Blackmagic URSA Broadcast Manual

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Installation and Operation Manual
Blackmagic
URSA Broadcast
Includes Blackmagic Camera Fiber Converter,
Studio Fiber Converter, Blackmagic URSA Viewfinder,
URSA Studio Viewfinder and URSA Mini Shoulder Mount Kit
February 2018
Welcome
Thank you for purchasing Blackmagic URSA Broadcast!
Since we released our first digital film camera a few years ago we have been privileged to have
received some of the best guidance and feedback we have ever had for a new product! We all
grew up admiring the work of the world’s leading cinematographers and DOPs and it’s been an
honor to spend hours in conversations with these legendary experts on the features we need
to add to our cameras. Of course, everyone we speak to has good ideas also!
With URSA Broadcast, we've packaged an amazing broadcast sensor into a super small, light
and sturdy metal chassis.
URSA Broadcast's beautiful user interface is designed for single operators who need quick,
easy access to all of their camera’s functions, while comprehensive ATEM switcher integration
and extremely low latency gives you the perfect solution for live studio production, combined
with full CCU features for incredible control over your camera directly from the switcher.
We also listened to single operators when we developed our URSAViewfinder which is perfect
for mobile ENG style shooting on the shoulder.
Additional features include ergonomic controls, interchangeable lens mounts and internal ND
filters. If you are familiar with ENG cameras, we believe you will find these ergonomic controls
and the built in ND filters extremely powerful.
We hope you use your URSA Broadcast to produce some of the world’s most exciting television
programming, documentaries and live studio content. We are extremely excited to see what
creative work you produce and to get your feedback on new features you would like to see us
add to URSA!
Grant Petty
CEO Blackmagic Design
English
Contents
Blackmagic URSA Broadcast
Getting Started 6
Attaching a Lens 6
Powering your Camera 7
Using Servo Zoom Lenses 10
Storage Media 17
CFast Cards 17
SD Cards 20
Preparing Media for Recording 23
Preparing Media on
Blackmagic URSA Broadcast 24
Preparing Media on Mac 26
Preparing Media on Windows 26
Recording 28
Recording Clips 28
Trigger Record 30
Record Duration Table 30
Playback 32
Playing Back Clips 32
Operating URSA Broadcast 33
Camera Front 33
Left Side 34
Left Side Controls 34
Right Side 35
Rear Panel 36
Top Panel 37
Underside 38
URSA Broadcast Controls 39
Forward Control Panel 39
Ergonomic Control Panel 42
Internal Control Panel 47
Touchscreen Controls 50
Touchscreen 50
Touchscreen Features 50
Settings 70
Dashboard 70
Record Settings 70
File Naming Convention 75
Monitor Settings 76
Audio Settings 83
Setup Settings 85
Presets 96
LUTS 98
Entering Metadata 101
Camera Video Output 107
HD Monitoring Output 107
12G-SDI Output 107
URSA Mini Shoulder Mount Kit 109
Blackmagic URSA Viewfinder 113
Mounting and Connecting
toBlackmagic URSA Broadcast 113
Adjusting the Eyepiece 114
Button Features 114
Menu Settings 115
Blackmagic URSA Studio Viewfinder 120
Mounting and Connecting
toBlackmagic URSA Broadcast 121
Adjusting the Blackmagic
URSA Studio Viewfinder 123
Button Features 126
Menu Settings 128
Mounting Batteries 133
Mounting V-mount or
GoldMount Batteries 133
Using your own Battery Plate 134
Blackmagic Fiber Converters 136
Getting Started with
BlackmagicFiber Converters 137
About SMPTE Fiber 137
Connecting SMPTE Fiber 139
Why Connections on the Front? 144
Plugging in Camera SDI 144
Plugging in Return SDI Outputs 144
Mounting BlackmagicCamera
Fiber Converter 145
Attaching the URSA Studio
Viewfinder 147
Plugging in a Talkback Headset 147
Operating the
CameraFiberConverter 148
Selecting a Return Feed 148
Using Talkback 149
Using Tally 150
Status Indicators 150
Audio Inputs 151
IP Video 152
Power Specifications 152
Operating in a Small Environment 153
Operating the
StudioFiberConverter 154
Selecting the LCD Source 154
Rack Mounting the Studio Unit 154
Camera Unit Connections 156
Camera Power Connection 156
PTZ Interface 156
Talkback Connection 157
Tracker Interface 158
DC Connection 158
D-Tap Output 159
Reference Output and Operation 159
Studio Unit Connections 160
12G-SDI Output 160
Return SDI Inputs 160
Reference Input and Output 161
Talkback Interface 162
PTZ Interface 163
Audio Outputs 163
Updating Internal Software 164
Updating Blackmagic Camera
Fiber Converter 164
Updating Blackmagic Studio
Fiber Converter 164
Interchangeable Lens Mount 165
Removing the B4 Mount 166
Blackmagic URSA Mini Pro EF Mount 166
Blackmagic URSA Mini Pro F Mount 168
Blackmagic URSA Mini Pro PL Mount 171
Blackmagic URSA Broadcast
B4 Mount 175
Shimming Lens Mounts 176
Blackmagic URSA Mini Pro Shim Kit 176
Shimming mounts 177
Contents
URSA Mini SSD Recorder 179
Mounting and connecting
URSA Mini SSD Recorder 180
Using URSA Mini SSD Recorder 182
Updating URSA Mini SSD
Recorder’s internal software 183
Understanding Studio
CameraControl 184
Using Camera Control 185
DaVinci Resolve Primary
ColorCorrector 190
Using DaVinci Resolve 193
Importing your Clips 194
Editing your Clips 195
Trimming Clips 196
Mapping Keyboard Shortcuts 196
Adding Transitions 197
Adding Titles 198
Color Correcting your Clips 199
Using Scopes 200
Secondary Color Correction 202
Qualifying a Color 202
Adding a Power Window 203
Tracking a Window 204
Using Plugins 204
Mixing Your Audio 205
The Fairlight Page 206
The Audio Timeline 206
What is a Bus? 207
The Mixer 207
Using the Equalizer to
Enhance your Audio 208
Mastering your Edit 210
Working with RAW files 211
Blackmagic Camera Setup Utility 214
Working with Third Party Software 216
Working with Files from
CFast2.0 and SD cards 216
Working with 3rd Party Software 216
Using Final Cut Pro X 217
Using Avid Media Composer 217
Using Adobe Premiere Pro CC 218
Using Autodesk Smoke 2013 219
Developer Information 220
Blackmagic SDI Camera
Control Protocol 220
Blackmagic Embedded
TallyControl Protocol 228
Help 230
Regulatory Notices
andSafetyInformation 231
Warranty 232
Contents
Getting Started
Getting started with URSA Broadcast is always as simple as mounting a lens and powering
your camera.
Attaching a Lens
URSA Broadcast is shipped with a B4 mount for attaching B4 mount lenses. These lenses
typically have a built in handle and strap that lets you hold the camera securely on your
shoulder, plus control the zoom rocker and iris controls.
URSA Broadcast's B4 mount features optics specifically designed to work with your camera's
Ultra HD sensor to produce the same field of view and depth of field as traditional broadcast
cameras with 2/3" sensors. This means that if you already have a broadcast background, you
can be comfortable mounting your existing B4 lenses to URSA Broadcast and capture footage
straight away.
To remove the protective dust cap from the camera, rotate the outer locking ring
counterclockwise and pull the dust cap away from the mount.
To attach a B4 mount lens:
Attaching and removing a B4 lens on Blackmagic URSA Broadcast
1 Turn the B4 lens locking ring counterclockwise to reveal the alignment pin inside
the top of the mount. Align the B4 lens to your URSA Broadcast's B4 mount so the
registration slot on the lens mount matches the position of the alignment pin.
2 Hold the lens against the B4 mount so the mount plates are against each other.
Make sure the alignment pin is secured inside the registration slot.
3 Turn the locking ring clockwise to tighten the lens against the mount and lock it
into position.
4 To power the lens and provide lens control, simply plug the lens cable into the
connector marked ‘Lens’ on the front of your URSA Broadcast's turret. Most B4 lenses
will have the hirose 12 pin connector and cable built in. This will provide power and
control signals from your URSA Broadcast to the lens.
LENS
66Getting Started
For information on the types of B4 lenses and how to use them with your camera, refer to the
'Using Servo Zoom Lenses' section in this manual.
Many B4 lenses can be quite long due to their extreme zoom range. When using
URSABroadcast with B4 lenses, your camera's center of gravity will move forward.
Thereforewe recommend using the URSA Mini Shoulder Mount Kit or mounting the camera
toatripod head to help stabilize the camera before attaching your lens.
When mounting URSA Broadcast on the URSA Mini Shoulder Mount kit, it's also a good idea to
mount the camera towards the rear of the shoulder mount base. This moves your camera rig's
center of gravity back over the middle of the mount, making it easier to balance on your
shoulder and rest steadily when sitting on a desk or flat surface. See 'Blackmagic URSA Mini
Shoulder Mount Kit' for more information on fitting the base.
Powering your Camera
Now that you’ve attached a lens, you will need to supply power. The quickest way to power
your camera is to connect external power using the supplied AC to 12V DC adapter.
NOTE When no lens is attached to the camera, the optical element of
URSABroadcast's B4 mount isexposed to dust and other debris. Ensure that you
keepthe dust cap on whenever possible.
ISO/GAIN
ON OFF
Center of gravity
NOTE Blackmagic URSA Broadcast features an interchangeable lens mount, which is
capable of accepting EF and PL lenses, as well as additional lens mounts with
accessories. Formore information on switching between mount types on
URSABroadcast, refer to the 'interchangeable lens mount' section in this manual.
77Getting Started
To plug in external power:
1 Connect the AC to 12V DC adapter plug to your mains power socket.
2 Connect the AC to 12V DC adapter’s 4 pin XLR connector to the 12-20V DC power
connector on the camera.
If you have both external and battery power connected, only external power will be used. If you
remove external power while a charged battery is connected, your camera will switch to battery
power without interruption.
Use the supplied AC to 12V DC adapter to power your Blackmagic URSA Broadcast
You can use industry standard third party external batteries such as V mount or Gold Mount
batteries with your URSA Broadcast. Refer to the ‘mounting batteries' section for more
information about mounting the different types of battery plates to support different batteries.
To turn on URSA Broadcast:
1 Move the power switch, located above the fold out LCD, to the 'on' position.
2 To turn the camera off, move the switch to the 'off' position.
You are now ready to insert CFast 2.0 cards and start recording!
Move the power switch to 'on' to power your camera
AUDIO IN
1
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
AUDIO IN
1
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
88Getting Started
URSA Broadcast also features a redundant power switch, which allows the camera to be turned
on and off by holding down the 'rec' and 'forward skip' buttons on the inside control panel.
While you wouldn't normally power your camera using this method, it is provided as a helpful
alternative if the power switch along the top edge is obscured, for example when
mounted on a custom rig.
If you need to, you can also hold down the record and forward skip buttons
on the control panel behind the LCD to power your camera on or off
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
TIP If your URSA Broadcast is turned off when the power switch is set to 'on', your
camera may have been powered down via Bluetooth® control or by holding down the
record and forward skip control panel buttons. Simply toggle the power switch 'off' and
'on,' or hold down the relevant control panel buttons to power the camera on.
99Getting Started
Using Servo Zoom Lenses
Your URSA Broadcast camera natively supports servo driven B4 broadcast lenses.
B4 broadcast lenses offer several features that aren’t typically present in still photography and
cinema lenses. In addition to the ability to hold focus through a large zoom range, these lenses
are distinguished by handgrip controls and servo driven iris and zoom functions. Some lenses
also feature servo driven focus. With the 12 pin hirose connector fitted, iris and zoom can be
controlled from the handgrip, from your camera or even remotely through an ATEM switcher.
Lenses with servo focus can all accept auto focus commands from a camera or switcher.
B4 Lenses with iris and zoom control include:
Fujinon B4 lens models with HA, ZA, XA and UA prefixes in their model name and RM
in their suffix. For example, Fujinon XA20sxBRM.
Canon B4 lens models with HJ, KJ and CJ prefixes and IRSE or IRSD in their suffix.
For example for example Canon KJ20x8.2B IRSD.
B4 Lenses with full servo control for focus, iris and zoom include:
Fujinon B4 lens models with HA, ZA and UA prefixes in their name and the letters RD
or ZD in the suffix. For example, Fujinon HA22x7.8 BERD.
Canon B4 lens models with HJ, KJ..ex and CJ prefixes in their name and the letters
IASE or IASD in the suffix. For example, Canon HJ24ex7.5B IASE.
It’s important to set these functions properly so your URSA Broadcast operates as expected.
Follow these simple steps to configure your B4 lens and start shooting.
LENS
TIP Using the optional URSA Mini Pro PL mount fitted, URSA Broadcast is
alsocompatible with servo driven PL cine lenses.
10Using Servo Zoom Lenses
B4 lens controls
Iris
On the top of most B4 handgrips, you’ll find an 'auto/manual' or 'A/M' switch, and a 'push auto'
or 'iris' switch. These control the your lenses’ aperture ring.
Auto
Set this switch to ‘auto’ or ‘a’ to adjust your lens aperture via your URSA Broadcast or an
ATEM switcher. You can adjust lens aperture from URSA Broadcast using the iris wheel,
internal control panel buttons, touchscreen controls, or iris based auto exposure
modes. See the ‘URSA Broadcast controls’ and ‘touchscreen controls’ sections in this
manual for more details. While in ‘auto’ mode, the aperture ring on your B4 lens cannot
be moved manually.
Manual
Set this switch to ‘manual’ or ‘m’ to adjust your lens aperture by turning the iris ring on
the lens barrel. In this mode, your lens will not accept aperture commands from your
URSA Broadcast or ATEM switcher.
Push Auto / Iris
Use this button to momentarily activate ‘auto’ aperture control while in ‘manual’ mode.
This can be combined with iris controls on your camera or ATEM switcher to
great effect.
For example, with your camera set to an iris based auto exposure mode and your lens
aperture set to ‘manual,’ you can freely adjust your lens iris by using the aperture ring
on the lens barrel, however tapping the 'push auto' / 'iris' button will momentarily
activate auto exposure, adjusting your iris for the current lighting conditions.
Alternatively, you can set an iris value using the controls on your URSA Broadcast’s
LCDtouchscreen. While in ‘manual’ mode, you are free to adjust lens aperture using the
aperture ring on the lens barrel, but tapping the 'push auto' / 'iris' button will return the
lens to the preset value on your touchscreen.
11Using Servo Zoom Lenses
Zoom
On the underside of most B4 handgrips, you’ll find a ‘zoom’ switch that can be set to ’servo’ or
‘manual.’ This controls zoom behavior.
Servo
Set this switch to ‘servo’ or ’s’ to enable servo zoom control. In this mode, the rocker
switch on your handset can be used to zoom your lens in and out, as well as any other
zoom related controls, such as zoom speed and quickzoom. Your lens will also accept
zoom commands from URSA Broadcast and ATEM switchers, so long as it is connected
to the camera via the 12 pin hirose connector. In this mode, you typically can’t adjust
your lens's manual zoom ring.
Manual
Set this switch to ‘manual’ or ‘m’ to disable servo control and adjust zoom using the
zoom ring on your lens barrel. In this mode, your lens will not accept zoom commands
from the handgrip, URSA Broadcast, or ATEM switchers.
TIP Handgrip zoom rockers are typically linked to zoom speed. Push the
rocker down gently to zoom slowly, push down harder to zoom more rapidly.
ZOOM
FOCUS
S M S M
12Using Servo Zoom Lenses
Focus
Some B4 lenses also have focus servo controls. If this control is present on your lens, you’ll see
a ‘focus’ switch on the underside of the handgrip with two settings, ‘servo’ and ‘manual.’
Servo
Set this switch to ‘servo’ or ’s’ to enable servo focus control. In this mode, your lens can
accept focus commands from URSA Broadcast or an ATEM switcher via the 12 pin
hirose connector.
Manual
Set this switch to ‘manual’ to use the focus ring on the lens barrel to control focus.
B4lenses tend to autofocus quite slowly, so using manual control is more common.
ZOOM
FOCUS
S M S M
NOTE Analog B4 lenses with servos are also supported although the camera will only
power the zoom servo and support electronic iris control. Many of them are standard
definition and may not have the standard 12 pin Broadcast connector. If you are going
to use an analog B4 lens, it’s important to make sure it is compatible with your camera
first as some have limited feature sets. It is also worth testing them for their image circle
coverage as some of them may reveal resolution and light fall off towards the edge of
the frame.
13Using Servo Zoom Lenses
Setting the Back Focus on B4 Lenses
One of the huge advantages of B4 lenses is that they are designed to be ‘parfocal’ which
means they hold focus all the way through the zoom range. This means you can zoom in, get
focus on an object and then when you zoom out it will remain in focus.
The back focus ring is typically located at the rear of the lens, close to the mount
Back focus is critical in ensuring that your HD or 4K B4 lenses retain focus right through the
zoom range. When you first mount a B4 lens on your camera you should check that the back
focus is correct. Back focus should also be checked when you swap lenses, and it’s a good
idea to periodically check back focus at the start of major projects.
To check the back focus of a B4 lens:
1 Place a focus test chart, or a flat white item with good high contrast detail,
approximately seventy feet, or as far away as possible, from the camera.
2 Set the iris on the lens wide open and compensate for exposure by using the built in
NDs if you need to. You'll want a shallow depth of field so you can exaggerate any
focus issues.
3 Zoom into the chart and set focus.
4 Now zoom out. If you reach maximum wide and the focus remains sharp, then your
back focus is correct and you don't need to make any adjustments.
However, if you zoomed out and the chart drifted out of focus, the back focus is
incorrect. Zoom all the way out and adjust the back focus ring on the rear of the lens
close to the mount. The back focus ring typically has a twist knob used to loosen and
tighten. Simply loosen the twist knob and rotate the ring until your chart is in focus.
5 Now zoom in and out slowly and check if your chart remains in focus all the way
through the zoom.
6 Repeat steps 4 and 5, zooming in and out and making adjustments to the back focus
ring. If your lens holds focus all the way through the zoom range your back focus is now
set correctly.
TIP As temperature changes and wear over time can have subtle effects on the back
focus, it's worth regularly checking the back focus on B4 lenses to ensure it
staysaccurate.
14Using Servo Zoom Lenses
Using Box Lenses
Large studio box lenses like Fujinon’s UA series and Canon’s CJ series lenses can also be used
with URSA Broadcast or URSA Mini Pro’s B4 mount. These types of box lenses allow horizontal
and vertical image stabilization on studio style 27x lenses, as well as extreme zoom ranges with
80x, 86x, 90x and even 107x magnification which are incredible for broadcasting sports and
outdoor events.
The large size and high power draw of box lenses means that you will need to setup
your camera correctly on a heavy duty tripod or pedestal, with adequate spacing.
Thisis possible with URSA Mini Shoulder Kit, a VCT-14 plate and a box lens adapter.
Plug the 12 pin Hirose connector from the lens into URSA Broadcast or URSA Mini Pro’s 12 pin
lens connector. Add additional power to the lens by using an URSA 12 volt power supply, or
ifyou are using Blackmagic Camera Fiber Converter, you can run additional power from the
12volt D-tap output on the side of the unit.
Add additional power to your box lens by plugging in a 4 pin XLR cable
Once additional power is connected, you can power up your camera and control the lens with
your URSA Broadcast or URSA Mini Pro.
15Using Servo Zoom Lenses
PL Servo Zoom Lenses
PL zoom lenses used for motion pictures can also be used with your URSA Broadcast.
Theselenses are designed for super 35mm which is a larger format compared to 2/3" sensors,
so the image from the lens will have a narrower field of view to when it is used on a Super
35mm sensor camera. This can be effective as it decreases you field of view, so you get the
effect of zooming in even tighter. If you need to go wider, you may need to compensate for the
crop factor by using a shorter focal length lens.
Super 35mm PL lenses with full servo control of focus, iris and zoom include:
Brand Series Model Range Max. Aperture
Fujinon Cabrio ZK2.5x14-SAF 17-120mm T2.9
Fujinon Cabrio ZK4.7x19-SAFB 19-90mm T2.9
Fujinon Cabrio ZK3.5x85-SAF 85-300mm T2.9 -T4
Fujinon Cabrio XK6x20 20-120mm T3.5
Fujinon Cabrio ZK12x25 with ESM-15A-SA 25-300mm T3.5-3.85
Canon Cine-servo CN7x17KAS S 17-120mm T2.9-3.9
Canon Cine-servo CN20x50 50-1000mm T5-8.9
Focus and zoom controls can also be used to drive focus and zoom from the pan handles in a
studio environment on all of the servo zoom lenses listed above.
Hybrid Compact Servo Zoom Lenses
Recently, a new category of lenses known as 'compact-servo' zoom lenses have been
introduced. These are have some of the functionality of B4 and PL servo zoom lenses but use
an EF mount. The zoom rocker for these lenses are able to be powered through the lens mount
from URSA Broadcast and information such as lens name, iris, focus and zoom position values
are all able to be read and recorded by URSA Broadcast's lens metadata system.
Electronic control of the focus, iris and zoom is available with these lenses. When connected to
a switcher, these can also be controlled remotely via ATEMSoftware Control. If you are
operating in a live broadcast or studio environment, use of Canon digital focus and zoom
control is possible, but additional custom cables are required from 3rd party manufacturers for
full functionality.
Lenses in this range include:
Canon CN-E 18-80mm T4.4 Compact-servo
Canon CN-E 70-200mm T4.4 Compact-servo
16Using Servo Zoom Lenses
Storage Media
Ursa Broadcast uses CFast 2.0 cards or fast UHS-II and UHS-I SD cards to record Ultra HD,
2Kor HD video.
CFast Cards
CFast 2.0 cards are capable of supporting very high data rates, so are perfect for recording
HDand 4K video at high frame rates. Refer to the record duration table in the ‘recording’
section for details on the maximum frame rates that can be recorded in each format.
Inserting a CFast Card
To record using CFastcards you need to set your camera accordingly. To do this, set the
storage mediaswitch above the media slots to the 'CFAST' position.
To insert a CFast card.
1 Open the fold out monitor to access the CFast slots.
2 With the label on the CFast card facing the touchscreen, insert the card until you feel it
lock into place. Push the CFast card ejector button to eject the card.
The storage information at the bottom of the LCD touchscreen will show the name and
record time remaining of the detected CFast cards.
Blackmagic URSA Broadcast has two CFast
slots for continuous recording
NOTE While CFast 2.0 cards are generally high speed cards, some cards have slower
write speeds compared to read speeds, and maximum data rates can differ between
models. Toensure reliable recording in your chosen frame rates, use only the
recommended cards listed in this section.
AUDIO IN
2
AUDIO IN
2
FOCUS PEAK PGM MENU
REC
POWER
XLR1 XLR2
ON OFF
H PHONE
MONITOR
IRIS
LINE
MIC
AES
OFF
48V
AUDIO IN
2
AUDIO IN
2
FOCUS PEAK PGM MENU
REC
POWER
XLR1 XLR2
ON OFF
H PHONE
MONITOR
IRIS
LINE
MIC
AES
OFF
48V
17Storage Media
Choosing a CFast 2.0 Card
When working with high data rate video it’s important to carefully check the CFast card you
would like to use. This is because CFast 2.0 cards have different read and write speeds.
Somecards can record sustained RAW video, and some are suited to compressed recording
using ProRes and compressed RAW formats. The tables below identify the CFast cards
recommended for use when shooting with Blackmagic URSA Broadcast.
Which CFast cards should I use with the Blackmagic URSA Broadcast?
The following CFast 2.0 cards are recommended for 2160p RAW up to 30 fps.
Brand Card Name Storage
Angelbird AVpro CF 160GB
Angelbird AVpro CF 240GB
KomputerBay 3400x CFast 2.0 Card 64GB
KomputerBay 3400x CFast 2.0 Card 128GB
KomputerBay 3600x CFast 2.0 Card 64GB
Lexar Professional 3500x 128GB
Lexar Professional 3500x 256GB
Lexar Professional 3600x 128GB
Lexar Professional 3600x 256GB
SanDisk Extreme Pro. SDCFSP-128G-x46D 128GB
SanDisk Extreme Pro. SDCFSP-256G-x46D 256GB
Transcend CFX650. TS128GCFX650 128GB
Transcend CFX650. TS256GCFX650 256GB
Transcend CFX650. TS128GCFX650BM 128GB
Transcend CFX650. TS256GCFX650BM 256GB
Wise CFast 2.0 3400x 128GB
Wise CFast 2.0 3400x 256GB
The following CFast 2.0 cards are recommended for 2160p RAW up to 30 fps but have
beendiscontinued by the manufacturer.
Brand Card Name Storage
Lexar Professional 3400x 128GB
Lexar Professional 3400x 256GB
NOTE Only the 'D-series' of Sandisk CFast2.0 cards have been certified for use with
Blackmagic URSA Broadcast. These cards can be identified by a large ‘D’printed on
the back of the card in the lower left corner, and we have also listed the model
numbers to make them easier to identify. This model number varies slightly fromregion
to region, with the'x' in the model number changing in different markets. Forexample,
an 'A' in the UnitedStates and a 'G' in the Asia Pacific and Europe region.
18Storage Media
The following CFast 2.0 cards are recommended for 2160p ProRes 422 HQ up to 60 fps.
Brand Card Name Storage
Angelbird AVpro CF 160GB
Angelbird AVpro CF 240GB
KomputerBay 3400x CFast 2.0 Card 64GB
KomputerBay 3400x CFast 2.0 Card 128GB
KomputerBay 3600x CFast 2.0 Card 64GB
Lexar Professional 3500x 64GB
Lexar Professional 3500x 128GB
Lexar Professional 3500x 256GB
Lexar Professional 3600x 128GB
Lexar Professional 3600x 256GB
SanDisk Extreme Pro. SDCFSP-128G-x46D 128GB
SanDisk Extreme Pro. SDCFSP-256G-x46D 256GB
Silicon Power CFX310 CFast 2.0 Card 256GB
Transcend CFX650. TS128GCFX650 128GB
Transcend CFX650. TS256GCFX650 256GB
Transcend CFX650. TS128GCFX650BM 128GB
Transcend CFX650. TS256GCFX650BM 256GB
Wise CFast 2.0 3400x 128GB
Wise CFast 2.0 3400x 256GB
Wise CFast 2.0 3500x 512GB
The following CFast 2.0 cards are recommended for 2160p ProRes 422 HQ up to 60 fps
buthavebeen discontinued by the manufacturer.
Brand Card Name Storage
Lexar Professional 3400x 32GB
Lexar Professional 3400x 64GB
Lexar Professional 3400x 128GB
Lexar Professional 3400x 256GB
For the most up to date information on supported CFast cards for Blackmagic URSA Broadcast
please refer to the Blackmagic Design support center at www.blackmagicdesign.com/support.
19Storage Media
SD Cards
In addition to CFast 2.0 cards, Blackmagic URSA Broadcast can record on high speed UHS-I
and UHS-II type SD cards. Using high end SDXC UHS-II cards, you can even record ProRes HQ
footage in 2160p for Ultra HD content!
With SD cards, you can use more affordable storage media when shooting compressed video
formats in HD. SDXC and SDHC are a very common media storage format for consumer still and
video cameras.
If you've ever shot video using a DSLR, or use a Blackmagic Micro Cinema Camera, Pocket Cinema
Camera or Blackmagic Video Assist, you probably already have compatible SD cards to use.
For projects that don't require the highest resolution RAW files, or for when long recording
durations are needed, using SD cards can be very economical. Lower capacity and lower
speed SD cards can also be used for storing and loading LUTs and Presets.
Inserting an SD Card
To insert an SD Card.
1 Open the fold out monitor to access the SD card slots. These are the smaller slots
located between the CFast slots.
2 Set the storage media toggle switch above the slots to 'SD'.
3 With the label on the SD card card facing away from the touchscreen, insert the card
until you feel it lock into place. To remove an SD card, push the SD card in to eject it.
4 The storage indicator at the bottom of the LCD touchscreen will show the name and
record time remaining of detected cards.
When recording to SD cards on URSA Broadcast make sure
the storage media selection switch is set to 'SD'
Choosing a fast SD Card
If you are recording Ultra HD, then we recommend using the fastest high speed UHS-II type SD
cards available. It’s important to use high speed UHS-II SDcards for Ultra HD and HD recording,
or UHS-1 cards for HD recording. These cards are rated for fast data speeds and support larger
storage sizes. Generally the faster the cards, thebetter. Refer to the recommended SD cards
table earlier in this section for more information.
Before using your cards, you will need to format them to either HFS+ or exFAT formats. You can
format your media via your camera's ‘storage’ settings. Refer to the ‘settings’ section for more
information on storage settings.
ISO/GAIN SHUT TER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
20Storage Media
If you want to, you can format your cards using a Mac or Windows computer. When using your
media on Mac OS, you can use HFS+ which is the Mac disk format. If you are using Windows
then you should use exFAT format, which is the Windows disk format that Mac computers can
also read.
The tables below identify the SD cards recommended for use when shooting with Blackmagic
URSA Broadcast. It’s worth regularly checking the latest version of this manual for more up to
date information. Updated manuals are available for download from the Blackmagic Design
website at www.blackmagicdesign.com/support
Which SD cards should I use with URSA Broadcast?
The following SD cards are recommended for recording up to 2160p30 ProRes HQ.
Brand Card Name Storage
Angelbird AV Pro 300MB/s UHS-II 64GB
Angelbird AV Pro 300MB/s UHS-II 128GB
Delkin Devices UHS-II 250MB/s SDHC 32GB
SanDisk Extreme Pro UHS-II 280MB/s SDHC 32GB
SanDisk Extreme Pro UHS-II 280MB/s SDXC 64GB
SanDisk Extreme Pro UHS-II 300MB/s SDHC 32GB
SanDisk Extreme Pro UHS-II 300MB/s SDXC 128GB
Sony SF-G64 300MB/s UHS-II 64GB
Sony SF-G128 300MB/sUHS-II 128GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 64GB
Transcend Ultimate UHS-II 180MB/s SDXC 64GB
Wise 285MB/s UHS-IISDXC 64GB
The following SD cards are recommended for RAW Lossless recording up to 1080p30
Brand Card Name Storage
Angelbird AV Pro 300MB/s UHS-II 64GB
Angelbird AV Pro 300MB/s UHS-II 128GB
Delkin Devices UHS-II 250MB/s SDHC 32GB
Lexar Professional2000x UHS-II 300MB/s SDHC 32GB
Lexar Professional 2000x UHS-II 300MB/s SDXC 64GB
SanDisk Extreme Pro UHS-I 95MB/s SDXC 64GB
NOTE For high resolution, high frame rate and RAW recording, we recommend using
CFast 2.0 media, which is typically faster and is available in higher storage capacities.
21Storage Media
Brand Card Name Storage
SanDisk Extreme Pro UHS-I 95MB/s SDXC 128GB
SanDisk Extreme Pro UHS-II 280MB/s SDXC 64GB
Sony SF-G64 300MB/s UHS-II 64GB
Sony SF-G128 300MB/sUHS-II 128GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 64GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 128GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 256GB
Transcend Ultimate UHS-II 180MB/s SDXC 64GB
The following SD cards are recommended for recording up to 1080p60 ProRes HQ
Brand Card Name Storage
Angelbird AV Pro 300MB/s UHS-II 64GB
Angelbird AV Pro 300MB/s UHS-II 128GB
Delkin Devices UHS-II 250MB/s SDHC 32GB
Lexar Professional2000x UHS-II 300MB/s SDHC 32GB
Lexar Professional 2000x UHS-II 300MB/s SDXC 64GB
Lexar Professional 1000x UHS-II 150MB/s SDXC 64GB
SanDisk Extreme Pro UHS-I 95MB/s SDXC 64GB
SanDisk Extreme Pro UHS-I 95MB/s SDXC 128GB
SanDisk Extreme Pro UHS-II 280MB/s SDHC 32GB
SanDisk Extreme Pro UHS-II 280MB/s SDXC 64GB
SanDisk Extreme Pro UHS-II 300MB/s SDXC 64GB
SanDisk Extreme Pro UHS-II 300MB/s SDXC 128GB
Sony SF-G64 300MB/s UHS-II 64GB
Sony SF-G128 300MB/sUHS-II 128GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 64GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 128GB
Toshiba Exercia Pro UHS-II 270MB/s SDXC 256GB
Transcend Ultimate UHS-II 180MB/s SDXC 64GB
Wise 285MB/s UHS-IISDXC 64GB
For the most up to date information on supported SD cards please refer to the Blackmagic
Design support center at www.blackmagicdesign.com/support.
22Storage Media
Locking and Unlocking SD Cards
SD cards can be write protected, or 'locked', to prevent data from being overwritten.
When inserting an SD card, make sure the card is not write protected. Write protection is
disabled by moving the plastic switch on the left side of the card to the position closest to
theconnectors. After recording, you can then write protect the card by sliding the switch
backdown to the bottom position.
Move the lock tab up or down
to lock or unlock an SD card
Your URSA Broadcast will let you know if you've inserted a locked SD card by displaying a
'locked' icon on the LCD touchscreen and storage menu. If the card is locked, you won't be able
to record video, capture stills, or export LUTs and presets until it is unlocked.
Your URSA Broadcast will indicate when locked SD storage media is inserted
Preparing Media for Recording
You can format your CFast or SD cards using the ‘format card’ feature on URSA Broadcast's
storage and formatting screen, or via a Mac or Windowscomputer. We recommend formatting
storage media using URSA Broadcast for best performance.
HFS+ is also known as Mac OS extended and is the recommended format as it supports
'journaling'. Data on journaled media is more likely to be recovered in the rare event that your
CFast card becomes corrupted. HFS+ is natively supported by Mac OS.
ExFAT is supported natively by Mac OS and Windows without needing to purchase any
additional software. However, exFAT does not support journaling.
LOCK
▼
23Storage Media
Preparing Media on Blackmagic URSA Broadcast
1 Tap either storage indicator at the bottom of the LCD touchscreen to enter the
storage manager.
2 Tap 'Format Card 1' or 'Format Card 2' to format the CFast card in slot 1 or 2, respectively.
Use your URSA Broadcast's storage manager to format your camera's CFast cards
3 Tap 'edit reel number' if you would like to manually change the reel number.
4 Choose OS X Extended or exFAT format and tap the 'format card' button.
Tap 'edit reel number' to manually edit the reel number
5 You will be asked to confirm your selection. Tap 'format card' again to continue or
'cancel' to cancel the format.
NOTE Before formatting your media, it's important to make sure the media storage
switch has been set correctly to either SD card or CFast card. Always check the
settings carefully before formatting.
24Storage Media
Check that you have selected the correct card before formatting
6 You will be notified when the format is complete.
7 Tap 'ok' to return to the storage manager.
8 Tap 'exit' to leave the storage manager.
When formatting CFast or SD cards using the storage manager, your URSA Broadcast will use
the Camera ID from the slate and reel number to name the card. Your camera automatically
increments reel numbers each time you format. If you need to manually enter a specific reel
number, tap the 'edit reel number' and enter the number you want to format the card as.
When you start a new project, reel numbering will reset to 1 when you tap on ‘reset project data’
in the 'project' tab of the slate.
It's worth mentioning that if your camera's media storage switch is set to SD or CFast, only the
selected card type will be formatted when you tap 'format card'.
The storage manager on your URSA Broadcast will indicate
whether you are currently managing CFast or SD media
For information on switching between CFast and SD storage see the 'SD Cards' section earlier
in this manual.
TIP If your URSA Broadcast is set to record to SD cards and you have inserted alocked
card, you will be unable to format that card. A padlock icon will appear next to the
card's name in the storage manager. Simply unlock thecard to format and record. For
more information on locking SD cards, see the 'SDcards' section of this manual.
25Storage Media
Preparing Media on Mac
Use the Disk Utility application included with Mac OS to format your card in the HFS+ or exFAT
formats. Remember to back up anything important from your CFast or SD card as all data will be
lost when it is formatted.
1 Connect the CFast or SD card to your computer using a CFast 2.0 or SD reader/
writer or CFast drive, and dismiss any message offering to use your card for Time
Machine backups.
2 Go to applications/utilities and launch Disk Utility.
3 Click on the disk icon of your CFast or SD card and then click the ‘erase’ tab.
4 Set the ‘format’ to ‘Mac OS extended ( journaled)’ or ‘exFAT’.
5 Type a ‘name’ for the new volume and then click ‘erase’. Your CFast or SD card will
quickly be formatted and made ready for use.
Use Disk Utility on Mac OS to erase your CFast card
in the Mac OS extended ( journaled) or exFAT format
Preparing Media on Windows
The ‘format’ dialog box can format a drive in the exFAT format on a Windows PC. Remember to
back up anything important from your card as all data will be lost when it is formatted.
1 Connect the CFast or SD card to your computer using an external reader/writer
orCFast drive.
2 Open the ‘start’ menu or ‘start’ screen and choose ‘computer’.
Right click on your CFast or SD card.
3 From the contextual menu, choose ‘format’.
4 Set the file system to 'exFAT' and the allocation unit size to 128 kilobytes.
5 Type a volume label, select ‘quick format’ and click ‘start’.
6 Your storage media will quickly be formatted and made ready for use.
26Storage Media
Use the ‘format’ dialog box feature in Windows to
format your CFast or SD card in the exFAT format
NOTE If your recordings are dropping frames, check that your card is on our list
of recommended media for the codec and frame size you are using. For lower data
rates try lowering your frame rate, resolution, or try a compressed codec such as
ProRes. Check the Blackmagic Design website for the latest information at
www.blackmagicdesign.com
27Storage Media
Recording
Recording Clips
B4 broadcast lenses typically have a record button positioned on the lens handle where your
thumb would be when shooting from the shoulder. Simply press the record button on the
handle to start recording. Press again to stop recording.
Your camera has record buttons built into the camera itself. A record button is located on the
inside control panel, and on the forward control panel for convenient access when shooting
from the shoulder.
Choosing the Codec, Resolution and Sensor Area
Your Blackmagic URSA Broadcast records using Apple ProRes and Avid DNx codecs, as well as
CinemaDNG RAW. Sensor frame rate options will vary depending on the codec and resolution
you choose.
It’s worth noting that clips recorded using RAW 4:1 and RAW 3:1 compression are compatible
with DaVinci Resolve, but may be incompatible with other software applications. If you plan on
using other editing software, you should check its compatability with compressed RAW formats
before filming.
TIP Blackmagic URSA Broadcast has a LANC input so you can easily attach an external
LANC controller and trigger the record externally. Forexample, you may want to attach
a LANC controller to your tripod so you can trigger the recording without taking your
hands off the focus ring and tripod handle.
NOTE If you toggle the 'storage media selection' switch mid-recording, the camera will
complete the current recording before switching to the other type of media. This
ensures that you can not damage your recording if the switch is adjusted during a take.
TIP When shooting with SD cards, it's best to choose a lower resolution and quality
such as Ultra HD ProRes HQ, DNxHD or lower.
2828Recording
Maximum Sensor Frame Rates
The tables below contain available codecs, resolutions and their maxiumum sensor frame rates.
URSA Broadcast Maximum Frame Rates
Resolution Codec Max Frame Rate
Ultra HD
3840x2160 ProRes 444XQ 40
3840x2160 ProRes 444 40
3840x2160 ProRes HQ 60
3840x2160 ProRes 422 60
3840x2160 ProRes LT 60
3840x2160 ProRes Proxy 60
HD
1920x1080 ProRes 444XQ 60
1920x1080 ProRes 444 60
1920x1080 ProRes HQ 60
1920x1080 ProRes 422 60
1920x1080 ProRes LT 60
1920x1080 ProRes Proxy 60
1920x1080 (progressive) DNxHD 220x 60
1920x1080 (progressive) DNxHD 145 60
1920x1080 (interlaced) DNxHD 220x 30 (60i)
1920x1080 (interlaced) DNxHD 145 30 (60i)
To select your desired codec and resolution:
1 Press the 'menu' button on the control panel.
2 Navigate to the first page of the 'record' tab.
3 Tap your desired combination of codec, quality, and resolution.
4 Press 'menu' to exit.
Recording Formats and Project Frame Rates
After setting your codec and resolution, you should set your ‘project’ and ‘sensor’ frame rates.
Refer to the 'recording' section in this manual for more information about frame rates.
The project frame rates available are:
23.98, 24, 25, 29.97, 30, 50, 59.94, and 60 frames per second.
The only exception is ProRes 444XQ or ProRes 444, which offers project frame rates of 23.98,
24, 25, 29.97 and 30 when shooting higher than HD resolution. For lossless Ultra HD RAW,
frame rates above 30 fps use dual card mode.
NOTE Off speed frame rates are not available when using interlaced formats.
2929Recording
Trigger Record
Your URSA Broadcast automatically sends a signal via the SDI outputs that will trigger recording
when connected to equipment that supports the SDI trigger record feature, such as Blackmagic
Video Assist. This means when you press record on your camera, your external SDI equipment
will also start recording, and will stop recording when you press record again.
You will also need to set your equipment to enable SDI trigger recording to make sure it
responds to the trigger signal from your URSA Broadcast. If your SDI equipment supports SDI
trigger recording, it can usually be enabled using your SDI equipment’s settings menu.
You can trigger recording on other SDI video equipment, for example
BlackmagicVideo Assist 4K, using the trigger record feature on your camera
Record Duration Table
Tables are provided showing approximate record duration in minutes and seconds compared
toformat, project frame rate and media size. The maximum recording time for your storage
media will vary depending on the data size of the CFast or SD card and the recording format
and framerate you choose. For example, the storage rate for Apple ProRes 422 HQ at
3840x2160 is approximately 880 Mbps. At 24 frames per second, you can record
approximately 47minutes ofvideo on a 256GB CFast 2.0 or SD card. At the same settings
youcan record approximately 23minutes of video on a 128GB CFast 2.0 or SD card, which is
approximately half the record duration of the 256GB card.
It should be noted that record duration on CFast 2.0 and SD cards can also vary slightly
between cards from different manufacturers. It can also vary depending on whether the storage
media is formatted as ExFat or Mac OS Extended.
Simple scenes containing less detail tend to require less data than more dense compositions.
The values in these tables assume shots with a high complexity, which means you may get
slightly longer record times depending on the nature of your shoot.
3030Recording
HD Progressive
CFast
Card
Frame
Rate
DNxHD
220x
DNxHD
145"
ProRes
444 XQ
ProRes
444
ProRes
422 HQ
ProRes
422
ProRes
422 LT
ProRes
422 Proxy
Duration Duration Duration Duration Duration Duration Duration Duration
256GB
23.98 190 mins 285 mins 84 mins 127 mins 189 mins 283 mins 403 mins 877 mins
24 189 mins 285 mins 84 mins 127 mins 189 mins 283 mins 403 mins 877 mins
25 182 mins 274 mins 81 mins 122 mins 182 mins 271 mins 387 mins 843 mins
29.97 152 mins 229 mins ––––––
30 152 mins 229 mins 67 mins 101 mins 152 mins 227 mins 324 mins 710 mins
50 91 mins 138 mins 40 mins 61 mins 91 mins 137 mins 196 mins 434 mins
59.94 76 mins 115 mins ––––––
60 76 mins 115 mins 33 mins 50 mins 76 mins 114 mins 163 mins 363 mins
HD Interlaced
CFast
Card
Frame
Rate
DNxHD
220x (1080i)
DNxHD
145 (1080i)
Duration Duration
256GB
50i 182 mins 274 mins
59.94i 152 mins 229 mins
60i 152 mins 229 mins
ULTRA HD
CFast
Card
Frame
Rate
CinemaDNG
RAW
CinemaDNG
RAW 3:1
CinemaDNG
RAW 4:1
ProRes
444 XQ
ProRes
444
ProRes
422 HQ
ProRes
422
ProRes
422 LT
ProRes
422 Proxy
Duration Duration Duration Duration Duration Duration Duration Duration Duration
256GB
23.98 19 mins 37 mins 45 mins 21 mins 31 mins 47 mins 71 mins 101 mins 230 mins
24 19 mins 37 mins 45 mins 21 mins 31 mins 47 mins 71 mins 101 mins 230 mins
25 18 mins 35 mins 43 mins 20 mins 30 mins 45 mins 68 mins 97 mins 221 mins
30 15 mins 29 mins 36 mins 16 mins 25 mins 38 mins 57 mins 81 mins 184 mins
50 9 mins 17 mins 21 mins ––22 mins 34 mins 48 mins 111 mins
60 7 mins 14 mins 18 mins ––18 mins 28 mins 40 mins 92 mins
3131Recording
Playback
Playing Back Clips
Once you have recorded your video, you can use the transport control buttons to play back
your clips.
