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Great rundown of so many options! I'd say you will definitely want to check out one more when you get a chance, try a minimic from "location sound london." It's delivering line level and is exceptionally tiny. It's the best thing I've found for reference audio that adds no bulk/requires no extra power. Internal battery is supposed to last for days but I have never wanted to test it past a single 16 hour day. I've had 4 units since 2022 and had zero issues with any of them. Been one of the best value accessories, and severely cut down my headaches with audio on the Mini. Cheers!
just ordered the Hollyland Lark M2, one con was it didn't have onboard recording, following your video I will connect them to my Podtrak P4 for a podcast setup thanks very much
That was a very effective test. I used to service these machines in the 90's, the 5 series u-matics were great to work on. I don't have a u-matic machine now but am looking out for one. I have three BetacamSP machines though! As others have said it's not a broadcast standard by any means, it's about the same bandwidth as VHS but both video and (stereo) audio have a much higher S/N ratio so it can edit WAY better with less degradation. It was heavily used for production work and editing in the 70's through to the 90's, as the equipment was far cheaper to own or hire. Once their editing was finalised, the final cut from the original broadcast tapes (or film!) would be made
Nope, no phantom power, no cloudlifter, just straight into the Podtrack P4. It's a standard dynamic vocal mic. No idea who makes the stand, had it for years; there's not even a brand name on it!
What I'm so shocked by is that there isn't a big gamma shift. Through the multiple conversions happening it all seems to be handling the conversion of the different gamma and color transparently and that's impressive.
Where there is a will, there is a way. What you are doing takes me back to the early days of trying to get good audio into the NEX mirrorless cameras and consumer video handycams and the like. It demonstrates how far along audio on these cameras has greatly improved and there are now a vast array of choices out there as you make very clear in this interesting video. Perhaps Arri should consider going against their own grain and improve the audio capabilities on any future Alexa Mini. A controversial idea perhaps, but I lean towards audio being a requisite function on any camera and not a 'special feature'.
The smaller ones also got a selectable output on the USB Webcam. Now rather than just program, you can send clean, MV, program, preview, ssrc, media players and keys, color gen, any input, bars or black. With the proper converter it can be another whole output
Yeah, I didn’t address that because I can’t honestly see a use for it. You’ll always need one multiview and one PGM out, so if you really want PGM over HDMI from an ATEM Mini you could use the USB for multiview, but any other use for that option is highly limited.
Cool Video. I have been a user of the rack mounted ATEMs for many years now. Starting with the original TVS. For the last several years I have been using the ATEM 1 M/E 4k and ATEM PS 4k switchers for various productions. Only with in the last year did I purchase my first Mini Extreme ISO SDI. Those updates look great. As soon as I find time, I will update my Mini Extreme. It is a crying shame though that there are no new benefits for my older ATEMs. I have a feeling it is hardware holding back any new and significant updates.
I was going to buy this but was thinking, how does it fair with most of the non par-focal stills lenses? I know there’s autofocus on these lenses but would worry it would pulse or rack focus in auto when doing slow zooms? Is this a concern you’ve encountered?
At this very moment, I am sitting in my univesrity lecture hall which was (re)built after the destruction of ww2 in the 1950s and modernized a little bit at some point in the 70´s or 80´s probably. There is the control room at the top which still has the 16mm RCA film projector in it and two slide projectors, left and right, alongside with a modern digital beamer which is used nowerdays. In the front cupboards next to the blackboard, there is a huge stack of audio/video equipment. A little Sony control monitor, a quite modern S-VHS recorder from the 2000´s and some big swithchboxes to switch the video/adio source between the three different lecture halls and other rooms where they used to have cameras to demonstrate things (veterinary medicine). There are six spots, three on each side, on the walls of the lecture hall where tue huge tube monitors/tv´s were standing. Those were probably removed a couple of years ago, all the other stuff like cables and scart connectors is still there, just as the Sennheiser audio system with 4 speakers. In one of the cupboards next to the blackboard is a huge collection of U-Matic and U-Matic-S video tapes with recordings from the 80´s but unfortunately, I can´t locate the U-Matic recorder. It as probably removed at some point and replaced with the S-VHS machine, but the tapes ar still there. I do actually want to save everything that is still there because the building will be torn down in a couple of years anyway. I just don´t have a good feeling of giving tose tapes into other hands for making digital copies, so maybe I´ll have t go through the hassel of buying a U-Matic machine to to it myself. We´ll see... I do find the picture quality outstanding by the way!
