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Graag gedaan.

You're welcome

Hello, to be able to record 240 or 120 fps raw or raw output to e.g. prores, you need a Convergent Design Odyssey 7Q. Not possible with the Atomos, this can do a maximum of 60 fps and only in Prores or Prores raw. I have a 7Q but haven't used it much yet. I'll post something sometime.

@@videotaperetro1126 Thank you!

Yes, that is possible. The V2Digital from AJA for example. Please note that this does not have an audio input. Or the Blackmagic Mini Converter - Analog to SDI. This does have digital or analog audio inputs. BUT.... These output SD video PAL or NTSC SDI digitally. So you need a monitor/recorder that has SD video as input standard. The only monitor/recorder that can do this (I do it that way too) are the Blackmagic Video Assist 7” 3G and the Blackmagic Video Assist 5” 3G. All other monitor/recorders, also from other brands, cannot do this. They can do at least HD. So you need one of these Black Magic recorders.

@ thanks. If I want to use the 7” 3g , I’d need to connect the v5000 to it. To do so, I’d need a svideo to sdi converter. The converter needs to be powered right? I was looking online and they also have a SVideo to SDI cable. I’d like to use the 7” 3g not only as a capture card but an external monitor for the v5000.

There is no such thing as a cable that converts s-video to SDI. It is a cable that goes from a s-video plug to a BNC plug(s) but everything remains analog, the same analog video signal but a different plug. You need a converter as I mentioned in my first answer. And yes these need power. The V5000 has a TBC when playing a tape and you need that. Without TBC the signal is too unstable and there is no sync. So you are good there.

@ excellent! I was reading the procedure on a previous comment about working with the video in Davinci resolve. I’m going try that using the 7” 3g as a capture… maybe I can pipe the v5000 audio outputs to the mini Xlr inputs on the Blackmagic 7” 3g

@@AllenMichael Yes you can connect the autio output to the XLR input of the bmd video assist monitor. But the audio input of the BMD is a balanced input and the output of the V5000 is not. You can google how to solve that, it comes down to connecting one of the signal conductors to ground. How to do that exactly you can find by googling. You will have to make a cable or maybe they exist. Apparently you can find 2x tulip to XLR. You will then still have to buy XLR to mini XLR. www.audiosciencereview.com/forum/index.php?threads/how-do-i-wire-unbalanced-outputs-to-balanced-inputs.38919/

Hallo, ik heb een kleine verzameling camera's en recorders van de jaren 80 - 90 en koop nog regelmatig bij. Als ik wat meer tijd krijg zal ik regelmatig iets maken rond deze camera's en recorders. Tussendoor post ik af en toe eens iets. Ben je geinteresseerd in oude professionele en consumer camera's?

Madness.

Hello, if you watch the video in SD - standard definition - on a PC or Laptop (de-interlaced to 50P) you won't see much difference in an upscaled version or the original. Your video player will do the upscale. That is less good than upscaling by a qualitative tool but not that big a difference. The upscaling is necessary to counteract RUclips's harsh compression. Moreover, there is no SD PAL resolution in RUclips, 720x576 that is. And in NTSC resolution 720x480 you cannot go higher than 25P so no 50P and the compression in this rusolution in RUclips so high that it wastes image.

Hello, it's been a while since I did this post. In the meantime, my workflow has changed several times. I now do everything with Davinci Resolve, the paid version admittedly. Deinterlace with Neural engine, temporal noise reduction, upscale with Super scale. The result is certainly as good as QTGMC and all the scripts used by Vapoursynth. If you want to use Vapoursynth I recommend the program Hybrid. www.selur.de/ this is a program that uses almost all known tools in the video world, and so also Vapoursynth to manupulate videos. You do need to know it and what to set up. If you want I will help you with that. If you still want to use Vapoursynth standalone I will look if I still have the script and will post it here.