Press the ‘play’ button once for instant playback and you’ll see your recorded video on
URSABroadcast's LCD touchscreen. Your clips can also be viewed on any display connected to
yourURSABroadcast's SDI outputs.
URSA Broadcast
The controls of your camera work just like a CD player, so pressing the ‘forward skip’ button
willskip to the start of the next clip. Press the ‘reverse skip’ button once to go to the start of the
current clip or press twice to skip back to the start of the previous clip. Hold the ‘forward’ or
‘reverse skip’ button to play or reverse at 2x speed. Once shuttling forward or backwards, press
the 'fast forward' or 'reverse skip' buttons twice for 4x, three times for x8 and four times for x16.
You can also use the forward and reverse skip buttons to open or close the iris on compatible
lenses while recording clips.
When recording a clip using a sensor frame rate that differs from your project frame rate, your
clip’s playback speed will also differ. For example, imagine you have set your camera’s project
frame rate to match your post production timeline of 24 frames per second. If you record a clip
with your sensor frame rate set to 60 frames per second, your clips will play back in slow motion
on both the camera and on your post production timeline.
ISO/GAIN SHUT TER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
TIP Blackmagic URSA Broadcast has playback and transport controls buttons on both
the internal and ergonomic control panels.
NOTE Blackmagic URSABroadcast will playback clips sharing the same codec family,
frame rate and resolution. For example, if you want to play back HD clips recorded
using ProRes 422 HQ at 29.97 fps, make sure your camera is set to the same frame rate
and resolution, and a ProRes codec.
TIP Refer to the 'recording' section of this manual for more information about frame
rate.
3232Playback
Operating URSA Broadcast
Industry standard BNC connectors are located on the right and rear panel of your
URSABroadcast for SDI connections. There are also two separate LANC inputs, one for the
optional URSA side handle and one at the rear of the camera for an external LANC controller.
XLR inputs are on the top panel behind the mounting points for professional balanced analog
audio and AES digital audio. A 4 pin XLR connector is provided on the rear panel for external
power input, and an output is available on the right side for powering accessories such as
Blackmagic URSAViewfinder.
The USB port above the storage media slots is for connecting to a computerwhen updating
your camera’s internal software.
Camera Front
URSA Broadcast with B4 mount
1 Stereo Microphone
Built in high quality stereo microphone. Refer to the ‘settings’ section for information on
microphone audio settings.
2 Lens Mount
URSA Broadcast is shipped with a B4 mount, however the mount is interchangeable
and compatible with URSA Mini Pro 4.6K EF, PL and F mounts. Refer to the
'interchangeable lens mount' section for more information.
3 Broadcast Lens Connector
This connector provides power and control to compatible PL and B4 mount lenses
with12 pin connections. Refer to the 'using servo zoom lenses' section in this manual
for a list of compatible lenses, including PL and B4 models.
4 ND Filters
Use this wheel to cycle through three built in neutral density filters, as well as a clear
setting. See the section 'URSA Broadcast Controls' for more information.
5 Auto White Balance
The auto white balance button is marked 'Auto W/B' and is used when you want to
set the white balance based on the what is currently in the center of the screen.
Forexample, setting auto white balance on a gray card placed in front of the lens.
Seethe section 'URSA Broadcast Controls' for more information.
NOTE Your camera has additional ergonomic controls that make it easy toquickly
access the camera’s essential settings and functions without opening the foldout
touchscreen.
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
4
5
3
1
2
33Operating URSA Broadcast
Left Side
URSA Broadcast's left side panel lets you insert CFast cards, access the control panel and
change settings. The USB-C port is located just above the CFast slots so you can easily plug
into a computer when updating your URSA Broadcast's internal software.
Left Side Controls
The left side panel features additional controls for easy access to all of your camera's essential
functions. These controls are split between the forward control panel, the ergonomic control
panel located on the outside of the foldout touchscreen monitor, and a control panel on the
inside of the foldout monitor.
URSA Broadcast with touchscreen closed
6 Power Switch
Power switch for turning on the camera. There is also a backup power switch inside the
fold out monitor that allows the camera to be powered on by pressing both the record
and forward clip buttons at the same time.
7 ND Filters
Your URSA Broadcast has three internal neutral density filters to adjust the amount
of light reaching the sensor. Four settings are available, ranging from clear to six
stops of light reduction. Simply turn this wheel to move through the available settings.
The filter will click into place for each setting. For more information see the section
'URSABroadcast control buttons' in this manual.
8 Forward Control Panel
The forward control panel provides quick access to all of your URSA Broadcast's
essential functions. These controls are located for easy access when shooting on a
tripod or on the shoulder, and you can use them to adjust settings such as ISO, shutter
speed, iris, white balance, frame rate, and more. See the section 'URSA Broadcast
control buttons' for more information.
9 Ergonomic Control Panel
On the outside of your URSA Broadcast's foldout touchscreen monitor, you'll find an
LCD status monitor and a variety of controls for fast, powerful monitoring control. Here
you can see all of your camera's status information at a glance, as well as controlling
a variety of powerful monitoring functions. See the section 'URSA Broadcast control
buttons' for more information.
ON OFF
7
6
8
9
34Operating URSA Broadcast
10 Storage Media Selection Switch
Use this switch to choose between CFast and SD storage media.
11 USB Port
USB-C port for updating internal software. See the section 'Blackmagic Camera Setup
Utility' for more information.
URSA Broadcast with touchscreen open
12 Internal Control Panel
When your URSA Broadcast's foldout monitor is open, you have access to the internal
control panel. Use the controls here to set your audio inputs as well as phantom power
settings. You can also access iris, focus, menu and playback controls and more. See the
section 'URSA Broadcast control buttons' for more information.
13 Memory Card Slots
Insert CFast 2.0 cards, SDXC or SDHC cards for record and playback. Please note that
you should check the list of certified cards in this manual or on our website. See the
section 'storage media' for more information.
Right Side
URSA Broadcast's right side panel gives you access to all the video, audio and power
connectors plus the side handle rosette mount.
14 Side Rosette Mount
Standard rosette mount for the side handle. Refer to the ‘Getting Started’ and
‘BlackmagicURSA Mini Shoulder Mount Kit’ sections.
URSA Broadcast has a rosette mount built into the right side if
you need to attach an optional URSA Mini side handle
ISO/GAIN SHUT TER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
1110
13
12
SDI OUT
SDI OUT
SDI IN
12V
LENS
REF IN
TC IN
12V OUT
PUSH
14
15
16
17
18
35Operating URSA Broadcast
15 HD Monitoring Output
3G-SDI connector for down converted 1080HD output. Use with Blackmagic URSA
Viewfinder or external monitors. Refer to the 'camera video output' and ‘Blackmagic
URSA Viewfinder’ sections for more information.
16 +12V Power Output
4 pin XLR connector for powering Blackmagic URSA Viewfinder, Blackmagic URSAStudio
Viewfinder or external monitors and accessories. Refer to the ‘Blackmagic URSA
Viewfinder’ and ‘Blackmagic URSA Studio Viewfinder’ sections for more information.
17 LANC Input
Dedicated 2.5mm TRS LANC connector for Blackmagic URSA Mini side handle.
Refertothe 'getting started' section for more information on connecting
theside handle.
18 Broadcast Lens Control Connector
Provides power and control to compatible PL and B4 mount lenses with 12pin connections.
Rear Panel
19 Battery Mount Plate
Your Blackmagic URSA Broadcast has 4 mounting points and a molex connector for
attaching the optional V mount or gold mount battery plate.
Refer to the 'mounting batteries' section for more information.
20 LANC
This 2.5mm jack is used for external LANC remote control, such as an external record
start stop control mounted to a tripod arm. LANC supports record start and stop, plus
iris and focus control using compatible EF lenses.
21 12G-SDI Out
Blackmagic URSA Broadcast's 12G-SDI output is used to send HD and Ultra HD video
to SDIequipment such as routers, monitors, SDI capture devices, and broadcast
switchers. You can also connect the 12G-SDI output to an external recorder such as
theBlackmagic Video Assist for backup recording.
19
20
21
22
23
24
25
36Operating URSA Broadcast
22 12G-SDI In
The 12G-SDI input is used for connecting to a switcher or external recorder. This means
if you’re using URSABroadcast in a live broadcast, you can plug in the switcher’s
program output and monitor it during the shoot, or check playback from an external
recorder. Press and hold the program button to see your program feed.
For more information, refer to the 'Ergonomic Control Panel' section in this manual.
You can also use an ATEM switcher's ‘camera control’ feature to remotely adjust many
URSABroadcastfunctions. See the section 'Understanding Studio Camera Control' for
moreinformation. The Blackmagic 3G-SDI Arduino Shield can also be used to provide
custom control of the camera over SDI.
23 Reference and Timecode In
This input automatically recognizes and switches between timecode and reference
input signals. Synchronize Blackmagic URSA Broadcast to a common reference signal,
such as tri-level sync, by connecting to the ‘reference’ BNC input marked ‘REF In’. This
lets you sync URSA Broadcast to other SDIvideo equipment, for example, when using
multiple cameras connected to a switcher. You can also use this connector to match
an externaltimecode source to sync up multiple cameras, or audio and picture when
shooting dual-system. This ensures audio and picture, or video from multiple cameras,
can be easily synchronized during post production. It's worth noting that to use a
reference signal through this input, you must set your reference source to 'external' in
your URSABroadcast's setup menu.
You can also set your camera to use the reference signal from an ATEM switcher via the
Program SDI Input. This is helpful when working with ATEM switchers because all
cameras can receive program return, camera control and be referenced together using
a single SDI signal. See the 'setup settings' section in this manual for more information.
24 12V+ Power Input
Use the 4 pin 12-20 Volt DC XLR connector to plug in power from external sources such
as the supplied power adapter, or portable batteries.
25 Headphone/Headset
The 3.5mm jack output is used for headphone monitoring and talkback. You can plug in
iPhone and Android compatible headsets that have a built in microphone for quick and
easy talkback. Talkback audio is embedded in channels 15 and 16 of the SDI output.
Top Panel
External analog audio can be plugged into the
balanced XLR connectors on the top panel
26 1/4 Inch Mounting Points
Your camera’s top panel contains 4 strong mounting points for attaching the top handle
andaccessories.
AUDIO IN
1
AUDIO IN
2
27
26
37Operating URSA Broadcast
27 XLR Audio In
Use the balanced XLR inputs to plug in external analog audio from professional
equipment such as audio mixers, PA systems or external microphones. The XLR
connectors supply 48V phantom power so you can use microphones that aren’t self
powered. To enable phantom power select ‘inputs’ on the ‘audio input’ setting, plus
‘mic low’ or ‘mic high’ on the audio ‘input levels’ settings. Scroll the menu to reveal the
‘phantom power’ setting and select ‘on’. To disable phantom power, select ‘off’. Phantom
power is active only when external audio inputs are selected in the audio settings.
Underside
28 1/4 Inch Mounting Points
The 5 mounting points on the underside are used for attaching tripod heads,
theoptional URSA Mini shoulder mount kit and other accessories.
Blackmagic URSA Mini
28
38Operating URSA Broadcast
URSA Broadcast Controls
Blackmagic URSA Broadcast has control panels on the chassis, outside and inside of the
foldout touchscreen monitor to give you quick, easy access to all of its essential functions as
well as powerful monitoring tools. These panels are designed to be close to hand whether
shooting from a tripod, handheld or with the shoulder mount kit.
Forward Control Panel
Your camera's forward control panel groups together all of the controls you might need to
adjust when setting up a shot and recording. These are all designed for easy access while
shooting with the foldout monitor closed, such as when using the shoulder mount kit.
URSA Broadcast forward control panel
1 Power Switch
Power your URSA Broadcast by moving this switch to the ‘on’ position. Power off by
moving the switch to the 'off' position.
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
6
8
1
4 5
9
7
3
2
TIP You can also power your URSA Broadcast on or off via a combination
ofcontrol panel switches. Holding the ‘rec’ and 'forward skip' buttons will
power upthe camera if it is turned off, or power it off if it is turned on. If your
camera’s power switch is set to ‘on’ but your camera is powered down, it may
have been powered down via the control panel. Toggle the power switch to
return it to normaloperation.
39URSA Broadcast Controls
2 ND Filters
Your URSA Broadcast has three internal neutral density filters. Together with a clear
filter, the available settings are ‘2,’ ‘4’ and ‘6’ stops. These filters allow you to reduce the
amount of light reaching your URSA Broadcast's sensor by a preset number of
exposure 'stops'. Byreducing the exposure, you can continue shooting at wide
apertures in bright conditions such as outdoors on sunny days.
To adjust your neutral density setting, rotate the wheel upwards or downwards.
The'clear' setting means there is no ND filter being used. From settings 2 to 4, the
NDfilters gradually increase in density so you can decrease light if you need to.
Because different people prefer to use different terms for each ND filter, the
measurement of your ND settings can be customized in the LCD menu. You can identify
the ND filter number, amount of stops in light reduction, or the fraction representing the
amount of light reduced for the filters to suit your preference.
Neutral Density Filter Settings
Wheel position ND number Stops Fraction
1clear 0all
20.6 21/4
31.2 41/16
41.8 61/64
3 Settings Wheel
Set this wheel's function by adjusting the adjacent three position switch next to the
wheel. The options are ‘headphone,’ ‘monitor’ and 'iris'.
Headphone
When set to 'headphone', the settings wheel will adjust headphone audio levels.
Rotatethe wheel upwards to increase volume, and downwards to decrease.
Monitor
When set to 'monitor', the settings wheel adjusts audio levels on your camera's built
in monitor speaker. The speaker is located on the outside of the LCDmonitor door
and can be used to monitor audio without headphones. Rotate the wheel upwards to
increase volume, and downwards to decrease. This function is disabled while recording
from the camera's internal microphone to prevent unwanted feedback.
Iris
When set to 'iris', the settings wheel is used to adjust the aperture of compatible lenses
mounted to your URSA Broadcast. Rotating the wheel downwards opens the iris, and
turning the wheel upwards closes the iris. These directions mimic the operation of
aperture on adjustable still and cinema lenses.
TIP To change aperture settings via the settings wheel, URSA Broadcast must
be fitted with a lens that supports changing aperture via the camera. Ifyou are
using a B4 or PL lens connected via the broadcast 12 pin connector, make sure
that the lens iris switch on the handgrip is set to ‘A’ or 'auto'.
40URSA Broadcast Controls
4 Menu Wheel
When 'status text' is turned on for your camera's front SDI output, you can use the menu
wheel to navigate many of the head up display features usually accessed via the LCD
touchscreen.
Simply press the menu wheel as you would a button to access your URSA Broadcast's
head up display on an external monitor such as Blackmagic SmartView, Video Assist or
URSA Viewfinder. While the menu wheel is active, turn the wheel to select features
such as LCDmonitor options, frame rate, ISO, white balance and tint. Press the wheel to
confirm selections and make additional changes, and use the 'back' button next to the
wheel to cancel. You can also use the back button to move up a menu level, or exit the
menu completely if you're at the top level. The menu will automatically close after one
minute of inactivity.
For more information on setting status text and the controls available, see the
'touchscreen controls' and 'monitor settings' sections of this manual.
5 Lock
Toggle this switch to lock all of the controls on the forward control panel to prevent
them from being accidentally adjusted while shooting. Move this switch to the lower
position to lock, and the upper position to unlock.
6 ISO, Shutter and White Balance Switches
These small switches are used to adjust your gain/ISO, white balance, and shutter
settings. They are helpful when you want to make fast adjustments without taking your
eyes off the shot. Gently push the switches up or down to make setting adjustments.
Theswitches are spring loaded so they always return to a neutral position.
Gain/ISO
Push this switch up or down to adjust your camera’s gain setting. Pushing up will
increase the setting one interval, and pushing down will decrease one interval.
Theavailable settings are -6dB, 0dB, +6dB, +12dB.
Shutter
Use this switch to adjust the camera’s shutter speed. Pushing up will increase the
shutter speed to the next available preset, and pushing down will decrease to the
next available preset. Holding the switch up or down will move more quickly through
available values. There are twelve shutter speed presets between 1/24and 1/2000.
White Balance
This switch is used to adjust the camera’s white balance. Pushing up will increase the
color temperature by 50K, and pushing down will decrease it by 50K. Holding the
switch up or down will move more quickly through available values.
TIP When shooting in busy or uncontrolled environments, you can lock your
URSABroadcast's forward control panel when you leave your camera
unattended. Thisensures that your settings are not changed unintentionally by
others.
TIP Your URSA Broadcast can also suggest flicker free shutter speeds based
on the power frequency in your region. These must be selected through the
LCDtouchscreen menu. For more information see the ‘touchscreencontrols’
section in this manual.
41URSA Broadcast Controls
7 Auto White Balance
Pressing this button will reveal a white ‘auto white balance’ box in the center of the
LCDfor five seconds. This box will also appear on any SDI output that has ‘status text’
enabled in the menu settings. The white box indicates the specific area of your image
where the white balance will be calculated from, so your gray card should be
positioned within this box. Pressing and holding the 'Auto W/B’ button for three
seconds will perform an ‘auto white balance’, and the square will change from white to
green to confirm that this has been performed successfully.
For more information on enabling status text for your URSA Broadcast's front or main
SDIoutputs, see the 'monitor settings' section in this manual.
8 F1 and F2
The F1 and F2 keys are ‘function’ keys that can be programmed to a variety of
commonly used functions using your URSA Broadcast's 'setup' menu. By default,
F1issetto 'false color' while F2 is set to 'display LUT'.
For more information, see the 'touchscreen controls' section of this manual.
HFR
Use the HFR or ‘high frame rate’ button to toggle off speed frame rates. To use this
button, simply set the off speed frame rate you’d like to use in your URSA Broadcast's
‘frame rate’ menu. Pressing this button will toggle between your chosen off speed
frame rate and project frame rate. It's worth mentioning that this setting can only be
adjusted when the recording is stopped.
For more information on project and off speed frame rates, see the ‘touchscreen
controls’ section in this manual.
9 Record
The ‘record’ button is marked REC on your Blackmagic URSA Broadcast's left side.
Pressthe record button to start and stop recording. Refer to the ‘recording’ section for
more information.
Ergonomic Control Panel
On the outside of your URSA Broadcast's touchscreen monitor, you'll find an LCD status monitor
and a variety of monitoring controls. This panel lets you see all of your camera's status
information at a glance, as well as monitoring and adjusting audio levels. Automatic focus can
be set using compatible lenses and the transport controls let you playback clips.
URSA Broadcast ergonomic control panel
ON OFF
ON OFF
15
14
10 11
13
16
12
42URSA Broadcast Controls
10 Monitor Speaker
The small speaker built into the outside control panel lets you listen to the audio while
shooting. It is located where your ear would normally be when shooting with the
camera on your shoulder.
To adjust the volume of the speaker, simply rotate the settings wheel as described in
the 'URSA Broadcast Controls' section.
11 Monitor Channel Select
Your URSA Broadcast currently supports two channels of audio. In a future software
update, up to four channels will be available, divided into pairs. You will be able to
choose the pair monitored by your LCD status display and monitor speaker by using
this switch.
12 Lock
Use this switch to lock all of the settings on your URSA Broadcast's ergonomic control
panel. The only controls that will remain active while the lock switch is 'on' arethe
monitor channel select switches.
13 Status LCD
This display shows you your URSA Broadcast’s essential settings at a glance, without
needing to open the internal touchscreen. This screen is designed to be visibleeven in
bright daylight. The following information is available:
Timecodes
Your URSA Broadcast displays three timecodes. If you have an external timecode
connected, this will be shown under the 'ext' indicator in the top left of the status LCD.
Your camera's internally generated timecode is shown next to this under the 'gen'
indicator. Both the external and generated timecodes are shown in hours, minutes,
seconds and frames.
The larger, main timecode indicator displays your current timecode as either clip
duration or timecode. You can switch between these two display modes by pressing
the 'timecode' button underneath the status LCD.
SHUTTER
ISO
Battery indicator
Audio metersCard indicatorIris
Low record
time remaining
FPS, Shutter Speed, White Balance
Record
indicator
Timecodes
SHUTTER
ISO
SHUTTER
ISO
SHUTTER
ISO
SHUTTER
ISO
SHUTTER
ISO
SHUTTER
ISO
SHUTTER
ISO
Gain/ISO
SHUTTER
ISO
Dropped
frame
indicator
SHUTTER
ISO
SHUTTER
ISO
43URSA Broadcast Controls
Battery indicator
If your URSA Broadcast is running on battery power, this indicator displays remaining
battery life in 25% increments. Each of the battery indicator’s four bars corresponds to
25% battery life remaining. When your battery drops below 20% charge, the colour of
the status LED, near the record button begins to flash. It will alternate slowly between
red and orange during recording and alternate between white and orange during
standby mode.
This indicator is not shown when your camera is running off mains power.
FPS, Shutter Angle, White Balance
The ‘FPS,’ ‘shutter,’ and ‘WB’ indicators display your camera’s current frame rate, Shutter
angle and white balance. The ‘fps’ indicator shows the current sensor frame rate.
Formore information on sensor and project frame rates, see the 'touchscreen controls'
section in this manual.
Gain/ISO
Displays your camera’s currently set gain.
Iris
Displays your current lens aperture. Depending on your lens type, this will be
displayedas an ‘f' or ’T’ stop.
Card Information
The ‘card 1’ and ‘card 2’ indicators will appear on your URSA Broadcast's status
LCDwhen these slots are occupied.
The ‘SD’ indicator appears if you are recording on SD cards, and disappears if you are
recording on CFast cards.
Record Indicator
While recording, a circular indicator will appear under the card or cards being currently
written to.
Low Time Remaining
A ‘low’ indicator will appear under the relevant card when you have approximately
5minutes of record time remaining.
Audio Meters
The peak audio meters display audio levels when using the internal microphone, or
viaexternal audio when connected. The display is calibrated to dBFS units and features
peak hold indicators which stay visible for a short time so you can clearly see the
maximum levels reached.
To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This
is the maximum level that your camera can record, meaning that any audio that exceeds
this level will be clipped, resulting in distortion.
Dropped Frame Indicator
This indicator will flash when your camera detects dropped frames. Once you stop
recording, the indicator will remain on the screen to let you know that the previous clip
detected dropped frames. This warning disappears the next time you start recording,
or if you power cycle the camera. For more information on avoiding dropped frames,
see the ‘storage media’ section in this manual.
NOTE You can set your URSA Broadcast to stop recording if dropped frames
are detected. See the ‘recordsettings’ section in this manual for more
information. This feature is user selectable as you may be able to get away with
brief periods of 'burst' recording at higher frame rates or resolutions when
shooting to slower media.
44URSA Broadcast Controls
14 Status LCD Controls
URSA Broadcast status LCD controls
Still
Press this button to capture a still image as a single uncompressed DNG frame. Image
files will be saved to the 'stills' folder in the root directory of the media you are currently
recording to. These will follow the file naming convention for video clips but the
filename will have an ‘S001’ representing the ‘still number’ as the last four digits of the
filename. To confirm you have successfully saved a still, an image of a camera will show
in the top right corner of the URSA Broadcast touchscreen and the record indicator on
the Status LCD will flash three times.
Hold
Use this button to temporarily hold the main status LCD timecode when the timecode
is in free running time of day code. The timecode will continue to run in the background
and return to its actual position when you release the ‘hold’ button. While holding you
can take note of the timecode for a particular event. This can be useful in electronic
news gathering or documentary situations for noting key timecode points.
Reset
The reset button allows you to reset the timecode to 00:00:00:00 when you are setting
your preset timecode.
Timecode
Press the ‘timecode’ button to toggle the main timecode display’s format between clip
duration and timecode. By default the timecode will be free running time of day code
as this is the most frequently used. If you press and hold the ‘timecode’ button for five
seconds it will switch the camera into record run timecode and the timecode generator
will flash as well as the first two digits of the large timecode display. This indicates that
you are now editing your preset timecode and allows you to set a specific timecode
number for your preset timecode.
Pressing ‘reset’ at this stage will zero the timecode and then you can turn and press
themenu wheel to set the desired value starting with hours, minutes, seconds and then
frames. When you are happy with the timecode, press and hold the ‘timecode’ button
again for three seconds to set this as your preset timecode point. You will notice that
the timecode generator now shows this value and will only increment when the camera
is recording giving you continuous ascending timecode values. To switch your
timecode back to free running time of day code, press the ‘timecode’ and ‘hold’ buttons
simultaneously for three seconds.
Bright
Press the ‘bright’ button to cycle through four brightness settings for your
URSABroadcast's LCD status display. The settings are ‘off,’ ‘low,’ ‘medium’ and ‘high.’
ON OFF
ON OFF
45URSA Broadcast Controls
15 Control and Playback Buttons
URSA Broadcast control and playback buttons
Iris
The 'iris' button activates the automatic aperture setting on compatible lenses. When
using video dynamic range settings, a single press of the iris button will set an average
exposure based on the highlights or shadows in your shot. When using film dynamic
range settings, pressing the iris button sets your exposure to the brightest highlight in
your shot. This button works with compatible EF lenses and PLlenses connected with
acompatible broadcast lens controller.
To set your aperture manually, press the forward and reverse skip transport buttons.
Focus
When using a B4 or EF that supports electronic focus adjustments, press the ‘focus’
button to activate auto focus. A white focus square will appear on any viewfinder
or monitor connected to your URSA Broadcast. Anything within the square will be
correctly focused. When the lens is focused, the square will disappear.
Program
The program button is marked PGM and lets you switch the LCD between the camera
view and any signal plugged into the 12G-SDI input on the rear panel. This means if
you’re using the camera in a live broadcast, you can plug in the switcher’s program
output and monitor it during the shoot. Press and hold the program button to see your
program feed. The program feed will continue to display whilst the program button is
being held.
If you want to lock the monitor to display the program input feed, then double press the
program button to lock the display to the program feed. Pressing the program button
again will exit the program feed and return to the camera view.
Playback Control Buttons
The playback buttons let you start and stop playback, plus skip to the next or previous
clip. When using an EF lens, the forward and reverse skip buttons can also be used to
open or close the iris when using compatible lenses. Refer to the ‘playback’ section for
more information on how to use the playback buttons.
ON OFF
ON OFF
NOTE To use the 'focus' button, your B4 lens must have servo focus control,
with the servo activated. See the 'getting started' section for more information.
Some EF lenses have both manual and auto focus modes. If using the optional
EF lens mount, in order for URSA Broadcast to be able to auto focus with your
lens, you need to ensure that your lens is set to auto focus mode.
46URSA Broadcast Controls
16 Audio Level Adjustment Knobs
URSA Broadcast audio adjustment knobs
Use the built in adjustment knobs to set the recording levels for audio channels 1 and 2.
Turn each knob clockwise or counterclockwise to increase or decrease the recording
level for each channel of audio. Monitor the corresponding on screen audio meters as
you adjust each knob so you can see the best level to set it to.
Internal Control Panel
With your URSA Broadcast's foldout monitor open, you can access the internal control panel.
Use the controls here to set your audio inputs as well as phantom power settings, iris, focus,
menu and playback controls and more.
URSA Broadcast internal control panel
17 XLR1 / XLR2
Use these switches to set how your URSA Broadcast's XLR inputs behave when
selected as an input source. The options available are mic audio, line level audio and
AES digital audio.
18 Phantom Power
The camera's XLR inputs can provide 48V phantom power so you can use microphones
that aren’t self powered. Move this switch to ‘48V’ to enable phantom power for any
microphone connected to the XLR above, or ‘off’ to disable phantom power.
ON OFF
ON OFF
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
17
18
19
47URSA Broadcast Controls
19 Control and Playback Buttons
Focus
When using a B4 or EF lens supports electronic focus adjustments, press the ‘focus’
button to activate auto focus. A white focus square will appear on the fold out monitor.
Anything within the square will be correctly focused. When the lens is focused, the
square will disappear.
Peak
Press the ‘Peak’ button to activate focus peaking. Your camera has two focus peaking
modes, traditional focus peaking, which artificially sharpens areas of the image that
are in focus, and 'colored lines' with overlays the sharp areas of your image with black,
white, red, green or blue colored lines. See the 'monitor settings' section of this manual
for more information.
Program
The program button is marked PGM and lets you switch the LCD between the camera
view and any signal plugged into the camera's 12G-SDI input. This means if you’re using
your camera in a live broadcast, you can plug in the switcher’s program output and
monitor it during the shoot. Press and hold the program button to see your program
feed. Double press the button to lock the program feed on. Press again to turn the
program feed off.
To display a switcher’s program output, your camera and switcher must be set to the
same resolution and frame rate.
NOTE It is standard practice to plug in your XLR cable before switching
phantom power on. It is also important to switch phantom power to ‘off' when
you no longer have a phantom powered microphone connected. Connecting
devices that don’t have phantom power protection built into their AES XLR
outputs whilst still sending phantom power from the camera’s XLR audio inputs
may damage your equipment. Always ensure that the +48V switch is turned
‘off’ when you disconnect your microphone.
NOTE To use the 'focus' button, your B4 lens must have servo focus control,
with the servo activated. See the 'getting started' section for more information.
Some EF lenses also have both manual and auto focus modes. In order for
URSA Broadcast to be able to auto focus with your lens, you need to ensure
that your lens is set to auto focus mode.
TIP If you are recording your video output to a Blackmagic Video Assist or
Hyperdeck Studio Mini, you may want to ensure that you don’t have peaking
switched on for that output. This can be done by using our 'clean feed’ feature
on your front SDI or main SDI.
For more information on outputting a 'clean feed' see the 'monitor settings'
section in this manual.
48URSA Broadcast Controls
Menu
Press the ‘menu’ button to open the dashboard. Refer to the ‘settings’ section for more
information about the dashboard feature and how to adjust settings.
Record
Press any of the record buttons marked REC to start and stop recording. Refer to the
‘recording’ section for more information.
Playback Control Buttons
The playback buttons let you start and stop playback, plus skip to the next or previous
clip. When using the EF mount, the forward and reverse skip buttons can also be used
to open or close the iris when using compatible lenses. Refer to the ‘playback’ section
for more information on how to use the playback buttons.
NOTE You can power your URSA Broadcast on or off via a combination of
internal control panel buttons. Holding the ‘rec’ and 'forward skip' buttons will
power up the camera if it is turned off, or power it off if it is turned on. If your
camera’s power switch is set to ‘on’ but your camera is powered down, it may
have been powered down via the control panel. Toggle the power switch to
return it to normal operation.
XLR 1 XLR 2
49URSA Broadcast Controls
Touchscreen Controls
Touchscreen
Your Blackmagic URSA Broadcast's fold out LCD touchscreen pivots for shooting high and low
angles. Buttons on the outside of the LCD panel let you control your URSA Broadcast when
mounted on your shoulder using the URSA Viewfinder and the LCD closed.
Touchscreen Features
The LCD touchscreen features a touch and gesture based interface that is specifically designed
for fast and intuitive user operation. By touching and swiping on different areas of URSA
Broadcast's LCD touchscreen, you can quickly access the camera's functions while shooting.
Your URSA Broadcast's LCD touchscreen has a comprehensive head up
display and gives you easy access to your camera's most used settings
LCD Monitor Options
Tap the 'monitor' icon at the top left of your URSA Broadcast's LCD touchscreen to access the
LCDmonitor settings. These settings let you toggle and adjust the appearance of your
URSABroadcast's monitoring features, including zebra, focus assist, frame guide, and grids.
When accessing LCDmonitor options, the controls for these features appear in a tabbed menu
along the bottom edge of the LCD touchscreen.
Tap the icon at the top left of your URSA Broadcast's
LCDtouchscreen to access LCD monitor options
Zebra
The ‘zebra’ setting toggles the appearance of zebra on the LCD touchscreen, as well as setting
the zebra level for all URSA Broadcast's outputs.
Zebra displays diagonal lines over areas of your image that exceed a set exposure level.
Forexample, setting zebra to 100% shows which areas are completely overexposed. This is
useful for achieving optimum exposure in fixed lighting conditions.
50Touchscreen Controls
Tap the 'zebra' icon while accessing 'LCD monitor options' to
access your URSA Broadcast's zebra settings
To toggle zebra for the LCD touchscreen, tap the switch icon in the bottom left of the screen
while in the 'zebra' tab.
Set the exposure level that zebra appears at by dragging the slider left and right, or tapping the
arrow buttons next to the zebra level percentage. Zebra level is adjustable in five percent
increments between 75 and 100 percent exposure.
For information on enabling zebra on your camera’s front and main SDIoutputs, see the
‘monitor settings’ section in this manual.
Focus Assist
The ‘focus assist’ setting toggles the appearance of focus assist on the LCD touchscreen,
aswell as setting the level of focus assistance for all outputs on your URSA Broadcast.
Tap the 'focus assist' icon while accessing 'LCD monitor options'
toaccess your URSA Broadcast's focus assist settings
To toggle focus assistance for the LCD touchscreen, tap the switch icon in the bottom left of the
screen while in the ‘focus assist’ tab.
To set the level of focus assistance for all outputs on your URSA Broadcast, tap the ‘low,’
‘medium’ or ‘high’ titles along the bottom of your touchscreen.
The optimum level of focus assistance varies shot by shot. When focusing on actors, for
example, a higher level of focus assistance can help resolve edge detail in faces. A shot of
foliage or brickwork, on the other hand, may show distracting amounts of focus information
athigher settings.
For information on enabling focus assist on your camera’s front and main SDI outputs, see the
‘monitor settings’ section in this manual.
TIP If you’re shooting in variable light such as outdoors on a partly overcast day,
setting your zebra level lower than 100 can warn you of potential overexposure.
TIP Your URSA Broadcast has two focus assist modes. You can switch between
‘peaking’ and ‘colored lines’ focus assistance in the ‘monitor’ settings menu. Formore
information, see the ‘monitor settings’ section in this manual.
51Touchscreen Controls
Frame Guides
The ‘frame guide’ setting toggles the appearance of frame guides on the LCD touchscreen.
Youcan also choose from seven frame guide options for all outputs on your URSA Broadcast.
Frame guides include aspect ratios for various cinema, television and online standards.
Tap the 'frame guides' icon while accessing 'LCD monitor options'
to access your URSA Broadcast's frame guide settings
To toggle the appearance of frame guides on your URSA Broadcast's LCD touchscreen, tap the
switch icon in the bottom left of the screen.
Choose the frame guide you want to use by dragging the slider left and right, or tapping the
arrow buttons on either side of the currently selected aspect ratio.
The available guides are:
16:9
Displays a 1.78:1 aspect ratio compatible with 16:9 HD television and computer screens.
This ratio is most commonly used for HD broadcasting and online videos. The same
aspect ratio has also been adopted for Ultra HD broadcasting.
14:9
Displays a 14:9 aspect ratio used by some television broadcasters as a compromise
between 16:9 and 4:3 television sets. Ideally, both 16:9 and 4:3 footage remains legible
when center cropped to fit 14:9. You can use this as a compositional guide if you know
your project may be broadcast by a television station that uses 14:9 cropping.
URSA Broadcast LCD touchscreen with 14:9 frame guides enabled
4:3
Displays the 4:3 aspect ratio compatible with SD television screens, or to help with
framing when using 2x anamorphic adapters.
2.35:1, 2.39:1 and 2.40:1
Displays the broad widescreen aspect ratio compatible with anamorphic or flat
widescreen cinema presentation. The three widescreen settings differ slightly based
on the changing cinema standards over time. 2.39:1 is one of the most prominent
cinema widescreen standards in use today.
1.85:1
Displays another common flat widescreen cinema aspect ratio. This ratio is slightly
wider than HDTV 1.78:1 but not as wide as 2.39:1.
52Touchscreen Controls
Grids
The ‘grids’ setting toggles the appearance of a rule of thirds grid, crosshair or center dot on the
LCD touchscreen, as well as setting the overlay that will be visible on all URSA
Broadcast's outputs.
Tap the 'grids' icon while accessing 'LCD monitor options'
to access your URSA Broadcast's grid settings
Grids and crosshairs are overlays that can help with image composition. When ‘grids’ are
enabled, your URSA Broadcast can show a rule of thirds grid, crosshairs, or center dot.
To toggle the appearance of grids on your URSA Broadcast touchscreen, tap the switch icon in
the bottom left of the screen while in the 'frame guides' tab.
When your URSA Broadcast is set up and connected to an ATEM switcher as the current
program source, and 'grids' are set to 'on', the red 'program' tally outline will automatically
illuminate on the LCD.
When connected to an ATEM switcher sending a tally signal, a red border will
appear around your camera's image preview when grids are set to 'on'
To set which overlay you want to display on all URSA Broadcast outputs, tap the ‘thirds,’
‘crosshairs,’ or ‘center dot’ options.
TIP You can change the opacity of frame guide overlays. For more information
see the ‘monitor settings’ section of this manual.
NOTE For information on enabling frame guides on your camera’s front and
main SDIoutputs, see the ‘monitor settings’ section in this manual.
53Touchscreen Controls
The rule of thirds grid automatically scales to any on screen frame guides
Thirds
The ‘thirds’ setting displays a grid with two vertical and horizontal lines placed in each
third of the image. Thirds are an extremely powerful tool to help compose your shots.
For example, the human eye typically looks for action near the points where the lines
intersect, so it’s helpful to frame key points of interest in these zones. An actor’s eyeline
is commonly framed along the top third of the screen, so you can use the top horizontal
third to guide your framing. Thirds are also useful to maintain framing consistency
between shots.
Crosshairs
The ‘crosshair’ setting places a crosshair in the center of the frame. Like thirds, the
crosshair is a very useful compositional tool, making it easy to frame the subject of a
shot in the very center of a frame. This is sometimes used when filming scenes that will
be assembled using very fast cuts. Keeping viewers’ eyes focused on the center of a
frame can make rapid editing easier to follow.
Center Dot
The 'center dot' setting places a dot in the center of the frame. This works in exactly
the same way as the 'crosshair' setting, albeit with a smaller overlay that you may find
lessintrusive.
You can enable a combination of 'thirds' and 'crosshairs' or 'thirds' and 'center dot' by
tapping both options in the 'grids' menu. 'Crosshairs' and 'center dot' cannot be
selected together.
Safe Area Guides
The ‘safe area guides’ setting toggles the safe area guides on or off the LCDtouchscreen, as
well as setting the size of safe area guides for all outputs on your URSA Broadcast.
Safe areas can be used in broadcast production to ensure that the most important parts of a
shotcan be seen by viewers. By keeping the most important parts of your shot within a central
‘safearea,’ you can avoid cropping on some televisions, as well as leaving space for
abroadcaster to add bugs, news tickers and other overlays along the edges of the screen.
Manybroadcasters require footage to be submitted within a 90% safe area.
TIP For information on enabling grids on your URSA Broadcast's front and
main SDIoutputs, see the ‘monitor settings’ section in this manual.
54Touchscreen Controls
Safe area guides can also be used to assist with framing your shot where you know that the
shot will be stabilised in post production, which can crop the edges of the image. They can also
be used to indicate a specific crop. For example by setting it to 50% whilst recording at Ultra
HD 3840x2160 you can see what a 1920x1080 crop of the frame would look like. The safe area
guides also scale to your frame guides, so they will adjust to indicate the chosen percentage of
your target frame.
The 'safe area' indicator set to 85%
To toggle safe area guides for the LCD touchscreen, tap the switch icon in the bottom left of the
screen while in the ‘safe area guides’ tab. To set the level of safe area guides for all outputs on
your URSA Broadcast, tap the left or right arrows on either side of the current numerical value at
the bottom of your touchscreen. Alternatively, you can drag the slider left or right.
False Color
The ‘false color’ setting toggles the appearance of false color exposure assistance on the
LCDtouchscreen.
False color overlays different colors onto your image that represent exposure values for
different elements in your image. For example, pink represents optimum exposure for caucasian
skin tones, while green is a good match to darker skin tones. By monitoring the pink or green
false color when recording people, you can maintain consistent exposure for their skin tones.
Similarly, when elements in your image change from yellow to red, that means they are now
over exposed.
False Color Chart
To toggle false color for the LCD touchscreen, tap the switch icon in the bottom left of the
screen while in the ‘false color’ tab.
The ‘false color’ exposure assistance tab
55Touchscreen Controls
ND Filter indicator
Adjusting your URSA Broadcast's ND filter will display the ND filter indicator in the top left of the
LCD touchscreen and any SDI outputs set to show status text. This indicator will be shown for
four seconds and use the format you've selected in your URSA Broadcast's setup menu.
Adjusting your URSA Broadcast's ND filter setting will reveal the ND filter indicator
Frames Per Second
The ‘FPS’ indicator displays your currently selected frames per second.
URSA Broadcast's frames per second indicator. Tap this to access frame rate settings
Tapping the ‘FPS’ indicator lets you change your camera’s sensor and project frame rates via
amenu at the bottom of your LCD touchscreen.
Project frame rate
The project frame rate is URSA Broadcast's recording format frame rate and provides a
selection of common frame rates used in the film and television industry. This frame
rate is normally set to match your playback speed used in your post
production workflow.
Your Blackmagic URSA Broadcast has 8 project frame rate settings including 23.98, 24,
25, 29.97, 30, 50, 59.94 and 60 frames per second.
To adjust your URSA Broadcast's project frame rate while in the ‘FPS’ menu, tap the left
or right arrows next to the current frame rate at the bottom left of your touchscreen.
Alternatively, you can drag the slider left or right.
Tap the arrows on either side of the project frame
rate or move the slider to make adjustments
NOTE You can adjust the terminology used by the ND filter indicator to reflect
the conventions you're used to. The options are ND number, stops and
fractions. You can set your preferred format in your URSA Broadcast's 'setup'
menu.
TIP Your URSA Broadcast's project frame rate also sets the frame rate of the
front and main SDI outputs.
56Touchscreen Controls
Sensor frame rate
The sensor frame rate sets how many actual frames from the sensor are recorded every
second. This frame rate will affect how fast or slow your video will play back at your set
project frame rate.
With 'off speed frame rate' enabled, tap the arrows on either side of
the sensor frame rate or move the slider to make adjustments
By default, your URSA Broadcast's project and sensor frame rates are matched for a
natural playback speed. However, by tapping the ‘off speed frame rate’ switch icon in
the bottom right hand side of your URSA Broadcast's ‘FPS’ menu, you can
independently set your sensor frame rate.
To change your sensor frame rate, tap the arrows next to the sensor frame rate
indicator in the lower left of your touchscreen. You can also drag the slider left or right
to increase or decrease the frame rate. Once you release the slider, the sensor frame
rate will be selected.
