Coming in 2018: Video trends to look out for

Coming in 2018: Video trends to look out for

We asked our experts which technologies they were keeping an eye on in 2018, and their answers were pretty much unanimous: VR and AR are going to come on apace; you’re all going to need to get comfortable with CWDM to maximise your infrastructure investments; you’re going to love IMF delivery and there are a few key changes to your Avid workflow…

Virtual reality finds its niche

2017 was the year everyone and their cousin learned the difference between VR, AR and 360, as various vendors, manufacturers and platforms tried to corner the market for this new technology. However, much of the hardware and software that has existed until now has veered between magical and cumbersome, hampered by a lack of standardisation, the sheer volume of data involved and a patchy understanding on the part of corporate clients on how best this should be implemented.

However, we think 2018 is the year that VR and AR are going to come into their own. Practitioners are finding better applications, first generation cameras and software are becoming more stable, and people are zeroing in on how to create compelling content in a reasonable timeframe and for a manageable cost.

The key thing, though, is to make sure you have the storage and infrastructure to handle the amount of footage involved. This is often more than you need – even at a very small scale, VR requires a huge amount of throughput and space. To find out more about developing your setup, get in touch.

CWDM fibre and the remote MCR of the future

While we’re on the topic of storage, it’s worth taking another look at Phil’s Tech Breakfast presentation on Coarse Wave Division Multiplexing (CWDM, the process by which you can put many, many signals over single fibres and maximise return on your investment in fibre). It’s a topic our engineers have been asked about again and again in 2017, and things don’t look to settle down in 2018, as our appetite for data over distance shows no sign of diminishing.

(You can watch the part one Phil mentions here.)

Offering distances of up to 80km and an excellent signal to noise ratio (28dBs with the best optics), single mode fibre  allows you to transmit more data on your single mode fibre in areas where it is difficult or prohibitively expensive to add more cores of fibre (for example, if your campus fibre network crosses a local authority boundary, you’ll have to pay tax on every cable you lay in perpetuity).

We’re acutely aware of its usefulness, having employed it to set up the Dolby 4K cinema net in Soho last year. This lets several Soho facilities remotely connect to the control panels and ultra hi-res Eclipse projector in Dolby’s cinema facility in order to grade their work at a resolution they’d be unable to support internally.

In more general use, it’s one of the technologies that’s allowing central London facilities to combat ever-increasing rents by relocating their MCR to a datacentre and converting that space into something more revenue-generating. The other technology that’s helping on this score is KVM over IP, in which your workstations, storage and servers are remotely located, and can be accessed by anyone with a keyboard, display, mouse and internet connection. This has been popular in corporate and finance sectors for some time, but we’re finally seeing it reach a point where it’s a viable solution for high-end video work, and it’s only set to become more popular in 2018.

Interoperable Master Format (IMF) delivery

IMF is a flexible framework that allows you to take a ‘mix and match’ approach to the delivery of file based assets such as images, audio, technical metadata and subtitles. Designed to make the delivery of final masters easier by providing an SMPTE-approved framework for the contents of your master, it’s proved popular with customers who maintain long term archives, as you can save space by only saving the differences between versions of your initial assets, rather than saving multiple whole versions, and can combine multiple cuts and language versions into a single master.

You can keep up with developments at the IMF Forum, or get in touch with the team to find out how IMF could impact your delivery and archiving workflow.

The rise and rise of HDR

2017 saw lots of customers enquiring about high dynamic range (HDR) – one of the four improvements that UHD Television brings, the others being increased resolution (aka 4K), wide colour gamut (aka WCG or Rec.2020), and higher frame-rates (all the way to 120 frames/sec).

Modern TVs are capable of much brighter whites and consistently good blacks, so we need a system to exploit that and give us a much richer range of light values. To many eyes HDR is the most compelling aspect of UHD-TV, and it will come as no surprise that there are competing standards. Dolby have their PQ (aka Dolby Vision) which is derived from their work in digital cinema; Sony have their Slog3 cameras and the BBC/NHK (the UK and Japanese state broadcasters) have Hybrid Log Gamma (HLG). In addition, TV manufacturers have HDR10 and now HDR10+, and each one of these systems has its own benefits in acquisition, post, production and delivery.

It seems like it’s all to play for, but here at Jigsaw24 we have been paying attention and have a stable of products to suit different production requirements. The Leader LV5490 test set is the best piece of equipment we’ve found so far for HDR shooting, grading and delivery to Netflix, Amazon and the BBC.

And as always, Avid have big plans…

And while we’re always excited to talk about cabling, we’d be remiss if we didn’t catch up on what Avid have been up to. They’ve already announced that they’re going to be rolling out MediaCentral | Editorial Management next year, and there is also a host of updates coming to Media Composer.

We don’t have a firm release date for the full updates, but we know that it will include NDI support, so you can stream content directly from Media Composer to a client; a brand new 4K capable title tool and background save.

