What’s new in NEXIS?

What’s new in NEXIS?

Avid have continued their trend of releasing clusters of updates for their NEXIS shared storage system, with recent additions taking us from NEXIS 7.1 to 7.4. Here’s what you’ll be able to enjoy once you’ve updated…

Avid NEXIS 7.1.1

The Avid NEXIS 7.1.1 patch releasencludes an important fix for Avid NEXIS systems with clients that inadvertently attempt to connect through a 100Mbps Ethernet connection. Anything other than 1Gb or 10Gb is not a supported connection speed, and the client would fail to connect. However, beginning with v5.0, the client’s attempt to connect at an unsupported speed caused the Storage Manager to assert and the Avid NEXIS system to become temporarily unresponsive. This fix prevents the system from asserting, and rejects the unsupported client connection. Those clients must modify their connection speeds to connect to Avid NEXIS.

Avid NEXIS 7.2

The Avid NEXIS v7.2 release includes support for adding Media Packs to a mirror-capable Storage Group during a maintenance window (no client I/O to Workspaces in that Storage Group). However, there are a few parameters: the Media Packs must be the same capacity as those already in the mirror- capable Storage Group, and each Engine you are adding to the mirror-capable Storage Group must have the same number of Media Packs as the Engines already in it.

For example, if a mirror-capable Storage Group contains three Avid NEXIS | E4 Engines each with two 60TB Media Packs, you can add another Avid NEXIS | E4 Engine with two 60TB Media Packs to the same mirror-capable Storage Group.

The update also adds: support for macOS Sierra (v10.12.2) clients; support for Avid NEXIS File Gateway software on an AS3000 Server, and open access to Avid NEXIS workspaces using the Avid NEXIS | File Gateway installed on that Avid AS3000 Server running Microsoft Windows Storage Server 2008 R2. This allows access to Avid NEXIS from clients and infrastructures that do not have the Avid NEXIS Client installed.

The Avid NEXIS File Gateway server and software are available now and documentation is available on the Avid Knowledge Base. When interface checking in relation to redundant controller configurations, the default gateway IP address must be reachable by a ping command, otherwise the interface is disabled. This can cause the Avid NEXIS Engine or System Director Appliance to become disconnected from the network. Before upgrading to Avid NEXIS v7.2, make sure there is a default gateway IP address configured, and that it can be reached by a ping command. For more information, see the Avid Knowledge Base.

Avid NEXIS 7.3

With the arrival of NEXIS 7.3, the Avid NEXIS Client Kit is now available to download from the Avid Download Centre. Avid ISIS and Avid NEXIS customers can download and install the latest Avid NEXIS Client software, which connects to both Avid NEXIS and Avid ISIS (v4.7.5 and higher) systems.

Avid have fixed an issue introduced in Avid NEXIS v7.2 where the System Director was using the ping command to determine the presence and connectivity of the default gateway IP address, and counting on a valid address being configured. The ping command is no longer used to determine the presence or validity of a default gateway address. Avid recommends updating to Avid NEXIS v7.3 from v7.1 or earlier to avoid the possibility of losing access to the interface if no default gateway is configured, or if it is configured incorrectly.

They have also fixed an issue where the hardware status on the Agent was displaying incorrect or no information for the power supplies and fans in an Avid NEXIS | E5, an ‘Edit While Capture’ issue where constant reads of a data chunk led to a delayed write failure.

They have also added support for the following Myricom 10GbE Rev C NICs for use in Avid NEXIS clients: 10G-PCIE2-8C2-2T, 10G-PCIE2-8C-T and 10G-PCIE2-8C2-2S. The Myricom driver bundled with the Avid NEXIS kit works for these NICs.

Avid NEXIS 7.3.1

The Avid NEXIS v7.3.1 release fixes an issue in Avid NEXIS 7.2 and 7.3 where under some circumstances, including intermittent network connections, external user authentication using LDAP would fail. Update all client systems to Avid NEXIS Client v7.3.1 before updating the Avid NEXIS system to v7.3.1. The Avid NEXIS v7.3 client cannot connect to a system running Avid NEXIS v7.3.1 or higher.

Avid NEXIS 7.3.2

The Avid NEXIS v7.3.2 release fixed a timing issue where in some circumstances, an Avid Interplay Media Indexer would assert (blue screen).