You can create dynamic and interesting speed effects in your clips by varying the
sensor frame rate. Setting the sensor frame rate higher than your project frame rate
willcreate slow motion during playback. Alternatively, the lower your sensor frame rate,
the faster your clips will appear. The principle is similar to overcranking and
undercranking a film camera. Overcranking speeds up the sensor frame rate so you
can stretch out moments in time during playback to enhance emotion. Undercranking
slows down the sensor frame rate so you can increase the action in fast moving scenes.
The creative possibilities are endless and entirely up to you!
For information on the maximum frame rates available for each recording format and codec,
refer to the table in the ‘recording’ section of this manual.
Shutter
The ‘Shutter’ indicator displays your shutter speed. By tapping this indicator, you can manually
change your URSA Broadcast's shutter speed or configure shutter priority auto
exposure modes.
NOTE When 'off speed frame rate' is selected your URSA Broadcast's audio and video
are no longer synced. This is true even if you set the same project and sensor frame
rate. For this reason, 'off speed frame rate' should never be selected if you want to
guarantee audio syncing.
57Touchscreen Controls
URSA Broadcast's shutter indicator. Tap this to access shutter settings
Shutter speed defines the level of motion blur in your video, and can be used to compensate
for varying light conditions. The shutter speed setting for natural motion blur, and the settings
available, depend on the frame rate you are using. For example, when shooting at 30p, a 1/60
of a second shutter speed is is the equivalent of a 180 degree shutter angle, a very common
setting for film projects. However if you are shooting at 25p, you will need to set the shutter to
1/50 for the same look.
For natural motion blur you can calculate the shutter speed by doubling your frame rate. So at
30p, set your shutter speed to 1/60 of a second for natural motion blur.
If you need more light on the sensor, you can set the shutter at the slowest setting
corresponding with your frame rate. For example, 1/25 for 25p, or 1/30 for 30p. At the slowest
shutter speed, your motion blur will appear slightly exaggerated.
If you want to reduce the motion blur so action appears sharper and more defined, set the
shutter to a faster speed, such as 1/120 of a second for 30p, or 1/100 of a second for 25p. If you
are familiar with shutter angles, this equates to a shutter angle of 90 degrees.
It's worth experimenting with different shutter speeds to see how this setting can provide
different levels of motion blur to your image.
Tapping the ‘shutter’ indicator brings up the shutter speed menu along the bottom of your
URSABroadcast's touch screen. If you have auto exposure set to ‘off,’ this screen will show you
your currently selected shutter speed, as well as the available flicker free shutter speeds, based
on the mains power frequency you have selected in your URSA Broadcast's 'setup' menu.
Formore information, see the 'setup settings' section in this manual.
To select one of the flicker free shutter speeds, simply tap it or use the arrows on either side of
the current shutter speed indicator to cycle through available speeds.
Your URSA Broadcast will suggest flicker free shutter speeds based on
the mains power frequency you choose in the 'setup' menu
NOTE When shooting under lights, your shutter speed can affect the visibility offlicker.
Your URSA Broadcast will automatically calculate flicker free shutter speeds for your
current frame rate. These speeds are effected by mains power frequency in your region.
You can set your local power frequency to 50Hzor60Hz in your URSA Broadcast's
setup menu. See the ‘setup settings’ section in thismanual for more information.
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NOTE The characteristics of different light sources may still cause flicker even when
using flicker free shutter speeds. We recommend always performing a test shoot when
not using continuous lights.
58Touchscreen Controls
If you are shooting outside, or using flicker free lights, you can also manually select a shutter
speed by double tapping the current shutter indicator at the bottom left of your screen. This
willbring up a keypad which you can use to set any shutter speed for your chosen frame rate.
Use the manual shutter keypad to enter your shutter speed of
choicewhen shooting outdoors or under flicker free lights
Your URSA Broadcast has three shutter based auto exposure modes. To select one of these,
tapthe 'auto exposure' button in the far right of the shutter menu.
Shutter
This setting automatically adjusts shutter speed to maintain a constant exposure while
keeping iris aperture constant. If you want to maintain a fixed depth of field, this is the
setting to choose. It’s worth mentioning that the subtle automatic adjustments of the
shutter may have an effect on motion blur. It’s also worth keeping an eye out for any
flicker that may be introduced from various light fixtures on indoor shoots. URSA
Broadcast's auto iris feature is not available when the ‘shutter’ auto exposure mode
is selected.
Shutter + Iris
Maintains the correct exposure levels by adjusting the shutter, then the aperture. If the
maximum or minimum available shutter speed is reached and exposure still cannot be
maintained, URSA Broadcast will begin adjusting the aperture to keep
exposure constant.
Iris + Shutter
Maintains the correct exposure levels by adjusting the aperture, then the shutter speed.
If the maximum or minimum available aperture is reached and exposure still cannot be
maintained, URSA Broadcast will begin adjusting the shutter speed to keep
exposure constant.
While in the shutter menu, tap 'auto exposure' to
accessshutter based auto exposure modes
TIP When an auto exposure mode that effects the shutter is enabled, a small “A” will
appear next to the shutter speed indicator at the top of your URSA Broadcast
touchscreen.
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59Touchscreen Controls
Iris
The ‘Iris’ indicator displays your current lens aperture. By tapping this indicator, you can change
the aperture of compatible lenses and configure iris based auto exposure modes.
Your URSA Broadcast's iris indicator. Tap this to access iris settings
Tapping the ‘iris’ indicator once brings up the iris menu along the bottom of your
URSABroadcast touchscreen. You’ll see your current lens aperture at the far left of this menu.
You can change the aperture by tapping the left and right arrows on either side of the current
aperture, or moving the slider left or right.
While in the 'iris' menu, tap the arrows on either side of the iris
indicator or use the slider to adjust iris settings
Tapping the ‘auto exposure’ switch icon at the far right of the iris menu opens the iris auto
exposure menu.
This gives you the following auto exposure options.
Iris
This setting automatically adjusts the aperture to maintain a constant exposure, while
keeping shutter speed constant. This will keep motion blur constant, but may affect
your depth of field.
Iris + Shutter
Maintains the correct exposure levels by adjusting the aperture, then the shutter speed.
If the maximum or minimum available aperture is reached and exposure still cannot be
maintained, URSA Broadcast will begin adjusting the shutter speed to keep
exposure constant.
Shutter + Iris
Maintains the correct exposure levels by adjusting the shutter, then the aperture. If the
maximum or minimum available shutter speed is reached and exposure still cannot be
maintained, URSA Broadcast will begin adjusting the aperture to keep
exposure constant.
While in the iris menu, tap 'auto exposure' to access
iris based auto exposure modes
NOTE To adjust your iris from the LCD touchscreen, your URSA Broadcast must
befitted with a lens that supports changing aperture via the camera. If you are using a
B4 or PL lens connected via the broadcast 12 pin connector, make sure that the lens iris
switch on the handgrip is set to ‘A’ or ‘auto.’
60Touchscreen Controls
When an auto exposure mode that effects the iris is enabled, a small “A” will appear next to the
iris indicator at the top of your URSA Broadcast touchscreen.
Duration Display
At the top of your URSA Broadcast LCD touchscreen, you’ll see your camera’s duration display.
Your URSA Broadcast's duration display. This will turn red while recording
The duration display provides a timecode counter for checking the duration of your clips and
monitoring timecode during recording and playback. The counter displays a time sequence
showing Hours:Minutes:Seconds:Frames and will progress through the sequence as you record
or play back clips. The timecode will turn red during recording.
The displayed duration of each clip starts from 00:00:00:00 for each clip. The clip duration of
the current, or last recorded, clip is displayed on the touchscreen. Time of day timecode is
embedded into clips for easier post production.
To see the timecode, simply tap the duration display. Tap the duration display again to return to
clip duration.
Additional status indicators may appear around the duration display:
Appears to the left of the duration display when your
URSABroadcast is using a windowed sensor mode.
Appears to the right of the duration display when
showing timecode.
Appears to the right of the duration display if an external
timecode is connected and valid.
Appears to the right of the duration display if the camera is
running off an internal timecode after being ‘jam synced’
anddisconnected.
Appears when a valid reference source is connected
andlocked, based on the reference input settings.
Gain
The ‘Gain’ indicator displays your URSA Broadcast's current gain setting, or light sensitivity.
Tapping this indicator lets you adjust your gain to suit varying lighting conditions.
The optimum setting for URSA Broadcast is 0dB.
TIP Automatic exposure works smoothly with compatible B4 or PL lenses which are
designed for video or film production. EF lenses may produce noticeable ‘steps’ in
exposure when changing aperture. For this reason, werecommend using only ‘shutter’
auto exposure mode if shooting with EF lenses.
GEN
changed to
REF
61Touchscreen Controls
Your URSA Broadcast's gain indicator. Tap the indicator to access gain settings
º
While in the 'gain' menu, your URSA Broadcast's gain settings
appear along the bottom of the LCD touchscreen
Depending on your situation, you may choose a lower or higher gain setting. For example,
inlowlight conditions +12dB can be suitable but may introduce some visible noise. In bright
conditions -6dB can provide richer colors.
White Balance
The ‘WB’ and ‘TINT’ indicators display your camera’s current white balance and tint.
Tappingthese indicators lets you adjust your camera’s white balance and tint to suit varying
lighting conditions.
Your URSA Broadcast's white balance and tint indicators.
Tapthese to access white balance and tint settings
Every light source emits a color. For example, a candle flame emits a warm color, and an
overcast sky emits a cool color. White balance settings are used to color balance your image so
white stays white by adjusting the mix of orange and blue in your image. For example, when
shooting under tungsten lamps which emit a warm, orange light, selecting 3200K adds some
blue to the image. This balances the color so white is accurately recorded.
Your URSA Broadcast comes with white balance presets for a variety of color temperature
conditions.These are:
Bright sunlight (5600K)
Incandescent bulbs (3200K)
Fluorescent bulbs (4000K)
Mixed light (4500K)
Cloud (6500K)
You can customize any of these presets by tapping or holding the arrow icons to the left and
right of the temperature indicator in the bottom left of the ‘white balance’ menu. Each tap moves
the color temperature up or down 50K, but holding the arrow icons down will increase these
increments for faster changes. Alternatively, you can move the temperature slider in the middle
of the ‘white balance’ menu.
62Touchscreen Controls
To further dial in your image, you can adjust the ‘tint.’ This adjusts the mix of green and magenta
inyour image. For example, adding some magenta can compensate for the green cast of many
fluorescent lights. Many of your URSA Broadcast's white balance presets include some tint.
Tapping the white balance and tint indicator on your URSA Broadcast
gives you access to fivepresets, as well as a white balance indicator
and slider on the left, and a tint indicator on the right. Adjust
thesetoset a custom white balance for your lighting conditions
While in the ‘white balance’ menu, your camera’s current tint setting is shown at the bottom right
of the screen. To adjust the tint, simply tap or hold the arrows to the left and right of the tint
indicator. The available range is -50 to +50 in one unit increments. Holding down on the arrows
speeds up adjustment.
Auto White Balance
Your URSA Broadcast can set white balance automatically. Tapping ‘AWB’ will bring up
the white balance screen.
When setting white balance automatically, a square will be overlaid on the center of
your image. Fill this square with a neutral surface such as a white or gray card and tap
‘update.’ Your URSA Broadcast will automatically adjust its white balance and tint values
to ensure that the average of the white or grey within the white balance square is as
neutral as possible. Once updated, this will be set as your camera's custom
white balance.
Tapping the 'AWB' icon in the white balance menu will bring
up theauto white balance screen. Use this with a white or
neutralgrey surface to automatically set a neutral white balance
NOTE Customizing the white balance or tint will change your preset to‘CWB,’ or
custom white balance. Custom white balances are persistent; your CWB settings will
stay configured between power cycles, and when switching to a preset and back to
CWB. This makes iteasy to compare a custom white balance to the last preset used.
63Touchscreen Controls
Power
Your URSA Broadcast's power status is displayed in the top right of the LCD screen.
There are four possible indicators:
Your URSA Broadcast's power indicator is at the top right of the LCD touchscreen. While
usingbattery power, tapping this toggles between 'voltage' and 'percentage' displays
AC Displayed when your URSA Broadcast is
pluggedintomains power.
Percentage
If you are using a percentage accurate battery and plate
combination and have your battery display set to
‘percentage,’ theindicator will display your battery level
as a percentage. At20% charge remaining, the indicator
will turn red.
Battery bars
If your battery display is set to ‘percentage’ but your
battery plate andbattery combination does not support
percentage accurate battery information, your URSA
Broadcast will display a battery icon that drains in 25%
increments. At 20% charge remaining, the battery bar
will turn red.
Voltage
When your battery display is set to ‘voltage,’ this indicator
will display your battery’s remaining voltage. When your
battery drops below 12.5 volts, this indicator will turn red.
Your URSA Broadcast will automatically shut down once
the battery reaches 11.9 volts.
When using battery power, you can switch between 'voltage' and 'percentage' or 'battery bars'
power indicators by tapping the power indicator.
Histogram
At the bottom left of your URSA Broadcast touchscreen, you’ll see the histogram. The histogram
shows the contrast between whites and blacks along a horizontal scale.
The histogram gives you an indication of the tonal
rangebetween shadows and highlights in your clip.
Itis also a helpful tool for checking thebalance of your
exposure and to prevent your highlights from clipping
TIP A list of batteries that support percentage accurate power information is provided
in the ‘mounting batteries’ section of this manual.
64Touchscreen Controls
The left edge of the histogram displays shadows, or blacks, and the far right displays highlights,
or whites. When you close or open the lens aperture, you’ll notice the information in the
histogram moves to the left or right accordingly. You can use this to check 'clipping' in your
image shadows and highlights. If the left and right of your edges of the histogram come to an
abrupt stop rather than falling off gradually, you may be losing highlight or shadow detail.
Record button
Next to the histogram at the bottom of your URSA Broadcast's touchscreen, you’ll see a round
grey button. This is the ‘record’ button. Tap this once to begin recording, and tap it again to
stop. While recording, the button and the timecode at the top of your URSA Broadcast
touchscreen will turn red.
Your URSA Broadcast's 'record' button, next to the storage
indicatorsat the bottom of the LCD touchscreen
The 'record' button turns red when recording
Dropped Frame Indicator
The ‘record’ button will be overlaid with a flashing ‘!’ indicator if your URSA Broadcast begins
dropping frames while recording. The time remaining indicator for the affected card or cards will
also turn red. For example, if you are recording in dual card mode and card 1 is dropping frames,
the ‘!’ indicator will appear over the ‘record’ button, and the time remaining indicator on card 1
will turn red. This lets you know if a particular card is too slow for your currently selected codec
and resolution. The 'dropped frame indicator' will also display if you have dropped a frame on
the previously recorded clip. This indicator will continue to display until another clip is recorded,
or the camera is power cycled. Refer to ‘Choosing a CFast 2.0 card’ section in this manual, for
more information on how to avoid dropping frames.
Dropped frame indicator for CFast card 1 dropping frames
NOTE If you don’t see a histogram in the bottom left of your touchscreen, your
LCDmonitor settings may be set to display 'codec and resolution.' See the 'monitor
settings' section in this manual for more information.
TIP If you have the your URSA Broadcast's door LED enabled, this will rapidly flash red
when dropped frames are detected. For more information, see the ‘setup settings’
section in this manual.
65Touchscreen Controls
Recording Time Remaining
At the bottom of your URSA Broadcast touchscreen, you’ll see the CFast card indicators.
When a CFast card is inserted, the storage indicator at the bottom of the screen will show how
much recording time is left on the card. The time is shown in minutes and will vary according to
your selected frame rate and codec.
The indicator will automatically recalculate if either of these settings are changed. When there is
approximately 5 minutes remaining on your card, the indicator text will turn red, and will blink
intermittently when there is only 2 minutes remaining. The indicator displays FULL when a card
reaches maximum capacity.
Your URSA Broadcast's storage indicator will display the name of
yourCFast card and the record time remaining in minutes
The card name will also be shown in a small bar above the time remaining. This bar will turn
blue to indicate that it is the card that the camera will be recording to. While recording, the bar
will turn red.
Tapping the CFast card indicators will bring up the storage and formatting menu.
Tap the storage indicators on your URSA Broadcast's
LCDtouchscreen to access the storage manager
This menu displays the amount of free space on each CFast card currently in your URSA
Broadcast, as well as the card name, length of the last clip, total number of clips per card, and
each card’s file format.
NOTE You can set your URSA Broadcast to stop recording if dropped frames are
detected toprevent a situation where you waste time shooting unusable footage if you
don't notice the dropped frame indicator. See the 'record settings' section in this
manual for more information.
66Touchscreen Controls
You can format CFast cards from this menu. For more information on formatting CFast cards
using URSA Broadcast, see the 'preparing media on Blackmagic URSA Broadcast' section of
this manual.
Audio Meter
The peak audio meters display audio levels for channels 1 and 2 when using the internal
microphone, or via external audio when connected. The display is calibrated to dBFS units and
features peak hold indicators which stay visible for a short time so you can clearly see the
maximum levels reached.
To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is the
maximum level that your camera can record, meaning that any audio that exceeds this level will
be clipped, resulting in distortion.
The colored bars on the audio meter represent
peak audio levels. Ideally your peak audio levels
should fall in the upperend of the green zone,
between -18 and -12dBFS. Ifyour peaks enter
into the yellow or red zones, corresponding to
-12and-6dBFS your audio is in danger of clipping
You can tap the audio meter to bring up volume controls for audio input channels 1 and 2, as
well as headset or speaker volume.
Tap the audio meters on your URSA Broadcast LCD touchscreen to
easily access volume and headset or speaker settings
TIP Tapping the card name in the storage menu sets it as the active card.
YourURSABroadcast will fill this card first.
67Touchscreen Controls
Double tap to zoom
You can magnify any part of your URSA Broadcast's preview image by double tapping the
LCDtouchscreen. Thearea you tap will be magnified, and you can move around the
imagebydragging your finger around the LCD touchscreen. This is very helpful when checking
focus. Toreturn to standard magnification, simply double tap your camera’s touchscreen again.
While zoomed in, an indicator in the top left of your LCD touchscreen will show
which part of the image you are viewing. You can move around the image by
dragging your finger along the screen as you would on a smartphone or tablet
Full Screen Mode
It can be useful when framing or focusing a shot to temporarily hide your touchscreen’s
statustext and meters. Simply swipe up or down on URSA Broadcast's LCD touchscreen to hide
these. Therecord indicator, frame guides, grids, focus assist and zebra will remain visible.
Swipe up or down to hide all status indicators on
your URSA Broadcast LCD touchscreen
Playback Menu
Tap the ‘play’ control button on your URSA Broadcast to access the playback menu. You can
control previously recorded clips with your camera’s control buttons or the LCD touchscreen.
68Touchscreen Controls
When using the LCD touchscreen, tap ‘play’ once to start playback and again to pause. Use the
forward and reverse buttons just as you would on a CD player. Tapping ‘forward’ once will move
you to the next clip, while tapping ‘reverse’ once will move you back to the beginning of the
current clip. Tapping ‘reverse’ twice will move to the beginning of the previous clip. Playback of
clips can also be looped by activating the loop icon.
The reverse, play, forward and loop icons
To shuttle, hold down either the forward or reverse transport buttons. This will play your footage
back at twice regular speed in either forward or reverse, depending on which transport key
you held.
Once shuttling, you can change the shuttle rate by tapping the transport keys again. Each time
you tap the transport key in the same direction you will double the shuttle rate. The maximum
shuttle rate is x16 normal speed. Tapping the transport key again at x16 speed will return you to
x2 speed. Tapping the opposite direction will halve the current shuttle speed until you reach
2xspeed. You can return to normal playback by tapping the ‘play’ button.
The shuttle speed indicator displays the speed and direction
of footage being fast forwarded or reversed
Tapping the 'record' control button in playback mode will return your camera to 'standby' mode,
ready to record.
TIP Swipe up or down on your URSA Broadcast's touchscreen to hide status text while
playing back footage. Entering the slate in playback mode will allow you to mark the
current clip ‘good take’ in metadata. For more information, see the ‘entering metadata’
section in this manual.
69Touchscreen Controls
Settings
Dashboard
Pressing the ‘menu’ control button on your URSA Broadcast will bring up your camera's
dashboard. This is a tabbed menu containing the settings not available from your
URSABroadcast's head up display. Settings are divided by function into ‘record,’ ‘monitor,’
‘audio,’ ‘setup,’ ‘presets,’ and ‘LUTS’ tabs. Some tabs, such as ‘record,’ ‘monitor,’ and ‘setup’
contain multiple pages. You can cycle between these pages by tapping the arrows on the left
and right of the settings screen, orswiping left or right as you would on a smartphone or tablet.
Tap the 'record,' 'monitor,' 'audio,' 'setup,' 'presets,' and 'LUTS' headings
to move between your URSA Broadcast's dashboard tabs
Record Settings
The ‘record’ tab allows you to set your video format, codec, and resolution, as well as other
settings which affect the footage saved by your URSA Broadcast, such as preferred card and
detail sharpening. This menu has three pages, which you can cycle through by tapping the
arrows at the edge of your camera’s touchscreen, or swiping left or right.
Record Settings 1
The first page of the 'record' settings tab contains the following settings.
70Settings
Codec and Quality
The ‘codec and quality’ menu is split into two rows. The top row lets you choose between three
codec families, CinemaDNG RAW, Apple ProRes and Avid DNxHD, while the bottom row offers
quality options within those families. For example, the quality options available within the RAW
codec family are ‘lossless’, ‘3:1’ and ‘4:1’.
Resolution
This setting works in combination with the ‘codec’ setting. Use it to select the resolution for your
desired recording format.
For example, if you want to record Ultra HD clips using ProRes HQ, select ‘ProRes’ and ‘HQ’ in
the ‘codec and quality’ menu. Now choose 'Ultra HD' in the resolution menu.
Record Settings 2
The second page of the 'record' settings tab contains the following settings.
TIP The amount of video you can record on a CFast card, or SD card will increase
when choosingcodecs that utilize higher compression. Refer to the ‘record duration
table’ inthe ‘recording’ section for more information.
NOTE Blackmagic URSA Broadcast supports Avid DNxHD and Apple ProRes codecs
in HD, and CinemaDNG RAW and ProRes in Ultra HD.
71Settings
Dynamic Range
Adjust the ‘dynamic range’ setting by tapping the dynamic range icons. Blackmagic URSA
Broadcast has three dynamic range settings:
Video
The 'video' setting is similar to the REC 709 color standard for high definition video.
This setting reduces dynamic range, but lets you work faster by recording directly
to the compressed video formats in a color space suitable for direct delivery or
minimal post processing. You may find this setting useful when using URSA Broadcast
alongside other broadcast cameras limited to the REC 709 color space.
Extended Video
The 'extended video' setting offers a good balance between 'video' and 'film' dynamic
range settings. This setting offers a wider dynamic range than 'video,' while applying a
mild contrast change with a smooth roll off in the highlights. 'Extended video' is suitable
for use with standard broadcast monitors and is a helpful setting if you have limited time
for post production and want to record your clips with a pleasing 'look' applied.
Film
The ‘film’ setting shoots video using a log curve giving you the most dynamic range
and maximizes the information in your video signal to help you get the most out of color
grading software, such as DaVinci Resolve.
Project Frame Rate
The project frame rate is URSA Broadcast's recording format frame rate and provides a
selection of common frame rates used in the film and television industry. For example, Ultra HD
at 29.97 frames per second using ProRes HQ. This frame rate is normally set to match your
playback speed and audio sync used in your post production workflow and delivery
requirements.
Your Blackmagic URSA Broadcast has 8 project frame rate settings including 23.98, 24, 25,
29.97, 30, 50, 59.94 and 60 frames per second.
NOTE When recording in ProRes ‘Film’, Avid DNxHD or CinemaDNG RAW formats you
can still monitor your footage using video, or extended video, dynamic range by
loading the default Broadcast Film to Video, or Broadcast Film to Extended video LUT
in your camera's LUTs menu. For more information, refer to the LUTS section in this
manual.
NOTE Your camera's project frame rate has a large impact on the 'look' of footage. In
broadcast environments, frame rates are typically set to 50, 59.94, or 60 frames per
second. These relatively high frame rates are great for capturing smooth motion and
eliminate or minimize stutter while panning.
Lower frame rates, such as 24 or 25 frames per second, are typically used for cinema
production. These have a distinct filmic 'look,' but require much slower camera
movement to avoid stutter.
72Settings
Off Speed Recording
By default, your URSA Broadcast's project and sensor frame rates are matched for a natural
playback speed. However, by tapping the 'off speed recording' switch icon you can set your
sensor frame rate independently.
Off Speed Frame Rate
With ‘off speed frame rate’ enabled, tap the arrows next to the ‘off speed frame rate’ indicator to
set your URSA Broadcast's sensor frame rate.
The sensor frame rate sets how many actual frames from the sensor are recorded every
second. This frame rate will affect how fast or slow your video will play back at your set project
frame rate.
For more information on off speed frame rates, see the 'frames per second' section in the
‘touchscreen features’ section of this manual.
Preferred Card for Recording
Use this setting to select which storage card your URSA Broadcast will record to first when both
slots are in use. The options are ‘card 1,’ ‘card 2,’ and 'fullest card'. Picking either ‘card 1’ or ‘card
2,’ isa matter of personal preference, but using either consistently will let you know which card
to swap out first as your storage fills up. 'fullest card' can help group files chronologically when
shooting a single camera project.
The setting you choose is applied when a CFast card or SD card inserted. You can override this
setting at any time by entering the storage manager and setting a different card as 'active.' It's
important to note, however, that ejecting and reinserting cards will revert to the current
'preferred card for recording' setting.
Record RAW on 2 Cards
Blackmagic URSA Broadcast lets you record CinemaDNG RAW clips at higher frame rates by
recording to both CFast cards simultaneously. When this setting is enabled your camera will
record to both cards when available. If only one CFast card is inserted, your camera will attempt
to record at the chosen frame rate to the single card. Turn ‘record RAW on 2 cards’ on or off by
tapping the switch icon.
You can also enable ‘record RAW on 2 cards’ to increase the reliability of CFast cards if you find
a single card is dropping frames while recording CinemaDNG RAW clips.
NOTE For information on the maximum frame rates available for each recording format
and codec, refer to the ‘maximum sensor frame rates’ table in the ‘recording’ section of
this manual.
TIP The 'fullest card first' setting is based on the percentage that your storagecards
are filled, rather than their sizes or the amount of data used.
73Settings
Record Settings 3
The third page of the 'record' settings tab contains the following settings.
Timelapse
This setting activates the time lapse feature to automatically record a still frame at the following
intervals:
Frames 2 - 10
Seconds 1 - 10, 20, 30, 40, 50
Minutes 1 - 10
For example, you can set the camera to record a still frame every 10 frames, 5 seconds,
30seconds, 5 minutes etc.
The time lapse feature offers many creative options. For example, setting a 2 frame time lapse
interval will give your recorded video a high speed effect when played back.
The format of each still frame is based on your recording format, so if you set the camera to
record Ultra HD using ProRes HQ, the time lapse setting will maintain this format. The frame rate
will be based on your project frame rate. This is so your time lapse footage can be easily
incorporated into your post production workflow.
Your URSA Broadcast will indicate it is in time lapse
mode with an icon over the 'record' button
Detail Sharpening
Use this setting to sharpen your URSA Broadcast's image. Sharpening is enabled by default and
set to medium. To reduce or increase sharpening, select low, or high.
When sharpening is enabled, it will be applied to ProRes video recorded on camera as well as
your URSA Broadcast's SDI output.
TIP When you record footage in time lapse mode, the timecode counter
updates when a frame of video is recorded.
74Settings
This setting is intended for live studio production where there is no time for post production and
you want to output the image live to air. If you are doing extensive image manipulation and
color correction in post production then we recommend leaving detail sharpening ‘off’. For this
reason sharpening is not applied to RAW files that are intended for significant post processing.
Stop Rec If Card Drops Frames
Use this setting to configure your URSA Broadcast's behavior when dropped frames are
detected. When set to 'off,' recording will continue with dropped frames. When set to 'on,' your
camera will stop recording if dropped frames are detected. This can prevent you wasting time
shooting unusable footage if you don't spot the dropped frame indicator.
File Naming Convention
Clips are recorded in the CinemaDNG RAW format or to a ProRes QuickTime movie, depending
upon which recording format you have chosen.
The table below shows an example of the file naming convention:
A001_08151512_C001.mov QuickTime Movie Filename
A001_08151512_C001.mov Camera index
A001_08151512_C001.mov Reel Number
A001_08151512_C001.mov Month
A001_08151512_C001.mov Day
A001_08151512_C001.mov Hour
A001_08151512_C001.mov Minute
A001_08151512_C001.mov Clip Number
For CinemaDNG files, the folder of the image sequence will also be named the same way.
Still image files captured using the still button will follow the file naming convention for video
clips, however the filename will have an ‘S001’ representing the ‘still number’ as the last four
digits of the filename in place of the clip number. For more information, refer to the 'Status
LCDControls' section in this manual.
TIP When post processing your RAW files, you can achieve a comparable level of
sharpening to these settings by using the blur/sharpening tool in DaVinci Resolve's
'color' page.
Set the tool to a radius of 0.48 and adjust the scaling to 0.6, 0.3 or 0.15 for comparable
sharpening to 'high,' 'medium,' or 'low.'
For detailed information on sharpening in post production, see the 'motion effects
palette' section in the full DaVinci Resolve manual.
TIP Refer to the ‘Choosing a CFast 2.0 card’ for more information on how to avoid
dropping frames.
75Settings
Monitor Settings
The ‘monitor’ tab lets you adjust status text, overlays, and other monitoring options for your
URSA Broadcast's LCD touchscreen, front and main SDI outputs. Options are arranged by
output between ‘LCD’, ‘front SDI’ and ‘main SDI’, as well as ‘all,’ which covers monitor settings
that affect all outputs on your URSA Broadcast. Each of these menus has two pages of options,
which you can cycle through by tapping the arrows at the edge of your camera’s touchscreen,
or swiping left or right.
LCD, Front SDI, Main SDI Monitor Settings 1
The first page of the 'LCD,' 'front SDI,' and 'main SDI,' monitor tab contains identical settings for
each output. Forexample, you can set 'zebra' on for the LCD touchscreen, but off the front or
main SDI outputs.
Clean Feed
Tap the ‘clean feed’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to disable
allstatus text and overlays for that output, except the record tally indicator.
Your URSA Broadcast LCD touchscreen will
still display a record tally in clean feed mode
NOTE LUTs will still be applied to outputs with ‘clean feed’ enabled. To disable
LUTS, disable the ‘display LUT’ switch in the ‘Monitor’ menu for that output.
76Settings
Display 3D LUT
Your URSA Broadcast can apply 3D LUTs to any output to approximate the look of color
graded footage. This is especially useful when shooting RAW footage, or with ‘film’
dynamic range in ProRes or DNxHR, as these produce an intentionally ‘flat’ low
contrast image.
If your URSA Broadcast has a 3D LUT active, use this setting to independently apply
that LUTto your LCD touchscreen, front or main SDI output.
Zebra
Tap the ‘zebra’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable zebra
guides for those outputs. For more information on zebra guides and setting zebra
levels, see the ‘touchscreen features’ section in this manual.
Focus Assist
Tap the ‘focus assist’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable
focus assist for those outputs. For more information on focus assist and setting focus
assist levels, see the ‘touchscreen features’ section in this manual.
Frame Guide
Tap the ‘frame guide’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable
frame guides for those outputs. For more information on frame guides and choosing
different guides, see the ‘touchscreen features’ section in this manual.
Grid
Tap the ‘grid’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable a rule of
thirds grid for those outputs. For more information on the rule of thirds grid, see the
‘touchscreen features’ section in this manual.
Safe Area Guide
Tap the ‘safe area’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable safe
area overlay for those outputs.
For more information on safe area guides, and setting the level of safe area guides,
seethe ‘touchscreen features’ section in this manual.
False Color
Tap the ‘false color’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable false
color exposure assistance for those outputs.
For more information on false color, see the ‘touchscreen features’ section in
this manual.
NOTE For more information on loading and using 3D LUTs, see the ‘LUTS’
section of this manual.
NOTE Use the 'safe area guide %' setting in your URSA Broadcast's 'all'
monitoring settings to set the size of the safe area guide.
77Settings
LCD Monitor Settings 2
The second page of your URSA Broadcast's 'LCD' monitor tab contains settings unique to your
LCDtouchscreen.
Display
Instead of a histogram and audio meters, your URSA Broadcast can display codec and
resolution information at the left and right bottom edges of the LCD touchscreen. This
can be useful if you prefer to use false color for dialling in exposure, or are recording
audio separately and want to display additional information in the space normally used
by the histogram and audio meter.
Simply tap ‘meters’ or ‘codec and resolution’ in the ‘LCD’ menu to select your
preferred view.
Your URSA Broadcast can display codec and resolution
information in place of the histogram and audio meters
Screen Brightness
Drag the ‘screen brightness’ slider in the ‘LCD’ menu left or right to adjust the
brightness of your URSA Broadcast's LCD touchscreen.
Front SDI and Main SDI Monitor Settings 2
The second page of your URSA Broadcast's 'front SDI' and 'main SDI' monitor tab contains
settings unique to your front and main SDI outputs.
Status Text
It can be useful to hide the status text and meters on your front SDI or main SDI output,
leaving only the information necessary to compose or direct a shot. Tap the ‘status text’
switch icon in the ‘front SDI’ or ‘main SDI’ monitor menus to toggle the appearance of
status text and meters for that output. Overlays such as frame guides, grids, focus assist
and zebra will remain visible, if enabled.
Swiping up or down on your URSA Broadcast's LCD touchscreen has the same effect
for thetouchscreen.
78Settings
Display Status Text For Cinematographer or Director
Your URSA Broadcast's LCD touchscreen displays information such as ISO, white
balance, and aperture that is useful to a camera operator or cinematographer setting
up individual shots on that camera. URSA Broadcast's front and main SDI outputs,
however, can also show information useful to a director or script supervisor who is
keeping track of multiple shots or cameras.
Your URSA Broadcast can display director specific status
text on its front and main SDI outputs
Setting the status text to ‘director’ in your URSA Broadcast's 'front SDI' or 'main SDI'
monitor settings changes the status text for that output to show the following
information.
FPS
Displays the currently selected frames per second. If off speed frame rate is disabled,
only the project frame rate will be shown. If an off speed frame rate is being used, the
sensor frame rate will be shown, followed by the project frame rate.
CAM
Displays the camera index as set in your URSA Broadcast's Slate. See the ‘slate’ section
later in this manual for more information.
OPERATOR
Identifies the camera operator as set in your URSA Broadcast's Slate. See the ‘slate’
section later in this manual for more information.
DURATION DISPLAY
Displays the duration of the current clip, while recording, or the last recorded clip in the
following format: hours:minutes:seconds
REEL, SCENE, TAKE
Displays the current reel, scene and take. For more information on reels, scenes, takes
and their labelling conventions, refer to the ‘slate’ section later in this manual.
DYNAMIC RANGE
The bottom left hand corner of the monitor displays your URSA Broadcast's currently
appliedLUT, if applied to that output. If no LUT is applied, ‘film’ or ‘video’ dynamic
range will bedisplayed.
TIMECODE
The bottom right of the monitor displays your URSA Broadcast's timecode, in the
following format: hours:minutes:seconds:frames
79Settings
SDI Output
Both outputs allow you to choose between progressive and interlaced HD output,
while your URSA Broadcast's main SDI output also has to option of progressive
Ultra HD.
The options available in this setting depend on your camera's resolution and frame rate
settings.
Progressive HD, or '1080p' is always available regardless of your recording resolution
and framerate, while interlaced HD, or '1080i' is available when your project frame rate
is set to 50, 59.94 or 60.
Ultra HD SDI output, or '2160p' is available on your URSA Broadcast's main SDI when
shooting at Ultra HD resolution.
SDI Output - front SDI
SDI Output - main SDI
All Monitor Settings 1
Monitor settings that affect all of your URSA Broadcast's outputs are grouped within the 'all'
menu. Forexample, setting 'safe area guide %' to 90% in this menu will set the safe area guide
to 90% for your camera's LCD, front SDI and main SDI outputs.
There are two pages of 'all' settings. The first page of your URSA Broadcast's 'all' monitor tab
contains the following settings.
Frame Guides
Tap the left or right arrows in the ‘frame guides’ menu setting to cycle through seven
frame guide options for all outputs on your URSA Broadcast, including EVFs such as
Blackmagic URSA Viewfinder. The options are detailed in the ‘touchscreen’ section of
this manual, and are also accessible from the LCD monitoring menu in your LCD
touchscreen head up display. It’s worth noting that you can individually select whether
frame guides will appear on your LCD touchscreen, front SDI and main SDI output in
their respective ‘monitor’ menus.
80Settings
Guide Opacity
Tap the left or right arrows in the ‘guide opacity’ menu setting to choose the opacity of
the areas blocked out by frame guides on your LCD touchscreen, front and main
SDIoutputs. Theoptions are 25%, 50%, 75% and 100%.
Focus Assist
Your URSA Broadcast camera has two focus assist modes, ‘peak’ and ‘colored lines.’
Peak
When ‘peak’ style focus assist is selected, areas of the shot that are in focus are heavily
sharpened on your LCD touchscreen or SDI outputs, but not in the recorded image
itself. This causes focused parts of your shot to ‘pop’ out of the softer background on
screen. As no additional overlays are used, this can be a very intuitive way to tell when
focus is dialled in, especially when the subject you’re focusing on is physically well
separated from other elements in shot.
Colored Lines
When ‘colored lines’ style focus assist is selected, a coloured line is superimposed
around the parts of the image that are in focus. This can be a little more intrusive than
‘peak’ style focus assistance as the lines are drawn over your image, but especially in
busy shots with a lot of visible elements, it can be a precise focus aid.
Focus Assist Intensity
To set the level of focus assistance for your LCD touchscreen, front SDI and main SDI,
tap the ‘low,’ ‘medium’ or ‘high’ setting.
Focus Color
Use this setting to change the color of focus line overlays when using ‘colored lines’
style focus assistance. Changing the focus line color can make it easier to tell focus
assistance lines apart from your image. The available options are ‘white,’ ‘red,’ ‘green,’
‘blue’ and ‘black.’
Zebra Levels
Set the exposure level that zebra appears at by tapping the arrow icons on either side
of this setting. Zebra level is adjustable in five percent increments between 75 and 100
percent exposure.
For more information, see the ‘zebra’ guide in the ‘touchscreen features’ section of
this manual.
NOTE Setting the focus assist intensity level does not effect whether focus
assistance is enabled on your URSA Broadcast's LCD touchscreen or SDI
outputs. You’ll still need to turn focus assistance on individually for each output
in the 'LCD,' 'front LCD, or 'main LCD' monitor menus.
TIP The optimum level of focus assistance varies shot by shot. When focusing
on actors, for example, a higher level of focus assistance can help resolve
edge detail in faces. A shot of foliage or brickwork, on the other hand, may
show distracting amounts focus information at higher settings.
81Settings
All Monitor Settings 2
The second page of your Ursa Broadcast's 'all' monitor tab contains the following options:
Grids
To set which combination of grids and crosshairs you want to display on your URSA
Broadcast's LCD touchscreen, front and main SDI outputs, tap the ‘thirds,’ ‘crosshairs,’
or ‘center dot’ options in this setting.
For more information, see the ‘grids’ guide in the ‘touchscreen features’ section earlier
in this manual.
Safe Area Guide %
To adjust the size of the safe area overlay on your URSA Broadcast's LCD touchscreen,
frontSDI and main SDI outputs, tap the arrows to the left and right of the percentage
displayed in this setting. This percentage indicates the size of the safe area in relation
to the image frame. Mostbroadcasters require a 90% safe area.
Anamorphic Desqueeze
When shooting with anamorphic lenses, the image will appear horizontally ‘squeezed’
on your URSA Broadcast's preview outputs and in recorded files. Enabling ‘anamorphic
desqueeze’ will correct the preview image on your URSA Broadcast as well as
recording the desqueeze amount used in the clip metadata for easy correction in post.
The desqueeze amount available will vary depending on what you’ve set your
URSABroadcast resolution to, but the resulting image will always be in the cinematic
widescreen 2.4:1 aspect ratio.
Anamorphic lenses designed for film typically have a 2x squeeze factor. Your
URSABroadcast's '3Kanamorphic' resolution is designed for use with these lenses and
will perform a 2xdesqueeze when set to this resolution with 'anamorphic
desqueeze' enabled.
Anamorphic lenses designed for 16:9 digital image sensors often use a 1.33x squeeze
factor to produce 2.4:1 cinematic widescreen images from the entire 16:9 sensor.
Therefore, when your URSA Broadcast is set to 16:9 resolutions such as ’4K 16:9’ and
‘HD16:9,’ the desqueeze ratio will be 1.33:1.
TIP If your image appears horizontally stretched when shooting with a standard
spherical lens, make sure you don’t have ‘anamorphic desqueeze’ enabled.
82Settings
Audio Settings
The ‘audio’ tab lets you adjust the audio input and monitoring settings on your URSA Broadcast.
The settings are spread over two pages and divided between channels 1 and 2, while an
upcoming software update will add two additional channels.
You can map each audio channel to a different source, as well as adjusting various settings
such as padding and low cut filters.
These settings work together with the switches on your URSA Broadcast's internal control
panel. So after you've set your audio source for a particular channel, you can use the internal
control panel switches to set the signal type and whether phantom power is enabled for
that channel.
Audio Settings 1
The first page of your URSA Broadcast's 'audio' tab contains the following settings.
Channel Source
Use the 'record channel 1 source' and 'record channel 2 source' buttons to select your audio
source for each audio channel. The options are
Camera Left or Right
Use this setting to record from your camera's internal microphones.
Camera Mono
Use this setting to record audio from your URSA Broadcast's built in microphone's left
and right channels onto a single audio channel.
XLR 1 or 2
Use this setting to record from your camera's XLR inputs. Depending on which audio
signal you've set on your URSA Broadcast's internal control panel switches, your
XLRinput may be listed as 'mic,' 'line,' or 'AES.' If phantom power is enabled and you
have your XLR input set to 'mic' you'll also see a '+48V' indicator here. It it is important
to ensure that the +48V switch gets turned ‘off’ when you disconnect your phantom
powered microphone.
XLR 1 or 2 - Mic Backup
Use this setting to record audio from a microphone plugged into your URSA Broadcast
XLR 1 or 2 input at a lower level than the standard 'mic' recording. This can be used to
avoid audio clipping in the event of an unexpected increase in loudness. This feature
will only be available as a selectable item if the XLR 1 or 2 input switch is set to 'mic'.
None
Use this setting to disable your audio channel.
83Settings
Recorded Channel 1/2 Level
Use these sliders to adjust the recording levels of your chosen channel 1 and 2 sources.
Audiometers are included with each slider to help you set the correct audio level. These levels
will also update when you adjust the audio using the audio knobs on the ergonomic
control panel.
To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is the
maximum level that your camera can record, meaning that any audio that exceeds this level will
be clipped, resulting in distortion.
Audio Settings 2
The second page of your URSA Broadcast's 'Audio' tab contains the following settings
Headphones Volume
This slider adjusts the output levels for headphones attached to URSA Broadcast's 3.5mm
headphone jack. Move the audio slider left or right to adjust levels. These levels will also
update when you adjust the headphone volume using the settings wheel on the forward
control panel.
