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Summary of Contents for Blackmagicdesign URSA BROADCAST
- Page 1 Installation and Operation Manual ckmagic URSA Broadcast Includes Blackmagic Camera Fiber Converter, Studio Fiber Converter, Blackmagic URSA Viewfinder, URSA Studio Viewfinder and URSA Mini Shoulder Mount Kit February 2018...
- Page 2 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...
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Page 3: Table Of Contents
Contents Blackmagic URSA Broadcast Getting Started Touchscreen Controls Attaching a Lens Touchscreen Powering your Camera Touchscreen Features Using Servo Zoom Lenses Settings Dashboard Storage Media Record Settings CFast Cards File Naming Convention SD Cards Monitor Settings Preparing Media for Recording... - Page 4 Audio Inputs IP Video Blackmagic URSA Mini Pro F Mount Blackmagic URSA Mini Pro PL Mount Power Specifications Operating in a Small Environment Blackmagic URSA Broadcast B4 Mount Operating the Studio Fiber Converter Shimming Lens Mounts Selecting the LCD Source Blackmagic URSA Mini Pro Shim Kit...
- Page 5 URSA Mini SSD Recorder The Fairlight Page The Audio Timeline Mounting and connecting URSA Mini SSD Recorder What is a Bus? Using URSA Mini SSD Recorder The Mixer Updating URSA Mini SSD Using the Equalizer to Recorder’s internal software Enhance your Audio Mastering your Edit Understanding Studio Camera Control...
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Page 6: Getting Started
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. -
Page 7: Powering Your Camera
ISO/GAIN Center of gravity 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. - Page 8 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.
- Page 9 LCD to power your camera on or off 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.
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Page 10: Using Servo Zoom Lenses
‚ 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. - Page 11 '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.
- Page 12 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.
- Page 13 ‘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’...
- Page 14 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.
- Page 15 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...
- Page 16 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.
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Page 17: Storage Media
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. - Page 18 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.
- Page 19 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. Storage Media...
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Page 20: Sd Cards
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. - Page 21 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...
- Page 22 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. Storage Media...
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Page 23: Preparing Media For Recording
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. -
Page 24: Preparing Media On Blackmagic Ursa Broadcast
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 Tap 'edit reel number' if you would like to manually change the reel number. - Page 25 'project' tab of the slate. 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.
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Page 26: Preparing Media On Mac
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. - Page 27 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 Storage Media...
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Page 28: Recording
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. - Page 29 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 3840x2160 ProRes 444XQ 3840x2160 ProRes 444 3840x2160 ProRes HQ Ultra HD 3840x2160 ProRes 422...
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Page 30: Trigger Record
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. - Page 31 HD Progressive CFast Frame DNxHD DNxHD ProRes ProRes ProRes ProRes ProRes ProRes Card Rate 220x 145" 444 XQ 422 HQ 422 LT 422 Proxy Duration Duration Duration Duration Duration Duration Duration Duration 23.98 190 mins 285 mins 84 mins 127 mins 189 mins 283 mins 403 mins...
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Page 32: Playback
PEAK MENU POWER URSA Broadcast 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... -
Page 33: Operating Ursa Broadcast
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. -
Page 34: Left Side
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. -
Page 35: Right Side
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. Side Rosette Mount Standard rosette mount for the side handle. -
Page 36: Rear Panel
EF lenses. 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. -
Page 37: Top Panel
‘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... -
Page 38: Underside
Underside 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. Operating URSA Broadcast... -
Page 39: Ursa Broadcast Controls
URSA Broadcast forward control panel Power Switch Power your URSA Broadcast by moving this switch to the ‘on’ position. Power off by moving the switch to the 'off' position. You can also power your URSA Broadcast on or off via a combination of control panel switches. - Page 40 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'.
- Page 41 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.
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Page 42: Ergonomic Control Panel
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. - Page 43 LCD status display and monitor speaker by using this switch. 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.
- Page 44 ‘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.
- Page 45 ‘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.
- Page 46 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.
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Page 47: Internal Control Panel
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. - Page 48 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.
- Page 49 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’...
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Page 50: Touchscreen Controls
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. - Page 51 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.
- Page 52 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.
- Page 53 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.
- Page 54 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.
- Page 55 ‘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.
- Page 56 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.
- Page 57 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’...
- Page 58 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.
- Page 59 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.
- Page 60 Your URSA Broadcast's iris indicator. Tap this to access iris settings 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’...
- Page 61 EF lenses. 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.
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Page 62: White Balance
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:... - Page 63 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...
- Page 64 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 Displayed when your URSA Broadcast is plugged into mains power.
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Page 65: Record Button
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. - Page 66 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.
- Page 67 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. Tapping the card name in the storage menu sets it as the active card.