Avid NEXIS 7.4

The Avid NEXIS v7.4 release adds support for CentOS Linux version 7.3 as a client operating system. Clients running CentOS and the Avid NEXIS v7.4 client software can connect to an Avid ISIS system running v4.7.5 and higher, and to any Avid NEXIS system. The CentOS client kit is available in the Installers page in the Management Console and also in the Installers_Client\ folder in the Avid NEXIS kit, and is named AvidNEXISClient_el.centos.x86_64_7.4.0_5.bin.

Avid Client software for Linux now displays and connects to more than 10 remote System Directors. Previous versions of the Linux client limited to 10 the number of remote System Director connections (and the number displayed in the Client Manager’s Systems pane). The Client Manager now displays and connects to as many remote System Directors as are configured in the Remote Hosts dialog box.

The release also fixes an edit-while-capture workflow problem involving clients using dual 1Gb connections to the Avid NEXIS.

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

NAB 2017: New Avid Media Campus programme provides flexible volume licensing and industry solutions for educational institutions

Avid have announced Avid Media Campus, a new programme that makes it easier than ever for educational institutions to access professional solutions from Avid.

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. Avid will showcase Avid Media Campus at the Avid booth during NAB 2017 (Booth #SU902).

With exclusive education discounts and flexible solutions specifically tailored to the needs of educational institutions, Avid Media Campus offers new options that align with official industry-recognised Avid certification. The program facilitates a deeper engagement with Avid across its comprehensive tools and workflow solutions—spanning film/video/TV, sports, graphics, journalism, music/audio production, live sound, and theatre.

“The new Avid Media Campus programme is allowing UCLA to expand our engagement with Avid, further our investments in Avid solutions, and implement professional industry workflows for our students,” said Jeff Burke, Assistant Dean, Technology and Innovation, UCLA School of Theater, Film and Television.

“The Avid Media Campus program will enhance and strengthen students’ experience with the advanced tools and workflows used by real-world production facilities, significantly boosting their employment prospects,” said Daniel Sosnowski, Faculty Technical Manager at Middlesex University. “Investing in Avid NEXIS and Interplay | Production has enabled us to facilitate remote access to media and we’ve seen notable workflow improvements as a result.”

The programme provides a foundation for colleges and universities to partner with Avid toward campus-wide production and classroom implementation based on Avid’s MediaCentral Platform, the industry’s most open, efficient and tightly integrated platform designed for media—along with the industry’s leading creative tools that most of the top professionals rely on, including Pro Tools, Media Composer, and Sibelius. Since educational funding often favours investments in support of programmes that provide meaningful industry credentials, educational institutions that utilise Avid’s comprehensive tools and workflow solutions as a part of their curriculum are better positioned, and are better preparing tomorrow’s media professionals.

“Under the Avid Media Campus programme, Columbia University quadrupled the number of Pro Tools, Media Composer, and Sibelius licenses to 200 of each,” said Peter Vaughan, Director of Motion Picture, Instructional and Information Technology, Columbia University School of the Arts.

“Avid Media Campus is the latest expression of how seriously we take our commitment to supporting tomorrow’s creative talents and media professionals,” said Dana Ruzicka, chief product officer, Avid. “This program helps educators everywhere—from public high schools to the world’s most highly esteemed film, music and communications institutions—upgrade their facilities to include the same advanced workflows used by enterprise-level media organisations around the globe. And with Avid’s leading community of Media Composer-trained film/video editors earning 44% more on average, the programme provides students with better income and career opportunities in the media and entertainment industry.”

Benefits of the Avid Media Campus program include:
– Volume licensing on Avid software for campus-wide deployment.
– Deeper education discounts on key Avid solutions including Avid NEXIS, MediaCentral | UX, Interplay, PlayMaker, Pro Tools | HDX, Pro Tools | HD Native, Avid DNxIQ™, Pro Tools | S6, Avid VENUE™ | S6L, Maestro, and more.
– Simple annual partnership renewal with software maintenance.
– Promotion of college/university in the Avid Directory to help recruit new students and connect graduates to employment opportunities.
– Regional and campus events to facilitate industry connections for educators and students.
– Support for student competitions such as film festivals and music mixing competitions.
– Planned Student Campus Rep to facilitate student events, social networking, and more.

Availability
The Avid Media Campus program is available now.

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
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NAB 2016: NewTek’s NDI For Adobe Creative Cloud applications

NAB 2016: NewTek’s NDI For Adobe Creative Cloud applications

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.