Speaker Volume
This slider adjusts the output levels for your URSA Broadcast's built in speaker. Move the audio
slider left or right to adjust levels. These levels will also update when you adjust the speaker
volume using the settings wheel on the forward control panel.
Pad XLR -20dB
The -20dB pad option gives you added control to further reduce the input gain levels on your
URSA Broadcast's XLR audio inputs when shooting in a loud environment even after your input
levels are already turned down.
Pad Cam Mic - 15 dB
The -15dB pad option gives you added control to further reduce the microphone input gain
levels on your URSA Broadcast's internal microphone when shooting in a loud environment
even after your input levels are already turned down.
Cam Mic Low Cut Filter
Tap this switch icon to enable the low cut filter for your camera’s internal microphones.
This filter helps to reduce potential wind noise or low frequency rumbling that may occur in
exterior shooting conditions. Note that the 'pad cam mic -15 dB' selector must be switched off
for this function to work.
84Settings
Setup Settings
The ‘setup’ tab contains your URSA Broadcast's identification settings, software version,
function button settings and other camera settings not directly linked to recording or
monitoring. This menu has four pages, which you can cycle through by tapping the arrows at
the edge of the LCD touchscreen, or swiping left or right.
Setup Settings Page 1
The first page of your URSA Broadcast's 'setup' tab contains the following settings.
Setup menu on URSA Broadcast
Date and Time
Set your URSA Broadcast's date and time by tapping the ‘date and time’ setting. The date
format is year, month, day and the time format is 24 hour. Your URSA Broadcast's date and time
are also used for time of day timecode if an external timecode source is not connected.
Language
Tap the ‘language’ setting to change the language of your URSA Broadcast's menus and status
text. English is the only currently available language but more are planned for upcoming
software updates.
Timecode Drop Frame
Use the ‘timecode drop frame’ option to use drop frame timecode when using NTSC project
frame rates of 29.97 and 59.94. Drop frame timecode drops a small number of frames from the
timecode at set intervals. This keeps your project timecode accurate despite each second not
containing a whole number of frames at NTSC frame rates.
Shutter Measurement
Tap the 'shutter measurement' button to change between shutter speed and shutter angle as a
unit of shutter measurement. It's important to note that both shutter measurements effect
motion blur, but work in slightly different ways. See the 'touchscreen controls' section of this
manual for a full explanation of shutter measurement.
Flicker Free Shutter Based On
Use this setting to change the mains power frequency your URSA Broadcast uses to calculate
flicker free shutter settings.
When shooting under lights, your shutter speed can effect the visibility of flicker. Your
URSABroadcast will automatically calculate flicker free shutter speeds for your current frame
rate and display suggestions in the ‘shutter speed' menu. These speeds are effected by the
frequency of the local mains power supply used to drive those lights. In most PAL countries, this
frequency is 50Hz, while NTSC countries typically use 60Hz power. Simply tap ‘50Hz’ or ‘60Hz’
to set the right frequency for your region.
New text revised
after translation,
check with
translations.
85Settings
Battery Display
Your URSA Broadcast can change the way the battery level indicator displays the remaining
charge. The two settings are ‘percentage’ and ‘voltage.’ When using a battery and plates that
support percentage accurate levels, setting ‘battery display’ to ‘percentage’ will show your
battery power remaining as a percentage.
If your battery and plate combination does not support percentage accurate readings, the
display will show four bars which empty as the battery depletes.
If this option is set to ‘voltage,’ battery levels will be displayed in volts. We recommend that you
swap the battery as it approaches 12V.
Display ND Filter As
Use this setting to adjust how the ND filter indicator on your URSA Broadcast displays your
NDfilter setting. Each setting corresponds to a different camera convention. Cinematographers
typically use ND.number notation, while those familiar with DSLRs or broadcast cameras may
prefer this information in f-stop format, or as a fraction of available light. These options are
available here as 'number,' 'stop,' and 'fraction,' respectively.
Setup menu in URSA Broadcast with the option to customize
how the ND filter information is displayed
NOTE The characteristics of individual light sources may still cause flicker even when
using flicker free speeds. We recommend always performing a test shoot when not
using continuous lights.
New text revised
after translation,
check with
translations.
TIP A list of batteries that support percentage accurate power information is provided
in the ‘mounting batteries’ section of this manual.
TIP You can also toggle between 'voltage' and 'percentage' battery displays by
tapping the power icon on the LCD touchscreen.
86Settings
Setup Settings Page 2
The second page of your URSA Broadcast's 'setup' tab contains the following settings.
ATEM Camera ID
If you’re using URSA Broadcast with an ATEM Switcher and want your camera to receive tally
signals from the switcher, you’ll need to set the camera number on your camera. This ensures
the switcher sends the tally signal to the correct camera. The camera number can be set to a
value of 1-99 by tapping the left or right buttons. The default setting is 1.
Color Bars
Outputting color bars rather than a preview image can be useful when connecting your
URSABroadcast to a switcher or external monitor. The appearance of your URSA Broadcast's
color bars onyour switcher or monitor confirms the connection, and you can perform basic
monitorcalibration based on the colors of the bars. To turn on color bars for all outputs on
yourURSABroadcast, including the LCD touchscreen, simply tap the ‘color bars’ switch icon.
Program Audio
When connected to an ATEM switcher, setting 'program audio' to 'on' prioritises the program
return audio as your input source to be mixed with talkback when monitoring using headphones
or a headset. This is useful when you are not feeding the switcher audio from your camera but
you still want to listen to the program feed from the mixer. Simply tap the 'program audio' switch
icon to toggle camera audio or program audio.
Headset Mic
Move this volume slider left or right to increase or decrease audio microphone input levels.
Thedefault setting is 50%.
Program Mix
This setting changes the balance of camera sound to talkback sound. The headphones will
output audio following what is displayed on the LCD. For instance, if you are in camera view,
camera audio is heard. If you are in program view, program audio is heard. The default
setting is 100%.
Reference Source
This setting is used to select the reference source. Your URSA Broadcast can lock to an internal
or external reference source, or to the reference signal in the program input from an ATEM
switcher. Ifyou are using your URSA Broadcast with an ATEM Switcher’s camera control
function, you should always set your reference source to ‘program’ unless the switcher itself
and all connected cameras are set to an external reference.
87Settings
Reference Timing
These settings allow you to manually adjust the reference timing on a line or pixel basis. Simply
tap the arrow icons on either side of the “lines” and “pixels” settings to make adjustments.
Setup Settings Page 3
The third page of your URSA Broadcast's 'setup' tab contains the following settings
Set Function Button
On the outside of your URSA Broadcast's LCD touchscreen, you’ll notice two function buttons,
‘F1’ and ‘F2.’ These are mappable to frequently used features and are quickly accessible
whenusing your camera with the LCD touchscreen closed, such as when you are using
URSAViewfinder.
Your URSA Broadcast's F1 and F2 buttons are
located on the forward control panel
NOTE When you are setting your reference source for URSA Broadcast, you may
experience a small dropout on your camera’s outputs when switching between your
reference sources. This is because the camera is adjusting its referencing timing to
match that of the external source. For this reason it is important not to change this
setting during a production and only while setting up.
ON OFF
88Settings
To set these buttons, select a function button and then its behavior, a setting, and
aparameterfor that setting.
1 Button
2 Behavior
3 Setting
4 Parameter
Function 1/2 Behaves as
Once you have selected the function button you want to map, you can select a behaviour.
Theavailable options are:
Preset
When set to this behavior, pressing a function button will recall a combination of a
setting and a parameter.
To set a preset, select the setting you want to use from the ‘setting’ menu, and adjust
that setting by tapping the arrow icons on either side of the ‘parameter’ menu.
For example, to set the F1 button to recall a preset aperture of f8, select the ‘preset’
behavior, tap the ‘iris’ setting, and tap the arrows on either side of the ‘parameter’ menu
until you get to f8.' Tapping the preset again returns your camera to the previous setting.
Up/Down
When set to this behavior, pressing a function button will move a particular setting
up or down.
For example, you may want to set F1 to increase your lens aperture and F2 to decrease
it. To do this, select the ‘F1’ function button, set the behavior to ‘up/down’, and the
parameter to ‘up.’ Do the same for the ‘F2’ function button, but set the option to ‘down.’
Toggle On/Off
When set to this behavior, pressing a function button will toggle a particular setting on
or off. The ‘setting’ menu is greyed out in this mode. Instead, tap the left or right arrows
in the parameter menu to scroll through the available options. These are ‘off speed
recording,’ ‘color bars,’ ‘clean feed,’ ‘display LUT,’ frame guides,’ ‘focus assist,’ ‘false
color,’ and ‘zebra.’
Using the ‘Toggle On/Off’ behaviour also lets you select the output this setting applies
to. Simply tap any combination of ‘LCD,’ ‘front SDI’ and ‘main SDI’ to select. Ifthe output
for an option is not available, such as 'color bars' which always applies to all outputs,
the 'LCD,' 'front SDI', and 'main SDI' settings are disabled.
1 2
3
4
89Settings
Setup Settings Page 4
The fourth page of your URSA Broadcast's 'setup' tab contains the following settings.
Status LED
Your URSA Broadcast has a small LED on the front panel that provides tally and status
information. You can enable or disable it by tapping the ‘Status LED’ switch icon.
The LED will provide the following status indicators:
White
The camera is powered on and in ‘standby’ mode.
Red
The camera is recording. Slow flashing indicates that your card space is low, while rapid
flashing indicates dropped frames.
Green
The camera is in playback mode. Slow flashing indicates that your camera is playing
back clips. The LED will alternate between green and white in standby mode and will
alternate between green and clear during playback to indicate this. Three flashes
indicate that inserted media has been recognized.
Orange
If your camera’s battery is low, the LED will flash orange and your other current status
color. For example, if currently recording, the LED indicator will slowly alternate
between orange and red. If your camera is in standby mode, the LED will alternate
between white and orange. The threshold for ‘low’ battery is 20 percent for batteries
that support percentage accurate charge information, or 12.5 volts for batteries
that don’t.
Status LED Brightness
To set the brightness of your URSA Broadcast's door LED or status LED, simply tap ‘low,’
‘medium,’ or ‘high.’
Factory Reset
To reset the camera to its default factory settings, tap the ‘reset’ button. You will be asked to
confirm this action as it will erase any LUTS and presets currently stored on the camera. Tap
‘reset’ on the confirmation page to reset your camera settings. This process can take up to two
minutes to complete.
90Settings
When selecting 'factory reset' you will be prompted to confirm your action
Hardware ID
The ‘Hardware ID’ indicator displays an 8 character identifier for your URSA Broadcast. This is
unique to each camera. A longer, 32 character version of this ID is also included in the metadata
for RAW and ProRes video. This can be useful for identifying which footage came from a
particular camera if filenames are changed as the camera hardware ID remains constant.
Software
Displays the current software version installed on your URSA Broadcast. See the ‘Blackmagic
Camera Setup Utility’ section for more information on updating software.
Playback
This setting allows you to select whether to play back a 'Single Clip' or 'All Clips' during
playback. 'All Clips' will play back through all matching media sequentially, and 'Single Clip' will
play one clip at a time. This also applies for the loop function. Selecting loop on 'All Clips' will
play through all of the clips on the CFast 2.0 or SD card and then loop. Selecting 'Single Clip'
will loop one clip at a time.
Setup Settings Page 5
The fifth page of your URSA Broadcast's 'setup' tab contains the following settings.
The camera Bluetooth name will be the letter of your camera as selected in the
slate, followed by the 8 character hardware ID for your URSA Broadcast
91Settings
Bluetooth®
Bluetooth control allows you to control your camera wirelessly from portable devices. Using the
‘Blackmagic Camera Control App’ you can power the camera on or off, change settings, adjust
metadata and trigger record remotely from an iPad. You can enable or disable Bluetooth by
tapping the ‘Bluetooth’ switch icon in the ‘setup' menu. WhenBluetooth is enabled, the camera
can be detected by Bluetooth devices up to 30feet away.
Because URSA Broadcast uses the same set of commands for Bluetooth control as it does for
'Blackmagic SDI Camera Control Protocol', you can write your own applications to control
almost every setting in the camera remotely, from monitoring to audio settings, the camera’s
inbuilt DaVinci Resolve color corrector or lens control.
For more information see the 'Blackmagic SDI Camera Control Protocol' section in this manual.
To pair your camera with an IPad for the first time:
1 Enable Bluetooth by tapping the ‘Bluetooth’ switch icon in the ‘setup' menu on your
URSA Broadcast.
2 Open the ‘Blackmagic Camera Control App’ and select the URSA Broadcast you would
like to pair with. Available cameras will be listed by their camera letter, followed by their
unique hardware ID. For example A:A0974BEA.
Select the URSA Broadcast you would like to pair with
NOTE When you install the Blackmagic Camera Control App and run it for the first time,
you will be asked if you want to 'allow location access.' If you select 'while using the
app,' GPS readings from your iPad will be included in the metadata of the files you
shoot, allowing you to geotag footage. This information can be viewed in Blackmagic
DaVinci Resolve versions 14 or higher.
If you do not want to using this information, select 'never.'
To change settings, go to settings, privacy, location services, camera control on
youriPad.
92Settings
3 When you try to connect for the first time the Blackmagic Camera Control App will
request a six digit code to pair with the camera. This code will be displayed on the
camera’s LCD screen. Type this code into the iPad.
4 The information on the screen will confirm that your URSA Broadcast is now paired with
your iPad.
93Settings
5 If there is a problem pairing the camera to your iPad you will see the following
error message:
Disconnect Current Device
Use this setting to disconnect your URSA Broadcast from the iPad it is currently
paired with.
Clear Paired Devices
Use this setting to clear the list of devices that your URSA Broadcast has been
paired with.
Controlling Your Camera with the Blackmagic Camera Control App
Once you have successfully paired your URSA Broadcast to your iPad, you can power the
camera on or off, change settings, adjust metadata and trigger record remotely using
the iPad app.
Once paired, the Blackmagic Camera Control app will display this
screen, allowing you to adjust your settings and start recording
NOTE If you are not using Bluetooth to control your URSA Broadcast, it is a
good idea to turn Bluetooth off for the purpose of security.
94Settings
Tap the slate icon in the lower right corner to access and update the slate
URSA Broadcast uses Bluetooth LE to communicate with devices for wireless control. As this is
the same type of protocol used in portable devices, it only uses a minimal amount of
battery power.
You can power off your URSA Broadcast by tapping 'power off' in the top right corner.
You will be prompted to confirm your selection before your camera is powered off
When Bluetooth is enabled and URSA Broadcast is powered off, the name of your camera will
still show up on the list of available devices in the Blackmagic Camera Control App. Since you
have already paired with your camera, you can now switch it on remotely by selecting your
camera name and tapping ‘Connect’. Your camera will not show up in this list if Bluetooth
is disabled.
95Settings
Presets
The 'presets' tab lets you save and recall a complete collection of settings for your URSA
Broadcast. This is very useful when one camera is used for multiple projects. For example, you
may use your URSA Broadcast for a variety of different shoots, from documentaries to music
videos, with very different settings between types of projects. Your URSA Broadcast's 'presets'
function lets you save the setup for a particular project or type of shoot and come back to it
quickly and easily when required.
You can also import and export presets, which is very useful for setting up a multi camera shoot.
Simply set up one URSA Broadcast to suit your project, then export that preset for all the other
URSABroadcasts on set.
Your URSA Broadcast's Presets tab
Preset buttons
The button icons along the bottom of your URSA Broadcast's 'preset' menu correspond with the
following functions.
Add Load Update Manage Delete
Saving and loading presets
To create a new preset, tap the ‘add’ icon. This will bring up a touch keyboard on your
LCDtouchscreen where you can name your preset. Once you’ve typed in the name, tap
‘update’ tosave all of your URSA Broadcast's current settings to that preset.
If your URSA Broadcast already has a preset loaded with the same name, you will be prompted
to overwrite the existing preset or keep both.
NOTE Your URSA Broadcast can save up to twelve presets to its internal memory.
96Settings
Enter a name for your preset by tapping the 'add' icon in
the preset tab and using the touch keyboard
Once you have a preset saved, tap its name in the preset menu to select it.
To load it tap the ‘load’ icon.
Select a preset and tap the 'load' icon to load it. Selected presets will appear solid
blue, while currently loaded presets have a blue line along the bottom of their icon
You can update a preset by tapping the 'update' icon. This will bring up a prompt asking you if
you want to update the preset with your URSA Broadcast's current setting. Tap ‘update’
to confirm.
Importing presets
To import presets, tap the ‘preset manager’ icon at the bottom of the preset menu. Select either
SD or CFast with the storage media selection switch, depending on where your presets
are saved.
Tap ‘import preset’ and confirm your selection with the ‘import’ icon. This will bring up the
import screen. Choose ‘card 1’ or ‘card 2’ at the top left of this screen to display any available
presets on those cards.
Your URSA Broadcast will search the root directory and 'presets' folder on theselected CFast or
SDcard. It's worth noting that presets saved elsewhere on your CFast or SD cards will not
be visible.
Tap a preset to select it, and tap ‘import’ to confirm. At the top right of this screen, you’ll see the
number of remaining empty preset slots available on your camera.
97Settings
Exporting presets
To export a preset to a CFast or SD card, select the preset you want to export by tapping it, and
tap the ‘manage’ icon. You will be prompted with two options, 'import preset' or 'export
selected preset.'
Use the storage media selection switch to select either SD or CFast, depending on the location
you would like to export the preset to. Tapping ‘export selected preset’ will prompt you to
choose which card you would like to export to. Choosing a card will export the selected preset
to a 'presets' folder on that card.
If the CFast or SD card you've chosen already has a preset saved to it with the same name as
the one you're exporting, you will be prompted to overwrite the preset on the card, or keep
both presets.
Deleting presets
Your URSA Broadcast has space for twelve presets. To delete a preset, select it and tap the
'delete' icon. You will be prompted to confirm your choice. Tap 'delete' to confirm.
LUTS
The ‘LUTS’ menu lets you import, export and apply 3D LUTs to your camera's outputs.
Your URSA Broadcast's LUT tab
Introducing 3D LUTs
Your URSA Broadcast can apply 3D LUTs to images on its LCD touchscreen, front SDI and
mainSDI. LUTs work by telling your camera what color and luminance output to show for a
particular color and luminance input. For example you may want to record internally in camera
with normal color but send a preview out to your monitors and switcher of what broadcast
legalcolors for your region will look like. This is also useful when shooting RAW footage or
using 'film' dynamic range, both of which have an intentionally undersaturated, 'flat'
appearance. Byapplying a LUT, you can get an idea of what your footage will look like after it
has been graded.
NOTE If your URSA Broadcast's preset slots are full, the import menu will not be
available. You will need to delete an existing preset to make room.
98Settings
It is easy to create 3D LUTs using DaVinci Resolve or other color correction software, and LUTs
are available online from a variety of sources. Your URSA Broadcast can store up to six 17 point
or 33 point 3D LUTs, of up to 1.5 megabytes each. Once loaded, you can choose to display
agivenLUT on your camera's LCD touchscreen, front SDI, main SDI or any combination of
theseoutputs.
Your URSA Broadcast supports 33 point 3D LUTs in .cube format created in DaVinci Resolve
and17point 3D LUTs converted to Resolve .cube format via LUT conversion programs.
Yourcamera processes 3D LUTs using high quality tetrahedral interpolation.
Built-in LUTs
Your URSA Broadcast provides a number of built-in LUTs, that allow you to preview different
looks whilst shooting in 'film' dynamic range or when shooting RAW.
Broadcast Film to Video
The 'Broadcast Film to Video' LUT is similar to the REC 709 color standard for high
definition video, and has a high level of contrast and saturation. You may find this
setting useful when using URSA Broadcast alongside other broadcast cameras limited
to the REC 709 color space.
Broadcast Film to Extended Video
The 'Broadcast Film to Extended Video' LUT offers a preview with a wider dynamic
range than the 'Broadcast Film to Video' LUT, and applies a mild contrast change with a
smooth roll off in the highlights.
Broadcast Rec 2020 Hybrid Log Gamma
The 'Broadcast Rec 2020 Hybrid Log Gamma' LUT offers a preview that is essentially a
hybrid between REC 709 and a log image.
Broadcast Rec 2020 PQ Gamma
The 'Broadcast Rec 2020 PQ Gamma' LUT offers a preview with a gamma curve that is
based on what we can perceive with our eyes, for efficient encoding of HDR images.
LUTS buttons
The button icons along the bottom of your URSA Broadcast's 'LUTS' screen correspond to the
following functions:
Load Manage Delete
TIP For more information on displaying LUTs, see the ‘monitor settings’ section in this
manual.
NOTE LUTs are used as a preview tool only. Your URSA Broadcast does not apply, or
‘bake in,’ LUTS to recorded footage, however information on the LUT applied during a
shot is saved as metadata with your recordings. The 'LUT used' field in DaVinci Resolve
can be used to verify the name of the LUT that was used as a monitoring LUT on set.
99Settings
Importing LUTS
To import a 3D LUT, tap the 'manage' icon at the bottom of the LUT menu, and tap 'import LUT'
to confirm.
This will bring up the import screen. Select either SD or CFast with the storage media selection
switch, depending on where your LUTs are saved. Choose ‘card 1’ or ‘card 2’ at the top left of
this screen to display any available 3D LUTs on those cards.
Your URSA Broadcast will search the root directory and '3DLUTS' folder on your selected CFast
or SDcard. Any LUTs you have saved elsewhere will not be visible.
Tap a LUT to select it and tap 'import' to confirm your selection. The LUT will be saved to your
URSA Broadcast.
If the LUT you want to import has the same name as a LUT already saved to your camera,
youwill be prompted to overwrite the existing LUT or keep both. At the top right of this screen,
you’ll see the number of remaining empty LUT slots available on your camera. You will only be
able to import as many LUTs as you have free slots on your camera.
Applying a LUT
Once you have a LUT saved onto your camera, tap it in the LUT menu to select it, and tap the
‘load’ icon. This will enable that LUT to all outputs on your camera. However, you will still have
to turn ‘display LUT’ on in the monitor menu for each output to apply it. See the ‘monitor
settings’ section in this manual for more information.
Exporting LUTs
To export a LUT to a CFast or SD card, select the LUT you want to export and tap the icon.
Youwill be prompted with two options, 'import LUT' and 'export selected LUT.' Use the storage
media selection switch to select either SD or CFast, depending on the location you would like
to export the LUT to.
Tapping ‘export selected LUT’ will prompt you to choose which card you want to export to.
Choosing a card will commence exporting, unless you are exporting a LUT that already exists
on that card. If a duplicate LUT is found, you will be asked if you want to overwrite the LUT on
your card, or if you would like to keep both.
Deleting LUTS
Your URSA Broadcast has space for six 17 point 3D LUTs. To delete LUTs you are no longer
using, or make room for more, select the LUTs you want to delete and tap the icon. Youwill be
prompted to confirm your choice. Tap ‘delete’ to confirm.
NOTE If your URSA Broadcast's six 3D LUT slots are full, you will not be able to import
until you delete some existing LUTs to make space.
NOTE If you are having trouble importing a LUT to your URSA Broadcast, it may be the
wrong size. You can use a LUT editor like Lattice to check its size, or open it in any text
editor on your computer. Next to the tag 'LUT_3D_SIZE' will be a number indicating the
LUT's size. If this value is not 17 or 33, you can use Lattice to resize your 3D LUT to
17points.
100Settings
Entering Metadata
Metadata is information saved inside your clip, such as take numbers, camera settings and
other identifying details. This is extremely useful when sorting and processing footage in
postproduction. For example, take and shot and scene numbers are essential organisational
tools, while lens information can be used to automatically remove distortion or better match
VFXassets to plates.
Your Blackmagic URSA Broadcast automatically saves some metadata to each clip, such as
camera settings, timecode, date and time. You can use your camera’s slate to add many
additional details.
The Slate
Swiping left or right on your URSA Broadcast's touchscreen will bring up the slate.
The slate is divided into two tabs, ‘clips’ and ‘project.’ The ‘clip’ tab contains information that
may vary clip by clip, while ‘project’ is where you enter details common between clips, such as
the project name, director, and camera and operator ID.
‘Clip’ metadata
Changes made to clip metadata work slightly differently in ‘standby’ mode, when your
URSABroadcast is ready to record, and ‘playback’ mode, when you’re reviewing footage you’ve
already shot. In ‘standby,’ clip metadata will be saved to the next clip recorded, except for
'goodtake last clip' which refers to the most recently recorded clip.
In 'playback' mode clip metadata is always recorded to the current clip being viewed.
Slate for
This setting shows the clip which the metadata currently displayed in the ‘clip’ applies to.
In‘standby’ mode, this refers to the next clip that will be recorded.
Lens Data
These settings display information about the current lens fitted to your camera. Many electronic
lenses automatically supply information such as the lens model, aperture and focal length.
TIP Metadata entered into the slate is viewable on your URSA Broadcast's front or
main SDIoutputs when set to ‘director view.’ See the ‘monitor settings’ section in this
manualfor more information.
101Entering Metadata
If you are using a lens that does not provide this information, or you want to enter additional
data, you can tap the pencil icon in this setting to enter the information manually. This will bring
up the ‘lens data’ menu, which contains the following information:
The lens data menu showing information automatically populated from a B4
broadcast lens with 12-pin Hirose connector plugged into URSA Broadcast.
Lens Type
Shows the lens model. If your lens type is not automatically shown here, you can tap
this setting to enter the data manually.
Use the touch keyboard to enter lens data if it is not provided automatically
Iris
Shows the iris aperture setting at the start of your clip. This information can be
displayed in f- or T-stops depending on the lens used, if supplied automatically. Tap this
setting to enter data manually.
Focal length
Shows the focal length setting of the lens at the start of the recorded clip. When
automatically supplied, this is shown in millimeters. Tap this setting to enter data manually.
Distance
Shows the focus distance settings of the lens for the recorded clip. Some lenses can
provide this data automatically and it will be provided in millimeters. You can also enter
this data manually.
Filter
Shows the current lens filters used. Tap this setting to enter data manually. You can
make multiple entries separated by commas.
102Entering Metadata
Filter information needs to be entered manually
The 'lens data' menu showing information that has been manually entered
Your URSA Broadcast's slate is divided into 'clip' and 'project' tabs
NOTE You can clear lens data at any time by tapping the ‘reset lens data’ icon
in the ‘lens data’ menu. You will be prompted to confirm your choice. If you
confirm, all lens data will be cleared and repopulated with any lens data
automatically provided by the currently fitted lens. If you have manually entered
any information into these fields, you will need to reset the lens data the next
time you mount a lens, otherwise the manually entered value will remain.
103Entering Metadata
Reel
The ‘reel’ indicator shows the current reel.
Your URSA Broadcast automatically increments reel numbers, so there is usually no need to
enter this manually. When you are moving to a new project and want to start from reel '1' again
go into the project tab of the slate and tap 'reset project data'.
Scene
The ‘scene’ indicator shows the current scene number, and can also show the current shot
number and type.
The number on this indicator always refers to the current scene. You can move this up and
down using the left and right arrows on either side of the scene number, or tapping the scene
number to enter the scene number editor.
The range of possible scene numbers is 1 to 9999.
By adding a letter to the scene number in the scene number editor, you can also indicate the
current shot. For example 23A would indicate scene twenty three, shot one. If you have a shot
letter added to your scene, your URSA Broadcast will suggest letter increments whenever you
enter the scene number editor. For example, if your current scene number is 7B, your URSA
Broadcast will offer ‘7C’ as an increment suggestion.
The scene number indicator can also show information about the current shot type in the top
right corner. You can select these in the scene number editor at the right hand side of the
shotkeyboard.
The shot types available are:
WS wide shot
MS medium shot
MCU medium close up
CU close up
BCU big close up
ECU extreme close up
When entering 'scene' metadata, your URSA Broadcast will prompt you with increment
suggestions to the left of the touch keyboard, and shot types to the right
104Entering Metadata
Take
The ‘take’ indicator shows the take number for the current shot. You can increment this up
or down by tapping the left or right arrows on either side of the take number, or tapping the
indicator to enter the take number editor.
You can add take descriptions in the take number editor. These are offered to the right of the
take number keyboard, and correspond to the following scenarios:
PU ‘Pick up.’ This refers to a reshoot of a previous take to add
additional material after principal photography has wrapped.
VFX ‘Visual effects.’ This refers to a take or shot for visual effect use.
SER 'Series.' This refers to a situation in which multiple takes are
shot while the camera is kept running.
When entering 'take' metadata, your URSA Broadcast will offer prompts
for additional shot types to the right of the touch keyboard
Good take
Tap the ‘good take’ indicator to flag good takes for easy recall in post production. This tag
applies to either the last clip recorded, if your URSA Broadcast is in ‘standby’ mode, or the clip
currently being viewed in ‘playback’ mode.
Int / Ext
Tap ‘int’ or ‘ext’ to add a ‘interior’ or ‘exterior’ tag to the next clip in standby mode, or the current
clip in playback mode.
Day / Night
Tap the ‘day’ or ‘night’ icons to add a ‘day’ or ‘night’ tag to the next clip in standby mode, or the
current clip in playback mode.
TIP When the shot number or scene letter are advanced, the take number will revert to
‘1.’
Tap 'A' to enable 'auto take
increment' whilst in 'standby'
mode. This will automatically
advance the take number
for each clip recorded. A
small 'A' will appear next to
the take number on the slate
when enabled.
105Entering Metadata
‘Project’ Metadata
Project metadata behaves the same way whether you are in 'standby' or 'playback' mode.
Thismetadata always refers to your project as a whole and is independent of clip numbers.
Your URSA Broadcast's 'project' slate tab
Project name
Displays your current project name. Tap the pencil icon to change the project name.
Director
Displays the director’s name for the current project. Tap the pencil icon to change the director
name.
Camera
Displays a single letter camera index. Tap the pencil icon to change the camera index.
Camera Op
Displays the camera operator. Tap the pencil icon to change the camera operator name.
NOTE Camera index is used in metadata and for file naming purposes and differs from
your URSA Broadcast's ATEM Camera ID, which is used when controlling your
URSABroadcast with an ATEM switcher. For more information on ATEM Camera ID, see
the 'ATEM camera control' section in this manual.
106Entering Metadata
Camera Video Output
HD Monitoring Output
Blackmagic URSA Broadcast's down converted 3G-SDI out connector always outputs 1080HD
video so you can easily connect to routers, monitors, SDI capture devices, broadcast switchers
and other SDI devices. This output is labeled ‘front SDI’ in the touchscreen settings menu.
12G-SDI Output
The 12G-SDI out connector on the rear panel supports HD and Ultra HD video including High
Pformats such as 2160p50, 59.94 and 60 on a single SDI cable. Interlaced HD formats are also
supported including 1080i50, 59.94 and 60. You can use the 12G-SDI output to connect to
anySDI monitor as well as Ultra HD switchers such as ATEM Production Studio 4K. This output
can be switched between HD and Ultra HD by selecting 1080p or 2160p from ‘display settings/
SDI mode’ on the touchscreen.
Connecting to Video Switchers
The SDI outputs allow you to use your camera for live television production. You can connect
the rear panel SDI output directly to production switchers for live production work, or to
ATEMCamera Converters to convert your signal to optical so you can send it hundreds of
meters to a broadcast truck on location.
When connected to a switcher, you can easily view the switcher’s program output on your
Blackmagic URSA Broadcast. To do this, first connect the switcher to your camera’s rear
12G-SDI input. Now press the ‘program’ button marked PGM on your camera’s fold out monitor.
To switch back to the camera image, simply press the PGM button again.
You can connect the 12G-SDI output to any 1080 HD or Ultra HD live production
switcher or monitor. The HD monitoring output can be plugged into an external
viewfinder, such as the Blackmagic URSA Viewfinder, or plugged into an external
monitor when mounted to production equipment. For example a jib arm or crane
AUDIO IN
1
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
AUDIO IN
1
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
AUDIO IN
1
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
107Camera Video Output
Connecting to Monitors
SDI monitoring can be really helpful when accessing the fold out monitor is impractical, such as
when secured high on a jib arm, on a crane, or mounted on a vehicle.
Monitoring information is displayed via your HD-SDI monitoring out connector by adjusting the
‘front SDI overlay’ settings in the display settings menu. SDI overlays provide frame guides and
information such as recording details and camera settings. If you simply want to monitor your
shots, you can always turn overlays off for a clean SDI output.
Connect the camera’s SDI output to SDI monitors or to a Blackmagic SmartScope Duo 4K for
live waveform monitoring.
SDI Output Formats
Rear SDI Output 2160p23.98, 24, 25, 29.97, 30, 50, 59.94, 60.
1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60. 1080i50, 59.94, 60.
3G-SDI Monitoring Output 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60.
1080i50, 59.94, 60.
108
Camera Video Output
URSA Mini Shoulder Mount Kit
Attaching the shoulder mount
The URSA Mini Shoulder Mount Kit lets you carry URSA Broadcast on the shoulder for ENG
style shooting. This kit includes a top handle, shoulder mount baseplate, extension arm for the
URSAMini side handle, long LANC cable, Viewfinder adapter plate, plus all the required screws.
The quick release mount on the baseplate lets you lock your camera into an ENG style tripod
plate or place it on your shoulder so you can follow the action.
The URSA Mini Shoulder Mount Kit works with any tripod plate modeled after the Sony VCT 14.
These mounts are easily found at camera stores or online.
It’s also worth mentioning that mounts modeled after the VCT U14 tripod plate are a different
system and are not compatible.
When attaching the shoulder mount kit, you will need the following tools:
1 x flat head screwdriver for the 2 x ¼” shoulder mount base plate screws.
1 x 3/16” Hex key driver for the 2 x ¼” top handle screws.
1 x 2.5mm Hex key driver for the 4 x Viewfinder adapter plate M3 screws.
To attach the shoulder mount kit to your URSA Broadcast you will
need a large flat head screwdriver, a 3/16” Hex key driver for the top
handle and a 2.5mm Hex key driver for the Viewfinder adapter plate
To attach the shoulder mount baseplate
F1 F2 HFR
IRIS
FOCUS
ISO/GAIN SHUTTER
MENU
WHITE BAL
REC
CH1/3
Insert screws via
threaded hole in slot
2 x ¼” baseplate screws
109URSA Mini Shoulder Mount Kit
1 Gently place your URSA Broadcast upside down on a flat, stable surface so you can
easily access the base of your camera.
2 Fasten the shoulder mount baseplate to URSA Broadcast using the 2 x ¼” flat head
screws and driver.
3 Tighten the screws until the baseplate is firmly attached and the screws won’t loosen.
Avoid over-tightening as it may damage the screw threads.
To attach the top handle without URSA Viewfinder
You can use URSA Mini Shoulder Mount Kit with or without the optional URSA Viewfinder.
The top handle is supplied with a rubber viewfinder cap on its base which is replaced with
anadapter plate when attached to the URSA Viewfinder. We recommend leaving the cap
attachedwhen using the handle without the URSA Viewfinder.
1
Top handle URSA Viewfinder cap
2
Place your URSA Broadcast on a flat, stable
surface so you can access the top of your camera.
Fasten the handle to any two of your
URSABroadcast's top 1/4” mounting points
using the two supplied 1/4” screws with a 3/16”
Hex key driver. URSA Broadcast's rear two
mounting points are recommended for most
situations, but you can choose any pair for
better weight balance when using
large lenses.
3
Tighten the screws until the handle is firmly in
place and the screws won’t easily loosen. Avoid
over-tightening the screws as it may damage the
screw threads.
110
URSA Mini Shoulder Mount Kit
To attach the top handle with URSA Viewfinder
1
Top handle URSA Viewfinder cap
2
Place your URSA Broadcast on a flat,
stablesurface so you can access the
topofyour camera.
Remove the URSA Viewfinder cap from the base
of the handle by gently lifting its arm away from
the side of the handle and pulling the cap
from the hole.
3
URSA Viewfinder adapter plate Thumbscrew for adjusting
the optional URSA
Viewfinder position
2 x 1/4” socket head
screws for mounting
handle to camera
4
Fasten the URSA Viewfinder adapter plate tothe
handle using the 4 x M3 screws with a2.5mm Hex
key driver.
Fasten the handle to any two of URSA Broadcast's
top 1/4” mounting points using the two supplied
1/4” screws with a 3/16” Hex key driver. URSA
Broadcast's rear two mounting points are
recommended for most situations, but you can
choose any pair for better weight balance when
using large lenses. Avoid over tightening the
screws as it may damage the screw threads.
The hole inside the front of the handle is used
with the thumb screw when attaching and
adjusting the URSA viewfinder. For information on
how to attach the URSA Viewfinder to the top
handle, refer to the ‘Blackmagic URSA Viewfinder’
section in your URSA Broadcast manual.
111
URSA Mini Shoulder Mount Kit
Attaching the extension arm
B4 lenses typically feature a handgrip on the lens body, so a side handle isn't necessary when
shooting with URSA Broadcast on your shoulder.
If you have a different lens mount fitted, however, you may find it useful to fit the optional URSA
Mini side handle on an extension arm for comfortable shoulder based shooting.
URSA Mini Shoulder Mount kit comes with an extension handle and longer LANC cable to move
the optional side handle to a more ergonomic position.
To attach the side handle extension arm:
1 Place your URSA Broadcast on a flat, stable surface allowing room next to the camera
to lower the extension arm. Mounting URSA Broadcast to a tripod is helpful for
this purpose.
2 Attach the indented end of the extension arm to the baseplate rosette, lower the arm to
suit, and fasten with the supplied rosette thumbscrew.
3 Attach the side handle to the extension arm’s front rosette. Fasten by tightening the
side handle screw with the large flat head screwdriver, or by twisting the D ring with
your thumb and forefinger.
4 Connect the side handle LANC output to the camera LANC input using the long LANC
cable supplied with your shoulder mount kit.
You can easily adjust the extension arm and side handle to suit your preference by loosening
the rosette screws, making your adjustment, then retightening.
With your URSA Mini Shoulder Mount Kit now attached, you have additional speed for fast
shooting on the run, plus the ability to quickly mount your camera on a tripod for tight,
stable shots!
AUDIO IN
2
SDI OUT
12V OUT
SDI OUT
SDI IN
12V
REF IN
TC IN
Connect the side handle to the camera using
the long LANC cable supplied with the kit
Side handleSide handle extension arm
Extension arm attaches
to baseplate rosette
Tighten via side
handle screw
112URSA Mini Shoulder Mount Kit
Blackmagic URSA Viewfinder
Blackmagic URSA Viewfinder is a powerful electronic viewfinder designed for your
BlackmagicURSA Broadcast. The 1080HD color OLED display and precision glass optics
provides abright, vivid, and lifelike image so you can quickly find focus and see the finest detail
in your images.
This viewfinder is perfect for handheld operation on the shoulder, or for environments where
you need absolute precision with zero reflection and light glare, for example in extremely bright
shooting conditions.
The viewfinder is connected and powered by the camera and uses the embedded SDI data
from the camera to generate the various display options. This means that your camera can
output a clean SDI feed to the viewfinder but still allows you to toggle various display options
within the viewfinder for quick access to camera status, plus accurate information.
For example, if you select the ‘2.40:1’ frame guide option in URSA Broadcast's menu, it will
actually tellthe viewfinder which frame guide is selected in the camera so when you toggle the
frame guide display on the viewfinder, the same ‘2.40:1’ frame guide is also displayed.
Mounting and Connecting toBlackmagic URSA Broadcast
Blackmagic URSA Mini Shoulder Mount Kit is required to mount URSA Viewfinder correctly on
URSA Broadcast.
To attach Blackmagic URSA Viewfinder, remove the URSA Viewfinder cap from URSA Mini
Shoulder Mount Kit top handle and install the Viewfinder adapter plate, as detailed in the
'URSAMini Shoulder Mount Kit' section in this manual.
Slide URSA Viewfinder mount into the URSA Viewfinder adapter plate and use the
1/4"thumbscrew included in URSA Mini Shoulder Mount Kit to secure URSA Viewfinder to the
top handle and adapter plate.
There is no need to use any tools to secure the thumbscrew, finger pressure is sufficient and
will prevent over tightening.
To mount your Blackmagic URSAViewfinder to your
URSABroadcast, slide the viewfinder mount along your camera’s
handle ridges andtighten the thumbscrew to a¼” mounting point
ZOOM
F1
F2
F3
DISP
PEAK
ZOOM
F1
F2
F3
DISP
PEAK
113Blackmagic URSA Viewfinder
To connect your URSA Viewfinder to your URSA Broadcast, simply connect the viewfinder’s
attached cables to your camera's front 12V power and 3G-SDI outputs. The URSA Viewfinder
will turn on automatically when your camera is powered.
Connect your viewfinder’s SDI and power cables to your
URSA Broadcast'sHD-SDI monitoring output and +12 volt output
When using the URSA Viewfinder with URSA Broadcast, it is highly recommended that you also
install the URSA Mini shoulder mount kit as this provides the correct mounting points, 1/4”
thumb screw, and height adjustments to optimize the positioning of your viewfinder. See the
‘URSA Mini shoulder mount kit’ section in this manual.
Adjusting the Eyepiece
The detachable rubber eyepiece can be adjusted to fit your left or right eye. Adjust the
viewfinder arm by loosening the knob on the bottom of the arm and sliding it left or right to
comfortably fit your eye.
Button Features
On the top of the viewfinder you’ll find the zoom, display and peak buttons. These buttons are
used for zooming into your image, and turning overlays and focus peaking on or off.
The Zoom (F1), Display (F2) and Peak (F3) buttons
are located on top of the URSA Viewfinder
They are also used for additional features, such as opening the menu and navigating settings.
Icons printed on the side of the buttons show you which buttons are used to control the
viewfinder menu and navigation features.
SDI OUT
SDI OUT
SDI IN
12V
LENS
REF IN
TC IN
12V OUT
PUSH
PUSH
ZOOM
F1
F2
F3
DISP
PEAK
ZOOM
F1
F2
F3
DISP
PEAK
114Blackmagic URSA Viewfinder
The buttons also have a customizable function feature so you can assign shortcuts to quickly
enable common features you may use frequently. For example you may wish to assign the false
color feature to the zoom button. Refer to the ‘shortcuts’ section for more information.
ZOOM (F1) - ‘menu’
The ‘zoom’ feature helps you find sharp focus by zooming into your picture. Press the
‘zoom’ button to zoom in and press again to return to 100% view. When using the
settings menu, the ‘zoom’ button also serves as the ‘menu’ button. Press and hold this
button to open the settings menu. In the settings menu, press this button once to
confirm setting changes.
DISPLAY (F2) - ‘up’
Press the ‘display’ button to see the overlay view. When using the settings menu, this
button also serves as the ‘up’ button. You can also quickly open the ‘shortcuts’ menu
setting by pressing and holding this button. Refer to the 'shortcuts' section for
information on how to set shortcuts.
PEAK (F3) - ‘down’
The focus peaking feature creates a green edge around the sharpest parts of the
image so you can easily confirm your focus. Press the ‘peak’ button to turn the peaking
feature on. Press again to turn peaking off. When using the settings menu, this button
also serves as the ‘down’ button. You can also quickly open the ‘setup’ menu by
pressing and holding this button.
Menu Settings
The settings menu contains three primary menu headings for display, shortcuts, and setup.
Toopen the settings menu, press and hold the ‘menu’ button. Press the ‘up’ and
‘down’ button to navigate between the settings and press the ‘menu’ button again to
confirm yourselection.
Display
The ‘display’ menu provides the following features:
B&W
Switches between color and monochrome.
The ‘display’ menu in URSA Viewfinder
115Blackmagic URSA Viewfinder
Meters
Switches between the types of meters to display in overlay view. The options are
‘histogram’, ‘audio’, ‘both’ or ‘none’.