There’s also the looming release of Media Composer Cloud VM, which will allow you to virtualise your Media Composer seats. This means they can be stored and managed centrally, with editors in various locations accessing the necessary software and computing power remotely using any hardware they have to hand, rather than having to wait for (or find space for) a dedicated workstation.

While there is an initial outlay involved (you have to invest in a VM stack and you still need to pay for your Media Composer licences), but the resulting flexibility and long term hardware savings mean that if you need need to be able to adjust your workflow quickly, this is well worth the investment – particularly if you find yourself adapting your workflow to clients often, regularly take on freelancers to hit deadlines, or need a low cost way to give clients access to the edit if they can’t afford to rent a suite, or you don’t have one to spare.

Unlike other virtualisation solutions, Avid give you access to the full version of Media Composer, without any features cut, so working on a virtual version is no different from working on a dedicated workstation. We’re currently running proof of concept trials with our key customers, so watch this space for updates as more info becomes available!

As always, if you want to pick through how you any of this might affect your workflow or book your place on one of our accredited Avid training days, you can always get in touch with the team on the details below.

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

Meet the experts: Jamie Allan

Meet the experts: Jamie Allan

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

Working from the ground up 

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

Growing with our customers

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

The many faces of DaVinci Resolve

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

HDR (almost) demystified

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

Inspiring the next generation of media pros

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

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

View from the front: Televisual Creative’s Future of Post forum

View from the front: Televisual Creative’s Future of Post forum

If you needed a sign that the times are indeed a-changing, look no further than Televisual Creative’s Future of Post forum. The event, in which leading lights of the post community came together to puzzle out the challenges and opportunities posed by HDR workflows and IP connectivity/remote working, drew CTOs and technical leads from over 50 of Britain’s top post houses, eager for insight into these two scorchingly hot topics. 

We were official sponsors of the event (along with Avid, Quantum, Rohde & Schwarz and AJA) so our team were out in force, with M&E Operations Director Graham McGuinness and M&E Sales Director Rupert Watson chairing the connectivity and HDR panels respectively, and Jigsaw24 engineer Phil Crawley took to the stage to interview Dolby’s Ian Lowe about the unique remote workflow employed at the Dolby Theatre (which also hosted the event).

For those of you who missed it (or even those of you who want to relive the heady thrill of hearing about double utilisation), here’s a quick recap of what happened.

Dolby Vision

The IP/connectivity session kicked off with Televisual’s James Bennett interviewing Jigsaw24 engineer Phil Crawley and Dolby’s Ian Lowe about their unique remote access workflow, in which colourists in the Dolby Theatre remotely access the workstations and data back at their facility via a GUI. This gives them access to the theatre’s uniquely powerful display capabilities and acoustics for their grading and mastering, while ensuring that they obey strict data security requirements.

In order to achieve a system that had no compression, no latency, the ability to handle all flavours of 4K and HDR and the ability to support remote control of end points, Dolby are using quad-link 3G SDI carried over fibre provided by us and euNetworks, and, through a combination of dark fibre and optical multiplexers they’re confident they can maintain the bandwidth needed to handle uncompressed, no-latency 4K HDR footage – without any of the artefacts that they saw using other solutions – in their Theatre and Home grading environments.

They’re already linked to three of London’s top post houses, and have used the remote grading systems on films including Fantastic Beasts and Kingsman: The Golden Circle.

The key to remote working

Following on from Dolby’s unique workflow, we joined Daniel Napier, Technical Director of Halo Post, Avid’s Territory Sales Manager Patrick Nelson, Dolby’s Senior Sales Manager Ian Lowe and Oliver Pennington, Head of Engineering at global fibre providers Sohonet for a panel discussion of the current state of play when it came to remote workflows.

Avid are looking to strengthen their support for remote workflows within Interplay, while Dolby are looking to extend access to their facilities and Daniel Napier and the team at Halo have managed to centralise the machine rooms of all their facilities, so that artists can remote in from any location. As a side effect of this Halo have seen first hand one of the most widely discussed benefits of remote working: every suite in their facility can now be multi-purpose, as artists are no longer dependant on specific rooms to do their work, and they can also double utilisation of any given space by having one user working in the room while someone else accesses the same resources virtually.

Key technology recommended by the panel included dark and CWDM fibre (the cost of which is falling), the importance of Teradici when it came to standardising KVM over IP (we’d suggest you look at our preferred solution, Amulet Hotkey, which uses the Teradici’s Tera2 chip set), and the variety of methods, many of them developed in-house, that people had come up with for remotely accessing and logging footage.

HDR in post

After another barnstorming James Bennett interview (this time with Molinare CTO Richard Wilding), our Sales Director Rupert Watson hosted the standing-room-only HDR Post panel, which featured Wilding, Technicolor London’s Head of Technology Phil Oatley, and product specialists representing AJA, Atomos and Quantum, as they discussed the HDR workflow early adopters like Molinare are using, and the technology that helps them handle the sheer volume of data created.