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Page 68: Playback Menu
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. Touchscreen Controls... - Page 69 Tapping the 'record' control button in playback mode will return your camera to 'standby' mode, ready to record. 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’...
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Page 70: 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. - Page 71 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. NOTE Blackmagic URSA Broadcast supports Avid DNxHD and Apple ProRes codecs in HD, and CinemaDNG RAW and ProRes in Ultra HD. Record Settings 2 The second page of the 'record' settings tab contains the following settings.
- Page 72 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.
- Page 73 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,’...
- Page 74 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.
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Page 75: File Naming Convention
DaVinci Resolve manual. 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. -
Page 76: Monitor Settings
‘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. - Page 77 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.
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Page 78: Lcd Monitor Settings
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... - Page 79 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.
- Page 80 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.
- Page 81 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.
- Page 82 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.
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Page 83: Audio Settings
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. - Page 84 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.
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Page 85: Setup Settings
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. - Page 86 LCD touchscreen. 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.
- Page 87 100%. 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’...
- Page 88 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...
- Page 89 To set these buttons, select a function button and then its behavior, a setting, and a parameter for that setting. Button Behavior Setting 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: ‚...
- Page 90 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.
- Page 91 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.
- Page 92 ‘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...
- Page 93 This code will be displayed on the camera’s LCD screen. Type this code into the iPad. The information on the screen will confirm that your URSA Broadcast is now paired with your iPad.
- Page 94 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...
- Page 95 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.
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Page 96: Presets
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. - Page 97 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.
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Page 98: Luts
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’... - Page 99 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...
- Page 100 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.
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Page 101: Entering Metadata
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. - Page 102 ‘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.
- Page 103 Your URSA Broadcast's slate is divided into 'clip' and 'project' tabs Entering Metadata...
- Page 104 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'.
- Page 105 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.
- Page 106 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.
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Page 107: Camera Video Output
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. - Page 108 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’...
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Page 109: Ursa Mini Shoulder Mount Kit
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. - Page 110 Gently place your URSA Broadcast upside down on a flat, stable surface so you can easily access the base of your camera. Fasten the shoulder mount baseplate to URSA Broadcast using the 2 x ¼” flat head screws and driver.
- Page 111 Viewfinder position Fasten the URSA Viewfinder adapter plate to the Fasten the handle to any two of URSA Broadcast's handle using the 4 x M3 screws with a 2.5mm Hex top 1/4” mounting points using the two supplied key driver.
- Page 112 To attach the side handle extension arm: 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.
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Page 113: Blackmagic Ursa Viewfinder
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’... -
Page 114: Adjusting The Eyepiece
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”... -
Page 115: Menu Settings
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’... - Page 116 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.
- Page 117 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.
- Page 118 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.
- Page 119 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.
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Page 120: 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. -
Page 121: Mounting And Connecting To Blackmagic Ursa Broadcast
AU TO W/ B 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”... - Page 122 Blackmagic URSA Studio Viewfinder mounted V-Lock mount plate being attached to to shoulder mount kit 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.
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Page 123: Adjusting The Blackmagic Ursa Studio Viewfinder
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. - Page 124 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 Tilt Lock Dial Locks the angle of tilt on the viewfinder mechanism.
- Page 125 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.
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Page 126: Button Features
As with URSA Broadcast ON/OFF switch you have the option of ‘red’, ‘green’, Switches the Blackmagic URSA ‘blue’, ‘black' and 'white' lines which Studio Viewfinder on and off. - Page 127 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’...
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Page 128: Menu Settings
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. - Page 129 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.
- Page 130 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’...
- Page 131 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.
- Page 132 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.
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Page 133: Mounting Batteries
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. -
Page 134: Using Your Own Battery Plate
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. - Page 135 Batt Batt Batt Batt Monitor0 Monitor 1 +12V Out 11 EnableN 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 To URSA 12 V to 20 V...
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Page 136: Blackmagic Fiber Converters
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. -
Page 137: Getting Started With Blackmagic 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. - Page 138 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. 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.
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Page 139: Connecting Smpte Fiber
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. 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... - Page 140 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: Align the red indicators on each connector, and plug the cable connector into the camera unit's connector until it securely clicks into place.
- Page 141 POWER TALLY FIBER RET 1 RET 2 LIGHT FOCUS PGM 1 PGM 2 PGM 1 PGM 2 INCOM INCOM PROD PROD IRIS INTERCOM 1 INTERCOM 2 TRACKER DC OUT AES/EBU AES/EBU LINE LINE +48V +48V SDI OUT Pinch the rubber around the tip of the cable to reveal the red ring below, then pull the cable to disconnect NOTE The SMPTE hybrid fiber cable is the heart of the broadcast ecosystem, so it is...