With NDI for Adobe Creative Cloud, creators and producers can significantly accelerate their pre- and post- production pipelines, bypassing rendering and uploading of creative elements for a faster, more efficient delivery for content review and approval. It also allows teams in different locations to work together in one interface in real-time, making creative decisions collaboratively—and saving valuable time in the process.

The NDI integration for products in Adobe Creative Cloud also enables just-in-time editing workflows over IP for live production environments, such as news programs and live sporting events. Producers will be able to deliver edited content, including key and fill, directly from the Adobe Premiere Pro CC timeline into their production switcher for use on-air, without needing to render and push to playout servers.

“NDI for Adobe Creative Cloud transforms the workflows for Adobe Premiere Pro CC and After Effects CC users by making creative elements visible on virtually any screen or any output on their local area network in full resolution,” said Michael Kornet, executive vice president of Business Development for NewTek. “The creative efficiencies plus time and cost savings to be gained is tremendous and represents a breakthrough across the board in all traditional pre-, live-, and post-production workflows. We are so excited to see how Adobe Creative Cloud customers will utilize the NDI integration to achieve things in ways that until now were unimaginable.”

“Adobe Creative Cloud users appreciate our advanced tools which help them be their most creative,” Sue Skidmore, head of partner relations, Adobe Pro Video. “NewTek NDI for the Adobe Creative Cloud plug in delivers the efficiency that content creators need to help them do great work in today’s fast-paced production environments. It also opens the door for editors and producers who want to bring the streamlined power of Adobe Premiere Pro CC into their live production workflows.”

NDI, the new standard for live production IP workflow, is bi-directional and backwards compatible with a large number of devices from top manufacturers already utilizing NewTek’s open standard allowing IP connectivity between devices. NDI is now available as a royalty free software developer kit (SDK) for any company looking to establish IP workflows within their organization, or in production tools and systems they manufacture.

Pricing and Availability

NewTek’s NDI plugin for Adobe Creative Cloud is available now as a download from NewTek’s site as a one-time purchase for $99 USMSRP.

For more on the latest NAB Show releases, take a look at our roundup post, 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.

A guide to the G-Technology Evolution Series

A guide to the G-Technology Evolution Series

The Evolution Series is evolving. With a whole family of storage products, G-Technology provides a variety of options for consumers and consistent innovation means the series continues to deliver flexibility and reliability, suited to any of your workflow needs. 

G-Drive ev RaW

The G-DRIVE ev RaW drives are ideal for creatives out in the field. The drives come equipped with a shock and vibration resistant protective bumper; they’ll withstand day-to-day wear and tear and can withstand a 1.5m drop. If you’re a photographer or videographer, cram all your pictures and videos onto the drive (500GB or 1TB versions are available) while you’re out, then head back to the studio and dock it into the G-DOCK or Evolution Series G-SPEED RAIDs for fast, seamless data transfer or duplication.

G-DRIVE ev RaW is available from £70.00 ex VAT

If you’re a speed freak, the G-DRIVE ev RaW is the SSD for you. The solid state drive adds breakneck speed to your data management, perfect for anyone on the move or in a rush. Whether you’re shifting media over USB 3.0, G-DOCK or G-SPEED RAIDs (ev RaW drives aren’t just standalone; they act as modules for RAIDs), you won’t be waiting around.

G-DRIVE ev RaW SSD is available from £315.00 ex VAT.

G-DRIVE ev ATC

The G-DRIVE ev ATC with Thunderbolt is an all-terrain add-on solution for G-DRIVE ev RaW drives. It adds shock, drop, dust, pressure and even water protection to the lightweight hard drive, meaning you can back up, transfer and edit in the field without the fear of breakages. The ev ATC protects the ev RaW drive from drops up to 2m, and can survive in water for up to 30 seconds. This is a handy bit of kit for any out-and-about creative pro, perfect for protecting those precious data back ups and transfers in the field.

G-DRIVE ev ATC is available from £125.00 ex VAT.

G-DRIVE ev ATC (All-terrain case)

G-DOCK ev

Designed to optimise your digital content workflow, the G-DOCK ev with Thunderbolt storage solution boasts a two bay swappable drive system and user configurable RAID 0,1. G-DOCK is built with flexibility in mind and is compatible with USB 3.0 G-DRIVE ev hard drives, making it ideal if you’re after a high quality portable storage solution.