@@videotaperetro1126 Hello; Good day. Thank you very much for your reply. It is true, although you published this video some time ago, of all the videos you have published, this particular video, in my opinion, is the one with the best image detail. So much so, that it looks like a capture from Betacam instead of a VHS. That is why I specifically asked you about this video. I have some VHS captured at 10-bit 422 YCbCr (V210), which I would like to deinterlace in such a way that they have the image quality of this video that you published. At the time I did some tests with Avisynth together with AvsPmod to create the basic deinterlacing script with Qtgmc, to execute said script with VirtualDub2 and thus be able to carry out the deinterlacing process. I was not very satisfied with the result obtained so I continued looking for more information. And the best thing I've seen so far is that deinterlacing using VapourSynth is the best I've seen, although I don't know how to use it and it's apparently more complex to run than AviSynth. As NLE I've always used Adobe Premiere, but I don't think it's a suitable program for deinterlacing and scaling video, unless the video is a progressive video from Origin. I'd have to test Davinci Resolve, since I've never used it and it would be a new world for me. If you have the script you used to process this video, and can post it, I'd be really grateful. Thank you very much for your reply.

Do you have a tube camera?

@@videotaperetro1126 not yet. but looking :3

@@corgiverse9550 3 tube cameras are professional or semi-professional. The lenses are interchangeable and are typical TV lenses such as Fujinon TV (2/3 inch) lenses. They are large and heavy, parfocal and manual and have a motor zoom. The cameras are heavy and made of metal. These cameras have a large viewfinder with very clear and large image. These cameras have an option to generate color bars, and everything is controlled by switches and buttons on the outside. These cameras can usually be opened on both sides with a door and all the electronics in in form of cards easily accessible. These cameras have a proffesional connection for recorder or studio. The image quality is superior to consumer single tube cameras. Most single tube cameras are consumer cameras. They are plastic, including the lenses. The lenses are fixed. They are much lighter and usually have a very small viewfinder with small image. The electronics are crammed into a small housing and difficult to access. There are far fewer ways to operate the camera manually. The connections are consumer connections for consumer portable VHS recorder etc. The image quality is poor, especially the colors are a disaster. An exception are Cameras with a Trinocon single tube. The colors are better but the resolution is not. A professional single tube Trinicon camera is e.g. the Sony DXC 1820p.

@videotaperetro1126 It looks like a very unworn piece of equipment, the colours and convergence are great, despite recording on composite. Did you buy the camera in working order or did you repair it? I have working JVC TV cameras that I have been using for many years (3-tube), and damaged ones that require repairs. Do you know anyone who repairs such cameras in case of failure?

Hello, you shouldn't capture DV it is a digital format. You have to do a transfer via firewire port to a firewire card in your PC. (Or a mac pc, they have a firewire port by default) I use Enosoft DV Processor to do the transfer, of course without processing so you get a bitperfect copy.

Dat zou inderdaad kunnen zijn. Ik heb enkele fragmenten van Dinges bekeken hier op yt en deze lijken me zeer gelijkaardig. Misschien zijn de opnames die ik heb wel nooit gebruikt. Bedankt alvast voor de tip.

Tijd voor een nieuwe smartphone! :-)

Dan zijn dekinderen in deze video nu generatiegenoten van jou.

@@videotaperetro1126 klopt!

Hello, you are already well informed and your workflow is not bad either. The EVO-9700P (I also have one) does not have a line TBC and that is something you are missing. I have an EVO-9850P. The image is much more stable with a Line TBC. Maybe get a digital 8 camcorder that can play hi8 and also have a TBC. Do you have davinci resolve with license? I recommend that, the free version lacks important options. 1. Capture certainly in uncompressed 10 bit 422 color space. 2. Import into DVR, set 720x576 PAL and enable interlaced processing. 3. set Deinterlaced quality in image scaling on DaVinci Neural Engine 4. Go to Clip Attributes and set from Auto to Full. This is necessary but requires a long explanation. 5. Do noise reduction with Temporal NR. (license version) 6. Definitely do not choose H264 or H265 for export. Afterwards, this could be done much better in a different way. either output uncompressed 10 bit 422 or prores hq or similar. 7. Optionally choose upscale with DVR superscale (x4)(license version). 8. install hybrid video. and ask for an explanation again. This would be too much now. here you will encode in h264 or h265. If you choose not to deinterlace and upscale in DVR, things are different. Just let us know what you want.