- Page 142 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.
- Page 143 Confirming Video You can now check that video is working and all return feeds are present. Ensure the ATEM switcher's program output is connected to the studio unit's SDI return input 1. If you want to check all return feeds, plug video sources into SDI return inputs 2 and 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.
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Page 144: Why Connections On The Front
URSA Mini's rear 12G-SDI output to the SDI input on Blackmagic Camera Fiber Converter. 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. -
Page 145: Mounting Blackmagic Camera Fiber Converter
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. - Page 146 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.
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Page 147: Attaching The Ursa Studio Viewfinder
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... -
Page 148: Operating The Camera Fiber Converter
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. -
Page 149: Using Talkback
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. -
Page 150: Using Tally
Headset XLR Pinout Diagram External view Pins Signal Specifications Carbon (-20 dBu, unbalanced) Intercom MIC (Y) Dynamic (-60 dBu, balanced/ unbalanced) Manual (-20/-40/-60 dBu, balanced/ Intercom MIC (X) unbalanced) – Intercom left 11 dBu (VR Max, 250 Ω Load) 5-pin XLR Intercom right 11 dBu (VR Max, 250 Ω... -
Page 151: Audio Inputs
Below is a description of each LED color, LED action, and the status represented: 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. -
Page 152: Ip Video
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. -
Page 153: Operating In A Small Environment
‘DC out’ connector 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. -
Page 154: Operating The Studio 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. - Page 155 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.
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Page 156: Camera Unit Connections
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. -
Page 157: Talkback Connection
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. -
Page 158: Tracker Interface
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... -
Page 159: D-Tap Output
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. -
Page 160: Studio 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. -
Page 161: Reference Input And Output
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. 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... -
Page 162: Talkback Interface
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... -
Page 163: Ptz Interface
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. -
Page 164: Updating Internal Software
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. -
Page 165: Interchangeable Lens Mount
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. -
Page 166: Removing The B4 Mount
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. - Page 167 AUTO AUTO LENS LENS Place Blackmagic URSA Broadcast vertically on a Carefully place the Blackmagic URSA Mini Pro solid, clean bench top to ensure that the mount EF mount onto the camera body ensuring the can be inserted vertically. If changing from the PL red dot is at the 12 o’clock position.
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Page 168: Blackmagic Ursa Mini Pro F Mount
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. - Page 169 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. NOTE When removing the F mount, simply follow the instructions in reverse order from step 4 to step 1.
- Page 170 2mm Hex driver Attaching the F Mount Place Blackmagic URSA Broadcast vertically on a Carefully place the Blackmagic URSA Mini Pro solid, clean bench top to ensure the mount can be F mount onto the camera body ensuring the attached vertically.
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Page 171: Blackmagic Ursa Mini Pro Pl Mount
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. - Page 172 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 0.18mm 0.10mm 0.30mm 0.15mm 0.05mm 0.20mm 0.12mm 0.025mm 1x PL baffle The PL mount baffle helps to control and direct the light entering the sensor.
- Page 173 Be sure to align the lens for easy viewing of the lens marks. 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.
- Page 174 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.
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Page 175: Blackmagic Ursa Broadcast B4 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. -
Page 176: Shimming Lens Mounts
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. -
Page 177: Shimming Mounts
AUTO AUTO LENS LENS Place URSA Broadcast vertically on a solid, clean Remove the screws holding your mount in place bench top and remove your lens or dust cap. using a 2.0mm Hex driver. For more information The filter covering the sensor will be exposed for on removing particular mounts, see the the duration of the shimming process, so it’s... - Page 178 SDI OUT SDI OUT FILTER FILTER AUTO AUTO LENS LENS Add or remove shims to slightly change the depth Place your lens mount onto the camera body, of your mount. It is a good idea to start with a tighten screws and remount your lens and small shim thickness such as a 0.10mm.
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Page 179: Ursa Mini Ssd Recorder
‚ 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... -
Page 180: Mounting And Connecting Ursa 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. - Page 181 If no battery was fitted to your camera, Attach URSA Mini SSD Recorder’s you may need to remove the cover over the mounting bracket using 6 x T10 torx screws. molex socket on your camera's rear panel. Use a philips head screwdriver to remove the four M3 screws holding the cover in place.
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Page 182: 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. -
Page 183: Updating Ursa Mini Ssd Recorder's Internal 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. -
Page 184: Understanding Studio Camera Control
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. -
Page 185: Using Camera Control
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. - Page 186 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.
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Page 187: Zoom 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. -
Page 188: Manual Focus Adjustment
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 Coarse Setting The coarse setting is located to the left of the iris/pedestal control and is used to limit the iris range. -
Page 189: Shutter Speed Control
URSA Broadcast, your camera’s shutter speed controls are disabled when connected to an ATEM switcher. 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. -
Page 190: Davinci Resolve Primary Color Corrector
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. - Page 191 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: ‚...
