just shoot 4K at 30fps, it can shoot it at 60fps too. That requires serious processing power and it means you can record smooth 2x slow motion footage at 4K resolution. Interestingly, the Mark II shoots ‘real’ 4 at 4,096 x 2,160 pixels, rather than the slightly smaller UHD format most other cameras refer to generically as ‘4K’.”

You can pre-order the Canon EOS-1D X Mark II here and receive a free SanDisk 64GB Extreme PRO CFastT 2.0 memory card . For everything else, call 03332 400 888, email broadcast@Jigsaw24.com‘like’ us on Facebook or follow us on Twitter @WeAreJigsaw24.


NAB 2016: The highlights

NAB 2016: The highlights

Here we go. Bookmark this page and periodically hit refresh to be kept up to date with all the big announcements from NAB Show 2016, including live streams, key links and the most interesting new releases.

AJA

AJA Releases CION v1.3 Firmware with New Gamma Settings; Announces New Pak1000 Promo for CION Purchases

AJA Video Systems today released new v1.3 firmware for the AJA CION, AJA’s 4K/UltraHD and 2K/HD production camera that shoots edit-ready Apple ProRes files at up to 4K 60fps. Read more

NAB 2016: AJA Unveils FS4 frame synchroniser and converter

AJA Video Systems today unveiled FS4, the most advanced all digital frame sync and universal up/down/cross converter ever from AJA, supporting 4K, UltraHD, 2K, HD and SD workflows in a 1RU frame. Read more 

NAB 2016: AJA Ki Pro Ultra v1.2 update to add ExFAT, 16-channel audio, CC support, 2SI; Pak-Adapt-eSATA to bring third party eSATA media compatibility

AJA Video Systems today announced Ki Pro Ultra v1.2 firmware adding 16-channel embedded SDI audio, ExFAT file system, Closed Captioning (CC) and SMPTE 2SI I/O support. Read more

NAB 2016: AJA announces U-TAP USB 3.0 capture devices

AJA Video Systems today announced U-TAP HDMI and U-TAP SDI offering high quality HD/SD capture through a bus powered USB 3.0 port. Read more

NAB 2016: AJA introduces new Mini-Converters and openGear-Compatible rack cards

At NAB 2016, AJA Video Systems expanded its line of portable Mini-Converters with the introduction of the Hi5-4K-Plus, a 4K/UltraHD 3G-SDI to HDMI 2.0 converter, and the HDP3, a 3G-SDI to DVI-D converter with 1080p 60 support. Read more

NAB 2016: AJA Announces KONA IP at NAB 2016

AJA Video Systems today announced KONA IP, its first desktop video and audio I/O product for professional IP-based workflows. KONA IP is the next generation of AJA’s industry-leading KONA line of PCIe capture cards and works with AJA Control Room and Control Panel software and SDK tools along with leading third-party content creation applications. Read more

Atomos

NAB 2016: Atomos adds flagship Shogun Inferno to the HDR blaze of product announcements

Atomos invented the all-in-one monitor recorder category and now redefine it with the Shogun Inferno. It is the combination of the most advanced monitor technologies – 1500nit/10bit/HDR, the latest recording capability – 4Kp60 over Quad-SDI, along with playback & editing functionality that encourages on set collaboration. Shogun Inferno makes mastering a high resolution, high frame rate, high dynamic range workflow available to all filmmakers. Read more

Avid

NAB 2016: Avid demonstrate cloud collaboration within ProTools

Avid have demonstrated a new cloud collaboration platform for ProTools built directly into the application. The demo was done live at the Avid ACA event prior to NAB opening for select ACA members attending the event. Read more

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

Avid today have announced and demonstrated a huge move toward making their production asset management system, Interplay Media Central, the open arena they have talked about for a number of years now. Read more

NAB 2016: Avid announce NEXIS storage at Avid Connect

AVID today have announced a number of new and updated products at their Avid Connect event, prior to the NAB show which begins on Monday. One of the major headlines is a series of new storage systems, called NEXIS, building on the same hardware and operating system used with the ISIS 1000, launched last year. Read more

NAB 2016: Avid introduces industry’s first end-to-end production workflow for Panasonic AVC Ultra-LongG

