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Music tracks used (in order): opening is Sunshine by Francis Mercier (music by Emily Turner not available on MusicBed)

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[00:16:02.10] Last year, Blackmagic released the ATEM Mini, a remarkable product at an incredible price point that allowed you to live switch between four different cameras or any HDMI source and treat that output as a webcam or to use it to live stream to YouTube, Facebook and so on.
[00:00:15.25] The power you got from a $300 product replaced, well, a whole lot of gear like this, but it didn't do everything. To live stream to YouTube or anywhere else, you actually needed a separate hardware encoder or to run the ATEM through a computer running software like OBS.
[00:00:30.05] Then Blackmagic released the ATEM Mini Pro which added the ability to live stream from the ATEM itself and it also added multi-view so you could see all of your inputs simultaneously while switching and added the ability to record the program to a small hard drive. The program is the final switch to show that your audience saw.
[00:00:48.15] If you were using Blackmagic pocket cinema cameras, you could also trigger recording in each camera so you had the RAW isolated sources or ISOs to re-edit from, but you had to be using Blackmagic cameras and to re-edit the show, you actually had to start the edit from scratch.
[00:01:02.17] So now, Blackmagic has introduced the ATEM Mini Pro ISO which does everything the ATEM Mini and the ATEM Mini Pro did as well as record the ISOs from each source to a USB drive no matter what type of camera or input you're using and saves the DaVinci resolve project file so you can re-edit your video later without having to start from scratch. I have an ATEM Mini Pro ISO here to show you today, so let's get into it.
[00:01:37.17] Hi, I’m PhotoJoseph and if you're not already subscribed, please be sure you do. On this channel, I talk about photo and video, gear and technique, and I go live once a week to talk about the latest news, answer your questions and just have some fun.
[00:01:50.04] I’ve done a bunch of videos on the ATEM Mini since the first one came out, so today I’ll only be talking about what's new in the ATEM Mini Pro ISO. If you aren't already familiar with the ATEM Mini lineup, I encourage you to stop watching this video, click up here to jump to a playlist of all my ATEM videos. Watch those first and then that playlist will eventually take you back to this video.
[00:02:09.08] Now, how should I show you what this new hardware is capable of? I could just point a bunch of cameras at myself, hit record and switch a few camera angles then show you how it recorded that, but I thought I could do something better; instead of just looking at more footage of me and frankly, I get tired of looking at me, so I’m sure you do too, I thought I’d bring in a special guest. 
[00:02:27.26] I’ve asked a musician to join me in the studio to perform one of her original songs which I’ll record and live switch with four different cameras, then bring the captures into the editing suite to show you how it all ties together. But before I introduce you to her, I’d like to talk about something else for a moment.
[00:02:41.21] We all watch videos like this one here and it's easy to get caught up in the moment and immediately buy the latest and greatest tech pushing our older gear into the back of the closet to collect dust. Now, by all means, if you decide to buy this new ATEM Mini Pro ISO, please do use my affiliate link below. I’d appreciate that.
[00:02:57.27] If you do buy it and it's replacing some older gear or if you decide you want an ATEM Mini but maybe you don't need the latest model, I encourage you to sell and buy used gear.
[00:03:07.20] Today's show is being supported by GearFocus.com, a new online camera gear marketplace to buy and sell used kit. The company was built by Creatives for Creatives and is a better place to go to find or offload use creative tech. 
[00:03:19.18] Their fees are less than half of what you're used to paying, it's easy to use and as a new platform, it's rapidly growing and adding new features.
[00:03:26.19] I’ve got my own store on there where I sell my used gear and I encourage you to check that out, links below. Thanks again to GearFocus.com for supporting the channel and making it possible for me to do things like bring you the stunning singing voice of Emily Turner.
[00:03:40.13] Emily: Hi, I’m Emily Turner from the band Free Creatures.