Peaking
Switches peaking on and off.
Zebra
Switches zebra levels on and off. Set your desired zebra levels using the camera
settings. For more information, refer to the ‘settings’ section in this manual.
False Color
Switches the false color feature on and off. False color overlays different colors onto
your image that represent exposure values for different elements in your image.
Forexample, pink represents optimum exposure for skin tones. By monitoring the pink
false color when recording people, you can maintain consistent exposure for skin
tones. Similarly, when elements in your image change from yellow to red, that means
they are now over exposed.
False Color Chart
Overlay
Switches overlays on and off. You can select which types of overlay to display in your
viewfinder's 'setup' menu. The style of these overlays, such as the safe area
percentage, are set in your camera.
Zoom
Turns the zoom feature on and off.
Film to Video
Switches between film and video display mode. Refer to the 'record settings' section in
this manual for information on film and video mode. This setting is only available when
your camera is outputting 'film' images to your viewfinder. It is disabled when receiving
'video' images to prevent applying a LUT over a LUT.
Shortcuts
The shortcut function is useful when you need to quickly access a particular setting for a
frequently used feature. To customize your shortcut buttons:
1 In the ‘shortcuts’ menu, press the ‘up’ or ‘down’ button to move up or down and
select one of the 3 buttons to make it your shortcut button. Press the ‘menu’ button
to confirm your selection.
2 Press the ‘up’ or ‘down’ v button to toggle and select one of the features below to
assign to the shortcut button. Press the ‘menu’ button to confirm your selection.
B&W
Peaking
Zebra
False Colour
Display
Zoom
Film to Video
Meters
Focus Chart
116Blackmagic URSA Viewfinder
3 Scroll to ‘exit’ and press the ‘menu’ button to close the menu display view.
The ‘shortcuts’ settings in URSA Viewfinder
Setup
The ‘setup’ menu provides the following features:
Brightness Adjustment
Allows adjustments for the brightness of the display with range -10 to +10.
Tally Brightness
Allows adjustments of tally LED brightness.
Focus Chart
Your Blackmagic URSA Viewfinder has a built in focus chart so you can focus the eye
piece to suit your eyes. Simply turn the focus diopter on the eyepiece until the chart is
in perfect focus. Pressing any button on your viewfinder will close the focus
chart display.
Frame Guides
Toggles the appearance of frame guides. When 'frame guides' are turned 'on' in your
URSA Broadcast's 'front SDI' monitor settings, you can use this setting to toggle the
appearance of these guides in your Blackmagic URSA Viewfinder.
For more information, see the 'Monitor Settings' section in this manual.
Safe Area Guide
Toggles the appearance of a safe area guide. When 'safe area guide' is turned 'on'
inyour URSA Broadcast's 'front SDI' monitor settings, you can use this setting toggle its
appearance in your Blackmagic URSA Viewfinder.
For more information, see the 'Monitor Settings' section in this manual.
Grid
Toggles the appearance of a rule of thirds grid, crosshair or center dot. When 'grids'
areturned 'on' in your URSA Broadcast's 'front SDI' monitor settings, you can use this
setting toggle their appearance in your Blackmagic URSA Viewfinder.
For more information, see the 'Monitor Settings' section in this manual.
117Blackmagic URSA Viewfinder
Status Text
Toggles the appearance of status text, such as white balance, frame rate and ISO.
When 'status text' is turned 'on' in your URSA Broadcast's 'front SDI' monitor settings,
you can use this setting toggle its appearance in your Blackmagic URSA Viewfinder.
For more information, see the 'Monitor Settings' section in this manual.
IR Sensor
The IR Sensor on your viewfinder automatically detects when you are near the eyepiece and
turns on the OLED display. If you are away from the viewfinder for over twenty seconds in
'standby' mode, display turns off to conserve power and to extend the life of the OLED display.
While recording, the timeout sensor is extended to 5 minutes, at which point the OLED display
will be slowly dimmed. Any movement in front of the eyepiece will reset this timer. The
viewfinder will detect when you look into the viewfinder eyepiece, pressing any button on the
viewfinder will also turn the display back on.
Deliberately blocking or covering the IR sensor could cause the viewfinder’s
display to remain powered for prolonged periods of time. This could decrease the
lifespan of the display and cause image retention if high contrast images or frame
guides are displayed on the viewfinder.
The IR sensor is located at the
bottom of the URSA Viewfinder
NOTE Enabling 'Grid' in your URSA Viewfinder setup menu will also allow your
viewfinder to display tally signals sent from an ATEM switcher. Overlays must
also be set to 'on' in the display menu.
TIP When using Blackmagic Viewfinder with URSA Broadcast, the appearance
of status text can clash if both the viewfinder and camera are set to show status
text. In this situation, we recommend turning status text to 'on' in your camera,
and status text to 'off' in your viewfinder.
118Blackmagic URSA Viewfinder
Updating URSA Viewfinder’s Internal Software
Update your viewfinder using the Blackmagic Camera Setup utility software. The viewfinder
will need to be powered when updating, so we recommend keeping the viewfinder connected
to your URSA Broadcast during the update process. This also means your URSA Broadcast will
need to supply consistent power, so be sure to plug into external power.
Connect your computer to the small USB connection located at the front of your viewfinder,
near the eyepiece. When Blackmagic Camera Utility is launched and your viewfinder is
connected to your computer, you will be prompted to update if your computer detects that your
viewfinder is using an older version. Follow the on screen prompts to update your viewfinder’s
internal software.
NOTE Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for
moreinformation.
TIP We recommend updating all your Blackmagic URSA equipment at the same time
for optimized performance
119Blackmagic URSA Viewfinder
Blackmagic URSA Studio Viewfinder
Blackmagic URSA Studio Viewfinder
Blackmagic URSA Studio Viewfinder is a powerful viewfinder that allows you to turn your
Blackmagic URSA Broadcast into a professional live production camera. The studio viewfinder
features a bright 7” screen and has a large easily viewable tally light, control knobs, large
handles, sun hood and variable tension articulated mount. These features make it easy to stand
behind the camera and comfortably follow the action for extended periods of time, especially
when filming live concerts, sports, and other long events. The URSA Studio Viewfinder is
perfect for professional live production in the studio or on location.
BACK
F1
F2
F3
ON
PEAKING
OFF
CONTRAST
BRIGHTMENU
120Blackmagic URSA Studio Viewfinder
Mounting and Connecting toBlackmagic URSA Broadcast
When using the Blackmagic URSA Studio Viewfinder with Blackmagic URSA Broadcast, you
have the option of mounting the unit to the camera in a number of ways.
You can mount the Blackmagic URSA Studio Viewfinder directly to the top of Blackmagic
URSABroadcast via the supplied V-lock mount plate which can be easily removed from the top
handle mount.
Unscrew the V-lock plate from the URSA Mini handle mount using a 3/16 Hex key, and then
attach it to the top of the camera with the supplied 1/4” screws. As this will make the centre of
gravity on the camera much higher. We recommend doing this while the camera is attached to
atripod for stability.
If you are mounting the Blackmagic URSA Studio Viewfinder to your URSA Broadcast whilst
using the URSA Mini shoulder mount kit, you need to attach it using the supplied URSA Mini
handle mount. Attach the supplied URSA Mini handle mount to the top handle with three of the
supplied 1/4” screws using a 3/16 Hex key. Slide the Studio Viewfinder’s V-lock into the V-lock
plate slot until it clicks in securely.
See the ‘URSA Mini Shoulder Mount Kit’ section in this manual for more information.
F1 F2
CH1/3
IRIS
FOCUS
PGM
REC
HFR
ISO/GAIN
H PHONE
MONITOR
IRIS
SHUTTER WHITE BAL
CLEAR
2 STOPS
4 STOPS
6 STOPS
CH 1/2
CH 3/4
LOCK
STILL HOLD RESET TIMECODE BRIGHT
ND
FILTER
AUTO
W/B
1
2
3
4
ND
LOCK
121Blackmagic URSA Studio Viewfinder
Blackmagic URSA Studio Viewfinder mounted
toshoulder mount kit
V-Lock mount plate being attached to
3rdparty camera
The V-Lock mount plate can also be installed on any camera you want to use the URSA Studio
Viewfinder with that has 1/4” mounting points, or by using a third party cheese plate. You can
also mount the Blackmagic URSA Studio Viewfinder to a third party camera system that has an
existing V-lock mount plate as many of them have this quick release plate on them already.
F1
F2
F3
ON
OFF
RET1
RET2
PGM2 PGM1
GM1 PGM2
1
23
4
1
23
4
INTERCOM 2
LEVEL
REAR
INCOM
PROD
INCOM
PROD
MIC
ON
OFF
FRONT
MIC
ON
OFF
OFF
TIP The Blackmagic URSA Studio Viewfinder connects to the camera via a quick
release V-lock mount plate, which means that the viewfinder can be removed quickly
ifyou need to take the camera off a tripod. When filming sports matches it can be
advantageous to leave both the Blackmagic URSA Viewfinder and Blackmagic URSA
Studio Viewfinder attached to the camera, so that at the conclusion of the match you
can quickly switch to the URSA Viewfinder for handheld filming. Both viewfinders use
the same 12V power and 3G-SDI cables to connect to the camera, making it easy to
swap cables in such a situation.
122Blackmagic URSA Studio Viewfinder
Adjusting the Blackmagic URSA Studio Viewfinder
The Blackmagic URSA Studio Viewfinder features large handles and variable tension articulated
mounting that allow you to adjust the position and angle of the viewfinder. The large handles
allow you to quickly and easily take hold of the viewfinder and adjust the angle and direction of
the unit. Combined with the sun hood the handles also help to protect the screen from damage,
which means that you can store the fully assembled Blackmagic URSA Studio Viewfinder in a
carry case without disassembly. The large handles also allow you easily to pick up and carry the
unit between locations.
The supplied mount features tension dials for pan and tilt, with additional tension dials on either
side of the viewfinder for additional friction control. The left hand dial allows you to adjust the
drag friction of the arm and the right hand dial allows you to lock the Viewfinder in place once
you have found the angle you require.
To connect your Blackmagic URSA Studio
Viewfinder to your URSA Broadcast,
simply connect the viewfinder’s attached
cables to your camera's front 12V power
and 3G-SDI outputs.
The power switch on the viewfinder will
then allowyou to turn on the viewfinder
instantly when your camera is powered.
Note that there are cable clamps on the
side of the URSAMini handle mount to
keep you cables neat and hold the
cables in place. SDI and 12v power connectionson
URSA Broadcast
PUSH
TIP The URSA Studio Viewfinder uses open standard SDI and broadcast 4 pin XLR
power connections so it can be used with any other camera or even as an adjustable
portable location monitor. It also uses the open standard ATEM tally and device control
protocol so any other camera system can add this information to their SDI stream to
allow them to work with the tally and overlays on the URSA Studio Viewfinder.
123Blackmagic URSA Studio Viewfinder
These tension dials have a very large range of tension adjustment, allowing you to select a
specific amount of resistance. This allows you to easily pan and tilt the viewfinder to the precise
position you require.
Tension dials on either side of the viewfinder
1 Tilt Lock Dial
Locks the angle of tilt on
the viewfinder mechanism.
2 Pan Tension Dial
Controls pan tension.
3 Tilt Tension Dial
Controls tilt tension.
1
2
3
TIP The center tension dial on the supplied mount controls pan tension, and can be
loosened to allow you to take hold of the viewfinder and move the camera
independently. This means that you can film things like motorsport, where you need to
pan the camera left and right to follow the action, whilst holding the viewfinder
positioned towards your eyes. A visual guide on the mount helps to ensure that the
viewfinder can easily be returned to the center.
124Blackmagic URSA Studio Viewfinder
Sun hood
The sun hood helps you to see the screen in bright or sunny conditions. To attach the sun hood,
slide it over the top of the Blackmagic URSA Studio Viewfinder and push it into place, securing
it with the two captive screws on the base of the sun hood. The top section of the visor is
adjustable, and can raise and lower to provide additional viewing angles. The sun hood
provides additional protection for the 7” screen, and can be removed quickly and easily if
desired or to access the USB-C connector for software updates.
Sun hood and adjustable visor
BACK
F1
F2
F3
ON
PEAKING
OFF
CONTRAST
BRIGHTMENU
125Blackmagic URSA Studio Viewfinder
Button Features
The dials down the right hand side let you change brightness, contrast, peaking quickly and
easily. The dials are ergonomically designed so you can adjust the dials from the side with your
thumb when using the sun hood, or with two fingers for finer more controlled adjustment.
1 Menu Dial
The push button ‘menu’ dial allows
you to enter the menu, and navigate
through the viewfinder settings.
2 Back button
Exits the menu system
3 F1, F2, F3
Assignable function buttons. You can
assign functions to these buttons for
easy access to your most commonly
used functions.
4 ON/OFF switch
Switches the Blackmagic URSA
Studio Viewfinder on and off.
5 Bright
Adjusts the brightness of the image
on screen. Overlays on screen will
show the brightness level on a scale
of -100 to +100.
6 Contrast
Adjusts the contrast of the image
on screen. Overlays on screen will
show the contrast level on a scale of
-100 to +100.
7 Peaking
Adjusts the focus peaking level for
the image on screen. Overlays on
screen will show the peaking level
on a scale of -100 to +100. In the
setup menu you can select between
various styles of peaking to suit your
environment. There is the option for
the traditional style of focus peaking
that many will be familiar with from
other broadcast systems, as well
as the option to use colored lines
for focus. As with URSA Broadcast
you have the option of ‘red’, ‘green’,
‘blue’, ‘black' and 'white' lines which
gives you flexibility to make them
easily viewable when shooting in
environments that have a lot of a
particular colour.
8 Handles
The built in handles are large
and allow you to hold the Studio
Viewfinder in place as you reposition
the camera while shooting. They also
provide protection for the screen
when setting up and packing down.
BACK
F1
F2
F3
ON
PEAKING
OFF
CONTRAST
BRIGHTMENU
15
6
7
8
2
4
3
126Blackmagic URSA Studio Viewfinder
9 Tally Light
The large tally light on the rear of the Blackmagic URSA Studio Viewfinder lets both the
talent and operator know which camera is on the air, which camera is about to be on air,
and if they are ISO recording. The tally illuminates red for on-air, green for preview and
when used with URSA Broadcast will illuminate orange for ISO record.
As the director cuts between cameras on the ATEM switcher, tally information is sent
back to the camera over SDI so the light is lit when the camera is being previewed to
switch to, on the air or recording. In addition, the URSA Studio Viewfinder also includes
clip-on transparent camera numbers that attach to the tally light, making it easy for
talent to clearly see camera numbers from up to 20 feet away.
We have included editable PDF’s in the software installer that allows you to edit and
print out your own tally numbers to match the ones provided, and also to create your
own custom tally number inserts. After installing the Blackmagic cameras software
these can be found on a Mac in the Application > Blackmagic Cameras > Documents
folder and on aPC in the Blackmagic Design > Documents folder.
The tally light will illuminate according to the ATEM switching operations, and when the
camera is not connected to a switcher the tally light will illuminate red as a simple
record tally indicator. Refer to the 'Understanding Studio Camera Control' section in this
manual for more information.
9
TIP When using the Blackmagic URSA Studio Viewfinder with an ATEM switcher, it is
important to select ‘clean feed’ on URSA Broadcast to ensure that you don't see
overlays or the focus box on the SDI output to the ATEM switcher. Navigate to the
'monitor' menu on URSA and select ‘clean feed’ for ‘main SDI'.
127Blackmagic URSA Studio Viewfinder
Menu Settings
The push button ‘menu’ dial allows you to enter the menu by pressing it, whilst rotating the dial
navigates up and down through the menu options. Pressing the ‘menu’ dial whilst a menu
heading is highlighted, will allow you to switch between the display, shortcuts, setup and cursor
sub menus. Rotating the dial will scroll through the settings in each menu. Pressing the dial
when a setting is highlighted allows you to adjust that setting by rotating the ‘menu’ dial.
Confirm your selection by pressing the ‘menu’ dial once more. You can exit out of the menu by
hitting the ‘back’ button or by navigating to and selecting exit.
Display
Zebra
Switches zebra levels on and off. The level of zebra will be determined by the setting
on your URSA Broadcast, in the 'All' section of the 'Monitor' menu. When the Studio
Viewfinder is not connected with URSA Broadcast, the zebra level will represent 95% of
the luminance levels of a Rec 709 signal. For more information, refer to the ‘settings’
section in this manual.
False Color
Switches the false color feature on and off. False color overlays different colors onto
your image that represent exposure values for different elements in your image. For
example, pink represents optimum exposure for skin tones. By monitoring the pink false
color when recording people, you can maintain consistent exposure for skin tones.
Similarly, when elements in your image change from yellow to red, that means they are
now over exposed. False color is a good feature to assign to one of the function
buttons, as it provides quick and easy access to a commonly used reference tool
for exposure.
False Color Chart
128Blackmagic URSA Studio Viewfinder
Guides
This setting gives you the option to show or hide your guides. The guides will match the
style of guides that have been set in the URSA Broadcast in the camera 'all' section of
the 'monitor' menu.
The aspect ratio, frame guide opacity level, safe area percentage, and the type of grids
shown will match what you have set in the camera. The ‘setup’ menu in the Studio
Viewfinder then allows you to configure which type of guides you would like to see in
the Studio Viewfinder when guides in the display menu are switched on. Guides then
allows you to then switch these 'on' or 'off' with one command.
Zoom
Turns the ‘zoom’ feature on and off. The ‘zoom’ feature helps you find sharp focus by
zoominginto your picture. When zoomed in, you can navigate to specific parts of the
screen by rotating the menu dial left and right. The overlay will indicate which part of
the picture you arezoomed into.
Film to Video
When sending a ‘film’ dynamic range SDI signal from your URSA Broadcast, the 'film to
video' setting allows you to apply a more colorful and contrasty LUT to the image. This
setting will only be available when ‘film’ dynamic range is detected and will otherwise
be greyed out to prevent the wrong LUT being applied to the image.
Audio Meters
The audio meters display the audio level that is being input via SDI into the Blackmagic
URSAStudio Viewfinder, therefore the meters will show you URSA Broadcast's audio
input levels. If you have program input selected, the audio meter will display these
audio levels.
Exposure Meters
Switches the display of the histogram ‘on’ or ‘off’.
Red Channel
Allows you to switch on or off the red channel of your image.
Green Channel
Allows you to switch on or off the green channel of your image.
Blue Channel
Allows you to switch on or off the blue channel of your image.
Black and White
Switches between color and monochrome.
Shortcuts
The shortcut function allows you to map specific functions to the F1, F2 and F3 buttons. These
shortcut buttons allow you to quickly toggle 'on' and 'off' any of the settings in the display menu,
or your cursors. This is extremely useful when you need to quickly access a particular setting
for a frequently used feature.
To customize your shortcut buttons: In the ‘shortcuts’ menu, rotate the push button ‘menu’ dial
to move up or down and select one of the 3 buttons. Press the ‘menu’ dial to confirm your
selection and then rotate the ‘menu’ dial to scroll through the assignable features. You will have
the option to select one of the following features: ‘zoom’, ‘cursor 1’, ‘cursor 2’, ‘cursor 3’, ‘zebra’,
‘false color’, ‘guides’, ‘film to video’, ‘audio meters’, ‘exposure meters’, ‘red channel’,
‘greenchannel’, ‘blue channel’, ‘black and white’. Once chosen click the menu button to confirm
that selection, and assign that function to the chosen shortcut button. Pressing the shortcut
button will now switch this feature ‘on’ and ‘off’.
129Blackmagic URSA Studio Viewfinder
Once you have set up your shortcuts as required you can either scroll to ‘exit’ and press the
‘menu’ dial to close the menu display view, or hit the back button to exit out of the menu.
The 'shortcuts' submenu
Setup
The ‘setup’ menu is where you choose your preferences for how the viewfinder is setup.
Front Tally Brightness
Allows adjustments of tally LED brightness between ‘off’, ’low’, 'medium' and ‘high’.
Thetally light will illuminate whilst adjustments are being made so you can see what
each brightness level represents.
The 'setup' submenu
Rear Tally Brightness
Allows adjustments of tally LED brightness between ‘low’, 'medium' and ‘high’. The tally
light willilluminate whilst adjustments are being made so you can see what each
brightness levelrepresents.
130Blackmagic URSA Studio Viewfinder
Focus Assist
The ‘focus assist’ setting toggles the appearance of peaking on the viewfinder. You
have the choice of ‘red’, ‘green’, ‘blue’, ‘black' and 'white' as well as traditional peaking.
Frame Guide
Gives you the option to show 'frame guides' as part of your Studio Viewfinder’s
’Guides’. When connected to URSA Broadcast they will match your camera’s 'frame
guides' aspect ratio. When connected to other systems they will default to the 14:9
aspect ratio.
Safe Area Guide
Gives you the option to show the 'safe area' indicator as part of your Studio
Viewfinder’s ’Guides’. When connected to URSA Broadcast these will match your
camera’s 'safe area guide' percentage. When connected to other systems they will
default to 90%.
Grid
Gives you the option to show grids as part of your Studio Viewfinder’s ’Guides’.
Whenconnected to URSA Broadcast these will match your camera’s 'grids' settings.
When not connected, this will switch your crosshairs on or off.
Cursors
The cursors allow you to mark an area on screen where graphics like a lower third,
graphic, logo or ticker will be overlaid. To adjust these cursors go to 'cursors' and select
‘edit cursors’. This will bring up a page that shows you all three cursors and allows you
to select each one individually and then dial in the width, height, x and y co-ordinates
for positioning each one individually.
The cursors submenu
TIP A high LED brightness setting is recommended for bright conditions, as it
will provide greater visibility for talent and operators in the conditions. A low
LED brightness is recommended when filming in darker environments where it
is easier to see when the light is on.
131Blackmagic URSA Studio Viewfinder
Cursors displayed on screen
Once you have set them up they can be switched on or off from the 'cursors' menu or assigned
to your function keys for quick access. This is important for live production, as it allows the
camera operator to take this into consideration and accurately compose and frame shots. You
can create up to three black or white custom cursors that can have variable height, width and
position, making it easy to match the size and location for all the graphics that will be added live
or during later broadcast. You also have the option to reset the cursors to their default state.
Using a headset with the Blackmagic URSA Studio Viewfinder
When using the Blackmagic URSA Studio Viewfinder with URSA Broadcast, the headphone
connection on the camera will now become a talkback headset connection, allowing for direct
communication with the director.
Updating URSA Viewfinder’s Internal Software
Update your viewfinder using the Blackmagic Camera Setup utility software. The viewfinder will
need to be powered when updating, so we recommend keeping the viewfinder connected to
your URSA Broadcast during the update process. This also means your camera will need to
supply consistent power, so be sure to plug into external power.
Remove the sun hood to provide access to the small USB-C connection located on the bottom
of the Blackmagic URSA Studio Viewfinder, and connect your computer to the USB-C port.
When Blackmagic Camera Utility is launched and your viewfinder is connected to your
computer, you will be prompted to update if your computer detects that your viewfinder is using
an older version. Follow the on screen prompts to update your viewfinder’s internal software.
Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for more information.
We recommend updating all your Blackmagic URSA equipment at the same time for
optimized performance.
TIP Because URSA Broadcast's headphone socket is iPhone headset compatible, you
can use your iPhone headset to communicate with the director. Pushing the button on
the built-in remote will allow you to talk back to the director.
New text revised
after translation,
check with
translations.
132Blackmagic URSA Studio Viewfinder
Mounting Batteries
Connecting a third party battery plate lets you mount V-mount or gold mount batteries
Mounting V-mount or GoldMount Batteries
You can easily mount industry standard V-mount or gold mount batteries to
BlackmagicURSABroadcast.
To mount a battery, you’ll need to attach a Blackmagic V-mount battery plate, a third party
V-mount or gold mount battery plate to your camera’s plate mount.
You can purchase V-mount battery plates from Blackmagic Design resellers, or V-mount and
gold mount battery plates from suppliers of professional digital cinema and video equipment.
Ifyou don’t have an off the shelf battery plate designed for Blackmagic URSA Broadcast and
you want to modify your own battery plate, then you can use the supplied adapter cable and
connector. Refer to the ‘using your own battery plate’ section for information about how any
battery plate can be modified to use with URSA Broadcast.
SDI OUT
SDI IN
REF IN
TC IN
12V
'Mounting
Batteries'
Section Moved
up from two
sections below
TIP The standard Blackmagic V-mount battery plate supports displaying percentage
information with Switronix Hypercore batteries and IDX Duo batteries in SMBus mode.
133Mounting Batteries
To mount your battery plate to the rear panel:
1 Remove Blackmagic URSA Broadcast's molex power cover if attached to the rear panel
by unscrewing the 4 corner screws with a phillips head PH1 screwdriver. You’ll now see
Blackmagic URSA Broadcast's 12 way molex 55959-1230 power connector.
2 Connect your battery plate's molex connector to your camera's molex power connector.
3 Screw the third party battery plate onto your Blackmagic URSA Broadcast's plate
mounting points using 4 x M3 screws. Make sure the connector cable is tucked safely
into the cable slot and not crushed between the plates when tightening.
With the third party plate connected to your camera, you can now mount a V-mount or gold
mount battery.
Using your own Battery Plate
Adapter Cable and Connector
If you don’t have an off the shelf battery plate designed to plug into URSA Broadcast and want
to modify your own battery plate, you can use the supplied adapter cable and connector, which
is also available at your local Blackmagic Design support office.
To wire the adapter cable and connector to your battery plate:
1 Strip approximately half an inch of insulation from the end of each red and black wire.
2 Solder all 4 x red ‘Batt’ wires to the corresponding ‘positive’ wire from your
battery plate.
3 Solder all 4 x black ‘GND’ wires to the corresponding ‘negative’ wire from your
battery plate.
Ensure the joins are well insulated.
If you need to modify any battery plate to plug into URSA Broadcast,
use the supplied adapter cable and connector, which is also
available from your local Blackmagic Design support office
This enables battery power to your camera. You can also connect additional wires for features
such as 12 V output and battery status. Refer to your battery plate information, plus the diagram
and tables on this page for help connecting the wires. If you require further assistance visit the
Blackmagic Design support center at www.blackmagicdesign.com/support.
134Mounting Batteries
The rear view of the adapter’s connector housing.
Refer to the wire configuration table for a description of each pin
Wire Configuration Table
Pins Signal Color Direction Description
1, 2, 3, 4 Batt Red To URSA 12 V to 20 V
5, 6, 9, 10 GND Black – –
7Monitor0 Blue To URSA Analog battery level or open drain data
line (20 V max)
8Monitor1 Green To URSA Open drain clock line (3.4 V max)
12 +12 V out Orange From URSA 12 V regulated output 1.5 A max (18 W)
11 EnableN White To URSA Connect to GND to enable +12 V out.
Leave floating if +12 V out is not required.
Each Batt and GND pin supports 3 amps. Make sure all Batt and GND pins are connected.
Tomonitor the battery status using Anton Bauer, IDX, or Blueshape plates, follow the
connection table below:
Anton Bauer Connect the blue/white striped wire to the housing blue wire at pin 7.
IDX Connect the green wire to the housing green wire at pin 8,
and the grey wire to the housing blue wire at pin 7.
Blueshape Connect the blue wire labelled "SMBC " to the housing green wire at pin 8.
Connect the brown wire labelled "SMBD" to the housing blue wire at pin 7.
Secure any unused wires by cutting them as close as possible to the rear of the
adapterconnector.
Batt 2
Batt 4
GND 6
Monitor 1 8
GND 10
+12V Out 12
1 Batt
3 Batt
5 GND
7 Monitor0
9 GND
11 EnableN
135Mounting Batteries
Blackmagic Fiber Converters
Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter are optional
accessories that provide a SMPTE fiber connection between your URSA Broadcast or
URSAMini camera and an ATEM switcher.
SMPTE fiber lets you you connect all video, power, talkback, tally and camera control signals
between an ATEM switcher and your camera using one single industry standard SMPTE
hybridfiber optic cable. Using a SMPTE fiber connection greatly reduces the amount of cables
required, which helps makes the production setup more efficient and simpler to setup.
Thestandard connectors on Blackmagic Studio Fiber Converter allow you to easily add the
fiber converters into an existing broadcast truck infrastructure.
Blackmagic Camera Fiber Converter
Mounts to the back of your URSA Mini or
URSA Broadcast and connects to the
Blackmagic Studio Fiber Converter via a
standard SMPTE hybrid 304 connector.
Blackmagic Studio Fiber Converter
This converter converts the optical fiber
SDI signal from the camera unit to SDI via
BNC, which is then connected to an
ATEMswitcher. The converter also takes
all return feed sources, including program
return from the ATEM switcher, and sends
them back to the camera unit.
The Blackmagic camera and studio fiber converters connect via optical fiber to provide efficient SDI video,
power, talkback, tally and control signals via a single SMPTE fiber optic cable.
Blackmagic Studio
Fiber Converter
Hybrid fiber optic bi-directional cable
(up to 2km in length)
Camera Video input
12G-SDI
Program return feed
URSA Broadcast
Blackmagic Camera
Fiber Converter
ATEM 4 M/E Broadcast Studio 4K
Blackmagic Studio Fiber Converter
ATEM 4 M/E
Broadcast Studio 4K
Hybrid fiber optic cable
bi-directional
(up to 2km in length)
Video input
12G-SDI
Program
return feed
URSA Broadcast
Blackmagic Camera
Fiber Converter
Bi-directional
136Blackmagic Fiber Converters
Getting Started with
BlackmagicFiber Converters
Getting started is fast and efficient. It won't take long before you are producing video content
and enjoying the benefits of SMPTE fiber.
About SMPTE Fiber
SMPTE fiber cables provide you with a simplified way to carry multiple signals as well as power,
over long distances. This is useful in broadcast scenarios, as you don’t need to connect several
cables for each camera that is connected to your switcher.
With a SMPTE 311 hybrid fiber optic cable, you can use one single industry standard optical
fiber cable to connect each camera to your ATEM switcher, and provide all video, power,
talkback, tally and control signals along one cable. With optical fiber you can also carry these
signals and power over longer distances up to 2 kilometers.
SMPTE 311 hybrid fiber optic cable with
male and female SMPTE 304 connectors
NOTE The male and female ends of a SMPTE 311 hybrid fiber optic cable can be
identified by looking for the male and female pins inside the tip of the SMPTE 304
connector. The gender of the connectors is not determined by their outward
appearance.
137Getting Started with Blackmagic Fiber Converters
One of the main benefits of using a SMPTE fiber connection is to connect to the control room or
broadcast truck in a traditional live broadcast environment. Most modern sporting stadiums
already have optic fiber cables installed between camera positions and the control room or
broadcast truck, so this means you can plug directly into these systems.
The optic fiber cable used to connect to an existing fiber system, or to connect the two
Blackmaic fiber converters together, is a SMPTE 311 hybrid fiber optic cable with SMPTE 304
connectors.
Protecting SMPTE Connectors
It is very important that the SMPTE fiber cable's connectors are always protected by their
rubber caps. This is because minute dust particles can collect very quickly on the polished
ends of the glass fiber tubes which can interrupt signal flow. The best practice is to immediately
replace the rubber cap as soon as a connector is exposed. For example, immediately prior to
connection, and immediately after disconnection.
It's also a good idea to connect the rubber cap from each end of the SMPTE fiber cable into the
rubber cap on the converters whilst in use, to prevent any dust or debris from entering the caps.
Plugging in Power
Power from the studio unit is sent through the fiber cable to the camera unit, therefore the first
step to connecting power is to power the studio unit.
Powering the Studio Fiber Converter
Plug a standard IEC power cable into the power connector on the studio unit's rear panel.
Connect power to your studio fiber converter via a standard IEC power cable
To turn the unit on, set the power switch on the front control panel to the 'on' position.
TIP Connect the rubber cap from each end of the SMPTE fiber cable into the rubber
cap on each converter to prevent any dust or debris from entering the caps.
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
MENU
SET
138Getting Started with Blackmagic Fiber Converters
Connecting SMPTE Fiber
The next step in getting started is to connect the SMPTE fiber cable between the studio fiber
unit and the camera unit. This provides power from the studio unit to the camera unit, and fiber
for all video feeds.
Connecting the Fiber Cable to the Studio Unit
The male end of the SMPTE fiber cable's locks securely onto the female fiber connector on the
front panel of the Blackmagic Studio Fiber Converter. This is a secure lock ensuring that the
cable is not accidentally disconnected during broadcast.
To connect the cable:
Align the red indicator on the cable connector with the red dot on the unit's fiber connector,
and plug the connector in until it securely clicks into place.
To disconnect the cable:
Push the metal base of the studio unit's fiber connector towards the front panel and remove the
cable connector. Plug the male end of the SMPTE fiber cable into the female connector on the
front of Blackmagic Studio Fiber Converter
Push the metal base of the studio unit's fiber connector towards the front panel to
disengage the cable connector allowing you to pull the cable away from the unit.
Once plugged in, it is a good idea to connect the rubber cap from the end of the SMPTE fiber
cable into the rubber cap from the Blackmagic Studio Fiber Converter. This will prevent any dust
or debris from entering the caps, and ensure that the caps remain clean.
NOTE Extensive safety checks are initiated whenever a powered hybrid fiber optic
cable is plugged into the converter and the power safety of the unit is continually
monitored during use.
139Getting Started with Blackmagic Fiber Converters
Connecting the Fiber Cable to the Camera Unit
The female end of the SMPTE fiber cable locks into the male connector on the side of
Blackmagic Camera Fiber Converter, ensuring that the cable is not accidentally disconnected
during broadcast.
To connect the cable:
1 Align the red indicators on each connector, and plug the cable connector into the
camera unit's connector until it securely clicks into place.
2 Once plugged in, it is a good idea to connect the rubber cap from the end of the
SMPTE fiber cable into the rubber cap from the Blackmagic Camera Fiber Converter.
This will prevent any dust or debris from entering the caps, and ensure that the caps
remain clean.
Align the red indicators to connect the SMPTE Hybrid Fiber Optic cable
tothe large connector on the Blackamgic Camera Fiber Converter
To disconnect the cable:
1 Pinch the top section of the female end of the cable, and compress the rubber sheath
around the cable, pulling it gently away from the tip of the cable until you can see the
red ring under the sheath. This will detach the teeth from the locking mechanism.
2 Put one hand on the camera to brace it gently, and pull the cable away from the
connector on the Blackmagic Camera Fiber Converter. The cable should disconnect
easily without the need for excessive force.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
NOTE The SMPTE 304 connectors on the SMPTE 311 cable are very durable and lock
firmly to the camera. If you need to disconnect the cable, please ensure that you have
the camera firmly attached to a tripod head or are bracing the camera with your spare
hand while trying to disconnect the cable.
140Getting Started with Blackmagic Fiber Converters
Pinch the rubber around the tip of the cable to reveal the red
ring below, then pull the cable to disconnect
Confirming Power and Fiber
The two units will now establish a handshake process to determine that power is being
supplied safely and fiber is securely connected.
This process involves the following:
1 The studio unit establishes a low power state with the camera unit. This is shown by the
camera unit's red power status indicator. In a low power state, intercom functionality is
enabled, but the full power required to operate the unit has not yet been confirmed.
2 Once power is determined as safely connected, a high power state is established and
the camera unit's power indicator will illuminate green.
3 The fiber connection is confirmed and the fiber status indicator will illuminate green.
This is usually very fast and the indicators can turn green almost immediately. If you are using a
cable over greater distances, the handshake process can take a moment longer before
indicators illuminate green.
If the power light remains red for an extended period of time and does not turn green, or
flickers between red and green, check that both ends of the fiber cable are securely
connected. If the interruption persists, check the condition of your fiber cable.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
NOTE The SMPTE hybrid fiber cable is the heart of the broadcast ecosystem, so it is
crucial that great care is taken. For example, avoid kinks in the cable, always prevent
the cable from being pressed under heavy items, and avoid bending at 90 degree
angles. Avoid dropping the connectors and take care when connecting and
disconnecting. Always cap the connectors as soon as they are exposed.
141Getting Started with Blackmagic Fiber Converters
Connecting to an ATEM Switcher
How to connect Blackmagic Studio Fiber Converter to your switcher:
1 Connect a BNC cable from Blackmagic Studio Fiber Converter’s rear 12G-SDI
output to one of the SDI inputs on your switcher. Ensure your camera is set to
use the same format and frame rate as your switcher.
2 Connect a BNC cable from your program return feed output on your switcher to the
‘return in' 1 input on the studio unit's rear panel.
3 If you require any other return feeds to be sent to your camera such as a clean program
return feed, a teleprompter feed, an ISO feed from another camera, graphics or any
other signal then plug these into 'return in' 2 or 3.
Plug the program return feed from the switcher and other return
sources into the 'return' inputs on the studio unit's rear panel
Power Safety Considerations
The SMPTE hybrid fiber optic cable is capable of carrying high voltage over long
distances so that you can power a camera and accessories that are located up to
2kmaway.
To ensure safe operation, your Blackmagic Studio Fiber Converter has safety
mechanisms built in to ensure accurate monitoring and automatic management of the
voltage being carried.
A dedicated micro controller along with internal handshaking and communication
between the Blackmagic fiber converters ensure that a hybrid fiber optic cable
remainsoff until it is plugged into the Camera Fiber Converter. It then goes into a low
power state and completes safety checks before going into high power mode. High
voltages are not enabled until the converters ensure that an optical signal is present,
there is a 5mA signal core current loop, and there is less than 30mA of imbalance
between the power cores.
TIP When using multiple cameras in a live production, you may need to run the
program return feed from the switcher through a Teranex Mini SDI Distribution
12G or a Smart Videohub. That is because there are a set number of program
outputs on the switcher and you will likely need access to more.
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
142Getting Started with Blackmagic Fiber Converters
Confirming Video
You can now check that video is working and all return feeds are present.
1 Ensure the ATEM switcher's program output is connected to the studio unit's SDI
return input 1.
2 If you want to check all return feeds, plug video sources into SDI return inputs 2 and 3.
3 Now plug an SDI monitor, such as a Blackmagic SmartView 4K, into the 12G-SDI output
on the side panel of the camera unit.
With a monitor connected to the 12G-SDI output, you can then press and hold either of the two
return buttons on the camera unit's front panel and see the return feed displayed. Double press
the return button to lock the return feed on.
Now rotate the corresponding selection knob next to the return button to switch between all
three return feeds. You can set the two return buttons to monitor two different return feeds if
you want to.
Switch between the return feeds on the camera unit and press the
corresponding return button to view the selected feed on a monitor
To confirm video, plug video sources into the return feed inputs on the
studio unit, then view them on a monitor connected to the camera unit
RET 1 1 3
2
RET 2 1 3
2
ATEM 4 M/E Broadcast Studio 4KSMPTE 311 Fiber Cable
Blackmagic Studio Fiber Converter
Blackmagic Camera Fiber Converter Blackmagic SmartView 4KBlackmagic HyperDeck Studio Mini
01:23:47:08
1080p59.94 SD 2
INPUT DISP H/V
DELAY
3D
LUT 1
BLUE
ONLY ZOOM PEAK 3D
LUT 2
H
MARK
V
MARK
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
1 7 13 19 COL 1 BARS AUX 1
2 8 14 20 COL 2 SPR
SRC AUX 2
3 9 15 KEY
MASK
CLEAN
FEED 1
ME 2
PVW AUX 3
4 10 16 BLK CLEAN
FEED 2
MP 1
KEY
MP 2
KEY
ME 2
PGM AUX 4
5 11 17 MP 1 ME 1
PVW AUX 5
6 12 18 MP 2 ME 1
PGM AUX 6
USB
SDI IN
SDI OUT
REF OUT
ETHERNET
143Getting Started with Blackmagic Fiber Converters
Why Connections on the Front?
The fiber connection is located on the front of the studio unit so it can become the optical patch
connection in the rear of a rack. Typically, the studio converter will be installed facing the rear of
a rack so the SMPTE cables can be plugged direct into the unit. This means there is no need for
extra rack patch panels and the cost of an extra short cable to the fiber unit. The large LCD next
to the SMPTE fiber connector lets you quickly verify a good connection to the camera.
Plugging in Camera SDI
Connecting video signals between your Blackmagic Camera Fiber Converter and
URSABroadcast or URSA Mini, is as simple as connecting two of the three included SDI cables
from theside of your converter to the rear of your camera.
How to connect your Camera Fiber Converter to your camera
1 Connect one of the included BNC cables from Blackmagic URSA Broadcast or
URSAMini's rear 12G-SDI output to the SDI input on Blackmagic Camera Fiber
Converter.
2 Connect one of the included BNC cables from the SDI output on Blackmagic Camera
Fiber Converter to the 12G-SDI input on Blackmagic URSA Broadcast or URSA Mini's
rear panel.
Plugging in Return SDI Outputs
The three SDI outputs marked 'SDI Out' on the front of the camera unit are loop outputs of the
return feeds coming from the switcher. These let you connect the return feeds to other SDI
equipment near the camera, for example a teleprompter or talent monitor.
The three return feed loop outputs can be connected to SDI equipment
near the camera, for example a teleprompter or monitor
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
NOTE The return feed SDI loop outputs support 3G-SDI to provide enough bandwith
for three separate feeds. This means Ultra HD return feeds from the switcher up to
2160p60 are down converted to 1080p at the equivalent frame rate.
144Getting Started with Blackmagic Fiber Converters
Mounting BlackmagicCamera Fiber Converter
Blackmagic Camera Fiber Converter mounts to the back of URSA Mini and URSA Broadcast
directly behind the camera body, and connects to your camera’s rear SDI in and SDI out BNC
connectors. If you have installed a battery plate to the rear of your camera, you will need to
remove it before connecting the Blackmagic Camera Fiber Converter.
When attaching Blackmagic Camera Fiber Converter, you will need the following tools:
1 x phillips head screwdriver
1 x T10 torx screwdriver
To attach the Blackmagic Camera Fiber Converter to your URSAMini or URSABroadcast,
you will need a large phillips head screwdriver and a T10 torx driver
To mount and connect Blackmagic Camera Fiber Converter:
1 2
SDI OUT
SDI IN
REF IN
TC IN
12V
Ensure your camera is powered off. If using
URSA Broadcast or URSA Mini Pro, power it off
by moving the power switch to ‘off’.
Remove the battery plate or molex power cover
plate, if attached, using a phillips head
screwdriver.
NOTE Before installing Blackmagic Camera Fiber Converter you should check that
URSA Mini’s internal software is version 4.4 or above and URSA Broadcast is 4.6 or
above. You can check your software version on page 4 of the camera's 'setup' menu.
For more information on updating your camera firmware see the section ‘Blackmagic
Camera Setup Utility' in this manual.
145Getting Started with Blackmagic Fiber Converters
SDI OUT
SDI IN
REF IN
TC IN
12V
3
USB
SDI IN
SDI OUT
REF OUT
ETHERNET
4
Attach Blackmagic Camera Fiber Converter’s
mounting bracket using 6 x T10 Torx screws.
Plug the molex connector on Blackmagic
Camera Fiber Converter into the molex power
socket on your camera’s rear panel.
USB
SDI IN
SDI OUT
REF OUT
ETHERNET
5
USB
SDI IN
SDI OUT
ETHERNET
SDI OUT
12V
LENS
12V OUT
PUSH
SDI OUT
SDI IN
REF IN
TC IN
6
Slide the Blackmagic Camera Fiber Converter
onto the mounting bracket, and attach it using
2xT10 Torx screws on each side of the bracket.