- Page 192 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.
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Page 193: Using Davinci Resolve
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... -
Page 194: Importing Your Clips
Importing your Clips To start editing your clips, you’ll first need to import them into the media pool: 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. -
Page 195: Editing Your Clips
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! You’ll first need to create a new timeline. Right click anywhere within the media pool and choose Timelines >... -
Page 196: Trimming Clips
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: After adding clips to your timeline, hover your mouse pointer over the start of a clip until the pointer becomes a ‘trim’... -
Page 197: Adding Transitions
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. -
Page 198: Adding Titles
To add a dissolve transition between two clips: 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’... -
Page 199: Color Correcting Your Clips
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. -
Page 200: Using Scopes
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’... - Page 201 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.
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Page 202: Secondary Color Correction
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. -
Page 203: Adding A Power Window
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... -
Page 204: Tracking A Window
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. -
Page 205: Mixing Your Audio
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. -
Page 206: The Fairlight Page
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. -
Page 207: What Is A Bus
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’... -
Page 208: Using The Equalizer To Enhance Your Audio
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. - Page 209 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.
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Page 210: Mastering Your Edit
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: Select the band filter type from the drop down menu for the band you want to adjust. Adjust the ‘frequency’... -
Page 211: Working With Raw Files
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. 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. - Page 212 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.
- Page 213 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.
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Page 214: Blackmagic Camera Setup Utility
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. - Page 215 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.
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Page 216: Working With Third Party Software
CFast drive To import your clips from a CFast 2.0 or SD card: 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. 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. -
Page 217: Using Final Cut Pro X
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 Launch Final Cut Pro X, go to the ‘menu’... -
Page 218: Using Adobe Premiere Pro Cc
Launch Media Composer and the ‘select project’ window will appear. Click the ‘new project’ button. In the ‘new project’ window name your project. Go to the ‘format’ drop down menu and select 1080i/59.94. Go to the ‘color space’ drop down menu and select YCbCr 709. Go to the ‘raster dimension’... -
Page 219: Using Autodesk Smoke 2013
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 Launch Smoke and the ‘project and user settings’ window will appear. Click on the ‘new’... -
Page 220: Developer Information
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. - Page 221 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 Command id (uint8) not understand. Commands 0 through 127 are reserved for commands that apply to multiple types of devices. Commands 128 through 255 are device specific.
- Page 222 Data types 129 through 255 are available for device specific purposes. The operation type specifies what action to perform on the specified Operation type (uint8) parameter. Currently defined values are: The supplied values are assigned to the specified parameter. Each element will be clamped according to its valid range.
- Page 223 Group Parameter Type Index Minimum Maximum Interpretation [0] = frame rate – – 24, 25, 30, 50, 60 [1] = M-rate – – 0 = regular, 1 = M-rate 0 = NTSC, 1 = PAL, 2 = 720, Video mode int8 [2] = dimensions –...
- Page 224 Group Parameter Type Index Minimum Maximum Interpretation Mic level fixed16 – 0.0 = minimum, 1.0 = maximum Headphone level fixed16 – 0.0 = minimum, 1.0 = maximum Headphone program mix fixed16 – 0.0 = minimum, 1.0 = maximum Speaker level fixed16 –...
- Page 225 Group Parameter Type Index Minimum Maximum Interpretation Sets the tally front and tally rear brightness to the Tally brightness fixed16 – same level. 0.0 = minimum, 1.0 = maximum Sets the tally front brightness. Tally Front tally brightness fixed16 – 0.0 = minimum, 1.0 = maximum Sets the tally rear brightness.
- Page 226 Group Parameter Type Index Minimum Maximum Interpretation 0 = RAW, [0] = basic codec – – 1 = DNxHD, 2 = ProRes RAW: 0 = Uncompressed, – – int8 1 = lossy 3:1, 10.0 Codec enum 2 = lossy 4:1 [1] = codec variant ProRes: 0 = HQ,...
- Page 227 Example Protocol Packets Packet Operation Length Byte header command data trigger instantaneous auto focus on camera 4 turn on OIS on all cameras set exposure to 10 ms on camera 4 (10 ms = 10000 0x10 0x27 0x00 0x00 us = 0x00002710) add 15% to zebra level 0x33 0x01 (15 % = 0.15 f = 0x0133 fp)
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Page 228: Blackmagic Embedded Tally Control Protocol
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. - Page 229 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) .
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Page 230: Help
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. -
Page 231: Regulatory Notices And Safety Information
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. -
Page 232: Warranty
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.
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