G-DOCK ev is available from £210.00 ex VAT.

G-DOCK 435x290 edit

NEW: G-SPEED Shuttle XL with ev Series Bay Adapters

This 8-bay, highly portable, hardware RAID with Thunderbolt 2 delivers whopping storage capacity up to 48TB. With high-definition performance, this impressive storage solution is designed to support multi-screen 4K workflows and much more. The new G-Speed Shuttle XL is configurable in RAID 0, 1, 5, 6 and 10, comes with six enterprise-class hard drives and offers transfer rates up to 1,200MB/s. Providing that familiar Evolution Series flexibility, two of the RAIDs 8-bays come with ev Series Bay Adapters. These are compatible with any portable G-DRIVE ev or ev series reader.

G-SPEED_ShuttleXL_evSeries_Hero_BayAdapter_evRaW_LR

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.

 

Red Giant add Smart Start to PluralEyes 3.3

Red Giant add Smart Start to PluralEyes 3.3

One for PluralEyes and Shooter Suite users: Red Giant’s new update (which takes the software to versions 12.2 and 3.3 respectively) is available for free now, and gives you access to the new Smart Start feature. 

As Red Giant explain it, “whether adding a small set of files or importing multiple folders of multi cam files, the new Smart Start feature in PluralEyes 3.3 intelligently organises your media, so you can start synchronising sooner.” They tell us you can drag and drop entire folders without losing structures or names, which is always a plus as far as we’re concerned.

Other changes in the update include a new look and feel to the GUI, which is designed to streamline it and ensure your focus is drawn to where it’s needed, and support for the Canon C100 and Canon XF range, including spanned clips. The update is free for existing PluralEyes and Shooter Suite users.

You can download the update here or watch Red Giant’s Smart Start tutorial here:

Getting Started with Red Giant PluralEyes 3: SmartStart from Red Giant on Vimeo.

Want to know more about PluralEyes? 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.

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Canon warn there’ll be no cashback deal or warranty support for ‘grey imports’

Canon warn there’ll be no cashback deal or warranty support for ‘grey imports’


Canon are warning customers that they’re seeing a rise in the number of ‘grey imports’ hitting the UK since they launched their winter offers, and would like to remind you that these imports aren’t eligible for cash back deals, warranty support or any of the other extras you’d expect when dropping several grand on a camera – even if they’re DOA. 

What is a grey import?

Grey imports are goods which were intended for sale in another territory, but have been bought up by unscrupulous resellers and sold into the European market. While they are real Canon cameras, they often don’t have serial numbers (which you need to register your product for support, to claim cash back offers, and to activate certain features and updates on some models) and may contain pirated or incorrect copies of the software that is supposed to come with the camera. They’re also not eligible for any support from Canon, so even if the camera is broken when it arrives on your doorstep, there’s no way for you to get a replacement, refund or repair.

How do I know if my camera’s a grey import?

If a price looks too good to be true, it probably is. There are a few honest to goodness Canon deals going on at the moment, but if someone’s selling off cameras for a price that you can’t believe, tread carefully.

If you’ve already got your camera, common signs of a grey import include: no UK power adaptor in the box, or a third party adaptor instead of a Canon one; photocopied manuals or manuals not in English; copied, incorrect or non-functioning software; missing warranty card, non-Canon warranty card or a non-European Canon warranty card. The camera might also fail to display a valid serial number.

Read the official warning from Canon.

 Do Jigsaw24 import grey goods?

No we do not, and we’re offended that you had to ask. Stick to us – well, to the authorised resellers listed on Canon’s site, of which we are clearly the most excellent – and you’ll be fine. You can see our 100% legit Canon range here.

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.