More and more news organizations and broadcasters worldwide are now shooting in the Panasonic AVC Ultra-LongG video format, since it provides high quality media at smaller bandwidth rates. Some of the world’s largest broadcasters are already using this AVC Ultra-LongG format, including NBC and Cox Media, and many more organizations will be adopting the format soon. Read more

Moving from Avid ISIS to NEXIS | PRO? Here’s what we know…

As you’ve probably heard, Avid have announced that they’re rebranding their ISIS storage range as the NEXIS range of shared storage products. For those of you who were about to buy an ISIS, have just bought an ISIS or have based your entire storage setup around the ISIS, this might have been slightly unwelcome news, but actually the move to NEXIS seems pretty simple. Here’s what you need to know. Read more 

axle Video

NAB 2016: New axle Pulse turns audiences into contributors

Today axle Video announced the first-ever integrated solution for news organisations and brands to gather and stream video directly from their audiences. Read more

Blackmagic Design

NAB 2016: Blackmagic Design announces new Blackmagic URSA studio viewfinder

Turn URSA Mini into the ultimate professional studio camera with a 7 inch studio viewfinder! Blackmagic Design today announced the new Blackmagic URSA Studio Viewfinder, a high resolution 7” studio viewfinder with variable tension mounting points, tally, external controls and more that turns Blackmagic URSA Mini into a true professional studio camera. Read more

NAB 2016:  New URSA Mini camera OS adds new UI, dozens of features and improves camera performance!

Blackmagic Design today announced a major new camera operating system for its URSA Mini cameras. This new camera OS features an incredible new user interface along with dozens of new features and will be available later this year free of charge for all URSA Mini customers. Read more

NAB 2016: Blackmagic Design announces Blackmagic Video Assist 4K

Blackmagic Design today announced Blackmagic Video Assist 4K, a portable all in one professional monitor and video recorder that can be used to add professional recording and monitoring to any SDI or HDMI camera. Read more

NAB 2016: Blackmagic Design introduces new Blackmagic Micro Converters

Introducing the world’s smallest broadcast quality video converters! Blackmagic Design today introduced Blackmagic Micro Converter SDI to HDMI and Blackmagic Micro Converter HDMI to SDI, two new super small, pocket size broadcast quality video converters. Both models are available immediately for only US$85 each. Read more

NAB 2016: Blackmagic Design announces ATEM Switcher 6.8 update with HyperDeck Control integration

Blackmagic Design today announced the immediate availability of ATEM Switcher 6.8 Update which adds control of all HyperDeck Studio disk recorders to all ATEM switchers. ATEM Switcher 6.8 Update is available for download now from the Blackmagic Design website and is free of charge for all Blackmagic ATEM switcher customers. Read more 

NAB 2016: Blackmagic Design announces UltraStudio 4K Extreme 3

The world’s most advanced capture and playback solution now with 40Gb/s Thunderbolt 3 technology. Blackmagic Design today announced UltraStudio 4K Extreme 3, the world’s most advanced Thunderbolt video capture and playback solution. Read more

NAB 2016: Blackmagic Design selects Tico lightweight compression to move to live video production over IP

Blackmagic Design is now an adopter of the ultra low latency TICO compression technology developed by intoPIX, enabling high resolution video over IP networks. Read more 

NAB 2016: Blackmagic Design launches DaVinci Resolve 12.5!

Our friends over at the Resolve development team have done it again! This year’s NAB release of Resolve has over 250 new features and 1000 enhancements and bug fixes. The new features range from downright incredible to improving your day to day experience, saving time and bringing the sort of tools we’ll need for the next generation of content creation requirements. Read more

NAB 2016: Blackmagic Design announce new Blackmagic MultiView 4

Monitor 4 completely independent SD, HD or Ultra HD SDI video sources on a single display! Blackmagic Design today announced Blackmagic MultiView 4, a new multi viewer that lets customers monitor 4 completely independent SDI video sources on a single display. Read more

NAB 2016: Blackmagic Design convertor upgrades with HDMI instant lock and 33 point LUT support

Mini Converter SDI to HDMI 4K and Teranex Mini SDI to HDMI 12G both get new HDMI instant lock feature, and Teranex Mini also adds 33 point LUT support. Read more

NAB 2016: Blackmagic Design announces new DeckLink Duo 2 PCIe capture and playback card

Blackmagic Design today announced DeckLink Duo 2, a new high performance capture and playback solution with 4 independent channels that can be assigned to either record or playback in any combination, all on a single plug in PCI Express card. Read more