[00:03:43.18] PhotoJoseph: Thanks Emily for joining us. What we've got here are four cameras on Emily that are piping into the ATEM Mini Pro ISO, I’m going to perform a live event. We're actually going to stream to a private live YouTube show and I’m going to be live switching and of course recording that onto the SSD drive. We'll then take that into the editing suite, open it in Resolve and because I’m a Final Cut editor, I’m going to actually move that over to Final Cut Pro.
[00:04:06.16] Now, if I was shooting this with Blackmagic cameras, I could actually also trigger recording inside of each Blackmagic camera simultaneously giving us a BRAW Master that we could then bring into the suite and swap out for the, what at that point would be the offline edit, the offline files coming off of the ISO. But I’m not shooting with the Blackmagic cameras, I’m shooting with my LUMIX cameras.
[00:04:26.27] So, one of the things that I can do with the LUMIX is actually trigger recording manually in those cameras and then start doing the show as I normally would and then I’ll have those files - anyway, I will have those files that won't be RAW, they will be log files which won't line up automatically, but I think it won't be too hard to manually slip them into place.
[00:04:44.23] So, if you did want to have that original, that higher resolution, in this case, I’ll be shooting in 4K in log master to then match up manually later on, you can certainly do that and we'll see just how involved that is. But for now, we're pretty much ready to go.
[00:04:58.21] So, again, I have four cameras on Emily; I’ve got a wide shot that shows the whole set, then there's a close-up on the upright bass, there's a close-up on her face and then I’ve also got a moving camera here that I can bring up and down just to add a little bit of motion to the shot.
[00:05:13.02] You'll also see that she's lit by three PavoTubes from Nanlite. So, thank Nanlite for sending those out. These are fantastic giving us a lot of creativity in how we light the set and I think that these look really really cool especially with the changing RGB on the background and on the hair light.
[00:05:26.16] So, with all that said, I think we're ready to go. So, let me get in position here and let's start streaming. So, I’ll take that on air and let's check out on YouTube that it's actually up there. I see it has an excellent connection and that's all ready to go and I’ll start recording onto the SSD drive. 
[00:05:45.09] So, that's all four cameras are recording, you'll see over here under the Record Stream I have enabled ISO Record All Inputs and I don't have record in all cameras because I don't have Blackmagic cameras on here. And I think we're ready to go. Emily are you ready? 
[00:05:58.06] Emily: Yes.
[00:05:58.11] PhotoJoseph: All right. I’ll give you a five count and we'll get this thing started. I’m going to open the show with a macro that is going to automatically enable the two audio inputs to which her microphone and her base and the backing track are coming in on and it will switch over to those and then do a two second fade over to the close-up shot.
[00:06:15.05] So, here we go! Ready in five, four, three…
[00:16:02.10] Emily: Hi, my name is Emily Turner and this is a song that I wrote called Thief in The Night.
[00:16:02.10] Like a thief in the night, scale your walls and climb to new high heights. Got these big brick walls surrounding you, coming casing the block just waiting for the time to be right. 
[00:16:02.10] I’m climbing close against that cool brick. I miss those so I don't lose my pace. I've got a plan to make your wall come crumbling down. Hey hey, well, I got a plan that will bring your walls down. 
[00:16:02.10] [Vocalizing] 
[00:16:02.10] Said my fingers are like they pick your pockets [Inaudible]. [Inaudible] to get me inside and closer to you. Slow, hey, hey, hey slow, I slip beneath your defense. Take off with your mind and leave no evidence. Well, I’ve got a plan to make your walls come crumbling down. Hey, well, I've got a plan that will bring those walls down. Down… Down… Down mmmmh, down. Uh, uh, down. Mmmh down, mmmh. Down, mmmm, hmm.
[00:16:02.10] Like a thief in the night… Thank you.