@@videotaperetro1126 Hi! Thank you for responding. It means a lot. I'm going to start from top to bottom. Currently I can't see any EVO-9850 on the market.. What about TBC at SE-800? On page 7 Manual says: "The SE-800 has a full frame synchronizer (also known as a time base corrector or TBC) at its Main and Sub Source inputs (2 total) to insure switches without distortion and smooth, well-regulated video at its output. In addition to its digital memory, a TBC also has controls that affect the look of the video that passes through it." OK, I'm not sure how much of a "full frame" TBC he does have but there must be some kind? Also recently I've noticed that there's different types of SE-800 available.. The one I own does have 3x SDI Digital output. I came across other SE-800 with only one digital output and it looked more like kind of DV port, but there was no SDI at all. Also the difference was with the sliders at the front panel "bottom left side". My does have Main, VCR, MUSIC, MIC/AUX. The other SE-800 I saw had MASTER, VIDEO, AUX-1, AUX-2/mic. I wonder if there's any difference between these two with internal components including TBC itself... I'm sure that there's some TBC devices which stabilising video really nicely. You mentioned about digital8 camcorders... I wonder if there's a big difference in video quality and colour reproduction comparing EVO-9700p+ SE800 vs Digital8 camcorder. Probably Digital8 camcorder footage will be more stabile... but what about the rest? ... 2nd message on its way

When it comes to capturing the video... I use OBS studio and DaVinci licensed full version. Responding to your points... 1. 16 bit 422 or 10 bit 420... and others, but there's no 10 bit 422 option. Unless I am doing something wrong.. What about "container format" in Settings/output/recording? "video bitrate"? I'm guessing I should set 50fps while capturing in OBS and also 50fps in Davinci? or? Sorry for such questions, I just want to be sure that all is set correctly. 2. While I'm still in OBS in "Properties for Blackmagic Devices"... "Mode" is set to 625i50 PAL, and I believe that's my camcorder output. Should I still "set 720x576 PAL" in DVR? 3,4,5,6,7. Done 8. I haven't tried yet, but I will. Same with ffmpeg. I do have it but I didn't touch it. I already spent days trying to absorb much as I can.. Hybrid video and ffmpeg will be my next step.

@@Michal12340 Hi Michal (I don't know if that is your name) What a "TBC" is is the subject of many discussions in many forums that deal with digitizing video tape. A lot of nonsense is told, but sometimes also correct information. Actually it's quite simple. There is a "LINE TBC" and a "FRAME BUFFER TBC". Due to the mechanical aspect in video playback, the speed variations in transport of the tape and the speed variations in the rotation of the video head, not all scan lines of PAL or NTSC video last the same length. In principle, one PAL scan line lasts 64 µs. In addition, all scanlines must start at the same time. All this is determined by sync pulses of one scan line, and therefore 625 scan lines for one full frame in PAL (interlacing is not taken into account in this explanation, but it should actually be) Because due to this variation not all lines have the same duration and they are not on starting at the same time, you will see wobbling lines in the image from left to right and vice versa. Those are "time base" errors. A "LINE TBC" will correct these errors. It will ensure that all lines start at the same time and last the same length and adds newly generated sync pulses to each scan line. This can be a simple analog "LINE TBC" to a modern digital "LINE TBC". Video recorders with a TBC have this "LINE TBC" and therefore correct these errors. From consumer VHS (or other) recorders to professional Betacam SP or other professional systems. "FRAME BUFFER TBC" is a TBC that only digitizes a complete frame without looking at the scan lines separately, so it takes over all "LINE TBC" errors and puts them in a buffer. Then the sync pulses are removed like a "LINE TBC" does and new ones are added. You have now also created a worthy broadcast level video signal without solving the "LINE TBC" errors. That's what the SE-800 does. Basically to be able to mix 2 (or more) unsynchronized video sources. In addition, the SE-800 also solves dropouts and other errors in your video because it actually generates a new video signal. So a combination of first a LINE TBC" and then a "FRAME BUFFER" TBC is desirable. Our great fortune is that the SE-800 outputs this digital signal via an SDI output and thus avoids having to digitize again via a card such as eg the KONA LHI from AJA. I am going to give a second answer for the other questions.