Blackmagic Design announces Desktop Video 10.6.4 update with HDR

New software update adds HDR support to UltraStudio 4K Extreme and DeckLink 4K Extreme 12G! Blackmagic Design today announced Desktop Video 10.6.4 Update which adds support for HDR playback over HDMI to UltraStudio 4K Extreme and DeckLink 4K Extreme 12G. Desktop Video 10.6.4 is available as a free download from the Blackmagic Design website. Read more

Canon

NAB 2016: Canon announce the new CN-E 18-80mm lens

Canon have unveiled the CN-E 18-80mm cine lens, a new Cinema EOS lens with cine-servo style functionality. Designed for professional and advanced amateur videographers using large format, single sensor cameras, the lens strengthens Canon’s line of cine-servo lenses, following in the footsteps of the CN7x17 and CN20x50. Read more

NAB 2016: Canon video range gets a firmware refresh

Canon’s pro video lineup is getting a fresh coat of paint ahead of NAB 2016, with many of the range getting major firmware updates. Here’s the official statement. Read more

G-Technology

NAB 2016: G-Technology offers new NAS solution for content creators

New 12-bay G-RACK 12 enables teams of creative professionals to streamline media and entertainment workflows with the reliability, scalability, and studio-friendly technology you’d expect from the trusted G-Technology brand. Read more

GB Labs

GB Labs adopts NewTek NDI for IP production workflow

GB Labs, the world’s leading manufacturer of Network Attached Storage (NAS), today announced its adoption of NewTek’s open Network Device Interface (NDI) standard for IP-based production workflows for its range of high speed, media specific storage. Read more

JVC

NAB 2016: New JVC ProHD fiber system supports multi-camera Video-Over-IP workflows

The camera module connects directly to the back of GY-HM890 camcorder via 68-pin interface – no external cables required – for full studio functionality. It transports multiple bi-directional 3G-SDI signals as well as control, audio, sync, and intercom between the camera and the FS-900 Base Station. Read more

NAB 2016: JVC introduces robotic PTZ Video-Over-IP production camera

JVC Professional Video, a division of JVCKENWOOD USA Corporation, today introduced its first robotic PTZ IP video production camera, the KY-PZ100, which is ideal for studio or field applications. In addition to its 3G-SDI and HDMI outputs, the KY-PZ100 features JVC’s unique IP-based communications engine to provide streaming HD video at a variety of bit rates with minimal latency. Read more

LaCie

NAB 2016: LaCie Goes Big with Thunderbolt 3 debut

Today at the National Association of Broadcasters Convention, LaCie, the premium brand from Seagate Technology plc, announced the LaCie 12big Thunderbolt 3, a professional 12-bay desktop RAID storage unit. Read more

NewTek

NAB 2016: NewTek announces TalkShow VS 4000 multi-channel video calling system

Announced just prior to this year’s NAB Show, NewTek’s latest talk show update handles up to four remote video guests simultaneously or in sequence using SDI or IP workflows. Read more

NAB 2016: NDI Source set to make a splash

With so much hardware and software lined-up for the big event, we’re starting to get really excited for NAB 2016. One thing we’re particularly excited about is NDI Source. Read more

NAB 2016: NewTek Connect Pro tool bridges IP and SDI workflows

NewTek today announced NewTek Connect Pro, a multi-purpose software tool designed to seamlessly connect IP video formats of new and existing video production hardware and software to work together. Read more

NAB 2016: NewTek’s NDI For Adobe Creative Cloud applications eliminates pre- and post-production render and upload times, streamlining video review & approval

At NAB 2016, NewTek today announced NDI for Adobe Creative Cloud, a software plug-in with NewTek’s groundbreaking Network Device Interface (NDI) technology. The NDI integration enables users of Adobe Premiere Pro CC, Adobe After Effects CC and other Adobe Creative Cloud applications to send real-time video and audio to any NDI-enabled receiving product, such as production switchers or capture cards, across a standard Ethernet network. Read more

What are NDI Transit and Telestrator?