@@paulchiu I would recommend for pretty much everything! There is a 100mm version for heavier cameras or where you really need maximum drag for say planes in flight, but I've never wanted more than the 75mm version for anything I shoot.
My Dad, job hunting after losing an inside connector sales job, took a chance on an educational supply company in rural Wisconsin (Nasco). He mostly sold to schools and some businesses (small electronics shops, banks, and the US Navy). This division became so big it split off as Kapco and Dad stayed with them thru retirement in 1982. The equipment weighed a ton but was first-class in reliability.
Yeah it's easy enough to do that, and I would usually for some redundancy & sync, but I didn't for the video, so all the sound you are hearing is recorded directly to the Zoom.
All 16:9 tape formats are recorded on the same tapes as 4:3 recordings, it's called full height anamorphic. The recording and display resolution are the same in standard definition, there's simply a carrier signal that told monitors and TVs which format to display those same pixels in.
@@fryfilm2000 I had this exact question because you didn’t really teach us how to do it. You didn’t even show us that you were doing it you were just pressing and holding a button. I had to watch it three times to really understand it so I understand where this guy is coming from.
@@Lyfewithlysha There's only two buttons on it, crikey. Surely a little experimentation would immediately yield the answer you're looking for? That's how I did it!
@@fryfilm2000 listen I get what you’re saying, but at the end of the day it wasn’t THAT obvious… either way, you solved a huge issue for me so I don’t really care how I got the information. Thanks either way.
I can't quite tell from the video but does clear image zoom kick in immediately on pressing the rocker and max itself out well before you finish zooming optically? I'm trying to understand if the rate of zoom with clear image zoom enabled is consistent from start to finish of the entire zoom or if it drops off because clear image zoom finishes before optical zoom does.
Hahaha, hi, John I was just looking for any pictures or video of the old Sony 2630 lo band U-matic edit suites with RM88U controller that I started out with but really can’t find anything much, just a few videos of the recorder. The 5850 were state of the art and out of my price range at the time, showing my age :-)
Enjoyable video John. I have two low band u-Matics here. Been given some tapes to transfer - b/w with flittering glimpses of colour, but basically just coming out as b/w picture. Guessing the tapes were recorded on a high band u-Matic... The colour flickers are prominent on PAL. I still have playback on SECAM, but no colour signal trying to break through. Ideally, I need a HighBand u-Matic I think..
Hey John, This was the first tape format we used to use and learnt our editing skills on as well as the 2" suite. I have lots of my old showreels of animatics on Hi band and low band umatic that I'll have to pop by to look at sometime. Hope you are well. Tony
It looks quite good. But you've done something with the format? Umatic was 4:3 ratio. Since it is new to you, pull out on the bottom of the bottom front panel.
The recorded ratio is whatever you feed it. Any 4:3 format tape can record full height anamorphic if that's what is going in. Only later is the image desqueezed to widescreen. If this footage was played from the U-Matic on a 4:3 screen the image would be horizontally squeezed.
The Open University early morning / late night transmissions on BBC2 were broadcast from Hi-Band Umatic - we used to transfer from the one inch TX masters or later D3 TX masters making “UOU” copies. I think the Hi-Bands were actually a form of component recording which is superior to composite.
I'm doing social service at my college (required for me to graduate) and while working at the video archive I found quite the large number of U-matic tapes, both the larger ones and the small "S" tapes (all of the smaller ones being marked as camera masters), most of them dated to the late 80s, early 90s, really interesting since almost all I've read says that they fell out of fashion in the early to mid 80s once Betacam came to market.