Use the included BNC cables to connect the
SDIoutput on the back of your camera to the SDI
input on Blackmagic Camera Fiber Converter, and
the SDI output from the fiber converter to the
SDIinput on the rear of your camera.
NOTE When setting up your production and using URSA Broadcast with the fiber unit
attached, it's important to maintain some clearance underneath the fiber unit to allow
adequate ventilation.
As your camera will often be used on a tripod, or shoulder mounted, clearance will
already be provided. However, if you are operating the unit sitting flat on a surface it is
a good idea to attach the URSA Mini shoulder mount pad, or third party baseplate or
bridge plate as this will maintain the cooling fan's air flow in the underside of the
FiberConverter.
146Getting Started with Blackmagic Fiber Converters
Attaching the URSA Studio Viewfinder
The attached V-lock plate on the top of the unit lets you connect a Blackmagic Studio
Viewfinder. This positions the studio viewfinder directly at the eye level when the camera is
mounted on a pedestal or tripod.
The V-Lock mount on the top of the camera unit lets you
mount the Blackmagic URSA Studio Viewfinder
Plugging in a Talkback Headset
Plug a broadcast headset into one of the two 5 pin XLR connectors on the front of the camera
unit. Having two headset connectors allows two people to communicate with crew
simultaneously.
That's all there is to getting started! With the fiber converters powered and video connected via
SMPTE fiber, you can start using the converters to create your live production with greater
flexibility and efficiency. Please continue reading the manual for more information on how to
use all the features on your Blackmagic fiber converters.
POWER
RET 1
INTERCOM 1
INTERCOM 2
PGM1
MIC
ON
ENG
ENG
PROD
ON
PROD
OFF
INCOM MIC
INCOM
IRIS
PGM2 PGM1
PGM2
RET 2
LIGH
ON
123
TALLY FIBER
123
12
1
2
3
TRACKER
LINE
+48V
OFF
DC OUT
SDI OUT
ETHERNET
REF OUT
MIC
MIC
+48V
OFF
5
4
3
2
1
5
4
3
2
1
LINE
147Getting Started with Blackmagic Fiber Converters
Operating the CameraFiberConverter
Selecting a Return Feed
The two return buttons on the front panel can be used in the same way as the PGM button
onthe camera, to switch the feed on the LCD, Blackmagic URSA Studio Viewfinder and
HDmonitoring outputs between the camera view and program return view.
The two return buttons marked ‘ret 1’ and ‘ret 2’ switch between two chosen return feeds.
Thethree way rotary switches next to the ’ret 1’ and ‘ret 2’ buttons assign which return feed you
would like to view when you press the corresponding button to the left of the switch.
Thesepositions on the rotary switch relate to the ‘return in’ 1, 2 and 3 SDI connectors that are
on the back of the Studio Fiber Converter.
The return buttons and three way rotary switches allow you to select
which return feed to view when the return buttons are pressed
Press and hold one of the return buttons to see the selected program feed. The program feed
will continue to display whilst the return button is being held. Double press the return button to
lock the display to the return feed. Pressing the return button again will exit the return feed and
return to the camera view.
This means you can quickly and easily adjust which of the three return feeds being sent from
Blackmagic Studio Fiber Converter you would like to have fast access to on the two return
buttons. For example the three return feeds might be the switcher’s program output feed
complete with graphics, a teleprompter feed and a feed direct from another camera.
By using these switches you could assign ‘ret 1’ to be your program feed permanently and then
use the second ‘ret 2’ button to check what is being sent to the teleprompter, and to
occasionally switch it to check framing on another camera when you need to match its
framing or angle.
There are also return buttons on the left side of the unit, marked ‘ret 1’ and ‘ret 2’ that provide
additional access to view the return feeds when operating your camera from the side. They
perform the same function as the return buttons on the front of the unit. Next to the return
buttons is a call button, that when pressed, displays a flashing red border on a multivew
connected to an ATEM switcher, alerting the switcher operator that you need assistance.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
148Operating the Camera Fiber Converter
Using Talkback
The two female 5-pin XLR connectors allow you to plug in two headsets, so that you and
another crew member can have communication with the rest of the crew simultaneously.
The intercom controls for each headset are grouped into two sets for two independent
intercoms, and are effectively three way audio mixers for each headset XLR connector that is
directly below.
The intercom controls for each headset are located
directly above each headset connection
You will hear the audio from the feeds that you have selected for ‘ret 1’ and ‘ret 2’ through a
connected headset. The ‘pgm 1’ and ‘pgm 2’ dials adjust the audio levels of those feeds, and
the ‘incom’ dial adjusts the overall volume. The ‘mic’ switch allows the operator to turn their
headset microphone ‘on’ or ‘off’.
Each intercom also has 2 selectable channels, a production channel and an engineering
channel. This means that for broadcast setups with a large crew, you can split your crew
communications between the two channels. The production channel uses audio channels
15and 16 of the SDI stream, and could be setup to allow you to communicate with the director,
producer and other crew members in the control room or broadcast truck. The engineering
channel uses audio channels 13 and 14 of the SDI stream, and could be setup to allow you to
communicate with the lighting crew, technical operators and other camera operators. The
engineering channel will be enabled in a future software update.
The Blackmagic Camera Fiber Converter also includes a standard 10 pin connection for tracker
talkback, which is perfect when both headset connections are in use and you need to feed an
additional talkback connection for your crane operator.
There is also a backup channel available for use while setting up or troubleshooting the camera
chain in case the fiber link is down.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
149Operating the Camera Fiber Converter
Headset XLR Pinout Diagram
External view Pins Signal I/O Specifications
5-pin XLR
‘headset’ connector
1 Intercom MIC (Y) In Carbon (-20 dBu, unbalanced)
Dynamic (-60 dBu, balanced/
unbalanced)
Manual (-20/-40/-60 dBu, balanced/
unbalanced)
2 Intercom MIC (X) In
3GND –GND
4Intercom left Out 11 dBu (VR Max, 250 Ω Load)
5 Intercom right Out 11 dBu (VR Max, 250 Ω Load)
Using Tally
The tally indicator on the front of the panel, provides a traditional tally indicator with red for
program and green for preview, so that you know when the camera you are operating is on air.
Status Indicators
The 'power', 'tally' and ‘fiber' status LEDs at the top of the converter will illuminate different
colors depending on the status of the unit. When the fiber cable is unplugged, no lights are
illuminated.
The status LEDs will illuminate different colors
to let you know the status of the unit
1
2
3
5
4
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
POWER TALLY FIBER
150Operating the Camera Fiber Converter
Below is a description of each LED color, LED action, and the status represented:
Power
Constant Red When the SMPTE hybrid fiber optic cable is connected to a powered
Blackmagic Studio Fiber Converter, and the other end of the cable is
connected to Blackmagic Camera Fiber Converter, the power LED on
the converter turns red to indicate that it is receiving power, and is in a
low power state. In this low power state, intercom functionality is
enabled but the full power required to operate the unit has not yet
been enabled.
If the power LED remains red for an extended period of time and does
not turn green, check that both ends of your SMPTE hybrid fiber optic
cable are securely connected. If the connection remains unstable,
check the condition of your fiber cable.
Constant Green After a successful fiber connection has been established and
Blackmagic Studio Fiber Converter has determined that the cable
connection is safe, the power LED will turn green and the camera
converter will enter high power mode.
Flickering between
Red and Green
If the power LED flickers between red and green, check that both ends
of your SMPTE hybrid fiber optic cable are securely connected. Ifthe
connection remains unstable, check the condition of your fiber cable.
Tally
Constant Red The tally LED illuminates red to indicate that the camera you are
operating is currently on air.
Constant Green The tally LED illuminates green to indicate that the camera you are
operating is currently in preview mode.
Fiber
Constant Red When the SMPTE hybrid fiber optic cable is plugged into the camera
fiber converter, the fiber LED will turn red to indicate that the handshake
process has begun, and the converter is in a low power state. In this
state, intercom functionality is enabled for use while setting up or for
troubleshooting the camera chain in case the fiber link is down.
Constant Green Once a successful SMPTE hybrid fiber optic cable connection is
established, the fiber LED will turn green.
Once both the power and fiber lights are green, this indicates that the safety checks have been
completed, and the converters have entered high power mode.
Audio Inputs
Your Blackmagic Camera Fiber Converter has two XLR inputs labelled ‘1’ and ‘2’ that allow you
to plug in external analog audio from professional equipment such as audio mixers, PA systems
or external microphones.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
Use the he XLR input assign switch to
select the audio input type you have
connected, and enable phantom power
if required
151Operating the Camera Fiber Converter
The camera audio is embedded into channels 1 and 2 of the camera feed, and the 2 audio
inputs on the back of the camera fiber converter are embedded as channels 3 and 4. All 4
audio channels are also deembedded at the other end on the studio fiber converter as analog
audio outputs.
The XLR connections on Blackmagic Camera Fiber Converter have set gain levels, so if you
require audio adjustment you can do this using URSA Mini and URSA Broadcast’s XLR audio
1and 2 inputs. Once connected, you can use the XLR input assign switch to set how the XLR
inputs behave when selected as an input source. The options available are mic audio, line level
audio and AES digital audio.
If you would like to connect microphones that aren’t self powered, you can enable 48V phantom
power. Move the phantom power switch to ‘+48V’ to enable phantom power for any microphone
connected to the XLR below, or ‘off’ to disable phantom power.
IP Video
A connected SMPTE Fiber cable provides for a 10-Gbit IP link between your Camera Fiber
Converter and the Studio Fiber Converter. This allows all of your video and return feeds to be
IPvideo based using high end, lossless broadcast quality 10-bit video encoding and decoding.
All other connections such as talkback, tally, camera control and lens control are also converted
to low-latency IP so you get incredibly reliable performance. The 1G and 10G Ethernet
connections on the Camera Fiber Converter and Studio Fiber Converter will be enabled in a
future software update.
Power Specifications
The Blackmagic Studio Fiber Converter provides power for Blackmagic Camera Fiber
Converter, your camera and it’s accessories. A molex connector plugs into the molex socket on
your camera’s rear panel to send power to your camera from the Camera Fiber Converter.
If you need to position your camera at a distance of more than 2.1 km from the broadcast truck,
and your camera and converter are not receiving enough power over the long cable run, you
can power the camera and converter locally by having the 4-pin XLR from the camera’s power
supply plugged into the +12V input on your URSA Broadcast or URSA Mini Pro. The power will
be sent through the molex connector to the Camera Fiber Converter.
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
152Operating the Camera Fiber Converter
The ‘+12V out’ connector, sometimes referred to as a ‘D-tap’ or ‘P-tap’ allows you to power
accessories like an external monitor or a large box lens, up to +11.9V to 14V dc at 2 amps.
The4-pin ‘DC out’ connector provides an additional option for powering accessories like an
external monitor. A pinout table for the DC out connector is provided below.
DC out connector Pinout Diagram
External view Pins Signal I/O Specifications
1Unregulated GND –GND for Unregulated Out
2NC –No connection
3NC –No connection
‘DC out’ connector 4Unregulated Out Out +11.9V to 14V dc, 500 mA (max)
Operating in a Small Environment
When URSA Broadcast is being used as a studio camera, we have added camera controls on
the fiber converter including iris and focus control, so you can control compatible lenses from
behind the camera. This is helpful if you don't have a camera control operator controlling the
lens remotely.
As a studio camera, URSA Broadcast still has the ability to record internally, so the record
button lets you trigger internal recording on the camera.
Focus
Pressing the button marked ‘focus’ will trigger the autofocus if you are using a lens that
supports autofocus.
Record
Pressing the button marked ‘rec’ will trigger the recording when pressed, and will stop
recording when pressed again.
Iris
If you are using a compatible active lens that allows control from the camera, you can
open or close the iris using the 'iris' wheel. Rotate the wheel up or down to open or
close the lens aperture.
1
4
23
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
153Operating the Camera Fiber Converter
Operating the StudioFiberConverter
Selecting the LCD Source
When powered on, your Blackmagic Studio Fiber Converter’s large LCD will immediately display
the feed from your camera.
As the central base unit, the studio fiber converter takes the program feed from your switcher,
plus all return sources, and feeds them to the camera unit via the SMPTE fiber cable. The built
in LCD lets you monitor each source connected to the return feed inputs, and you can switch
between them by pressing the up and down arrow buttons on the front control panel. The
'menu' and 'set' buttons will be enabled in a future software release.
A text overlay in the top right corner of the LCD lets you identify which feed you are monitoring
when you switch between feeds.
For example, as you press the arrow buttons, the overlay will appear for a few seconds to
indicate which feed you are monitoring..
Press the up and down arrow buttons to monitor the return feed sources
Rack Mounting the Studio Unit
If you’re running multiple Blackmagic Studio Fiber Converters, you can use Blackmagic Studio
Fiber Rack Kit to install your converters into a broadcast rack or road case. Using the rack kit,
you can mount two studio units in a rack side by side, or fitted to either side. A blanking panel is
supplied with the Studio Fiber Rack Kit to cover the empty side of the rack if you only want to
mount a single unit.
Your Studio Fiber Converter is two rack units high, and is half the width of a standard rack shelf,
so two Studio Fiber Converters can fit neatly side by side in a 2RU rack space.
Blackmagic Studio Fiber Converters mounted side by side
The supplied blanking plate can be used to cover an empty rack space if needed
MENU
SET
Camera Feed
MENU
SET
MENU
SET
MENU
SET
MENU
SET
154Operating the Studio Fiber Converter
The Blackmagic Studio Fiber Rack Kit contains the following items:
2x Rack ears
Attach rack ‘ears’ to the outside edge of
Blackmagic Studio Fiber Converter for mounting
in a rack
1x Half rack width blanking panel
The blanking panel has a mounting ear on one
side so you can cover the empty rack space if
you are installing a single unit. The illustration
shows the ear on the left side. Simply rotate
the the panel 180º to mount it to the
other side.
2x Support brackets
The T-shaped support brackets attach
underneath the two Studio Fiber units where the
two units meet at the front and the rear to
provide support
Screws
8 x M4 10mm
Rack
ear screws
5 x M3 5mm
Support
bracket screws
4 x M4 8mm
Blanking
panel screws
Preparing the Blackmagic Studio Fiber Converter for installation into a rack:
1 Position the blanking panel on one of the sides of your Studio Fiber Converter,
depending on whether you would like the unit to sit on the left or right side of the
rack shelf. The front face of the blanking panel should be parallel with the front panel
of the unit.
2 Attach the blanking panel to the side of your Studio Fiber Converter near the front
using three of the supplied blanking panel screws.
3 Use three of the supplied rack ear screws to attach a rack ear to the other side of
your Studio Fiber Converter. Your converter is now ready to be installed into a rack
using the mounting holes on the brackets you have just attached and some standard
rack screws.
Preparing two Blackmagic Studio Fiber Converters for side by side installation into a rack:
1 Turn the two converters over so that they are upside down and placed side by side,
and remove two rubber feet from the edges of each converter where they meet.
2 Attach the two supplied T-shaped support brackets to the base of the two Studio
Fiber units at the front and the back where the two units meet, using the screw holes
provided and the supplied mounting screws.
3 Turn the attached units back over and attach the rack ears to the outer edges near the
front of both converters, using the supplied mounting screws. Your converters are now
ready for installing into a rack, using the brackets you have just attached and some
standard rack screws.
illustartions
for screws
155Operating the Studio Fiber Converter
Camera Unit Connections
Connections are located on Blackmagic Camera Fiber Converter’s rear and side panels. When
the connections are not in use, the rubber caps should be replaced to ensure weather sealing in
rain and other outside environments. This is especially true for the SMPTE fiber connection, as
dust particles can very quickly collect on the polished edge of the glass fibers which can disrupt
signal flow. It’s always a wise choice to remove the caps on both the cable and unit connector
immediately before connection, and then replace the caps immediately after disconnection.
Camera Power Connection
Power is primarily supplied to the camera unit and your camera from the studio converter via a
SMPTE hybrid fiber cable. This also powers all accessories that may be attached to the camera,
for example Blackmagic URSA Studio Viewfinder.
However, you can also power the Blackmagic Camera FIber Converter via the camera if your
camera has its 12V XLR connector plugged into a power supply. This is not normally required,
but is an option if you have your camera positioned further than 2 kilometers away from the
studio unit where power may not be as reliable over the SMPTE fiber cable. This is also helpful
if you have a box lens attached that requires a stronger power draw that is sustainable over
lengthy cable distances.
PTZ Interface
The DE-9 serial connector allows you to connect to a PTZ motorized head. For example, if your
Blackmagic URSA Broadcast is attached to a camera crane using a pan, tilt, zoom head that is
controlled remotely. PTZ commands are embedded in the SDI signal passed through from
Blackmagic Studio Fiber Converter.
PTZ Interface
PTZ
RET 1 RET 2 CALL
12V OUT
156Camera Unit Connections
Talkback Connection
The two female 5 pin XLR connectors let you plug in two headsets, which allows two people to
communicate via talkback simultaneously. For example, the camera operator’s headset can be
plugged into the first XLR connector, and a crane operator or fellow crew member, such as a
sound operator, could plug into the second XLR headset connector. A pinout diagram for the
headset XLR connector is included below.
Headset XLR Pinout Diagram
External views Pins Signal I/O Specifications
5-pin XLR
‘headset’ connector
1 Intercom MIC (Y) In Carbon (-20 dBu, unbalanced)
Dynamic (-60 dBu, balanced/
unbalanced)
Manual (-20/-40/-60 dBu,
balanced/unbalanced)
2 Intercom MIC (X) In
3GND –GND
4Intercom left Out 11 dBu (VR Max, 250 Ω Load)
5 Intercom right Out 11 dBu (VR Max, 250 Ω Load)
The corresponding intercom controls are located above each headset connection.
For more information on how to use the intercom controls, refer to the ‘Operating the
Blackmagic Camera Fiber Converter’ section.
The intercom controls are used to mix Tracker Interface connector
talkback audio levels
1
2
3
5
4
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
157Camera Unit Connections
Tracker Interface
The 10 pin Hirose connector provides a multiplexed output for talkback and tally signals, plus
data such as teleprompter information. This output is commonly used by support crew
operating production equipment such as a camera crane.
A pinout diagram is provided in this section if you want to build your own cable.
Tracker Output Pinout Diagram
External view Pins Signal I/O Specifications
1Tracker left Out Tracker output,
-20 dBu unbalanced
2GND (Talk) – GND for tracker talk
3GND (Receive/PGM/tally) – GND for receive/PGM/tally
4Tracker right Out Tracker output,
-20 dBu unbalanced
5Unregulated Out +11.9V to 14V dc, 500 mA (max)
6GND (Unregulated) –GND for unregulated
7Tracker talk (X) In
Tracker talk 0 dBu /-20 dBu,
high impedance balanced
10 pin hirose
‘tracker’ connector 8Tracker talk (Y) In
9G Tally Out On: GND Off:
High impedance (open collector)
10 R Tally Out On: GND Off:
High impedance (open collector)
DC Connection
You can power additional accessories, for example an external monitor, via the DC out
connector.
The DC out connector lets you power D-Tap Output
additional accessories, such as a monitor
or external recording equipment
18
9
2
3
7
6
10
45
POWER
RET 1 1 3
2
RET 2 LIGHT
FOCUS
REC
IRIS
TALLY FIBER
1 3
2
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 1
PGM 2
ON
OFF
PGM 1
MIC
ON
OFF ENG
PROD
INCOM
INTERCOM 2
PGM 2
TRACKER DC OUT
SDI OUT
1
2
3
4
51
2
3
4
5
1
2
21
3
LINE MIC
+48V
OFF
AES/EBU
LINE MIC
+48V
OFF
AES/EBU
PTZ
RET 1 RET 2 CALL
12V OUT
158Camera Unit Connections
D-Tap Output
The +12V output on the left side panel is often referred to as a ‘D-tap’ or ‘P-tap’ and lets you
power accessories like a monitor or a large box lens. The output supports box lenses that
require up to +11.9 to 14 Volts direct current at 2 amps.
Reference Output and Operation
The reference output can be used to connect a reference signal to your camera via a
BNC cable.
To connect a reference signal to your camera:
1 Connect the reference output from the Blackmagic Camera Fiber Converter, marked
‘REF OUT’, to the reference input on your camera marked ‘REF IN’ using a small
BNC cable. (Add a tech writer note here to ‘Check if a small SDI cable is supplied for
reference’)
2 Set your camera’s reference setting to the reference input.
Any HD tri-level or black burst sync signal plugged into the Studio Fiber Converter will feed
through to the camera unit via the SMPTE fiber cable. A sync reference signal lets you genlock
video equipment to a common reference so all equipment share the exact same timing. This
means all video sources are synced and will switch smoothly.
ATEM switchers have built in re-synchronizers so if you are using all Blackmagic Design
equipment, then you don’t need to worry about connecting a sync reference. The reference
signal is embedded in the SDI program return feed from the ATEM switcher, so all you need to
do is make sure the program input is selected in your URSA Broadcast or URSA Mini’s reference
setting in the settings menu.
If you are using Blackmagic Design equipment, such as URSA Broadcast and an ATEM switcher,
with other SDI equipment and want to maintain sync between them, you can connect the ATEM
switcher’s reference signal via the Camera Fiber Converter’s reference output.
If you're using an external referance singnal, connect the referance output
tfrom the camera fiber unit to your URSA Broadcast reference input.'
USB
SDI IN
SDI OUT
REF OUT
ETHERNET
SDI OUT
SDI OUT
SDI IN
12V
LENS
REF IN
TC IN
12V OUT
PUSH
159Camera Unit Connections
Studio Unit Connections
The rear panel of the Blackmagic Studio Fiber Converter provide SDI return feed and reference
BNC connectors, intercom and tally DB-25 connector, PTZ 9 pin serial port, audio outputs, and
Ethernet. The optical fiber slot lets you plug in an optional optical fiber SFP module for future
options and features to be released at a later date.
All SDI inputs support 12G-SDI for video formats up to Ultra HD 2160p60.
12G-SDI Output
The two 12G-SDI outputs are for connecting the camera signal from the studio unit to any of
your switcher’s camera SDI inputs. The second connector can be used to output the same
signal to other video equipment, for example a Blackmagic Videohub router, SmartView monitor
or a HyperDeck Disk Recorder.
The 12G-SDI outputs allow for signals
from 720p50 up to 2160p60
Return SDI Inputs
The 12G-SDI return feed BNC connectors give you the option to plug in up to three return
SDIfeeds. For example, the program feed from a switcher is normally connected to return 1, and
other sources like a second camera output, HyperDeck playback, or even a teleprompter can
be connected to return feeds 2 and 3. If you are using an ATEM switcher, the program return
connected to return 1 will also include tally, talkback, reference and camera control signals.
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
RETURN IN
1 2 3
OUT
12G DIGITAL I/O
RETURN IN
1 2 3
OUT
12G DIGITAL I/O
160Studio Unit Connections
The return SDI inputs allow you to connect up to three return feeds from your switcher. These
feeds will be fed to your camera so that they can be viewed by the camera operator, or fed out
via SDI to other equipment.
Reference Input and Output
You can lock other video equipment to the program output of your ATEM switcher, or a common
external reference signal using the reference input and output.
For example, if you want to lock equipment to the reference signal embedded in an ATEM
switcher’s program return feed, plug the reference BNC output from the studio unit to your SDI
equipment.
Use the 'ref in' connection to send traditional reference timing
from other broadcast equipment to your camera
If you are not using an ATEM switcher and need to lock equipment to a common external
reference signal, plug the externally generated signal into the reference BNC input. This sends
the reference to the camera unit via the SMPTE fiber cable. The reference BNC output from the
studio unit can be used to loop the reference source to other equipment.
NOTE If you connect Ultra HD to the return inputs, the Ultra HD video will be down
converted to 1080p at the same frame rate, so the output from the camera unit will be
HD. Down converting the Ultra HD return signals to HD allows for greater bandwidth so
you can send multiple return sources.
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
TIP If you have multiple devices that need to be locked to the reference output, then
you can use a distribution amplifier, such as a Blackmagic Mini Converter SDI
Distribution to split the reference output from the studio unit into multiple signals.
161Studio Unit Connections
Talkback Interface
The DB-25 intercom and tally connector lets you connect to third party intercom and tally
systems. A pin out diagram is provided below if you need to build a custom cable.
The external view of the 25 pin ‘intercom/tally’ connector
Talkback Pinout Diagram
Pins Signal Specifications
1ENG(R) IN+ Engineering channel input
0dBu balanced
2ENG(R) IN-
3 ENG GND GND for ENG
4 ENG(T) OUT + Engineering channel output
0dBu balanced
5 ENG(T) OUT -
6 PGM IN+ -20dBu
7 PGM IN- -20dBu
8PGM GND -20dBu
9GND GND for aux
10 N/C –
11 Red Tally IN On = 5-24Vdc, Off= 0Vdc
12 Red Tally GND –
13 GND Chassis GND
14 PROD(R) IN+ Production channel input
0dBu balanced
15 PROD(R) IN-
16 PROD GND –
17 PROD(T) OUT+ Production channel output
0dBu balanced
18 PROD(T) OUT-
19 N/C –
20 N/C –
21 N/C –
22 N/C –
23 N/C –
24 Green Tally IN On = 5-24Vdc, Off= 0Vdc
25 Green Tally GND –
1
2
24
25
22
23
20
21
18
19
16
17
14
15
3
4
5
6
7
8
9
10
11
12
13
162Studio Unit Connections
PTZ Interface
Both the studio unit and camera unit has a 9 pin DE-9 connector so you can connect a PTZ
controller at the studio end, and the remote head at the camera end. The PTZ commands are
embedded in the SDI signal connected between the units via the SMPTE fiber cable.
PTZ Interface Pinout Diagram
External view Pins Signal
1GND
2RS422 Tx-
3RS422 Rx+
4GND
5 N/C
6GND
7RS422 Tx+
8RS422 Rx-
9-pin ‘PTZ’ connector 9GND
Audio Outputs
The four XLR audio outputs on the studio unit give you the option to output the audio plugged
into inputs 1 and 2 from your URSA Broadcast camera, and the two XLR audio inputs on the
camera unit.
Outputs 1 and 2 on the studio unit correspond to XLR inputs 1 and 2 on URSA Broadcast.
Outputs 3 and 4 on the studio unit correspond to XLR inputs 1 and 2 on the Blackmagic Camera
Fiber Converter.
1
2
8
9
6
7
3
4
5
RETURN IN
1 2 3
OUT OUT
IN
1234
AC IN
PTZ
AUDIO ANALOG OUT
INTERCOM / TALLY
ETHERNET
12G DIGITAL I/OOPTICAL I/O REF
163Studio Unit Connections
Updating Internal Software
From time to time Blackmagic Design releases updates that can enhance and enable features
on your Blackmagic Fiber Converters. We recommend checking the Blackmagic Design
website regularly to ensure your fiber converters are using the latest internal software. Update
your Fiber Converters using the Blackmagic Camera Setup Utility software.
The USB-C ports on the Blackmagic Fiber converters let you update their internal software.
Updating Blackmagic Camera Fiber Converter
Your Camera Fiber Converter will need to be powered when updating, so we recommend
keeping the converter connected to URSA Broadcast during the update process.
It’s important that you unplug the SMPTE Fiber cable from your Camera Fiber Converter, and
power your camera via the supplied URSA camera Power Supply instead for consistent power.
Blackmagic Camera Fiber Converter has a USB-C connector on the right side of the unit for
updating its internal software. Connect your computer to this USB connector and launch
Blackmagic Camera Setup Utility. You will be prompted to update if your computer detects that
your Camera Fiber Converter is using an outdated version. Follow the on screen prompts to
update your converter’s internal software.
Updating Blackmagic Studio Fiber Converter
Your Studio Fiber Converter will need to be powered when updating, so we recommend
keeping the IEC power cable plugged into the power connector on the studio unit's rear panel
during the update process.
Blackmagic Studio Fiber Converter has a USB-C connector on the front of the unit for updating
its internal software. Connect your computer to this USB connector and launch Blackmagic
Camera Setup Utility. You will be prompted to update if your computer detects that your Studio
Fiber Converter is using an outdated version. Follow the on screen prompts to update your
converter’s internal software.
USB
SDI IN
SDI OUT
REF OUT
ETHERNET
MENU
SET
Cap on the
illustrator
164Updating Internal Software
Interchangeable Lens Mount
Blackmagic URSA Broadcast is shipped with its own custom B4 mount attached, however you
are not locked into using B4 lenses as the camera has an interchangeable lens mount.
Thismeans you can remove the original B4 mount and attach an optional PL, EF, or F mount.
Blackmagic Design PL, EF, and F lens mount kits are available from Blackmagic Design resellers.
With the ability to interchange four separate mounts, you have the freedom to use different
lenses based on the type of assignments you’re working on. For example, the EF mount lets
you use high quality stills lenses, the B4 mount is perfect if you want to use par-focal zoom
lenses for electronic news gathering or wedding shoots, while the PL mount lets you use high
end, robust cinema lenses designed for absolute precision and repeatable control. The F mount
gives you access to a huge range of Nikkon lenses manufactured from 1959 to today.
Attaching each mount is as simple as unscrewing the original B4 mount and replacing it with the
new mount.
NOTE A B4 mount is available for Blackmagic URSA Mini Pro but this is not the same as
the B4 mount on URSA Broadcast camera and is designed for a different sensor. Use
only the B4 mount that originally came with your URSA Broadcast camera.
PL mount Broadcast B4 mount
EF mount F mount
165Interchangeable Lens Mount
Removing the B4 Mount
To remove the B4 mount, simply unscrew the five M3 Hex screws using a 2mm Hex driver.
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.10
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
The original B4 mount is easily removed by unscrewing the five
M3Hex screws and gently lifting the mount from the camera body
Keep reading this section for details about the PL, B4, and EF lens mount kits and how to install
each mount to your URSA Broadcast.
Blackmagic URSA Mini Pro EF Mount
The EF mount lets you attach EF stills lenses to your URSA broadcast.
The EF mount kit includes:
1x EF mount
The EF mount lets you attach common EF
stills lenses.
1 x Shim set
The shim set includes the following thicknesses:
0.50mm
0.30mm
0.20mm
0.18mm
0.15mm
0.12mm
0.10mm
0.05mm
0.025mm
1x Baffle tool
The baffle in the EF mount is not removable,
however we have included a baffle tool in the
EFkit as a spare item you can use if you also have
the PL mount.
4 x 2mm Hex M3 x 18mm mount screws
The four M3 x 18mm Hex screws are exclusive to
the EF mount so you can keep the screws together
with the respective mount.
NOTE When removing the original B4 mount, make sure the 0.10mm and shim
underneath the mount always stays attached to your camera.
166Interchangeable Lens Mount
Tools Required
When attaching the EF mount, you will need a 2mm Hex driver. While it’s not absolutely
required, we recommend using a torque wrench able to accurately set a maximum torque of
0.45Nm to reduce the potential of over tightening the screws.
2mm Hex driver
Attaching the EF Mount
1
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.10
2
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.50
Place Blackmagic URSA Broadcast vertically ona
solid, clean bench top toensure that the mount
can be inserted vertically. If changing from the PL
to the EFmount, ensure that you have removed
thePL baffle before inserting the EF mount.
Carefully place the Blackmagic URSA Mini Pro
EFmount onto the camerabody ensuring the
reddot is at the 12o’clock position.
3
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
4
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
1 3
4 2
Loosely turn the four mounting screws until initial
contact is made with the shoulder of the
lens mount.
Using the 2mm Hex driver, or torque wrench
with 2mm Hex key, apply one full turn of
pressure to mounting screw 1, followed by one
full turn to screw 2, and repeat for screw 3 and
then 4. Continue to apply one full turn to each
screw in the sequence above until all screws
have reached the maximum torque of 0.45Nm.
NOTE When removing the EF mount, simply follow the instructions in reverse order
from step 4 to step 1.
167Interchangeable Lens Mount
To attach an EF mount lens:
1 Align the dot on your lens with the dot on the camera mount. Many lenses have a visual
indicator, for example a blue, red or white dot.
2 Insert the lens into the mount and twist clockwise until it locks into place.
3 To remove the lens, hold down the locking button, rotate the lens counterclockwise
until its dot or indicator reaches the 12 o’clock position, and gently remove.
Attaching and removing an EF mount lens
Blackmagic URSA Mini Pro F Mount
With the Blackmagic URSA Mini Pro F Mount attached to your URSA Broadcast, you can use
Fmount lenses. Nikon’s Fmount system stretches back to 1959, and F mount lenses are still
made today. This means that with the Blackmagic URSA Mini Pro F mount, you have access to a
huge range of vintage and contemporary lenses.
Use URSA Mini Pro F mount's iris adjustment ring to
smoothly change the aperture of F mount lenses.
It’s worth noting that the F mount is a mechanical mount. This means it does not offer electronic
focus or iris control. Instead, the F mount features a mechanical iris adjuster. This moves the the
iris pin present in most Nikon lenses to achieve smooth cine style iris adjustment.
LENS
12V OUT
SDI OUT
168Interchangeable Lens Mount
With an F mount mounted, simply move the iris adjuster on Blackmagic URSA Mini Pro F mount
to achieve your prefered exposure. The red dot on the F mount and the markings on the iris
adjuster let you mark iris settings to easily return to particular exposure or depth of field settings.
Nikon AF-D lenses
When using Nikon AF-D series lenses, it is necessary to lock your lens aperture to its
smallestsetting, such as f/22, to use the full range of Blackmagic URSA Mini Pro Fmount's
irisadjustment ring.
Setting and locking AF-D lenses to their smallest aperture
is easiest before mounting to your camera.
The F mount kit includes:
1x F mount
The F mount lets you attach commonFstills lenses.
1 x Shim set
The shim set includes the following thicknesses:
0.50mm
0.30mm
0.20mm
0.18mm
0.15mm
0.12mm
0.10mm
0.05mm
0.025mm
4 x 2mm Hex M3 x 18mm mount screws
The four M3 x 18mm Hex screws are used in the
EFand F mount so it is best to keep the screws
together with the respective mount.
The F mount kit also comes with a full spare sets of
screws in case the originals are misplaced.
NOTE When removing the F mount, simply follow the instructions in reverse order from
step 4 to step 1.
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
2
2
22
16
11
8
8.6
4
2.8
2
16
11
8
5.6
4
2.8
ft
11
5.6
5.6
11
m
5
3
1
0
169Interchangeable Lens Mount
Tools Required
When attaching the F mount, you will need a 2mm Hex driver. While it’s not absolutely required,
we recommend using a torque wrench able to accurately set a maximum torque of 0.45Nm to
reduce the potential of over tightening the screws.
2mm Hex driver
Attaching the F Mount
1
0.10
2
0.10
Place Blackmagic URSA Broadcast vertically on a
solid, clean bench top to ensure the mount can be
attached vertically. If changing from the PL to the
F mount, ensure that you have removed the PL
baffle before inserting the F mount.
Carefully place the Blackmagic URSAMiniPro
Fmount onto the camera bodyensuring the
whitedot is atthe2o’clock position.
3 4
1 3
4 2
Loosely turn the four mounting screws until initial
contact is made with the shoulder of the lens mount.
Using the 2mm Hex driver, or torque wrench with
2mm Hex key, apply one full turn of pressure to
mounting screw 1, followed by one full turn to
screw 2, and repeat for screw 3 and then 4.
Continue to apply one full turn to each screw in
the sequence above until all screws have reached
the maximum torque of 0.45Nm.
NOTE Because of the way URSA Mini Pro F mount works, a small number of F mount
lenses are not compatible.
These are Nikkor AF-S E series lenses, which do not offer mechanical iris control, and
Nikon PC-E tilt-shift lenses like the 24mm f/3.5D PC-E and 85mm PC-E.
170Interchangeable Lens Mount
To attach a F mount lens:
Attaching and removing a F mount lens on Blackmagic
URSABroadcast with the optional F mount fitted
1 Align the dot on your lens with the dot on the camera mount. Many lenses have a visual
indicator, for example a blue, red or white dot.
2 Insert the lens into the mount and twist counterclockwise until it locks into place.
3 To remove the lens, hold down the locking button, rotate the lens clockwiseuntil its dot
or indicator reaches the 2 o’clock position, and gently remove.
Blackmagic URSA Mini Pro PL Mount
Attaching the PL mount to your URSA Broadcast lets you use high end precision cinema lenses
and Super 16mm PL lenses for feature film and television production.
PUSH
LENS
NOTE: Blackmagic URSA Mini Pro F mount features a mechanical iris adjustor. To use
older style F mount lenses with built in focus rings with this mount, your lenses aperture
will need to be set and locked to its smallest setting, such as f/22.
TIP: Many Super 16 lenses match well with URSA Broadcast’s sensor size, giving you
the same field of view and depth of field characteristics as Super 16 when using them
on URSA Broadcast with a PL mount.
171Interchangeable Lens Mount
The PL mount kit includes:
1x PL mount
The PL mount is shipped with a protective
dust cap.
1 x Shim set
The shim set includes the following thicknesses:
0.50mm
0.30mm
0.20mm
0.18mm
0.15mm
0.12mm
0.10mm
0.05mm
0.025mm
1x PL baffle
The PL mount baffle helps to control and direct the
light entering the sensor.
1x Baffle tool
Use the PL baffle tool to tighten the baffle in
your camera.
5 x 2mm Hex M2.5 x 22mm mount screws
The five M2.5 x 22mm Hexscrews are exclusive to
the PLmount so you can keep the screws together
with the respective mount.
Tools Required
When attaching the PL mount, you will need a 2mm Hex driver. While it’s not absolutely
required, we recommend using a torque wrench able to accurately set a maximum torque
of0.45Nm to reduce the potential of over tightening the screws.
2mm Hex driver
172Interchangeable Lens Mount
Attaching the PL Mount
1
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.50
2
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.10
Gently insert the PL baffle into the center of the
lens mount and turn until it is finger tight. Use the
wide end of the baffle tool to tighten the baffle
slightly. You need just enough pressure to keep
it in place.
Your camera should have a 0.10mm plastic shim,
and a 0.10mm and 0.50mm metal shim fitted.
Ensurethe pins on the PL mount for
Cooke/iTechnology are located at the
12o’clockposition.
3
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
4
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
13
4
5
2
Loosely turn the five mounting screws until initial
contact is made with the shoulder of the lens
mount. To access all five screws, you will need to
rotate the PL locking ring, as some holes are
obscured when the ring is either open or closed.
Using the 2mm Hex driver, or torque wrench with
2mm Hex key, apply one full turn of pressure to
mounting screw 1, followed by one full turn to
screw 2. Repeat for screws 3and 4, then 5.
Continue to apply one full turn to each screw in
the sequence above until all screws have reached
the maximum torque of 0.45Nm.
To attach a PL mount lens:
1 Open your camera’s PL locking ring by rotating it counterclockwise until it stops.
2 Align one of the lens’ four flange notches with the locating pin on the camera mount.
Be sure to align the lens for easy viewing of the lens marks.
3 Tighten the PL locking ring by rotating it clockwise. If attaching a PL lens with a servo
unit to URSA Broadcast, you can also connect the 12 pin broadcast connector for
servo control.
NOTE When removing the PL mount, simply follow the instructions in reverse order
from step 4 to step 1. Don’t forget to remove the PL baffle and store it securely with the
PL mount.
173Interchangeable Lens Mount
4 To remove the lens, rotate the locking ring counterclockwise until it stops, then gently
remove the lens by pulling it directly out from the camera body. There is no need to
rotate the lens.
Attaching and removing a PL lens
Cooke Lenses /i Technology Support
The optional Blackmagic Design PL mount available for URSA Broadcast and URSA Mini Pro
4.6K features four pins at the 12 o'clock position that are used to communicate with lenses
featuring Cooke’s /i Technology interface. The lenses that support this interface include lenses
from Canon, Cooke, Fujinon, Leica and Zeiss. Thislets you record lens information in your clips’
metadata such as the lens model, focal length, aperture setting, focus distance and other lens
specific information.
The information that is recorded as metadata via Cooke's /i Technology interface canbe very
helpful in post production and VFX. Knowing the lenses used in productionand their precise
settings can be helpful in the event that the setup needsto be replicated at a later date.
This detailed information can also be utilised by powerful applications such as DaVinciResolve
and Blackmagic Fusion for a wide variety of advanced functions. Forexample, the recorded
metadata can be used to simulate the specific lens in 3Dspace, or correct lensdistortions.
PL Mount Servo Lenses
URSA Broadcast supports control of PL 35mm lenses with servo handgrips. When the lens is
plugged in to the 12-pin broadcast connector on the camera, URSA Broadcast will provide
power and control signals to your lens in the same way it does with B4 lenses. For more
information refer to the 'Using Servo Zoom Lenses' section in this manual.
LENS
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
When mounting a PLlens with
/iTechnology to URSA Broadcast, make
sure the lens pins align withthe mount
pins at the 12o'clock position
174Interchangeable Lens Mount
Blackmagic URSA Broadcast B4 Mount
The Broadcast B4 mount is the mount that your URSA Broadcast camera originally ships with.
Ifyou have removed the mount to fit the optional Blackmagic URSA PL, EF, or F mount, follow
these instructions to reattach your B4 mount.
Tools Required
When attaching the B4 mount, you will need a 2mm Hex driver. While it’s not absolutely
required, we recommend using a torque wrench able to accurately set a maximum torque of
0.45Nm to reduce the potential of over tightening the screws.
2mm Hex driver
Attaching the B4 Lens Mount
1
0.10
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
2
0.10
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
Place Blackmagic URSA Broadcast vertically on a
solid, clean bench top to ensure that the mount
can be inserted vertically.
Keeping the original .10mm shim in place, gently
put the Blackmagic URSA Broadcast B4 mount
onto the camera body ensuring the red dot is at
the 12o’clock position.
3
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
4
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
13
4
5
2
Loosely turn the five mounting screws until initial
contact is made with the shoulder of the lens mount.
Using the 2mm Hex driver, or torque wrench with
2mm Hex key, apply one full turn of pressure to
mounting screw 1, followed by one full turn to
screw 2. Repeat for screws 3and 4, then 5.
Continue to apply one full turn to each screw in
the sequence above until all screws have reached
the maximum torque of 0.45Nm.
NOTE When removing the B4 mount, simply follow the instructions in reverse order
from step 4 to step 1.
175Interchangeable Lens Mount
Shimming Lens Mounts
What is a Shim?
Shims are thin disks of varying thickness that let you make fine adjustments to the distance
between your lens and URSA Broadcast's sensor. This distance is commonly known as the
flange focal distance, or back focus, and can change slightly due to variables such as lens age
and the environmental conditions of your shoot.
URSA Broadcast Shim
Shims are placed between the lens mount and the camera body so the distance from your
subject to the sensor matches the focus marks on your lens. These are most commonly used
forPL lenses. These cine lenses are manually focused and have very accurate focal distance
markings on their barrels. Shims are also used for URSA Broadcast's interchangeable
lens mount.
Your Blackmagic URSA Broadcast is supplied with a 0.10mm shim already installed.
TheBlackmagicURSA Mini Pro 4.6K Shim Kit contains additional shim sets of various
thicknesses, and can be purchased from your local Blackmagic Design reseller. A set of shims is
also included with all mount kits and are compatible with URSA Broadcast. Use shim
thicknesses depending on your back focus requirements.
Blackmagic URSA Mini Pro Shim Kit
Your URSA Broadcast camera ships three shims, a 0.10 mm plastic shim and 0.10 and 0.50 mm
metal shims. These shims set the proper focal distance for your URSA Broadcast camera's B4,
EF, and F mount lenses. Very occasionally, you will need to use additional shims to suit
PLlenses that require very specific clearances to maintain accurate focus marks. Blackmagic
URSAMini Pro Shim Kit includes the following additional tools. Other thicknesses are included
in the kit in case you need to re-shim your camera to suit PL lenses that may require slightly
different clearances to maintain accurate focus marks.