@@Michal12340 The 3 SDI connections you see on the SE-800 are: one direct SDI output that you must use. one SDI input to be able to "overlay" with another SDI source. one SDI output that has the mix of the 2. Don't worry about the last 2. The SE-800 also has a DV output (and inputs) (8 bit 4:2:0 color space 1/5 compression). But we don't use that. I don't know the type you mention without the SDI, but as far as "FRAME BUFFER TBC" is concerned, all are the same. (Every consumer video mixer of any brand is a "FRAME BUFFER TBC". The SE-800 also has an analog "black burst" just google what that is for, otherwise it will be too much here. There is a mixer that also has a " LINE TBC" and that is the Videonix MX1, mind you, this is a big exception. (Sony also had one but can't remember the type anymore) So if you use this behind your EVO-9700 then your video is perfectly stabilized. This of course it has no digital output, so you still have to digitize it yourself.

Hello, unfortunately I'm afraid not. The camera does not have a component (YPbPr) output. So only a Composite video output. Logically it is a full digital camera. There you can not achieve that quality. But... The Digital Betacam is already so good. So if you record with tape you achieve the same quality and possibly better. You have to buy a Digital Betacam player, take the digital output and connect it with e.g. a "Blackmagic UltraStudio Recorder 3G" via thunderbold to your PC or Laptop and capture with OBS studio or the included Black Magic software. e.g. Digital Betacam www.ebay.com/itm/364963431383?itmmeta=01J1078C8CR6CPAEBV556ERQT1&hash=item54f98403d7:g:A64AAOSw-pxmdcc1

Hello, that depends what you are comparing to. If you compare with cameras of this period and type, this camera certainly has a much better image. Today, cameras have evolved and are no longer comparable. But know that today's broadcast studio 4k TV cameras also have 3 2/3 inch CMOS sensors. Just look at Sony and Ikegami.

Unsinn, typisch westdeutsche Meinung

Read the discription. Its all there.

@@videotaperetro1126 I read it but I can't tell where you mention the video capture card you use?

@@salvatorev_ Hi, this is a "chain" The actual conversion from analog to digital is done by the SE-800. So it is not one capture card but consists of the parts I mentioned. So I do not use such a thing as a capture card. S-video out to MII Recorder AU-W35H for use TBC. S-Video out from AU-35H to S-VIDEO in Data Video Mixer SE-800 for use Frame buffer and digitize. SDI out from SE-800 to Blackmagic Design UltraStudio 3G Recorder SDI in. 3G Recorder Thunderbolt out to Laptop.

@@videotaperetro1126 If I understand correctly, you play the tape from the device and connect it where?

You should google the devices I list in my previous reply. Then you can get an idea of what I do. I will then answer you afterwards because then you can understand it better.

Is your laserdisc an NTSC device, so output is analog NTSC?

@@videotaperetro1126 My LD is NTSC but my Handycam is a Sony DCR-PC105E PAL region.

@@卡拉永遠OK唱不完 Then I am afraid you are better off with a capture card or usb capture device and so save it on your computer in possibly the DV or other format. Then you can do it directly in NTSC format. Converting is a bad idea anyway, it gives a lot of quality loss. Keep in mind that you will have to deinterlace to get 60fps.

@@videotaperetro1126 well I’m okay with it since I have some decent l ones like the BMD Intensity Shuttle, Matrox MX02 Mini and Pinnacle Avid Liquid Edition Pro 6. For both NTSC and PAL video, I normally use Handbrake to deinterlace but for PAL if you selected 59.94 it would output 50fps.

I don't understand some of the comments. Not this one either.