NewTek’s NDI IP protocol was one of the big talking points at this year’s NAB, and two of the key apps they released to work within it were NDI Transit and NDI Telestrator. Which begs the question, what are they? Read more 

Matrox

NAB 2016: Matrox release new lecture capture system, the Monarch LCS

Matrox video have launched an exciting new product for HE at this year’s NAB Show in Las Vegas. Their Monarch LCS is a lecture capture system (in case you were wondering what LCS meant), which Matrox promise is “simple to set up and integrate into any open Video Management System”. Read more

Small HD

NAB 2016: SmallHD announces production monitor prices and proves value with slow-mo durability demo

SmallHD announces pricing of their new daylight-viewable SmallHDR Production Monitors and releases a new video on SmallHDR.com featuring extreme durability tests of the displays in super slow motion. Read more

Sony

NAB 2016: Sony Unveils 4K 8x Super Motion Camera System with Replay Server Function, built for sports live production

Sony announced today the launch of the HDC-4800, its newest camera system which combines 4K & Wide Color Space with Ultra-High Frame Rate (UHFR) capabilities – 8x at 4K, and up to 16x in full HD- but also features dynamic cutout and zoom capabilities for live sports and special event productions. Read more

NAB 2016: Sony unveils world’s first 4K XDCAM shoulder camcorder with 2/3-type image sensor

Sony today introduced its latest XDCAM shoulder-mount camcorder, PXW-Z450. Capable of capturing superb 4K (3840 x 2160) picture quality from new 2/3-type Exmor R CMOS sensor, the camcorder possesses exceptional weight balance and low power consumption alongside excellent networking features. Read more

NAB 2016: Sony introduces the PVM-X550, a 55” quad-view large screen TRIMASTER EL 4K OLED monitor

Sony today announced the new PVM-X550, a 55-inch 4K OLED monitor ideal for verifying 4K footage during production. The PVM-X550 incorporates Sony’s exclusive TRIMASTER EL technology, achieving superb colour and picture quality reproduction, and making the monitor ideal for 4K cinema production and 4K live production. Read more

Sony goes Beyond Definition at NAB 2016

At NAB 2016, Sony is showcasing new technologies and workflows for HD, 4K, high dynamic range, storage and IP transmission, providing the tools to drive professionals’ creativity. Sony’s exhibit will feature new models and updates to widely used products – camcorders, cameras, monitors, switchers, storage, archiving, and wireless transmission for broadcast, production, sports, live events and more. Read more 

NAB 2016: Sony showcases 4K IP Live and ASPEN Interoperability in collaboration with Evertz

At NAB 2016, Sony is showcasing IP interoperability through its continuing collaboration on Sony’s IP Live Production System and Evertz’ Software Defined Video Networking (SDVN) solution. Read more

NAB 2106: Sony’s new Media Backbone Hive wins IABM Game Changer Award

IABM has chosen Sony’s Media Backbone Hive as the winner of its IABM Game Changer Award in the hotly contested Post Production category. The IABM Game Changer Awards, announced yearly at NAB, honour the efforts vendors devote to bringing cutting-edge solutions to the broadcast industry. Read more

Symply

NAB 2016: Symply slip StorNext 5 into storage

The team haven’t even touched down in Vegas for NAB 2016 yet, but big news is already filtering in. First of all, we’re hearing Symply Inc have announced they’re embedding the StorNext 5 storage management platform into their hard drive lineup. Read more

NAB 2016: Symply unveils first product series, SymplyStor and SymplyShare

Symply, Inc., the new startup in high-performance storage for media and creative professionals, today unveiled its first product series, SymplyStor desktop RAID and SymplyShare for Thunderbolt and IP-connected workgroups. Read more

Tangent Devices

NAB 2016: Tangent Ripple shipping soon!

Tangent’s long-awaited entry level Ripple panel has been on the horizon since IBC 2015, but now the design and details have been finalised and we’re closing in on a shipping date. Read more

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

As well as announcing availability of their long-awaited Ripple panel, Tangent Devices have revealed that Adobe Premiere Pro and Apple Final Cut Pro X now sport improved Tangent integration. Read more

Zeiss

NAB 2016: Zeiss announce the new Batis 2.8/18 lens for Sony E mount cameras

Zeiss is pleased to announce the latest addition to the Batis family of autofocus lenses with the launch of the new 2.8/18 lens. Featuring a super wide-angle, the launch of the Batis 2.8/18 marks the expansion of ZEISS’ family of full-frame lenses for Sony α system E-Mount cameras. Sales of the new lens will commence on 2nd May 2016. Read more

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