Media Asset Management with axle and Avid

Media Asset Management with axle and Avid

Let’s say you have this storage thing sorted. You’re got an amazing SAN, you’ve got nearline drives rumbling contentedly close by and the robot in your tape library couldn’t be happier. How are you actually going to keep track of all this stuff? Making sure you can find, manage and monetise assets wherever they are in your storage hierarchy is the job of your Media Asset Management system – and a good one will also help you get through ongoing jobs more efficiently. All the systems we can provide will help your creative and technical teams carry out day to day work more efficiently, so you can save money by automating workflows and ensure that you always deliver jobs on time.

axle

Released in 2012, axle allows you to take one of your facility’s Macs and turn it into a ‘media management and collaboration server’. What this means in practical terms is that it looks through any drives connected to the server, whether that’s the hard drive of each Mac or the contents of your server room, and indexes all the files on them. It then creates an online portal where you can browse every file, regardless of where it’s stored, and your users can preview low-res versions of documents, play back proxy videos, edit metadata and more. Even better, you can create different views of this portal, so people only see the files for work that’s relevant to them, and any clients you give a login to can only see files from their project. You can also save searches for quicker access to common groups of files (say, all the images tagged to a specific location, or everything shot with a certain type of lens).

While this may not sound like it’s that far above and beyond anything else out there, the great thing about axle is that it’s accessible from any device, from your iMac to your iPad to a client’s PC, so you can always access resources. And because everything is web-based, your users don’t have to spend time installing apps on their computers. You can export collections of clips straight to your editor, then view H.264 proxies of the result and flag anything you want to alter in those proxies, without having to have access to the editor yourself (this could work wonders on complex approval processes where you have a lot of non-creative parties to get sign off from).

Once you’re finished with a project, you can even arrange for axle to automatically move it to centralised archive storage – or the cloud, if you prefer to store things online – so everyone can access it if you ever need to reuse it, but it’s not taking up valuable space on your SAN. The project stays in the central index of files, so if you’re ever working on something similar the team will be able to see that some assets already exist, and hopefully save themselves some time and money by repurposing that work, rather than duplicating it.

Avid Interplay 

Interplay has been at the heart of large broadcast AVID environments for some time now, and has a reassuringly strong heritage. A enterprise scale system, it comprises all the components you need for news ingest and delivery straight to air, integrated archive and proxy management, and remote logging and editing. It may seem a daunting amount to take on at first, but you can actually start to harness the Interplay environment on a single server, and only scale up as and when your team are ready.

As Interplay has been designed to work seamlessly with your Media Composer workflow, it’s the perfect tool for managing your assets, projects, users and multi-platform delivery options from a single, central point. You can give your editors more time to cut (and spend less time ingesting and creating deliverables) by introducing lightweight Interplay Central clients to your facility – these act as a browser-based rough cut and project creation assist tool. You can then use the same interface to enable remote viewing and approvals by your clients, as well as allowing everyone to see existing assets while on set to ensure they have all the shots they need before wrapping for the day.

The remote capabilities of Interplay have been moved to the fore recently with the addition of Sphere. Using Interplay Sphere, a second server will dish up media to your remote Media Composer editors anywhere in the world as if they were at your main office, so you can provide a truly global, collaborative service that’ll cover long shoots abroad, journalists in the field or anyone who’s catching up on an edit while delayed on the train – all the while safe in the knowledge that your assets are being managed on your secure ISIS back at the facility.

If you want to see the rest of the Interplay iceberg, you can always call us on 03332 409 306, email broadcast@Jigsaw24.com or drop by stand F33 during BVE.

 

Want to know more? Give us a call on 03332 409 306, email broadcast@Jigsaw24.com or visit us at stand F33 at BVE. To keep up with all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Updating facilities to win new students at Barnsley College

Updating facilities to win new students at Barnsley College

Sam Wilson, head of the media unit at Barnsley College wanted to update the college’s entry-level cameras but at the same time keep costs to a minimum. He wanted cameras with better quality and resolution that would also give a good impression to prospective students.

We suggested that the Sony HD1000 which, with its shoulder-mount design, has a similar form factor to the professional shoulder mount ENG cameras ‘seen on TV’. Using cameras like this is a sure-fire way to get students more enthusiastic and excited about what they are learning than learning with a handheld camera might get them – an idea which appealed to the college.

In order to add more options to the audio on the cameras, we equipped them with BeachTek XLR units. Improving the sound quality with microphones gave large expansion possibilities to the course from a teaching perspective: they were able to include professional audio roles in the production, involving more students and increasing the depth to the production areas they taught.

Since then, the college have added a number of Sony HVR-Z7 hybrid workflow cameras to their technology resources for the students to study solid-state workflows as well as tape disciplines.

For more information about recording solutions, get in touch with the team on 03332 409 333 or email learning@Jigsaw24.com. For all our latest education news, follow @Jigsaw24Edu on Twitter or ‘Like’ us on Facebook.