@@videotaperetro1126 it was supposed to say CONVERSION but google Auto corrected it to conversation

Hello, thank you in advance for watching my videos. I understand your question. My answer may be a bit disappointing, but it is less about the camera and more about the way in which digitization is done. Digitizing SD PAL or NTSC video here on RUclips usually looks bad and that is what you see. The V5000/6000 was just an ordinary consumer camera with a ton of options, which is why it had the PRO label on it. The best HI8 Amateur camera ever made that you should not carry on your shoulder is the Sony VX1 (PAL) or the Sony VX3 (NTSC). If you can still find it, buy it immediately! The best true PRO Hi8 stuff ever made is the EVV-9000 backend for broadcast cameras and the EVW-300 one-piece camera. Can I ask what you're going to do with it?

Thanks for the answer. Not disappointing at all, but surprising. So I don't need a pro Monster sized camera. Im making short movies for myself i don't like that digital Look nor pseudoanalog look. So a cam from the ccd-trv series would also archive a similar look, when its digitized and postproducted the right way?

@@BärenmarkeScotch Yes definitely. They are single sensor cameras and at that time bayer sensor colors were not so natural because of the limited number of photo sites (pixels). That's why I suggested the 3CCD VX1 or VX3. Digitizing in the right way and in high quality is the most important thing. That will make the difference. Just keep in mind that those handycams are very light have no stabilization and thus make very shaky images. Hence ammateurs liked to have a heavier shoulder camera myself included.

Does your digitization/workflow have a specific name or can you perhaps give me a link to a tutorial?

@@BärenmarkeScotch Now you open Pandoa's box. I have explained this in several other RUclips videos in the comments. Over time I have made some adjustments. I have chosen this completely myself, so it is my personal preference. I wanted the maximum quality and not the easiest, cheapest and fastest. Anyway, here's a summary: Playback of videos on professional equipment. for VHS/Super VHS Panasonic AG-7750 for Video 8/Hi8 Sony EVO-9700P or EVO-9850 for Umatic Sony VO-9850 for Betacam Sony BVW-70 or PVW-2800 for M II format (not so common) PANASONIC MII - AU-W35H I have other High end consumer recorders... Analog output from s-video or component recorders (certainly not a composite) to Datavideo SE-800 mixer only for frame buffering. Digital SDI output from SE-800 to Blackmagic Design UltraStudio Recorder 3G. Capture in uncompressed 10bit 422 color space with ffmpeg (also possible in lossless ffv1 codec) or blackmagic software or OBS studio. Post-production in Davinci resolve (licensed version) Deinterlacing with davinci resolve neural engine, noise reduction and corrections. Upscale (4k) in Davinci Resolve with superscale. Output in Davinci Resolve in uncompressed 10bit 422 or sometimes DNxHR. Alternative: Deinterlace with QTGMC via vapoursynth via Hybrid video. (www.selur.de/) also upscale via Hybrid video with NNEDI3 method. Encoding with ffmpeg (Hybrid video) with H264 or H265 in 10bit 422 colorspace -superslow -constant rate -16 quantization factor. Upload to youtube. I did capturing before with my AJA Kona LHI in an old Mac computer. I know this is overwhelming when you hear this, but it also took me a while to arrive at this method.

Aha, ja jij kan het weten! Bedankt voor deze info.