Richard revealed that Molinare are now working with files that are up to 36 times the size of those you’d see in a traditional HD workflow – existing infrastructure is struggling to cope, and moving assets around is a constant challenge. There’s also a very real technology lag between the solutions available for grading film, and the solutions for delivering subtitles and captions, which are still tweaked by eye.

Also emphasised was the importance of working closely with production crews, who are also dealing with new standards – just as platforms have very different, specific mastering guidelines, their kit lists leave out key cameras and monitors, meaning many crews are developing their HDR workflow with unfamiliar kit.

Demo time!

Also out in force to feed people’s palatable appetite for new knowledge about HDR were Atomos, who shot the below video at the event. They brought along their SUMO HDR monitors, paired up with a Canon C300 Mk II and ready to test (sadly the footage in the video is filtered through YouTube, but believe that it was beautiful on the day).

Want to know more?

If you’re interested in more talks like this, take a look at our upcoming events or sign up for our newsletter so we can keep you up to date with new events as they’re announced. For more information, get in touch with our team on the details below.

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

IBC 2017: Sony’s Z450 gets new firmware

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. 

Sony are really pushing to get their lineup HDR-friendly, and the Z450 receives support for Hybrid Log-Gamma (HLG) and S-Log3 recording and output, and support for the BT.2020 colour space. You’ll also be able to record 4K HDR and HD SDR simultaneously to one card, and record HDR with BT-709 for an SDI output.

While you’re shooting in HLG or S-Log3, your viewfinder will display your image using the BT.709 colour space.

4K shooters will get Slow & Quick mode to play with (you can record up t 60 fps in it) and XAVC-L cache recording for your 4K footage, and a 4K resolution Focus Mag option.

Updates on the audio side are largely practical, with improved support for Power Save Mode being the headline. It’ll be available on your assignable keys, will sync with power off, and can even be used to control the power level of some belt transmitters. You’ll also see the power save status on the viewfinder when said mode is enabled.

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

IBC 2017: HLG comes to SR Live

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. 

The new update is being demonstrated live on the Sony stand at IBC (you can’t miss it – it takes up half of Hall 13). There are two main changes to SR Live: S-Log3 support and the introduction of HLG Live.

SR live now supports S-Log3 HDR production, with conversion to ITU-R Bt.2100 (PQ or HLG) for HDR delivery, conversion to ITU-R BT.709 for SDR delivery.

SR Live will also support an end to end Hybrid Log-Gamma (HLG) workflow called HLG Live, which will include simultaneous HDR and SDR delivery.

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

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.



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.


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 For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

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

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.

As previously announced, Sony’s expansion of HDR production includes the addition of HD HDR Live broadcasting and instant HDR workflow in products ranging from live camera systems, servers, monitors and camcorders, via updates to software or firmware.

Along with the accelerated trend of HDR content, series of Sony 4K/HD live cameras, including the HDC-4800, HDC-4300 and HDC-P43 with HDR capability, are widely adopted by broadcasters world-wide. To enhance its Live HDR production offering further, Sony added a new XAVC recording mode to optimise encoding for HDR into its PWS-4500 4K/HD live server, available to users through a software upgrade. This new recording mode improves HDR image quality in XAVC with detailed complexity, bright skin tone, colour reproduction and more. It enables the PWS-4500 to record and replay superior HDR images at the same time maintaining the smooth XAVC file workflow that is already well known in the production industry.

Furthermore, Sony offers RAW and X-OCN recording formats. RAW is recommended for premium productions and high-end cinema, where large volumes of data can be managed and supported. X-OCN (eXtended Tonal Range Original Camera Negative) is an optimised format with a fine balance between the picture quality and data size. It can be recorded using the AXS-R7 portable memory recorder, together with PMW-F55 and F5 motion picture cameras. The X-OCN format retains everything the sensor sees, delivering tonal gradation with 16-bit precision ideal for HDR image grading. To help extend the use of X-OCN beyond Sony solutions, Sony is working with other companies to develop X-OCN supporting products.

The X-OCN supporting companies have risen to 10, as of April, 2017: ASSIMILATE, Inc. , Autodesk , Avid Technology, Inc., Blackmagic Design , Colorfront , Filmlight Ltd. , Grass Valley , nablet , Pomfort , SGO.

Sony offers systems, workflows and flexible recording formats that deliver unprecedented flexibility in every HDR production, bringing added-value to broadcasters.

*PWS-4500 version 2.3 software is planned for release in June, 2017.

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

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

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

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



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

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

 Go HDR in the field and the studio

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

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

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

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

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

Balanced XLR monitor and record with 48V Phantom

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

High Bright 1200nit 19” calibrated 1920×1080 monitor

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

Quad SDI & HDMI 2.0 in/out

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

Rugged construction and mounting options

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

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

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


NAB 2017: Canon releases firmware upgrade for professional displays

NAB 2017: Canon releases firmware upgrade for professional displays

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

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

DP-V2410 Front_tcm14-1564783

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

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

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

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

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

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