The shim kit includes:
1x Baffle tool
Use the baffle tool to loosen or tighten the PL baffle when
removing or attaching the PL mount to your URSA Broadcast.
1 x Shim set
The shim set includes the following thicknesses:
0.50mm
0.30mm
0.20mm
0.18mm
0.15mm
0.12mm
0.10mm
0.05mm
0.025mm
176Shimming Lens Mounts
Shimming mounts
To shim your camera's mounts you’ll need a torque wrench able to accurately set a maximum
torque of 0.45Nm, with a 2.0mm Hex key and driver.
Torque wrench
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
1
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
2
Place URSA Broadcast vertically on a solid, clean
bench top and remove your lens or dust cap.
Thefilter covering the sensor will be exposed for
the duration of the shimming process, so it’s
important to keep the filter as clean as possible.
Be careful not to touch the filter while
shimming mounts.
Remove the screws holding your mount in place
using a 2.0mm Hex driver. For more information
on removing particular mounts, see the
'interchangeable lens mount' section in
this manual.
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
3
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
4
Carefully lift the lens mount away from the
camera body. Keep the screws safely located
close to the lens mount.
Note the alignment of the existing shim with
the alignment pin at the 11 o’clock position.
177Shimming Lens Mounts
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.50
0.10
5 6
ND
FILTER
AUTO
W/B
LENS
SDI OUT
12V OUT
0.10
Add or remove shims to slightly change the depth
of your mount. It is a good idea to start with a
small shim thickness such as a 0.10mm.
Place your lens mount onto the camera body,
tighten screws and remount your lens and
check if your lens focus marks are now in
alignment with the focal distance. If not then
continue steps 1 to 6, adjusting shimming a
small amount at a time until your lens is hitting
hits marks.
178
Shimming Lens Mounts
URSA Mini SSD Recorder
Blackmagic URSA Mini SSD Recorder is an optional module which attaches to the rear of
URSABroadcast. This recorder allows you to record footage, including 4.6K RAW files, tohigh
capacity and inexpensive solid state drives, or 'SSDs'.
When attaching URSA Mini SSD Recorder, you will need the following tools:
1 x phillips head screwdriver
1 x T10 torx screwdriver
1 x 2mm hex key driver
To attach the URSA Mini SSD Recorder to your URSA Broadcast you will need a
large phillips head screwdriver , a T10 torx driver, and a 2mm hex key driver
URSA Mini
SSD Recorder
5 Pages
Added
179179URSA Mini SSD Recorder
Mounting and connecting URSA Mini SSD Recorder
URSA Mini SSD Recorder mounts to the back of URSA Broadcast directly behind the camera
body, using your camera’s rear SDI in and SDI out BNCs to pass data to and from URSA Mini
SSDrecorder. It’s worth noting that because the recorder uses these SDI inputs and outputs,
you can’t simultaneously connect your camera to an ATEMswitcher.
To mount and connect URSA Mini SSD Recorder:
1 2
SDI OUT
SDI IN
REF IN
TC IN
12V
Power off URSA Broadcast by moving the
‘power’ switch to ‘off’.
Unmount any battery plates currently fittedto
your camera. For more information on mounting
and unmounting battery plates, see the section
'mountingbatteries' in this manual.
TIP URSA Mini SSD Recorder features a passthrough cable for your camera’s battery
power supply, so you can attach V-mount or gold mount batteries to the rear of the
camera behind the recorder.
SDI OUT
SDI IN
REF IN
TC IN
12V
NOTE Before installing URSA Mini SSD Recorder, you’ll need to update your camera's
internal software to version 4.8 or higher using Blackmagic Camera Setup Utility. For
more information on updating your camera firmware see the section 'Blackmagic
Camera Setup Utility' in this manual.
180180URSA Mini SSD Recorder
SDI OUT
SDI IN
REF IN
TC IN
12V
3
SDI OUT
SDI IN
REF IN
TC IN
12V
4
If no battery was fitted to your camera,
youmayneed to remove the cover over the
molex socket on your camera's rear panel. Use a
philipshead screwdriver to remove the
fourM3screws holding the cover in place.
Attach URSA Mini SSD Recorder’s
mountingbracket using 6 x T10 torx screws.
SDI OUT
SDI IN
REF IN
TC IN
12V
5
SDI OUT
SDI IN
REF IN
TC IN
12V
6
Plug the molex connector on URSA Mini
SSDRecorder into the molex socket on
yourcamera’s rear panel.
Attach URSA Mini SSD Recorder to the mounting
bracket using 2 x T10 torx screws onthe left and
right side of the brackets.
7
SDI OUT
SDI IN
REF IN
TC IN
12V
8
Connect the SSD Recorder’s SDI In and SDIout
cables to the SDI inputs and outputs on the back
of your camera. The SSD Recorder’s cables are
marked ‘in’ and ‘out’ tohelp matchthem to the
appropriate connector on your camera.
If you want to use a battery plate with URSAMini
SSD Recorder, use a 2mm hex key driver to
remove the four M3 screws holding the molex
socket cover panel in place. Once the molex
socket is uncovered, attach a battery plate using
the steps outlined in the section ‘mounting
batteries’ inthis manual.
181181URSA Mini SSD Recorder
Using URSA Mini SSD Recorder
When URSA Mini SSD Recorder is connected and an SSD is loaded, the recorder takes over
from URSA Broadcast's number '2' storage slot. You’ll see an 'SSD' indicator over slot 2 on your
camera’s storage manager when URSA Mini SSD recorder is in use.
When an SSD is inserted into URSA Mini SSD Recorder, your camera's storage
manager will display 'SSD' and 'recorder' indicators over storage slot 2.
This means that recording, playback and storage management is exactly the same for SSDs as
it is for CFast or SD cards. For general information on storage management, as well as specific
instructions for choosing SSDs, see the 'storage media' section of this manual.
Status LEDs
URSA Mini SSD Recorder has two status lights on its left panel, ‘SDI’ and ‘SSD.’ The brightness
of these indicators can be set to 'low,' 'medium,' 'high' or 'off.' in your camera’s 'setup' menu.
SDI
The top LED, marked 'SDI' indicates URSA Mini SSD Recorder's connection to your camera.
The LED provides the following indicators
Off
If the SDI indicator is off, URSA Mini SSD Recorder is not receiving power. If your
camera is powered on and this indicator doesn't light, check the molex connection
toURSA Mini SSD Recorder.
Orange
URSA Mini SSD Recorder is powered but the SDI connector is not plugged in,
orplugged in incorrectly.
White
URSA Mini SSD Recorder is powered and the SDI link is connected properly.
SSD
The 'SSD' indicator shows the status of the SSD currently inserted. This LED provides the
following status indicators:
Green
Your URSA Mini SSD Recorder will show a short green light when you insert an SSD
into it. This is shown while it is verifing the SSD. When the indicator turns off your SSD
Recorder is ready to record. The status light will also be green while footage is being
played back from the SSD.
Red
Your URSA Mini SSD Recorder will show a red light while it is recording to SSD. When
the space on your SSD is running low the red light will begin to flash slowly.
182182URSA Mini SSD Recorder
A fast flashing red light indicates that SSD is dropping frames. If this happens please
check that you are using a disk from our recommended list of SSDs and that you are
recording at a data rate that is compatible with your media.
Orange
If a problem has occurred while mounting the SSD the status light will go Orange. This may
be the result of an improperly formatted or incompatible SSD. See your See the 'storage
media' section in this manual for a list of compatible SSDs and formatting instructions.
Updating URSA Mini SSD Recorder’s internal software
Update your URSA Mini SSD Recorder using the Blackmagic Camera Setup Utility software.
TheSSD Recorder will need to be powered when updating, so we recommend keeping the
SSDRecorder connected to URSA Broadcast during the update process. This also means your
camera will need to supply consistent power, so be sure to plug into external power.
URSA Mini SSD Recorder has a USB-C connector on the underside of the module for updating
its internal software. Connect your computer to this USB connector and launch Blackmagic
Camera Setup Utility. You will be prompted to update if your computer detects that your
URSAMini SSD Recorder is using outdated version. Follow the on screen prompts to update
your URSA Mini SSD Recorder’s internal software.
Use the USB-C connector on the underside of
URSA Mini SSD Recorder to update the internal software
TIP If the 'SSD' LED indicates a drive mounting error it may need to be 'initialized' on a
mac or PC using disk utility or disk management.
NOTE Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual
formoreinformation.
TIP We recommend updating all your Blackmagic URSA equipment at the sametime
foroptimized performance.
183183URSA Mini SSD Recorder
Understanding Studio CameraControl
Blackmagic URSA Broadcast can be used as a studio camera and controlled from an ATEM
switcher using the Camera Control feature in ATEM Software Control. This lets you add a
camera with large sensor picture quality and amazing dynamic range to your broadcast studio
and control it just as you would any studio camera.
ATEM Camera Control
Clicking on the camera button opens the camera control feature. Settings such as iris, gain,
focus and zoom control are easily adjusted using compatible lenses, plus you can color balance
cameras and create unique looks using the DaVinci Resolve primary color corrector.
The ATEM switcher control works by broadcasting camera control packets via all the non down
converted SDI outputs of an ATEM switcher. So this means you can connect an SDI output of an
ATEM switcher to URSA Broadcast's 12G SDI input, your camera will detect the control packets
in the SDI link and allow you to control features in the camera itself.
Connecting your URSA Broadcast
1 Connect your Blackmagic URSA Broadcast's 12G-SDI Out to any SDI In on the
ATEM switcher.
2 Connect any one of the ATEM switcher’s SDI outputs, except down converted or multi
view outputs, to your URSA Broadcast's 12G-SDI input. Camera control signals are not
sent via the multi view and down converted SDI outputs.
184Understanding Studio Camera Control
3 On your URSA Broadcast, navigate to ‘ATEM Camera ID’ in the ‘setup’ menu and set
your camera’s ATEM ID to match the switcher input. For example, if URSA Broadcast 1
is connected to Cam 1 on the ATEM switcher, the camera number must also be set to 1.
This ensures tally is sent to the correct camera.
4 In the 'setup' menu select your 'reference source'. Unless you have a genlock signal
being sent to all of your cameras and your switcher, we recommend setting 'reference
source' to 'program' when attached to ATEM.
5 Navigate to the 'monitor' menu and ensure that you have selected ‘clean feed’ for
'mainSDI' to ensure that you don't see overlays or the focus box on the SDI output to
the ATEM switcher.
Connect your URSA Broadcast to any of the ATEM switcher’s SDI inputs
Using Camera Control
Launch ATEM Software Control and click on the camera button located at the bottom of the
software window. You’ll see a row of labeled camera controllers containing tools to adjust and
refine each camera’s image. The controllers are easy to use. Simply click the buttons using your
mouse, or click and drag to adjust.
Camera Control Selection
The button row at the top of the camera control page lets you select the camera number you
would like to control. If you have more cameras that fit onto the window size, or you are running
the color corrector window, then you can use these buttons to select between which camera
you would like to control. If you are using an Aux output for monitoring your camera control,
pushing these buttons to change the camera to control will also send that camera’s video
output to the Aux output setup in the switcher preferences.
Click on the settings icon to select
theAuxoutput for camera control
Channel Status
The channel status at the top of each camera controller displays the camera label, On Air
indicator and lock button. Press the lock button to lock all the controls for a specific camera.
When on air, the channel status illuminates red and displays the On Air alert.
PUSH PUSH
CONTROL
USB 2.0 HDMI IN SDI INPUTS REF IN AUX 1-3 PREVIEW PROGRAM OUTPUTS MULTI-VIEW ANALOG AUDIO IN
STEREO IN
REMOTE
ANALOG AUDIO OUT
CH 1
All SDI and HDMI video connections are
SD, HD and Ultra HD switchable unless indicated
CH 2CH 1 CH 2
IN
1
IN
2
IN
1
IN
3
IN
4
IN
5
IN
6
IN
7
IN
8
IN
9
IN
10
2
1 3
2
1
HD HD HD
PUSH PUSH
CONTROL
USB 2.0 HDMI IN SDI INPUTS REF IN AUX 1-3 PREVIEW PROGRAM OUTPUTS MULTI-VIEW ANALOG AUDIO IN
STEREO IN
REMOTE
ANALOG AUDIO OUT
CH 1
All SDI and HDMI video connections are
SD, HD and Ultra HD switchable unless indicated
CH 2CH 1 CH 2
IN
1
IN
2
IN
1
IN
3
IN
4
IN
5
IN
6
IN
7
IN
8
IN
9
IN
10
2
1 3
2
1
HD HD HD
PUSH PUSH
CONTROL
USB 2.0 HDMI IN SDI INPUTS REF IN AUX 1-3 PREVIEW PROGRAM OUTPUTS MULTI-VIEW ANALOG AUDIO IN
STEREO IN
REMOTE
ANALOG AUDIO OUT
CH 1
All SDI and HDMI video connections are
SD, HD and Ultra HD switchable unless indicated
CH 2CH 1 CH 2
IN
1
IN
2
IN
1
IN
3
IN
4
IN
5
IN
6
IN
7
IN
8
IN
9
IN
10
2
1 3
2
1
HD HD HD
185Understanding Studio Camera Control
Each camera controller displays the channel status so
you know which camera is on air. Use the color wheels to
adjust each YRGB channel’s lift, gamma and gain settings
Color Wheel
The color wheel is a powerful feature of the DaVinci Resolve color corrector and used to make
color adjustments to each YRGB channel’s lift, gamma and gain settings. You can select which
setting to adjust by clicking on the three selection buttons above the color wheel.
Master Wheel
Use the master wheel below the color wheel to make contrast adjustments to all YRGB
channels at once, or luminance only for each lift, gamma or gain setting.
Reset Buttons
The reset button near the top right of each camera controller lets you easily choose color
correction settings to reset, copy or paste. Each color wheel also has its own reset button.
Press to restore a setting to its default state, or copy/paste a setting. Locked controllers are not
affected by the Paste feature.
The master reset button on the top right corner of the color corrector panel lets you reset lift,
gamma and gain color wheels plus Contrast, Hue, Saturation and Lum Mix settings. You can
paste color correction settings to camera controllers individually, or all cameras at once for a
unified look. Iris, focus, coarse and pedestal settings are not affected by the Paste feature.
When applying Paste to all, a warning message will appear asking you to confirm your action.
This is so you don’t accidentally paste new settings to any unlocked cameras that are
currently on air.
When applying Paste to all, a warning message will appear asking
you to confirm your action. This is so you don’t accidentally paste
new settings to any unlocked cameras that are currently on air
186Understanding Studio Camera Control
Iris/Pedestal Control
The iris/pedestal control is located within the cross hairs of each camera controller. The control
illuminates red when its camera is on air.
To open or close the iris, drag the control up or down. Holding the shift key allows only iris
adjustments.
When using a compatible lens, set the auto exposure setting to ‘manual trigger’ as detailed in
the ‘camera settings’ section of this manual.
If you’re using a B4 or PL lens connected via the broadcast 12 pin connector on
URSABroadcast, make sure the lens iris switch on the handgrip is set to ‘A’ or ‘auto’.
To darken or lift the pedestal, drag the control left or right. Holding the command key on a Mac,
or the Control key on Windows, allows only pedestal adjustments.
The iris/pedestal control illuminates red when its respective camera is on air
Zoom Control
When using compatible lenses with an electronic zoom feature, you can zoom your lens in and
out using the zoom control. The controller works just like the zoom rocker on a lens, with
telephoto on one end, and wide angle on the other. Click on the zoom control, located above
the coarse slider, and drag up to zoom in, or drag down to zoom out.
If your lens does not have active lens control or your camera does not support zoom control via
the SDI camera control protocol then these settings will have no effect. For example, EF lenses
do not have built in servos that can zoom the lens electronically so will not be zoomable with
ATEM camera control.
NOTE When connected to ATEM ensure that you have Auto Exposure switched off.
Ifyou require Iris, zoom or focus control ensure that you have a lens that can be
controlled electronically by the camera.
187Understanding Studio Camera Control
Coarse Setting
The coarse setting is located to the left of the iris/pedestal control and is used to limit the iris
range. This feature helps you prevent over exposed images from going to air.
To set your coarse threshold, completely open the iris using the iris control, then drag the
coarse setting up or down to set optimum exposure. Now when you adjust the iris, the coarse
threshold will prevent it from going above optimum exposure.
Iris Indicator
The iris indicator is located to the left of the iris/pedestal control and displays a visual reference
so you can easily see how open or closed the lens aperture is. The iris indicator is affected by
the coarse setting.
Auto Focus Button
The auto focus button is located at the bottom left corner of each camera controller. Press to
automatically set the focus when you have an active lens that supports electronic focus
adjustments. It’s important to know that while most lenses support electronic focus, some
lenses can be set to manual or auto focus modes, and so you need to ensure your lens is set to
auto focus mode. Sometimes this is set by sliding the focus ring on the lens forward or
backward. On B4 lenses with servo zoom control, you will need to set the switch at the bottom
of the handgrip to ‘servo’.
Click on the auto focus button or drag the manual focus
adjustment left or right to focus a compatible lens
Manual Focus Adjustment
When you want to manually focus your lens using ATEM Camera Control, you can use the focus
adjustment located at the bottom of each camera controller. Drag the wheel control left or right
to manually adjust focus while viewing the video feed from the camera to ensure your image is
nice and sharp.
Manual focus control is only available from your switcher when using B4 and PL lenses with
servo focus controls. As EF lenses do not have servo focus this option is not available when
using EF lenses.
NOTE Analogue B4 lenses do not support ATEM zoom control. For more information
on analogue B4 lenses refer to the 'using servo zoom lenses' section
188Understanding Studio Camera Control
Camera Gain
When operating in varying light conditions, you might want to increase or decrease your
camera’s gain to avoid under exposing your images. To do this click the left arrow to decrease
gain and the right arrow to increase gain.
Your ATEM switcher will display gain in dB. This corresponds to the gain settings on your
camera in the following way:
Gain
-6
0
+6
+12
The gain settings are displayed
using dB indicators
Shutter Speed Control
Shutter speed control is used to change your URSA Broadcast's shutter speed.
The shutter speed control is located between the color wheel and the iris/pedestal control.
Decrease or increase the shutter speed by hovering your mouse pointer over the shutter speed
indicator and clicking the left or right arrow.
Hovering your mouse pointer over the gain, shutter
speed and white balance indicators reveal arrows
youcan click on to adjust their respective settings
It’s worth mentioning that when your URSA Broadcast is connected to an ATEM switcher, the
shutter speed setting will not be visible in your camera’s touchscreen status display, but will be
visible in an URSA Viewfinder, if attached. The status display setting will be implemented in a
future software update.
NOTE As ATEM shutter speed control takes priority over the shutter speed selected
on your URSA Broadcast, your camera’s shutter speed controls are disabled when
connected to an ATEM switcher.
189Understanding Studio Camera Control
White Balance
The white balance setting next to the shutter speed control can be adjusted by clicking on the
left or right arrows on each side of the color temperature indicator. Different light sources emit
warm or cool colors, so you can compensate by adjusting the white balance. This ensures the
whites in your image stay white.
DaVinci Resolve Primary ColorCorrector
If you have a color correction background, then you can change the camera control from a
switcher style CCU interface to a user interface that’s more like a primary color corrector on
apost production color grading system.
Your Blackmagic URSA Broadcast features a DaVinci Resolve primary color corrector built in.
Ifyou have used DaVinci Resolve, then creatively, grading in your URSA Broadcast will be
identical so you can use your color grading experience for live production. The color corrector
panel can be expanded out of any camera controller and provides expanded color correction
control with extra settings and a full primary color corrector interface.
You have color wheels and settings such as saturation available and you can see shadows,
midtones and highlight settings all at the same time. Simply switch between cameras using the
camera selection controls at the top of the window as you need.
Click on the DaVinci Resolve primary color corrector button to
expand the color correction window and adjust settings
TIP Decreasing shutter speed is a good way to brighten your images without using
camera gain because you are increasing the exposure time of the image sensor.
Thiscan also reduce or eliminate light flicker when shooting under fluorescent lights.
Increasing shutter speed reduces motion blur and is best used for action shots when
you want your images to be clean and sharp.
TIP DaVinci Resolve color correction is applied to your URSA Broadcast's SDI output
and ProRes video recorded on camera. As RAW video is intended for post processing,
color correction is not applied to RAW video. When recording RAW video, however,
color correction can still be applied to URSABroadcast's SDI output.
190Understanding Studio Camera Control
Color Wheels
The Lift/Gamma/Gain controls allow tonally specific yet overlapping regions of adjustment.
Inphotographic terms lift, gamma and gain corresponds to shadows, mid tones and highlights.
Use the color wheels in the following ways to make fine or aggressive adjustments:
Click and drag anywhere within the color ring:
Note that you don’t need to drag the color balance indicator itself. As the color balance
indicator moves, the RGB parameters underneath change to reflect the adjustments
being made to each channel.
Shift-Click and drag within the color ring:
Jumps the color balance indicator to the absolute position of the pointer, letting you
make faster and more extreme adjustments.
Double-click within the color ring:
Resets the color adjustment without resetting the master wheel adjustment for
that control.
Click the reset control at the upper-right of a color ring:
Resets both the color balance control and its corresponding master wheel.
Lift, gamma and gain color wheels in the color corrector panel
Master Wheels
Use the master wheels below the color wheels to adjust each YRGB channels’ lift, gamma and
gain controls.
To make adjustments using the master wheel:
Drag the master wheel left or right: Dragging to the left darkens the selected
parameter of the image, dragging to the right lightens that parameter. As you make
an adjustment, the YRGB parameters underneath change to reflect the adjustment
you’re making. To make a Y-only adjustment, hold down the ALT or Command key
and drag left or right. Because the color corrector uses YRGB processing, you
can get quite creative and create unique affects by adjusting the Y channel only.
Ychannel adjustments work best when the Lum Mix setting is set to the right side to
use YRGB processing vs the left side to use regular RGB processing. Normally, most
DaVinci Resolve colorists use the YRGB color corrector as you get a lot more control
of color balance without affecting overall gain, so you spend less time getting the
look you want.
Adjust the master wheels by dragging the wheel control left or right
191Understanding Studio Camera Control
Contrast Setting
The Contrast setting gives you control over the distance between the darkest and lightest
values of an image. The effect is similar to making opposing adjustments using the lift and gain
master wheels. The default setting is 50%.
Drag the sliders left or right to adjust Contrast, Saturation, Hue and Lum Mix settings
Saturation Setting
The Saturation setting increases or decreases the amount of color in the image. The default
setting is 50%.
Hue Setting
The Hue setting rotates all hues of the image around the full perimeter of the color wheel. The
default setting of 180 degrees shows the original distribution of hues. Raising or lowering this
value rotates all hues forward or backward along the hue distribution as seen on a color wheel.
Lum Mix Setting
The color corrector built into your Blackmagic URSA Broadcast is based on the DaVinci Resolve
primary color corrector. DaVinci has been building color correctors since the early 1980’s and
most Hollywood films are color graded on DaVinci Resolve than any other method.
This means the color corrector built into your URSA Broadcast has some unique and creatively
powerful features. The YRGB processing is one of those features.
When color grading, you can choose to use RGB processing, or YRGB processing. High end
colorists use YRGB processing because you have more precise control over color and you can
independently adjust the channels with better separation and more creative options.
When the Lum Mix control is set to the right side, you have the 100% output of the YRGB color
corrector. When you have the Lum Mix control set to the left side, you get 100% output of the
RGB corrector. You can set the Lum Mix to any position between the left and right to get a blend
of output from both the RGB and YRGB correctors.
Which is the correct setting to use? That’s up to you, as color correction is a pure creative
process and there is no right and wrong, and the best setting is what you like the most and
what you think looks good!
Synchronizing Settings
When connected, camera control signals are sent from the ATEM switcher to your Blackmagic
URSA Broadcast. If a setting is accidentally adjusted from your URSA Broadcast, camera control
will automatically reset that setting to maintain synchronization.
TIP Even if you disconnect its 12G-SDI input, your URSA Broadcast will keep using any
image adjustments made with DaVinci Resolve color correction. This lets you change
camera angles without needing to dial in your image settings again. To return your
URSA Broadcast to its default color settings, simply power cycle your URSA Broadcast
after disconnecting its 12G-SDI input.
192Understanding Studio Camera Control
Using DaVinci Resolve
Shooting with your Blackmagic URSA Broadcast is only part of the process of creating film and
television content, and just as important is the process of media backup and management as
well as editing, color correction and encoding final master files. Your Blackmagic
URSABroadcast includes a version of DaVinci Resolve for Mac OS and Windows so you have a
complete solution for shooting and post production!
After connecting your CFast or SD card to your computer, you can use DaVinci Resolve’s ‘clone’
tool, in the ‘media’ page, to create running backups as you shoot. This is recommended as any
type of media is susceptible to becoming damaged or developing a fault so creating backups
ensures your shots will be immune to loss. Once you have used DaVinci Resolve to back up
your media, you can then add your clips to the DaVinci media pool, then edit, color correct, and
finish your production without ever having to leave DaVinci Resolve.
DaVinci Resolve is the same tool used on most major blockbuster movies, so it’s much more
than a simple NLE software tool, as it has extremely advanced technology built in for high end
digital film. You get the advantage of this technology when you use DaVinci Resolve to edit and
color correct your work.
Included here is information on how to get started using DaVinci Resolve with your camera files.
Of course, DaVinci Resolve is extremely advanced and includes a lot more features than you
immediately see when first looking at its user interface. To learn more about how to use
DaVinci Resolve, please check for the DaVinci Resolve instruction manual pdf file on
theDaVinciResolve software disk, or check online for the many training courses and tutorial
videosavailable.
NOTE We recommend using the latest version of DaVinci Resolve for accurate color
treatment of clips shot using URSA Broadcast. For example, version 14.3 or later will
ensure accurate color for URSA Broadcast's DNxHD, ProRes and RAW files.
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193Using DaVinci Resolve
Importing your Clips
To start editing your clips, you’ll first need to import them into the media pool:
1 Launch DaVinci Resolve. If this is the first time you’ve opened DaVinci Resolve, wait for
the Project Manager to appear, and double click the ‘untitled project’ icon in the project
manager window.
If you have enabled the multi-user environment in previous versions of DaVinci Resolve,
then the log in window will appear. To login as one of the listed users, double click the
user icon. To add a new user, click 'add new' at the bottom left of the log in window and
create a new user by entering a user name and clicking 'setup new user'.
Then double-click the user icon to proceed to the Project Manager. Now click ‘new
project’, enter a title for your project and click ‘create’. This will add your new project to
the project manager. Double click on your project to open it.
2 You’ll now see the ‘media’ page with a ‘media storage’ browser at the top left.
The‘media storage’ browser displays all your linked media folders from where you’ll
drag your clips and drop them into the media pool.
3 If your clip folder doesn’t appear in the library, you’ll need to add it. This is easily done
by right clicking inside the ‘media storage’ browser area, selecting a drive or folder path
and clicking ‘open’.
4 In the ‘media storage’ browser, click on your newly added clip folder. Now simply drag
your clips from your storage folder and drop them into the media pool. If the untitled
project settings are different to your clip settings, you’ll be prompted to either change
the project settings to match your clips, or leave the settings as they are. To get started
quickly, click ‘change’. Now your project settings match your clips.
To import your clips, simply drag them from the ‘media storage’ browser and drop
them into the media pool. You can also drag and drop files from your desktop
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TIP For information on ingesting RAW files with DaVinci Resolve, see “working with
RAW files” at the end of this section.
194Using DaVinci Resolve
Editing your Clips
With your clips in the media pool, click on the ‘edit’ tab to open the edit page.
Now you can start building your edit!
1 You’ll first need to create a new timeline. Right click anywhere within the media
pool and choose Timelines > New Timeline. When the dialog box appears, click the
‘create’ button.
To start editing your clips, you’ll need to create a new timeline.
Thetimeline is the stage upon which all your editing will take place
2 Double click a clip in the media pool to open the clip in the source viewer. Use the
mouse pointer to scrub the play head in the source viewer left and right until you find
the start frame you want for the clip. Mark the in point with the ‘I’ shortcut. Do the same
for the end frame using the ‘O’ shortcut.
3 Go to the timeline and position the timeline play head where you want your clip to
be inserted.
4 To insert the clip onto the timeline, click inside the source viewer then drag the mouse
pointer across to the timeline viewer. A list of edit options will appear. Select the type of
edit you want.
Your clip will be placed onto the timeline using the edit type you selected. You’ll find a
description of each edit type and how to use them in the DaVinci Resolve manual.
A faster way to add clips to your edit is by dragging them from the media pool and dropping
them directly onto the timeline where you can adjust your in and out points, position your clips,
try different plug in effects, titles, and more. This particular workflow is like using the timeline as
an artist’s palette.
The ‘edit’ page. You can trim your clips, change their order, move them
around and add transitions between them using the timeline editor
195Using DaVinci Resolve
Trimming Clips
When editing clips you’ll want to trim them to include only the specific actions you want in each
shot. There are various ways, but the easiest is to adjust the clips’ in and out points on
the timeline:
1 After adding clips to your timeline, hover your mouse pointer over the start of a clip until
the pointer becomes a ‘trim’ icon.
2 When the ‘trim’ icon appears, click on the start of your clip and drag it forwards or
backwards to trim the in point. Watch the timeline monitor as you trim to find the
edit point.
3 Now click and drag the end of your clip to adjust the out point.
The zoom slider is located above the timeline, to the right of the tools that are centered in the
toolbar. By dragging the slider left and right you can zoom in and out of your timeline to make
fine adjustments.
Trim your clips by dragging their start and end points left or right, and press
the 'snapping' button in the toolbar to turn snapping on or off
Snapping is a helpful feature to keep your clips held tightly against each other, but can be
disabled for greater precision when fine tuning edits. Press the ’N’ key to quickly turn snapping
on or off.
Mapping Keyboard Shortcuts
If you are familiar with keyboard shortcuts used in other editing software, you can setup DaVinci
Resolve to use the same shortcuts. You also have the ability to create your own custom sets of
keyboard shortcuts to increase speed and optimize your workflow.
To map your own keyboard shortcuts:
1 Open DaVinci Resolve> Preferences and select the ‘user' panel at the top, then select
'keyboard mapping' from the settings list.
2 Select the shortcut you want to change from the categories provided, for example
timeline cut and paste shortcuts will be in the ‘edit’ category.
3 Click on the shortcut once to highlight the setting. Double click on the shortcut to
enable the change.
4 Press your new shortcut keys on the keyboard. If you make a mistake you can easily
undo the change by clicking the ‘undo’ icon next to the setting.
5 Click ‘save’ to confirm your new shortcut setting.
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196Using DaVinci Resolve
Use the 'set to' drop down menu to choose one of the keyboard
shortcuts you may already be familiar with from other editing software
Adding Transitions
A transition is a visual effect used to bridge one clip to another in a pleasing way, for example
dissolves, wipes, dips to color, and more. These can add a layer of excitement to your edit.
Transitions don’t always have to be joining two clips, for example you can apply a dissolve
transition to the end of one clip to create a quick and easy fade to black.
The transitions palette contains many types of transition effects
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197Using DaVinci Resolve
To add a dissolve transition between two clips:
1 Make sure there are two clips edited right next to one another on the timeline. Click the
‘effects library’ button in the UI toolbar at the top of the ‘edit’ page, and make sure the
‘toolbox’ panel is open.
2 Click on the ‘cross dissolve’ transition, drag it to your timeline and hover it over the edit
point between two clips. You’ll see the mouse pointer highlight both the end section of
the first clip, and the start of the second. Drop the transition onto the clips. It’s important
both clips have enough length before and after their edit points to make room for
the dissolve.
You now have a smooth transition mixing from one clip to the other. If you want to adjust the
length of the transition you can lengthen or shorten its start and end point using a similar
approach to trimming a clip. Hover your mouse pointer over the start or end of the transition
until the transition ‘trim’ icon appears, then drag it left or right.
Simply drag and drop transitions between adjoining clips
Adding Titles
You can place a title on any video track just as you would aclip. If you run out of tracks you can
easily add new ones by right clicking next to an existing track name and selecting ‘add track’.
To create a title:
1 Scroll down towards the middle of the toolbox in the ‘effects library’ located underneath
the media pool and you’ll see the ‘titles’ generators. Use the scroll bar to reveal more
‘titles’ options.
2 Drag and drop a text title on the empty video track above the clip you want the title
to appear. You can even drop your title next to a clip on Video 1 if you just want it to
appear over black. To see the title, make sure the timeline playhead is on the title.
3 Double click on the title clip. The ‘inspector’ will appear showing you the settings for
your title. Type your title into the ‘text’ field.
198Using DaVinci Resolve
You can choose from a variety of fonts and adjust the appearance of your title by changing
settings such as color, size, alignment, position, and more. Transitions can be added to titles,
just like they can for clips.
Drag a title type from the ‘titles’ palette and drop it on an empty track
Color Correcting your Clips
Once you have edited your sequence of clips, you can start color correcting. This is best begun
after you have finished editing your sequence so you can maintain a consistent look, but part of
the fun of DaVinci Resolve is being able to move between the edit and color page to make fine
adjustments and discover new creative choices.
With the ‘color’ page you get absolute control over the look of your clips
First, click on the ‘color’ tab to open the ‘color’ page.
You’ll see the color wheels, curves palettes and general color correction tools as well as the
preview and nodes window. Don’t feel overwhelmed by the vast array of features in front of you,
they are all there to help you get the most amazing looking pictures. The DaVinci Resolve
manual will show you exactly what the tools are for and how to use them in easy to follow steps.
You’ll learn the same techniques the professionals use in high end color correction facilities.
199Using DaVinci Resolve
Generally, the first thing you’ll want do is optimize the shadows, mid tones and highlights in your
clips. In other words adjust the ‘lift’, ‘gamma’ and ‘gain’ settings. This will help get your pictures
looking their brightest and best with a clean, uniform starting point from where you can begin
grading the ‘look’ of your film.
Using Scopes
Most colorists make creative color choices by focusing on the emotion and the look they want
their program to have and then simply work using the monitor to achieve that look. You can look
at everyday objects and how different types of light interact with them to generate ideas on
what you can do with your images and a little practice.
The parade scope helps you optimize
highlights, mid tones and shadows
The ‘lift, ‘gamma’, ‘gain’ and ‘offset’ color wheels give
youtotalcontrol over the color and tonal balance of your clips.
Tomake auniform adjustment to all colors for each tonal region,
drag thedial underneath the color wheels back and forth
Another way to color grade is to use the built in scopes to help you balance shots. You can
open a single video scope by clicking the ‘scope’ button, which is the second from the right on
the palette toolbar. You can choose to display a waveform, parade, vectorscope and histogram.
Using these scopes you can monitor your tonal balance, check the levels of your video to avoid
crushing your blacks and clipping the highlights, plus monitor any color cast in your clips.
200Using DaVinci Resolve
The ‘color wheels’ palette contains the ‘lift’, ‘gamma’ and ‘gain’ controls which will generally
constitute your first adjustment. These should resemble controls you’ve seen in other
applications for doing color and contrast adjustments. For more accurate control of each
colorusing a mouse, you can change the color wheels to ‘primaries bars’ which let you adjust
each color and luminance channel for the lift, gamma and gain controls separately. Simply
select ‘primaries bars’ from the drop down menu near the top right of the color wheels.
1 Adjusting the ‘lift’
With your first clip selected on the color timeline, click on the ‘lift’ dial underneath the
first color wheel. Slide it back and forth and watch how it affects your image. You’ll see
the brightness of the dark regions of your picture increase and decrease.
Set it to where you want the dark areas to look their best. If you decrease the lift too
much, you’ll lose details in the blacks and you can use the parade scope to help avoid
this. The optimal position for blacks on the waveform is just above the bottom line of
the parade scope.
2 Adjusting the ‘gain’
Click on the ‘gain’ dial and slide it back and forth. This adjusts the highlights which
are the brightest areas of your clip. The highlights are shown on the top section of the
waveform on the parade scope. For a brightly lit shot, these are best positioned just
below the top line of the waveform scope. If the highlights rise above the top line of
the waveform scope, they will clip and you will lose details in the brightest regions of
your image.
3 Adjusting the ‘gamma’
Click on the ‘gamma’ dial underneath the color wheel and slide it back and forth. Asyou
increase the gamma you’ll see the brightness of the image increase. Notice the middle
section of the waveform will also move as you adjust the gamma. This represents the
mid tones of your clip. The optimal position for mid tones generally falls between 50 to
70% on the waveform scope. However, this can be subjective based on the look you
are creating and the lighting conditions in the clip.
You can also use the curves palette to make primary color corrections. Simply click to create
control points on the diagonal line inside the curve graph, and drag them up or down to adjust
the master RGB contrast at different areas of image tonality. The optimum points to adjust are
the bottom third, mid, and top third of the curve line.
There are many more ways of doing primary color correction in DaVinci Resolve. Check the
DaVinci Resolve manual to learn how to use them all.
The curves palette is another tool you can use to make primary color corrections,
or enhance specific areas of your clip when using a power window
201Using DaVinci Resolve
Secondary Color Correction
If you want to adjust a specific part of your image then you need to use secondary corrections.
The adjustments you have been doing up until now using the color wheels and lift, gamma
andgain adjustments affect the whole image at the same time and so they are called primary
color corrections.
However if you need to adjust specific parts of your image, say for example you wanted to
improve the color in the grass in a scene, or you wanted to deepen the blue in a sky, then you
can use secondary corrections. Secondary color corrections are where you select a part of the
image and then adjust just that part. With nodes, you can stack multiple secondary corrections
so you can keep working parts of your image until everything is just right! You can even use
windows and tracking to allow the selections to follow movement in your images.
Qualifying a Color
Often you’ll find a specific color in your clip can be enhanced, for example grass by the side
ofa road, or the blue in a sky, or you may need to adjust color on a specific object to focus the
audience’s attention on it. You can easily do this by using the HSL qualifier tool.
Using the HSL qualifier to select colors in your image
is helpful when you want to make areas ofyour
image ‘pop’, to add contrast, or to help draw the
audience’s attention to certain areas of your shot
To qualify a color:
1 Add a new serial node.
2 Open the ‘qualifier’ palette and make sure the ‘color range’ sample eyedropper tool
is selected.
3 Click on the color in your clip you want to affect.
4 Usually you’ll need to make some adjustments to soften the edges of your selection
and limit the region to only the desired color. Click on the ‘highlight’ button to see
yourselection.
5 Adjust the ‘width’ control in the ‘hue’ window to broaden or narrow your selection.
Experiment with the high, low and softness controls to see how to refine your selection.
Nowyou can make corrections to your selected color using the color wheels or custom curves.
Sometimes your selection can spill into areas of the shot you don’t want to affect. You can easily
mask out the unwanted areas using a power window. Simply create a new window and shape it
to select only the area of color you want. If your selected color moves in the shot, you can use
the tracking feature to track your power window.
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202Using DaVinci Resolve
Adding a Power Window
Power windows are an extremely effective secondary color correction tool that can be used to
isolate specific regions of your clips. These regions don’t have to be static, but can be tracked
to move with a camera pan, tilt or rotation, plus the movement of the region itself.
Use power windows to mask out areas you don’t want to be
affected by the HSL qualifier secondary adjustments
For example, you can track a window on a person in order to make color and contrast changes
just to that person without affecting his or her surroundings. By making corrections like this you
can influence the audience’s attention on areas you want them to look at.
To add a power window to your clip:
1 Add a new serial node.
2 Open the ‘window’ palette and select a window shape by clicking on a shape icon.
Your selected window shape will appear on the node.
3 Resize the shape by clicking and dragging the blue points around the shape. The pink
points adjust the edge softness. You can position the shape by clicking the center
point and moving it to the area you want to isolate. Rotate the window using the point
connected to the center.
Now you can make color corrections to your image in just the area you want.
Power windows let you make secondary corrections to specific parts of your image
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203Using DaVinci Resolve
Tracking a Window
The camera, object or area in your shot may be moving, so to make sure your window stays on
your selected object or area, you’ll need to use DaVinci Resolve’s powerful tracking feature.
The tracker analyzes the pan, tilt, zoom and rotation of the camera or object in your clip so you
can match your windows to that movement. If this isn’t done, your correction can move off the
selected target and call attention to itself, which you probably don’t want.
You can track objects or areas in your clip using the tracker
feature so power windows can follow the action
To track a window to a moving object:
1 Create a new serial node and add a power window.
2 Go to the start of your clip and position and size the window to highlight just the object
or area you want.
3 Open the ‘tracker’ palette. Select the pan, tilt, zoom, rotate, and perspective
3Dsettings appropriate for the movement in your clip by checking or unchecking
therelevant ‘analyse’ checkboxes.
4 Click on the ‘forward’ arrow to the left of the checkboxes. DaVinci Resolve will now
apply a cluster of tracking points on your clip and then step through the frames to
analyze the movement. When the tracking is done, your power window will follow the
path of the movement in your clip.
Most of the time automatic tracking is successful, but scenes can be complex and sometimes
an object can pass in front of your selected area, interrupting or affecting your track. This can
be solved manually using the keyframe editor. Refer to the DaVinci Resolve manual to
find out more.
Using Plugins
While making secondary color corrections you can also add OpenFX plugins to create fast,
interesting looks and effects using the ‘color’ page, or imaginative transitions and effects on
your clips on the ‘edit’ page. OFX plugins can be purchased and downloaded from third
partysuppliers.
After installing a set of plugins, you can access them on the color page by opening the OpenFX
inspector to the right of the ‘node editor’ Simply click the ‘OpenFX’ button to open the OpenFX
inspector, create a new serial node and drag and drop a plugin onto the new node. If the plugin
has editable settings, you can adjust these in the adjoining ‘settings’ panel.
204Using DaVinci Resolve
In the ‘edit’ page you can add plugin generators and transitions to clips by opening the
‘OpenFX’ panel in the ‘effects library’ and dragging your selected plugin onto the video track
above your clip on the timeline.
OFX plugins are a quick and easy way to create an imaginative and interesting look
Mixing Your Audio
Mixing Audio in the Edit Page
Once you have edited and color corrected your project, you can begin to mix your audio.
DaVinciResolve has a helpful set of features for editing, mixing and mastering audio for your
project directly in the 'edit' page. For projects requiring more advanced audio tools, the Fairlight
page provides you with a full audio post production environment, and if you are already familiar
with the edit page and want to move straight to Fairlight, skip this section and move onto the next.
Adding Audio Tracks
If you are working in the edit page and want to mix a basic sound edit with lots of sound effects
and music, you can easily add more audio tracks when you need them. This can be helpful
when building your sound, and separating your audio elements into individual tracks, for
example, dialogue, sound effects and music.
To Add an Audio Track to the Edit Page:
1 Right click next to the name of any audio track on your timeline and select ‘add track’.
This will add a track to the bottom of the track list. Alternatively select ‘add tracks’ and
select the location you would like the new track placed.
2 Select the type of audio track you want, such as stereo, mono, 5.1 or adaptive.
Your new audio track will appear on the timeline.
Adjusting Audio Levels in the Timeline
Each clip of audio in the timeline has a volume overlay that lets you set that clip’s level by simply
dragging it up or down with the pointer. This overlay corresponds to the Volume parameter in
the Inspector.