Hello, thank you for your detailed response. I'm going to give some explanation and maybe say things you already knew, my apologies for this; I like to explain it long and straight, so hold on tight. First the Panasonic MII W35H: "The MII video format was developed by Panasonic in 1986 to compete with Sony's Betacam SP format. It was built upon the unsuccessful Matsushita / RCA 'M' format (1982)." So the recorder is from after 1986, more specifically from 1994. The recorder's TBC is a "LINE TBC" this type of TBC solves wobbly images and other unstable conditions due to small speed variations of the tape running and rotation of the video head, stretched tapes, etc. And this LINE TBC is one of the best I have ever come across. The image via the W35H is super tight, I think you've seen that. I can also use the TBC of my SONY PVW-2800 Betacam SP recorder or my Panasonic AG-7750 Super VHS recorder. My Digital 8 Camcorders that also play Analog Hi8 tapes with a LINE TBC also do less well. The LINE TBC also removes the sync pulses from the video signal and generates stable broadcast-worthy sync pulses. So I can also digitize without the SE-800. All capture devices accept the signal via a LINE TBC. Also my AJA KONA LHi, Black Magic mini converter and AJA V2DIGITAL. So I have plenty of choice. Without a TBC, forget it. And now the SE-800: The SE-800 is a prosumer mixing console. The kind that accepts unsynchronized SD video signals. Studio mixing consoles and all connected devices are all in sync by means of a "black burst" (reference sync pulses) and therefore do not require a frame buffer in the mixing console. So the SE-800 does. The manual mentions a TBC, but if you read carefully they talk about a FRAME BUFFER TBC. This is a completely different thing than a LINE TBC. A frame buffer takes each frame as it is (photo) into a buffer, keeps track of the image and adds new sync pulses to it. Because this is a mixing console it keeps track of the images from all inputs and puts them in sync using... that frame buffer so you can blend. This is done digitally (10bit 422 color space) So a frame buffer TBC does not care about the content. You can use a worn-out consumer VHS recorder with a worn-out tape as input, and it will produce a broadcast-worthy image. But nothing will have changed in the content, i.e. before our eyes the image will be very poor. The capture devices know nothing about the content and will digitize without any problems. Think of it as someone who takes a photo of a CRT screen 25 times per second and puts these photos in a timeline of an NLE and makes a video file from them. Maybe a crazy metaphor, but I can't think of any other. A real example: When I do FF or RW on the Hi8 recorder with only the LINE TBC of the W35H, the capture devices say no. With the SE-800 in between they show the reeling of the tape as you would see when connected directly to a CRT. So the SE-800 does have a function and the SDI output is the max. P.S. Almost all prosumer mixing consoles only have a Frame buffer, with a few exceptions. The Videonix MX1 is one of those, so it also has a real LINE TBC (10 bit 422) Voila, now I stop.

@@videotaperetro1126 Thanks for the detailed response! Very interesting, I was unaware that the MX1 had a line TBC. I actually have one of them, but haven't done really any testing with it. I was under the impression that it was a frame TBC as well. Is there any advantage to using the W35 on say VHS when the player itself has a line TBC? One thing I haven't been able to really determine is if the JVC/Panasonics with line TBCs do the buffering in 8 bit or 10 bit 4:2:2 as I'm guessing there's a potential for a bottleneck in color depth there. Also what hardware do find works best on multigenerational tapes to improve "baked in" line TBC errors?

@@orihalcon8693 Once you have passed through a line tbc or framebuffer tbc there is no point in passing through another line tbc. The perfect sync pulses created by the previous line tbc means that nothing more will happen through a subsequent line tbc. Especially not if you have passed through a frame buffer tbc because it creates a perfect image (even if the content looks wobbly and bad) so a next line tbc cannot do anything more. That also answers your question whether you can correct "backed in tbc errors". So no, you are actually asking if a line tbc is intelligent enough to understand what is on the image. A line TBC looks at the timing of the sync pulses and if they are perfect nothing happens. Maybe in a few years when AI technology is more advanced to interpret interlaced SD video and then correct that. (just kidding or not?). Don't worry about 8 or 10 bit. Most Line tbc's in prosumer vhs recorders work analog with a delay line as the linchpin in the circuit. Only the very last models were digital. We are not talking about a codec like today in modern cameras but hardware ad-da without storage or compression. PS. So always put a framebuffer TBC AFTER a Line TCB! A frame buffer is a solution for dropped frames and other sliders that a line tbc does not solve (unless all in one tbc's like the MX1)

​@@videotaperetro1126 Thanks again for the info! Do you have any tips on how to avoid or manage line dropouts? I know most VHS players do it internally to some degree, but a lot of those will produce a sort of "purple discoloration" where the bad line is.

@@orihalcon8693 Yes, I know what you mean. Unfortunately, I don't know of any miracle cure to fix this either. What I sometimes do when it's really bad is replay the tape. Chances are it's gone because it was probably a speck of dirt on the tape or head that is now gone. And then tinker around in the NLE to replace that frame.... And if it really needs to go, you can grab a piece of image from the previous frame in your NLE and place it over the glitch (masking). You must already have experience to do that. We (I) are not professional restorers, it remains a hobby. Serious dropouts are absorbed by the frame buffer.

I don't understand your comment. what do you mean?