U-matic or 3⁄4-inch Type E Helical Scan[1][2] or SMPTE E[3] is an analogue recording videocassette format first shown by Sony in prototype in October 1969, and introduced to the market in September 1971.

As part of its development, in March 1970, Sony, Matsushita Electric Industrial Co. (Panasonic), Victor Co. of Japan (JVC), and five non-Japanese companies reached agreement on unified standards.

U-matic was named after the shape of the tape path when it was threaded around the helical-scan video head drum, which resembles the letter U.

[11] But the cost was affordable enough for industrial and institutional customers, where the format was very successful for such applications as business communication and educational television.

Film required developing which took time, compared to the instantly available playback of videotape, making faster breaking news possible.

To minimize weight and bulk in the field, portable recorders had an external AC power supply, or could be operated from rechargeable nickel-cadmium batteries.

Nevertheless, the U-Matic S cassette acquired traditional double-flange reels, which reduced the amount of tape that could be loaded, and as such, the duration of recording.

The price point of the VO family was primarily oriented toward educational, corporate and industrial fields, featured unbalanced audio connectors, and did not typically include SMPTE time code (although one or two companies offered after-market modification services to install longitudinal time code).

The Sony BVU family (Broadcast Video U-matic) added longitudinal and vertical interval SMPTE time code, balanced audio XLR connectors, and heavier-duty transport features.

Sony and other manufacturers, such as Convergence, Calaway, and CMX Systems, produced A/B roll systems, which permitted two or more VCRs to be controlled and synchronised for video dissolves and other motion effects, integration of the character generator, audio controllers and digital video effects (DVE).

BVU gained immense popularity in ENG and location programme-making, spelling the end of 16 mm film in everyday production.

By the early 1990s, Sony's 1⁄2 in (1.3 cm) Betacam SP format had all but replaced BVU outside of corporate and budget programme making.

With BVU-870, Sony made a final revision to U-matic, by further improving the recording system and giving it the same "SP" suffix as Betacam.

A recurring problem with the format was damage to the videotape caused by prolonged friction of the spinning video drum heads against a paused videocassette.

For this reason, on-camera talent was discouraged from wearing red clothing that would call attention to technical shortcomings.

A time-base corrector (TBC) could be used to regenerate the sync tip portion of the video signal sent to the "recording" VCR, improving playback reliability.

[17] For synchronisation to broadcast or post-production editing house genlock systems, U-Matic VCRs required a time base corrector (TBC).

U-matic tapes were also used for easy transport of filmed scenes for dailies in the days before VHS, DVD, and portable hard drives.

Glass masters for audio CDs were made via laser from the PCM-1600's digital output to a photoresist- or dye-polymer-coated disc.

At its peak popularity, U-matic recording and playback equipment was manufactured by Sony, Panasonic and JVC, with many spin-off product manufacturers, such as video edit controllers, time base correctors, video production furniture, playback monitors and carts, etc.

For example, the US Library of Congress facility in Culpeper, Virginia, holds thousands of titles on U-matic video as a means of providing access copies and proof for copyright deposit of old television broadcasts and films.