[00:09:23.09] PhotoJoseph: Perfect! That looks fantastic. Now, you might have noticed I actually made a mistake in there, I hit the Fade to Black button in the middle of the show. So, well, kind of ruined the live show but at least we'll be able to fix that in post. So, let's take it into the editing suite and see what we can do.
[00:09:38.05] I’ve already copied the files off the hard drive that the ATEM Mini ISO created. So, let's take a look at what was generated by the hardware. First you have a folder called Audio Source Files and inside of that you'll find a audio only file for each of the four camera inputs as well as the two microphone inputs.
[00:09:54.16] These appear to get created regardless of whether anything was plugged into them or not so just be aware of that. Next you have your DaVinci Resolve project file, the program video… So, this is the video that was actually switched, so we can scrub through and see that in here and then we have the video ISO files.
[00:10:12.07] In here, you'll find the ISOs for each camera; so there's camera one, camera two, camera three and camera four and then underneath that, a folder called Media Files with whatever graphics you might have used. In this case, I had an ending graphic and an opening graphic, all those are put into place.
[00:10:27.22] So, let's just go ahead and open this up in DaVinci Resolve. I’ll start in the Cut Room which if I scroll through here past the opening graphic, you'll see once we get to the actual project. Here we go.
[00:10:37.22] So, there we went from the opening graphic into the show open. And there we go, that's it. There is the project file. You can see all of the clips in here, you can see the dissolves. So, if I wanted to, let's say change the transition, I could change the duration of that cross solve in there. If I wanted to get rid of it, I could simply select it and delete that.
[00:10:58.15] If I wanted to find that mistake, here it is over here; there's that fade to black that I accidentally did. Let's play through that. So, there it was, I hit the fade to black and then realized my mistake and pulled out of it again.
[00:11:10.00] Well, turns out the fade to black is simply a black slug over the video project, so we can just delete that and there's that mistake cleared up. And then if you wanted to change the edit point, we can click on any edit point here and slide that back and forth and you can see up in the top how we're sliding that transition point or if you wanted to swap out the file entirely, that gets a little bit trickier but it's still pretty easy to do. We would first switch over to the Sync Bin which is going to automatically show me everything that syncs up with that shot. So because everything is based off of time code, DaVinci resolve automatically lines everything up and it knows exactly what goes with what.
[00:11:43.07] So, here we see the shot that we currently have and then the other options for it. So, we had shot two, but here's angles one three and four. And if I wanted to switch to another angle, I just click on it, it loads this angle into place, it automatically sets the end point for wherever my Playhead was, it sets an out point just a little bit farther away and then over here, I click on Source Overwrite and it drops that onto the timeline.
[00:12:05.11] So, here this clip that's on the timeline is sitting above the primary track, it is in perfect sync, so now I can choose to edit this however I like, make it a little longer, a little shorter, whatever I might want to do and that is how I swap out those files.
[00:12:18.01] At this point if you had shot with Blackmagic pocket cinema cameras and you had the BRAW originals, you could then swap out these files for the BRAW ones. I don't have those, so I can't show you how that works but I’ll leave a link below to the original presentation by Grant from Blackmagic and he'll show you exactly how that's done. I’ll put a timestamp in there too so you know exactly where to go.
[00:12:35.14] But now let's take this project over to Final Cut Pro because as a Final Cut editor, that's where I want to work on this project and it's really simple; from the File menu, you'll have an option called Export XML. It's not available right now because I’m in the Cut mode. 
[00:12:48.04] If I switch over to the Edit mode and go back up to that File menu, you'll see that I now do have that export option and I’m going to put it into the same location as the original project. That's actually pretty important so that the video files all line up properly. It's already named Emily Turner Resolve and the file format that I want is going to be FCP XML and I’ll go for the latest version, 1.9.
[00:13:07.24] That's it, nothing else to do. Click on Save and very quickly it'll generate that file. I’ll go ahead and quit out of Resolve now and then double click on that FCP XML file. 