Dragging a volume overlay to adjust the clip level
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205Using DaVinci Resolve
For projects requiring more advanced audio tools, the Fairlight page provides you with a full
audio post production environment.
The Fairlight Page
The 'Fairlight' page in DaVinci Resolve is where you adjust your project audio. In single monitor
mode, this page gives you an optimized look at the audio tracks of your project, with an expanded
mixer and custom monitoring controls that make it easy to evaluate and adjust levels in order to
create a smooth and harmonious mix. Don’t feel overwhelmed by the vast array of features in front
of you, they are all there to help you deliver the best audio quality for your project.
This guide provides a basic overview of the features on the Fairlight page, but to learn more
about all the details for each feature, refer to the DaVinci Resolve manual. The DaVinci Resolve
manual provides details on the purpose of each tool and describes how to use them in easy to
follow steps.
The Audio Timeline
Track Header
At the left of each track is a header area that displays the track number, track name, track color,
audio channels, fader value and audio meters. The track header also contains different controls
for locking and unlocking tracks, plus solo and muting controls. These controls can help to keep
your tracks organized, and let you preview individual tracks one at a time.
Tracks
Each track on the Fairlight page is divided into lanes, which show each individual channel of clip
audio for editing and mixing. The edit page hides these individual audio channels, displaying
only a single clip in the timeline to make it easier to edit multi channel sources without needing
to manage a huge number of tracks.
The track header on track A1 indicates a mono track with a single lane for mono audio,
whilst track A2 indicates a stereo track with two lanes to accommodate stereo audio
206Using DaVinci Resolve
What is a Bus?
A bus is essentially a destination channel to which you can route multiple audio tracks from the
timeline, so that they are mixed together into a single signal that can be controlled via a single
channel strip.
Main Bus
‘Main busses’ are typically the primary output of a program and each new project you create
starts out with a single ‘main bus’, to which all tracks are routed by default. The ‘main bus’
combines all of the tracks in the timeline into one signal so that you can adjust the overall level
of the audio mix once you have adjusted the level of each individual track.
Sub Bus
‘Sub busses’ allow you to combine multiple tracks of audio that belong to the same category
such as dialogue, music or effects so that everything in that category can be mixed as a single
audio signal. For example, if you have five dialogue tracks, you can route the output of all five
dialogue tracks to a ‘submix bus’, and the level of all dialogue can then be mixed with a single
set of controls. This submix can be rendered separately or sent to the main bus for render.
The Mixer
Each audio track in your timeline corresponds to an individual channel strip in the Mixer, and by
default there’s a single strip on the right for the ‘main bus’ labeled ‘M1’. Additional channel strips
will appear on the right hand side with a set of controls for each additional ‘main’ and ‘submix
bus’ you create. A set of graphical controls allows you to assign track channels to output
channels, adjust EQ and dynamics, set levels and record automation, pan stereo and surround
audio, and mute and solo tracks.
The audio mixer, with channel strips corresponding
to the tracks in the timeline
207Using DaVinci Resolve
Using the Equalizer to Enhance your Audio
After adjusting the audio levels of your audio clips in your project, you may find that the audio
needs further finessing. In some cases you may find that the dialogue, music and sound effects
are competing for the same frequency on the audio spectrum, making your audio too busy and
unclear. This is where using EQ can help, as it allows you to specify the parts of the audio
spectrum that each track occupies. You can also use an equalizer to help remove unwanted
elements from your audio by isolating and reducing the level on particular frequencies that
contain low rumbles, hums, wind noise and hiss, or simply to improve the overall quality of your
sound so it is more pleasing to listen to.
DaVinci Resolve provides EQ filters that can be applied at a clip level to each individual clip or
at the track level to affect entire tracks. Each audio clip in the timeline has a four band equalizer
in the inspector panel, and each track has a 6 band parametric equalizer in the mixer panel. The
graphical and numeric controls for boosting or attenuating different ranges of frequencies, and
different filter types allow you to define the shape of the EQ curve.
The four band equalizer can be applied
to every clip in the timeline
Outer bands let you make band filter adjustments using hi-shelf, lo-shelf, hi-pass and lo-pass
filters. A pass filter affects all the frequencies above or below a particular frequency, by
removing those frequencies completely from the signal. For example, a high pass filter will allow
the high frequencies to pass through the filter whilst cutting the low frequencies.
Anyfrequencies outside the cutoff frequency are cut gradually in a downward sloping curve.
A shelf filter is less aggressive, and is useful when you want to shape the overall top end or low
end of the signal without completely removing those frequencies. The shelf filter boosts or cuts
the target frequency and every frequency either above or below it evenly, depending on
whether you use a high shelf or low shelf.
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208Using DaVinci Resolve
The middle sets of band controls let you make a wide variety of equalization adjustments, and
can be switched between lo-shelf, bell, notch, and hi-shelf filtering options.
Bell
Bell filters boost or cut frequencies around a given center point of the bell curve, and
as the name suggests the shape of the curve is like a bell.
Notch
Notch filters allow you to specifically target a very narrow range of frequencies.
For example, removing a mains hum at 50 or 60Hz.
Lo-Shelf
Low shelf filters boost or cut the target frequency at the low end, and every
frequency below it
Hi-Shelf
High shelf filters boost or cut the target frequency at the high end, and every
frequency above it
To add EQ to an individual clip:
1 Select the clip in the timeline that you want to add the EQ filter to.
2 Click on the inspector and then click the ‘clip equalizer’ enable button.
To add EQ to a track:
1 Double-click in the EQ section for one of your tracks in the mixer to open the equalizer
for that track.
2 Select the band filter type from the drop down menu for the band you want to adjust.
The EQ section in the mixer panel indicating an
EQ curve has been applied to track one
The 6 Band parametric equalizer that can be applied to every track
209Using DaVinci Resolve
Once you have added EQ to your clip or track, you can adjust the EQ for each band. Note that
controls may vary depending on which band filter type is selected.
To adjust the EQ for a band filter:
1 Select the band filter type from the drop down menu for the band you want to adjust.
2 Adjust the ‘frequency’ value to select the center frequency of the EQ adjustment.
3 Adjust the ‘gain’ value to boost or attenuate the frequencies governed by that band.
4 Use the ‘Q factor’ value to adjust the width of affected frequencies.
Use the reset button to reset all controls in the EQ window to their defaults.
Fairlight has many controls you can use to improve the quality of each audio track. You can add
more tracks and arrange buses to organize them, plus add effects like delay or reverb, and
generally perfect your audio mix.
Mastering your Edit
So now you’ve edited, graded your clips and mixed your audio, you’ll want to export a render of
your edit in the ‘deliver’ page. This page lets you select the range of clips you want to export,
plus the format, codec and resolution you want. You can export in many types of formats such
as QuickTime, AVI, MXF and DPX using codecs such as 8-bit or 10-bit uncompressed RGB/YUV,
ProRes, DNxHD, H.264 and more.
The ‘deliver’ page is where you export your edit. You can select
from many different video formats and codecs
To export a single clip of your edit:
1 Click on the ‘deliver’ tab to open the deliver page.
2 Go to the ‘render settings’ window on the top left of the page. In the ‘format’ settings,
select ‘single clip’. You can now choose from a number of export presets, for example
YouTube, Vimeo and audio presets, or you can set your own export settings manually
by leaving it set to the default ‘custom’ preset and entering your own parameters.
Forthis example, select YouTube, then click on the arrow next to the preset and select
the 1080p video format.
The frame rate will be locked to your project frame rate setting.
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210Using DaVinci Resolve
3 Underneath the presets you will see the timeline filename and the target location for
your exported video. Click the ‘browse’ button and choose the location where you want
to save your exported file.
4 Immediately above the timeline, you’ll see an options box with ‘entire timeline’ selected.
This will export the entire timeline, however you can select a range of the timeline if
you want to. Simply choose ‘in/out range’ and then use the ‘i’ and ‘o’ hot key shortcuts
to choose the in and out points in your timeline.
5 Go to the bottom of the ‘render settings’ and click on the ‘add to render queue’ button.
Your render settings will be added to the render queue on the right side of the page.
Now all you have to do is click ‘start render’ and monitor the progress of your render in
the render queue.
When your render is complete you can open the folder location, double click on your
new rendered clip and watch your finished edit.
Working with RAW files
When you first import RAW files, DaVinci Resolve will decode the sensor data contained in the
files using the gain, white balance and tint settings used on the camera at the time of shooting.
Ifyou're happy with the look of these settings, you can start editing right away.
The great thing about shooting RAW is that you're not tied to these settings at all!
The breadth of available post processing options when working with RAW files mean that you'll
develop your own workflow over time. Experimenting with the 'clip RAW' settings for each clip
will show you just how powerful and flexible working with RAW can be.
RAW clips give you maximum flexibility in post production. While ProRes and DNx files,
for example, convert your camera’s sensor data into their respective codecs, RAW clips
keep the original sensor data without conversion. This lets you make adjustments to
clips, such as white balance and exposure, as if you were changing the original camera
settings. Working with the original sensor data also retains more tonal information
within shadows and highlights, which is useful for recovering details, for example in
blown out skies and dark areas of the picture.
It’s worth shooting in RAW if you are after the highest possible quality, or for shots
where there is an extreme variance between highlights and shadows and you may
need to push and pull those regions as much as possible in the grade.
RAW files can be large and processor intensive, but you can set DaVinci to
automatically create proxy files to help your computer with real time playback. For more
details on how to get the most out of your RAW files in your grade and how to set up a
real time workflow, refer to the DaVinci Resolve manual.
211Using DaVinci Resolve
Clip Raw Settings
Once your RAW clips are loaded into the media pool, you can drop them on a timeline in the
edit page and then make adjustments to each clip in the color page.
To make individual adjustments to RAW settings on a per clip basis:
1 Open the 'edit' page, then drag and drop your selected clips into a new timeline.
2 Open the color page and click on the camera icon to open the 'camera raw' palette.
3 Select ‘clip’ from the ‘decode using’ dropdown menu.
Select ‘clip’ from the ‘decode using’ drop down menu, to
make adjustments to RAW settings for individual clips
Project Raw Settings
If you need to make a setting change that is common to all the clips, for example a global
change to the white balance or ISO setting, you can set the clips to use the project RAW
settings and make global changes from there.
To set project RAW settings:
1 Enter the project settings menu by clicking ‘file,’ and selecting ‘project settings.’
2 In the ‘Camera RAW’ tab, you’ll see a small arrow in the top right corner with one of
several RAW formats next to it. This should be set to CinemaDNG. When you first drop
a RAW clip shot on your URSA Broadcast into a new timeline, this setting will be set to
CinemaDNG automatically.
3 Select ‘project’ in the ‘Decode Using’ drop down menu.
4 Set the white balance setting to 'custom'.
5 Set the color space to 'Blackmagic Design'. This will also set the gamma setting to
Blackmagic Design Film.
Now you can adjust the camera settings for your clips such as white balance, ISO, sharpening,
and more. This will affect all clips on your timeline.
For a full description of all of the RAW settings available, refer to the DaVinci Resolve manual.
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New text revised
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212Using DaVinci Resolve
Use the 'exposure' controls, such as the slider in the 'edit cinemaDNG
codec settings' menu to compensate for gain settings.
Adjusting exposure
If you’re familiar with the DaVinci Resolve workflow for other Blackmagic cameras, it’s
worth noting that URSA Broadcast’s ‘gain’ setting is treated a bit differently to the
‘ISO’setting on Blackmagic digital cinema cameras.
URSA Broadcast’s ‘gain’ settings are applied at your camera sensor, rather than via
software. This is a similar method to how traditional broadcast cameras work, and can
slightly reduce noise at some sensitivity settings. However, it also means that it’s not
possible to adjust URSA Broadcast’s clip ‘gain’ after filming.
You’ll notice that the ‘ISO’ box in DaVinci Resolve’s clip RAW settings will display the
equivalent ISO to your camera’s ‘gain’ setting for the clip, but this value will be greyed
out and you will not be able to change it.
Due to the wide dynamic range of RAW footage, however, you can still make changes
that are functionally equivalent to changing camera gain by adjusting your clip
exposure. Simply adjust the ‘exposure’ value to add or subtract up to five stops of
exposure. Each ‘stop’ is equivalent to one sensitivity step, for example 1 additional stop
of exposure is the equivalent of going from -6 to 0 db of gain, or 200 to 400 ISO,
however you have much finer adjustment here and can go to 0.01 of a stop!
213Using DaVinci Resolve
Blackmagic Camera Setup Utility
Updating Camera Software – Mac
After downloading the Blackmagic Camera Setup utility software and unzipping the
downloaded file, open the resulting disk image to reveal the Blackmagic Camera Setup Installer.
Launch the installer and follow the on screen instructions. After the installation has finished,
goto your applications folder and open the Blackmagic Cameras folder, where you’ll find this
manual, the Blackmagic Camera setup utility, plus a documents folder containing readme files
and information. You’ll also find an uninstaller for when updating to later versions of
BlackmagicCamera Setup.
Updating Camera Software – Windows
After downloading the Blackmagic Camera Setup utility software and unzipping the
downloaded file, you should see a Blackmagic Camera Setup folder containing this PDF manual
and the Blackmagic Camera Setup Installer. Double-click the installer and follow the on screen
prompts to complete the installation.
In Windows 10, click the start button and select ‘all apps’. Scroll down to the Blackmagic design
folder. From here you can launch Blackmagic Camera Setup.
In Windows 8.1, select the down arrow icon from the ‘start' screen, and scroll down to the
Blackmagic Design folder. From here you can launch Blackmagic Camera Setup.
214Blackmagic Camera Setup Utility
How to Update the Camera Software
After installing the latest Blackmagic Camera Setup utility on your computer, connect a
USBcable between the computer and your Blackmagic URSA Broadcast. The USB port is
located on the left side panel above the memory card slots. Simply open the rubber cap to
access the port.
Launch the Blackmagic Camera Setup utility and follow any on screen prompt to update the
camera software.
The USB-C port is used to update the camera software
and can be found above the memory card slots, next to the
media selection switch on Blackmagic URSA Broadcast
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
ISO/GAIN SHUTTER WHITE BAL
XLR1
ON OFF
XLR2
SD
CFAST
USB
MIC
LINE
AES
OFF
48V
POWER
FOCUS PEAK PGM MENU
REC
215Blackmagic Camera Setup Utility
Working with Third Party Software
Working with Files from CFast2.0 and SD cards
Edit directly from your CFast card by removing it from your
camera and mounting it on your computer using a CFast 2.0
reader/writer or CFast drive
To import your clips from a CFast 2.0 or SD card:
1 Remove the CFast card or SD card your Blackmagic URSA Broadcast.
Mount the card to your Mac or Windows computer using a card reader/writer.
2 Double click on the CFast card to open it and you should see folders that contain your
CinemaDNG RAW image files or a list of QuickTime movie files. Depending on the
format you chose to record in, you might have a mixture of files, but they will all use the
same naming convention.
3 Now you can simply drag the files you want from the CFast card onto your desktop
or another hard drive, or you can access the files straight from the CFast card using
your editing software. CinemaDNG RAW files are saved to the CFast card as separate
DNG images for each frame. This is an open format and you can use many software
applications to view your RAW images as a video sequence.
4 Before you unplug the card from your computer, it’s always a good idea to eject safely
using either Mac OS or Windows first.
With dual card mode recordings, simply transfer your CinemaDNG clip folders from both cards
to the same folder on your storage drive. Make sure the clips from both cards are contained in
the same folder.
Working with 3rd Party Software
To edit your clips using your favorite editing software, you can copy your clips to an internal/
external drive or RAID and then import your clips into the software. Or import your clips directly
from your card using a card reader/writer or CFast drive.
216Working with Third Party Software
Using Final Cut Pro X
To edit Apple ProRes 422 HQ clips using Final Cut Pro X, you need to create a new project and
set a suitable video format and frame rate. This example uses ProRes 422 HQ 1080p25.
Final Cut Pro X project settings
1 Launch Final Cut Pro X, go to the ‘menu’ bar and select ‘file/new project’.
A window will open containing project settings.
2 Name your project and select the ‘custom’ checkbox.
3 Set the ‘video properties’ settings to 1080p HD, 1920x1080 and 25p.
4 Set your ‘audio’ and ‘render properties’ settings to ‘stereo, 48kHz, and Apple
ProRes 422 HQ’
5 Click OK.
To import your clips into your project, go to the ‘menu’ bar and select ‘file/import/media’.
Choose your clips from your media card.
You can now drag your clips onto the timeline for editing.
Using Avid Media Composer
To edit your DNxHD clips using Avid Media Composer 8, create a new project and set a
suitable video format and frame rate. For this example, clips are set using DNxHD 1080i59.94.
Setting the project name and project
options in Avid Media Composer 8
217Working with Third Party Software
1 Launch Media Composer and the ‘select project’ window will appear.
2 Click the ‘new project’ button.
3 In the ‘new project’ window name your project.
4 Go to the ‘format’ drop down menu and select 1080i/59.94.
5 Go to the ‘color space’ drop down menu and select YCbCr 709.
6 Go to the ‘raster dimension’ drop down menu and select 1920x1080. Click OK.
7 Select ‘tools>background services’ and click the ‘start’ button if
backgroundservicesare not already running and then click ‘OK.’
8 Select the media bin where you wish to import your files.
9 Select ‘file>AMA link...’ and select the files that you wish to import and then click ‘OK.’
When the clips appear within the media bin you can drag your clips onto the timeline and
begin editing.
Using Adobe Premiere Pro CC
To edit your Apple ProRes 422 HQ clips using Adobe Premiere Pro CC, you need to create a
new project and set a suitable video format and frame rate. For this example, clips are set using
ProRes 422 HQ 1080p25.
Setting the project name and project options
in Adobe Premiere Pro CC, (2014)
1 Launch Adobe Premiere Pro CC. In the ‘welcome’ window select ‘create new/new
project’. A window will open containing project settings.
2 Name your project. Choose the location for your project by clicking ‘browse’ and
selecting your desired folder. Once you’ve selected your location folder click OK in the
welcome window.
3 Go to the Adobe Premiere Pro CC ‘menu’ bar, select ‘file/import’ and choose the clips
you want to edit. Your clips will appear in the project window.
4 Drag the first clip you wish to edit onto the ‘new item’ icon at the bottom right of the
project window. A new sequence will be created matching your clip settings.
You can now drag your clips onto the sequence timeline for editing.
218Working with Third Party Software
Using Autodesk Smoke 2013
To edit your clips using Autodesk Smoke 2013, create a new project and set a suitable video
format, bit depth, frame type and frame rate. This example uses ProRes 422 HQ 1080p25.
Autodesk Smoke 2013
1 Launch Smoke and the ‘project and user settings’ window will appear. Click on the
‘new’ button under the project heading.
2 The ‘create new project’ window will open. Name your project.
3 From the resolution dropdown menu, select 1920x1080 HD 1080.
4 Make sure bit depth is set to 10-bit and frame type is ‘progressive’.
5 From the ‘config template’ dropdown menu select 1920x1080@25000p.cfg.
6 Leave the ‘preferred format’ set to ProRes 422 HQ and click ‘create’.
7 Click on the ‘new’ button under the ‘user’ heading.
8 When the ‘create new user profile’ window opens, type your user name and click ‘create’.
9 When the ‘project and user settings’ window reopens, click the ‘start’ button.
10 From the menu bar, select ‘file>import>file’ and select your clips to import.
11 Once the clips appear in the media library you can drag your clips onto the timeline
and begin editing.
Setting the project name and project
options in Autodesk Smoke 2013
219Working with Third Party Software
Developer Information
Blackmagic SDI Camera Control Protocol
Version 1.2
If you are a software developer you can use the SDI Camera Control Protocol to construct
devices that integrate with our products. Here at Blackmagic Design our approach is to open up
our protocols and we eagerly look forward to seeing what you come up with!
Overview
The Blackmagic SDI Camera Control Protocol is used by ATEM switchers, Blackmagic 3G-SDI
Arduino Shield and Blackmagic Camera Remote to provide Camera Control functionality with
supported Blackmagic Design cameras. Please refer to the ‘Understanding Studio Camera
Control’ chapter section of this manual, or the ATEM Switchers Manual and SDKmanual for
more information. These can be downloaded at www.blackmagicdesign.com/support.
This document describes an extensible protocol for sending a uni directional stream of small
control messages embedded in the non-active picture region of a digital video stream. The
video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields
are packed from LSB first. Message groups, individual messages and command headers are
defined as, and can be assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active
region of VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a
maximum of 255 bytes payload. Under most circumstances, this should allow all messages to
be sent with a maximum of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single
frame, it should use heuristics to determine which packets to prioritize and send immediately.
Lower priority messages can be delayed to later frames, or dropped entirely as appropriate.
Abstract Message Packet Format
Every message packet consists of a three byte header followed by an optional variable length
data block. The maximum packet size is 64 bytes.
Destination device (uint8)
Device addresses are represented as an 8 bit unsigned integer. Individual
devices are numbered 0 through 254 with the value 255 reserved to indicate
a broadcast message to all devices.
Command length (uint8)
The command length is an 8 bit unsigned integer which specifies the length
of the included command data. The length does NOT include the length of
the header or any trailing padding bytes.
220220Developer Information
Command id (uint8)
The command id is an 8 bit unsigned integer which indicates themessage
type being sent. Receiving devices should ignore any commands that they do
not understand. Commands 0 through 127 are reserved for commands that
apply to multiple types of devices. Commands 128 through 255 are
device specific.
Reserved (uint8) This byte is reserved for alignment and expansion purposes. Itshould be
set to zero.
Command data (uint8[]) The command data may contain between 0 and 60 bytes of data. The format
of the data section is defined by the command itself.
Padding (uint8[]) Messages must be padded up to a 32 bit boundary with 0x0bytes. Any
padding bytes are NOT included in the command length.
Receiving devices should use the destination device address and or the command identifier to
determine which messages to process. The receiver should use the command length to skip
irrelevant or unknown commands and should be careful to skip the implicit padding as well.
Defined Commands
Command 0 : change configuration
Category (uint8) The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration
parameters available on the device. Parameters 0 through 127 are device
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.
Data type (uint8)
The data type specifies the type of the remaining data. Thepacket length is
used to determine the number of elements in the message. Each message
must contain an integral number of data elements.
Currently defined values are:
0: void / boolean
A void value is represented as a boolean array of length zero.
The data field is a 8 bit value with 0 meaning false and all other values
meaning true.
1: signed byte Data elements are signed bytes
2: signed 16bit integer Data elements are signed 16 bit values
3: signed 32bit integer Data elements are signed 32 bit values
4: signed 64bit integer Data elements are signed 64 bit values
5: UTF-8 string Data elements represent a UTF-8 string with no terminating character.
Data types 6 through 127 are reserved.
128: signed 5.11fixed point
Data elements are signed 16 bit integers representing a real number with 5
bits for the integer component and 11 bits for the fractional component. The
fixed point representation is equal to the real value multiplied by 2^11. The
representable range is from -16.0 to 15.9995
(15 + 2047/2048).
221221Developer Information
Data types 129 through 255 are available for device specific purposes.
Operation type (uint8) The operation type specifies what action to perform on the specified
parameter. Currently defined values are:
0: assign value
The supplied values are assigned to the specified parameter. Each element
will be clamped according to its valid range. A void parameter may only be
'assigned' an empty list of boolean type. This operation will trigger the action
associated with that parameter. A boolean value may be assigned the value
zero for false, and any other value for true.
1: offset / toggle value
Each value specifies signed offsets of the same type to be added to the
current parameter values. The resulting parameter value will be clamped
according to their valid range. It is not valid to apply an offset to a void value.
Applying any offset other than zero to a boolean value will invert that value.
Operation types 2 through 127 are reserved.
Operation types 128through 255 are available for device specific purposes.
Data (void) The data field is 0 or more bytes as determined by the data type and number
of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
Group ID Parameter Type Index Minimum Maximum Interpretation
Lens
0.0 Focus fixed16 – 0 1 0.0 = near, 1.0 = far
0.1 Instantaneous autofocus void – ––trigger
instantaneous autofocus
0.2 Aperture (f-stop) fixed16 –-1 16 Aperture Value (where
fnumber = sqrt(2^AV))
0.3 Aperture (normalised) fixed16 – 0 1 0.0 = smallest, 1.0 = largest
0.4 Aperture (ordinal) int16 – 0 n
Steps through available
aperture values from
minimum (0) to maximum (n)
0.5 Instantaneous
auto aperture void – ––trigger instantaneous
auto aperture
0.6 Optical image stabilisation boolean – ––true = enabled, false
= disabled
0.7 Set absolute zoom (mm) int16 – 0 max
Move to specified focal length
in mm, from minimum (0) to
maximum (max)
0.8 Set absolute zoom
(normalised) fixed16 – 0 1 Move to specified focal
length: 0.0 = wide, 1.0 = tele
0.9 Set continuous
zoom (speed) fixed16 –-1 +1.0
Start/stop zooming at
specified rate: -1.0 = zoom
wider fast, 0.0 = stop,
+1 = zoom tele fast
222222Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Video
1.0 Video mode int8
[0] = frame rate – – 24, 25, 30, 50, 60
[1] = M-rate – – 0 = regular, 1 = M-rate
[2] = dimensions – –
0 = NTSC,
1 = PAL,
2 = 720,
3 = 1080,
4 = 2k,
5 = 2kDCI,
6 = UHD
[3] = interlaced – – 0 = progressive, 1 = interlaced
[4] = Color space – – 0 = YUV
1.1 Gain int8 116
1 = 100 ISO,
2 = 200 ISO,
4 = 400 ISO,
8 = 800 ISO,
16 = 1600 ISO
1.2 Manual White Balance
int16 [0] = color temp 2500 10000 Color temperature in K
int16 [1] = tint -50 50 tint
1.3 Set auto WB void – ––Calculate and set
autowhite balance
1.4 Restore auto WB void – ––Use latest auto white
balance setting
1.5 Exposure (us) int32 142000 time in us
1.6 Exposure (ordinal) int16 – 0 n
Steps through available
exposure valuesfrom
minimum (0) tomaximum (n)
1.7 Dynamic Range Mode int8 enum – 0 2 0 = film, 1 = video,
2 = extended video
1.8 Video sharpening level int8 enum – 0 3 0 = off, 1 = low,
2= medium, 3 = high
1.9 Recording format int16
[0] = file
frame rate ––fps as integer
(eg 24, 25, 30, 50, 60, 120)
[1] = sensor
frame rate – –
fps as integer, valid when
sensor-off-speed set (eg 24,
25, 30, 33, 48, 50, 60, 120),
no change will beperformed
if this value is set to 0
[2] = frame width – – in pixels
[3] = frame height – – in pixels
[4] = flags
– – [0] = file-M-rate
––[1] = sensor-M-rate, valid
whensensor-off-speed-set
––[2] = sensor-off-speed
––[3] = interlaced
––[4] = windowed mode
1.10 Set auto exposure mode int8 – 0 4
0 = Manual Trigger,
1 = Iris,
2 = Shutter,
3 = Iris + Shutter,
4 = Shutter + Iris
1.11 Shutter angle int32 –100 36000 Shutter angle in degrees,
multiplied by 100
1.12 Shutter speed int32 –24 2000
Shutter speed value as a
fraction of 1, so 50 for 1/50th
of a second
1.13 Gain int8 –-128 127 Gain in decibel (dB)
1.14 ISO int32 – 0 2147483647 ISO value
223223Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Audio
2.0 Mic level fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
2.1 Headphone level fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
2.2 Headphone program mix fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
2.3 Speaker level fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
2.4 Input type int8 – 0 2
0 = internal mic,
1 = line level input,
2 = low mic level input,
3 = high mic level input
2.5 Input levels fixed16
[0] ch0 0 1 0.0 = minimum, 1.0 = maximum
[1] ch1 0 1 0.0 = minimum, 1.0 = maximum
2.6 Phantom power boolean – ––true = powered,
false = not powered
Output
3.0 Overlay enables uint16
bit field – – –
bit flags:
[0] = display status,
[1] = display frame guides
Some cameras don't allow
separate control of frame
guides and status overlays.
3.1 Frame guides style
(Camera 3.x) int8 [0] = frame
guides style 0 8
0 = HDTV, 1 = 4:3, 2 = 2.4:1,
3 = 2.39:1, 4 = 2.35:1,
5 = 1.85:1, 6 = thirds
3.2 Frame guides opacity
(Camera 3.x) fixed16 [1] = frame
guide opacity 0.1 10.0 = transparent,
1.0 = opaque
3.3
Overlays
(replaces .1 and .2
abovefrom
Cameras 4.0)
int8
[0] = frame
guides style – –
0 = off, 1 = 2.4:1, 2 = 2.39:1,
3 = 2.35:1, 4 = 1.85:1, 5 = 16:9,
6 = 14:9, 7 = 4:3
[1] = frame
guide opacity 0100 0 = transparent, 100 = opaque
[2] = safe area
percentage 0100
percentage of full frame
used by safe area guide
(0 means off)
[3] = grid style – –
bit flags: [0] = display thirds,
[1] = display cross hairs,
[2] = display center dot
Display
4.0 Brightness fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
4.1 Overlay enables int16
bit field
– – – 0x4 = zebra
– – – 0x8 = peaking
– – –
4.2 Zebra level fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
4.3 Peaking level fixed16 – 0 1 0.0 = minimum, 1.0 = maximum
4.4 Color bars display
time (seconds) int8 – 0 30 0 = disable bars, 1-30 = enable
bars with timeout (s)
4.5 Focus Assist int8
[0] = focus
assist method ––0 = Peak,
1 = Colored lines
[1] = focus
line color – –
0 = Red,
1 = Green,
2 = Blue,
3 = White,
4 = Black
224224Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Tally
5.0 Tally brightness fixed16 – 0 1
Sets the tally front and tally
rear brightness to the
same level.
0.0 = minimum, 1.0 = maximum
5.1 Front tally brightness fixed16 – 0 1 Sets the tally front brightness.
0.0 = minimum, 1.0 = maximum
5.2 Rear tally brightness fixed16 – 0 1
Sets the tally rear brightness.
0.0 = minimum, 1.0 = maximum
Tally rear brightness cannot
be turned off
Reference
6.0 Source int8 enum – 0 2
0 = internal,
1 = program,
2 = external
6.1 Offset int32 – – – +/- offset in pixels
Confi-
guration
7.0 Real Time Clock int32
[0] time _ _ BCD - HHMMSSFF (UCT)
[1] date __BCD - YYYYMMDD
7.1 System language string _ __ISO-639-1 two character
language code
7.2 Timezone int32 _ __Minutes offset from UTC
7.3 Location int64
[0] latitude _ _
BCD - s0DDdddddddddddd
where s is the sign:
0 = north (+), 1 = south (-);
DD degrees, dddddddddddd
decimal degrees
[1] longitude _ _
BCD - sDDDdddddddddddd
where s is the sign: 0 = west
(-), 1 = east (+); DDD degrees,
dddddddddddd
decimal degrees
Color
Correction
8.0 Lift Adjust fixed16
[0] red -2 2 default 0.0
[1] green -2 2 default 0.0
[2] blue -2 2 default 0.0
[3] luma -2 2 default 0.0
8.1 Gamma Adjust fixed16
[0] red -4 4 default 0.0
[1] green -4 4 default 0.0
[2] blue -4 4 default 0.0
[3] luma -4 4 default 0.0
8.2 Gain Adjust fixed16
[0] red 016 default 1.0
[1] green 016 default 1.0
[2] blue 0 16 default 1.0
[3] luma 016 default 1.0
8.3 Offset Adjust fixed16
[0] red -8 8 default 0.0
[1] green -8 8 default 0.0
[2] blue -8 8 default 0.0
[3] luma -8 8 default 0.0
8.4 Contrast Adjust fixed16
[0] pivot 0 1 default 0.5
[1] adj 0 2 default 1.0
8.5 Luma mix fixed16 – 0 1 default 1.0
8.6 Color Adjust fixed16
[0] hue -1 1 default 0.0
[1] sat 0 2 default 1.0
8.7 Correction Reset Default void – – – reset to defaults
225225Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Media
10.0 Codec int8
enum
[0] = basic codec – –
0 = RAW,
1 = DNxHD,
2 = ProRes
[1] = codec variant
– –
RAW:
0 = Uncompressed,
1 = lossy 3:1,
2 = lossy 4:1
– –
ProRes:
0 = HQ,
1 = 422,
2 = LT, 3 = Proxy,
4 = 444, 5 = 444XQ
10.1 Transport mode int8
[0] = mode – –
0 = Preview,
1 = Play,
2 = Record
[1] = speed – –
-ve = multiple speeds
backwards,
0 = pause,
+ve = multiple
speeds forwards
[2] = flags – –
1<<0 = loop,
1<<1 = play all,
1<<5 = disk1 active,
1<<6 = disk2 active,
1<<7 = time-lapse recording
[3] = active
storage medium ––0 = CFast card,
1 = SD
PTZ
Control
11.0
Pan/Tilt Velocity fixed 16
[0] = pan velocity -1.0 1.0 -1.0 = full speed left,
1.0 = full speed right
[1] = tilt velocity -1.0 1.0 -1.0 = full speed down,
1.0 = full speed up
11.1 Memory Preset
int8 enum [0] =
preset command – –
0 = reset,
1 = store location,
2 = recall location
int8 [1] =
preset slot 0 5 –
226226Developer Information
Example Protocol Packets
Operation
Packet
Length Byte
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
header command data
destination
length
command
reserved
category
parameter
type
operation
trigger instantaneous
auto focus on camera 4 8 4 4 0 0 0 1 0 0
turn on OIS on all cameras 12 255 5 0 0 0 6 0 0 1 0 0 0
set exposure to 10 ms on
camera 4 (10 ms = 10000
us = 0x00002710)
12 4 8 0 0 1 5 3 0 0x10 0x27 0x00 0x00
add 15% to zebra level
(15 % = 0.15 f = 0x0133 fp) 12 4 6 0 0 4 2 128 10x33 0x01 0 0
select 1080p 23.98 mode on
all cameras 16 255 900101024 1 3 0 0 0 0 0
subtract 0.3 from gamma
adjust for green & blue
(-0.3 ~= 0xfd9a fp)
16 412 0 0 8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0
all operations combined 76 4 4 0 0 0 1 0 0 255 5 0 0 0 6 0 0
1 0 0 0 4 8 0 0 1 5 3 0 0x10 0x27 0x00 0x00
4 6 0 0 4 2 128 10x33 0x01 0 0 255 9 0 0
101024 1 3 0 0 0 0 0 4 12 0 0
8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0
227227Developer Information
Blackmagic Embedded TallyControl Protocol
Version 1.0 (30/04/14)
This section is for third party developers or anybody who may wish to add support for the
Blackmagic Embedded Tally Control Protocol to their products or system. It describes the
protocol for sending tally information embedded in the non-active picture region of a digital
video stream.
Data Flow
A master device such as a broadcast switcher embeds tally information into its program feed
which is broadcast to a number of slave devices such as cameras or camera controllers. The
output from the slave devices is typically fed back to the master device, but may also be sent to
a video monitor.
The primary flow of tally information is from the master device to the slaves. Each slave device
may use its device id to extract and display the relevant tally information.
Slave devices pass through the tally packet on their output and update the monitor tally status,
so that monitor devices connected to that individual output may display tally status without
knowledge of the device id they are monitoring.
Assumptions
Any data alignment / padding is explicit in the protocol. Bit fields are packed from LSB first.
Blanking Encoding
One tally control packet may be sent per video frame. Packets are encoded as a SMPTE 291M
packet with DID/SDID x51/x52 in the active region of VANC line 15. A tally control packet may
contain up to 256 bytes of tally information.
Packet Format
Each tally status consists of 4 bits of information:
uint4
bit 0: program tally status (0=off, 1=on)
bit 1: preview tally status (0=off, 1=on)
bit 2-3: reserved (0x0)
The first byte of the tally packet contains the monitor device tally status and a version number.
Subsequent bytes of the tally packet contain tally status for pairs of slave devices. The master
device sends tally status for the number of devices configured/supported, up to a
maximum of 510.
struct tally
uint8
bit 0: monitor device program tally status (0=off, 1=on)
bit 1: monitor device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4-7: protocol version (0b0000)
uint8[0]
bit 0: slave device 1 program tally status (0=off, 1=on)
bit 1: slave device 1 device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4: slave device 2 program tally status (0=off, 1=on)
bit 5: slave device 2 preview tally status (0=off, 1=on)
bit 6-7: reserved (0b00)
228
228Developer Information
uint8[1]
bit 0: slave device 3 program tally status (0=off, 1=on)
bit 1: slave device 3 device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4: slave device 4 program tally status (0=off, 1=on)
bit 5: slave device 4 preview tally status (0=off, 1=on)
bit 6-7: reserved (0b00)
. . .
Byte 7 MSB 6 5 4 3 2 1 0 LSB
0Version
(0b0)
Version
(0b0)
Version
(0b0)
Version
(0b0)
Reserved
(0b0)
Reserved
(0b0)
Monitor
Preview
Monitor
Program
1Reserved
(0b0)
Reserved
(0b0)
Slave 1
Preview
Slave 1
Program
Reserved
(0b0)
Reserved
(0b0)
Slave 0
Preview
Slave 0
Program
2Reserved
(0b0)
Reserved
(0b0)
Slave 3
Preview
Slave 3
Program
Reserved
(0b0)
Reserved
(0b0)
Slave 2
Preview
Slave 2
Program
3...
Master Device
Monitor Device
Slave Device
(2)
Slave Device
(3)
Slave Device
(1)
229229Developer Information
Help
The fastest way to obtain help is to go to the Blackmagic Design online support pages and
check the latest support material available for your camera.
Blackmagic Design Online Support Pages
The latest manual, software and support notes can be found at the Blackmagic Design support
center at www.blackmagicdesign.com/support.
Contacting Blackmagic Design Support
If you can’t find the help you need in our support material, please use the “Send us an email”
button on the support page to email a support request. Alternatively, click on the “Find your
local support team” button on the support page and call your nearest Blackmagic Design
support office.
Checking the Software Version Currently Installed
To check which version of Blackmagic Camera Utility software is installed on your computer,
open the About Blackmagic Camera Utility window.
On Mac OS, open Blackmagic Camera Utility from the Applications folder. Select About
Blackmagic Camera Utility from the application menu to reveal the version number.
On Windows, open Blackmagic Camera Utility from your Start menu or Start Screen.
Click on the Help menu and select About Blackmagic Camera Utility to reveal the
version number.
How to Get the Latest Software Updates
After checking the version of Blackmagic Camera Utility software installed on your computer,
please visit the Blackmagic Design support center at www.blackmagicdesign.com/support to
check for the latest updates. While it is usually a good idea to run the latest updates, it is wise to
avoid updating any software if you are in the middle of an important project.
230230Help
Regulatory Notices andSafetyInformation
Regulatory Notices
Disposal of waste of electrical and electronic equipment within the European union.
The symbol on the product indicates that this equipment must not be disposed of with
other waste materials. In order to dispose of your waste equipment, it must be handed
over to a designated collection point for recycling. The separate collection and
recycling of your waste equipment at the time of disposal will help conserve natural
resources and ensure that it is recycled in a manner that protects human health and the
environment. For more information about where you can drop off your waste
equipment for recycling, please contact your local city recycling office or the dealer
from whom you purchased the product.
This equipment has been tested and found to comply with the limits for a Class A
digitaldevice, pursuant to Part 15 of the FCC rules. These limits are designed to provide
reasonable protection against harmful interference when the equipment is operated in
a commercial environment. This equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the instructions,
maycause harmful interference to radio communications. Operation of this product in
aresidential area is likely to cause harmful interference, in which case the user will be
required to correct the interference at personal expense.
Operation is subject to the following two conditions:
1 This device may not cause harmful interference.
2 This device must accept any interference received, including interference that may
cause undesired operation.
Safety Information
The supplied AC to 12V DC power supply must be connected to a mains socket outlet
with a protective earthconnection.
This equipment is suitable for use in tropical locations with an ambient temperature
ofup to 40ºC. During sunny conditions, consider shading of the camera to prevent
exposure of the camera or Lithium battery to extended periods of sunlight. Keep
Lithium batteries away from all sources of heat.
The 12V DC output connector is suitable to provide power to the Blackmagic URSA
Viewfinder or Blackmagic URSA Studio Viewfinder. When connecting other accessories
to this connector, ensure that the power consumption is less than 18W.
No operator serviceable parts inside. Refer servicing to your local Blackmagic Design
service centre.
t
NOTE:
This is only
to appear
in the Korean
manual.
231231Regulatory Notices and Safety Information
Warranty
Limited Warranty
Blackmagic Design warrants that this product will be free from defects in materials and
workmanship for a period of 12 months from the date of purchase. If a product proves to be
defective during this warranty period, Blackmagic Design, at its option, either will repair the
defective product without charge for parts and labor, or will provide a replacement in exchange
for the defective product.
In order to obtain service under this warranty, you the Customer, must notify Blackmagic Design
of the defect before the expiration of the warranty period and make suitable arrangements for
the performance of service. The Customer shall be responsible for packaging and shipping the
defective product to a designated service center nominated by Blackmagic Design, with
shipping charges pre paid. Customer shall be responsible for paying all shipping charges,
insurance, duties, taxes, and any other charges for products returned to us for any reason.
This warranty shall not apply to any defect, failure or damage caused by improper use or
improper or inadequate maintenance and care. Blackmagic Design shall not be obliged under
this warranty: a) to repair damage resulting from attempts by personnel other than Blackmagic
Design representatives to install, repair or service the product, b) to repair damage resulting
from improper use or connection to incompatible equipment, c) to repair any damage or
malfunction caused by the use of non Blackmagic Design parts or supplies, or d) to service a
product that has been modified or integrated with other products when the effect of such a
modification or integration increases the time or difficulty of servicing the product.
Exposing URSA Viewfinder to direct sunlight could damage the viewfinder display as the
viewfinder optics act as a magnifying glass. Image retention or burn-in could happen on OLED
panels when static or high contrast images, such as frame guides, are displayed on the panels
for extended periods. To avoid this, ensure the IR sensor for face detection is not covered
deliberately and disconnect the viewfinder when not in use for prolonged periods. Image
retention is not covered by this product warranty.
THIS WARRANTY IS GIVEN BY BLACKMAGIC DESIGN IN LIEU OF ANY OTHER WARRANTIES,
EXPRESS OR IMPLIED. BLACKMAGIC DESIGN AND ITS VENDORS DISCLAIM ANY IMPLIED
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
BLACKMAGIC DESIGN’S RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUCTS
DURING THE WARRANTY PERIOD IS THE WHOLE AND EXCLUSIVE REMEDY PROVIDED TO
THE CUSTOMER. BLACKMAGIC DESIGN WILL NOT BE LIABLE FOR ANY INDIRECT, SPECIAL,
INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER BLACKMAGIC
DESIGN OR THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES.
BLACKMAGIC DESIGN IS NOT LIABLE FOR ANY ILLEGAL USE OF EQUIPMENT BY
CUSTOMER. BLACKMAGIC IS NOT LIABLE FOR ANY DAMAGES RESULTING FROM USE OF
THIS PRODUCT. USER OPERATES THIS PRODUCT AT OWN RISK.
© Copyright 2018 Blackmagic Design. All rights reserved. ‘Blackmagic Design’, ‘URSA’, ‘DeckLink’, ‘HDLink’, ‘Workgroup Videohub’,
‘Multibridge Pro’, ‘Multibridge Extreme’, ‘Intensity’ and ‘Leading the creative video revolution’ are registered trademarks in the
US and other countries. All other company and product names may be trademarks of the respective companies with which they
are associated.
232232Warranty

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