[00:13:19.23] Final Cut will ask you where you want to put it, I’m going to go ahead and create a new library and let it import into that. Now, curiously, this is a very simple project yet we did still get an FCP XML error. I don't know why we're getting that error, it is a very simple transition that it has gotten confused on, but I happen to know exactly where it is.
[00:13:39.01] When you open it, you'll see here that the last transition into the still image is where that freaked out. So, for whatever reason, that's now missing but easy enough to add a new dissolve in there.
[00:13:49.22] Anyway, here's the project… You can see this is exactly what came out of Resolve; there's the dissolve that I had deleted, there's the extra shot that I added and of course, that fade to black that I had accidentally put in has been removed because I removed it in Resolved before I exported this over here.
[00:14:03.12] So, at this point if I want to re-edit the file, it's just like being in Resolve; I can remove a transition, I can go a little bit closer here and make a transition longer or shorter, change the edit point on there. You do exactly the same things that you could do in Resolve in here.
[00:14:15.29] Now, as far as swapping out the shots, it's a little bit more complicated in here. The way that Final Cut does multicam is not the same as what you get out of Resolve and I’m not going to go into a whole method of doing that, but suffice to say, if you wanted to find the same shot and bring it over, it's just a case of lining up the time code and dropping that in place.
[00:14:32.15] But what's more interesting to me in here is how I would go about starting from scratch using the hi-res files. So, let me go ahead and import those. I’m going to bring in the four original shots from those four separate cameras, import those and then to make a multicam out of these, all I need to do is select them and choose New Multicam clip.
[00:14:54.06] I’m going to let it use audio for synchronization because I didn't have time code added to all of these. Let's give this a name and let everything else happen automatically.
[00:15:04.24] Now, I’ve got my multicam clip, let's bring up the multicam editor and we can see how these look in here. There's all four of the shots all lined up and of course, all synced perfectly. And since these originals are in 4K shot and log, I have a much higher resolution and much higher quality file to start with so I can end up with a much finer quality finished product. But of course, I am going to have to start editing from scratch.
[00:15:26.21] Now, I do have an idea of how I may be able to work around this. I’m still experimenting with this and if I get it sorted out, I’ll let you know. But I’ll give you a hint; it involves altering the time code of the source files, maybe altering the XML and then getting them all to line up so it's actually completely automatic. We'll see what happens. 
[00:15:45.12] But in the meantime, just go ahead and make a multicam and do the edit from scratch with those four source files and I’m going to go ahead and do that right now and then play that for. You don't need to watch me edit it but here we go, here's a high quality version of that Emily Turner song. Enjoy! 
[00:16:02.10] Emily: Hi, my name is Emily Turner and this is a song that I wrote called Thief in The Night.
[00:16:02.10] Like a thief in the night, scale your walls and climb to new high heights. Got these big brick walls sorrounding you, coming casing the block just waiting for the time to be right. 
[00:16:02.10] I’m climbing close against that cool brick. I miss those so I don't lose my pace. I've got a plan to make your wall come crumbling down. Hey hey, well, I got a plan that will bring your walls down. 
[00:16:02.10] [Vocalizing] 
[00:16:02.10] Said my fingers are like they pick your pockets [Inaudible]. [Inaudible] to get me inside and closer to you. Slow, hey, hey, hey slow, I slip beneath your defense. Take off with your mind and leave no evidence. Well, I’ve got a plan to make your walls come crumbling down. Hey, well, I've got a plan that will bring those walls down. Down… Down… Down mmmmh, down. Uh, uh, down. Mmmh down, mmmh. Down, mmmm, hmm.
[00:16:02.10] Like a thief in the night… Thank you.
[00:19:01.10] PhotoJoseph: Thanks again for watching everybody and a special thanks again to Gear Focus for being a supporter of this show. We'll see you guys in the next video.
[00:19:09.08] Like a thief in the night, scale your walls and climb to new high heights. Got these big brick walls surrounding you…