Blackmagicdesign HyperDeck Installation And Operation Manual
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Blackmagicdesign HyperDeck Installation And Operation Manual

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Installation and Operation Manual
HyperDeck
Disk Recorders
March 2020
日本語
English,
, Français, Deutsch, Español,
, Русский, Italiano, Português
한국어
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中文
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and Türkçe

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  • Page 1 Installation and Operation Manual HyperDeck Disk Recorders March 2020 日本語 English, , Français, Deutsch, Español, 中文 , Русский, Italiano, Português and Türkçe 한국어...
  • Page 2 Languages To go directly to your preferred language, simply click on the hyperlinks listed in the contents below. English 日本語 Français Deutsch Español 中文 한국어 Русский Italiano Português Türkçe...
  • Page 3 HyperDeck software. Keeping your software up to date will always ensure you get all the latest features. When downloading software, please register with your information so we can keep you updated when new software is released.

  • Page 4: Table Of Contents

    Contents HyperDeck Disk Recorders Getting Started Adding Titles Recording Color Correcting your Clips with the Color Page Playback Adding a Power Window HyperDeck Status Indicators Using Plugins About SSDs and SD Cards Mixing Your Audio Blackmagic HyperDeck Setup Adding VFX and Compositing on...

  • Page 5: Getting Started

    Plug your source video to the SDI or HDMI inputs, and your destination equipment to the SDI or HDMI outputs. HyperDeck Studio 12G has 12G-SDI connectors so you can input or output Ultra HD up to 2160p60 using a single BNC cable.
  • Page 6 Plugging in Analog Audio and Timecode on HyperDeck Studio Pro If you want to connect analog audio sources to HyperDeck Studio Pro, plug into the XLR or RCA connectors. To select your desired audio input, simply press the ‘input’ button on the front control panel to cycle through combinations of video and audio inputs.

  • Page 7: Recording

    To plug in an SD card: Hold the SD card with the gold connectors facing your HyperDeck’s LCD and align it with the media slot. Now gently push the card into the slot until you feel it lock firmly into place.
  • Page 8 Recording Video with HyperDeck Studio SSD Models Insert your formatted SSD into either SSD slot. The LED strip surrounding the drive will illuminate green as HyperDeck reads the disk. When the slot light turns off, your HyperDeck is ready to record.
  • Page 9 Ref Input If your HyperDeck has a reference input, it can accept black burst and tri-level sync signals from a sync generator. Connect a reference source to this input if you want to synchronize HyperDeck with other video equipment, such as a production switcher.

  • Page 10: Playback

    Ref Output The reference output on HyperDeck Studio Mini lets you connect an internally generated black burst or tri-level sync signal to other video equipment if you want to synchronize other equipment with your HyperDeck. USB-C REF OUT HDMI OUT...
  • Page 11 SDI output of your HyperDeck. Ultra HD Playback on HyperDeck Studio Pro HyperDeck Studio Pro can play back Ultra HD video via single link 6G-SDI, dual link 3G-SDI, and quad link HD-SDI.
  • Page 12 If your HyperDeck has ‘reverse’ or ‘fast forward’ buttons, you can press these buttons to play through the clip at 2x speed. Press the ‘reverse’ or ‘fast forward’ buttons again and the speed will increase to 4x and then 8x. Once you’ve found the section you want to review, press ‘play’...

  • Page 13: Hyperdeck Status Indicators

    LED indicators for each media slot and the built in LCD. Media Slot Indicators When you first power on HyperDeck, or any time you insert an SSD or SD card, the slot indicator will illuminate green while checking the media and then switch off. If the disk has not been formatted correctly, or fails to work, the slot will illuminate solid red until the disk is removed.

  • Page 14: About Ssds And Sd Cards

    Control Panel LCD HyperDeck Disk Recorders feature an LCD that not only shows your video but also displays status information such as video format and frame rate, record, playback and jog modes, the active media slot as well as timecode and audio levels.
  • Page 15 Brand SSD Name/Model Number Storage Supported Formats 10-bit uncompressed HD and Ultra HD HD ProRes ProRes or DNxHR and DNxHD M4 (firmware 009 only) CT512M4SSD2 512GB Crucial M4 (firmware 000F only) CT256M4SSD2 256GB 4K Professional Video Series (DIG-PVD1000, pre- formatted ExFat) Professional Video Series (DIG-PVD240S, pre- Digistor 240GB...
  • Page 16 Choosing a fast SD Card For high quality HD recording on HyperDeck Studio Mini, we recommend high speed UHS-II SD cards. These cards need to be capable of write speeds above 110MB/s for recording up to Ultra HD 2160p30. However, if you are recording standard definition or lower bit rate, lower quality compression you might be able to use slower cards.
  • Page 17 HyperDeck’s LCD menu, or via a Windows or Mac OS computer. HFS+ is also known as Mac OS Extended and is the recommended format for HyperDeck as it supports journaling. Data on a journaled disk is more quickly recovered in the rare event it becomes corrupted, and less likely to be corrupted in the first place.
  • Page 18 On HyperDecks that record on SSDs, turn the jog/shuttle wheel and press the set button to select ‘format SSD’ on the LCD menu. On HyperDeck Studio Mini, turn the jog/shuttle wheel and use the set button to enter the ‘record’ menu on the LCD and select ‘format card’.
  • Page 19 Set the format to Mac OS Extended (Journaled) or exFAT. Type a name for the new volume and then click erase. Your media will quickly be formatted and made ready for use with HyperDeck. Use Disk Utility on Mac OS to erase your SSD or SD card...
  • Page 20 Set the file system to exFAT and the allocation unit size to 128 kilobytes. Type a volume label, select quick format and click Start. Your media will quickly be formatted and made ready for use with HyperDeck. Use the Format dialog box feature in Windows to...

  • Page 21: Blackmagic Hyperdeck Setup

    Blackmagic HyperDeck Setup Using HyperDeck Setup Blackmagic HyperDeck Setup is used to change settings and update the internal software in your HyperDeck. In addition to installing HyperDeck Setup, uncompressed 10 bit codecs are installed for Mac and Windows. The home page of HyperDeck Setup. If you have multiple HyperDecks...

  • Page 22: Selecting Your Video Format

    Launch HyperDeck Setup. Your HyperDeck model will be named in the setup utility home page. Click on the circular ‘setup’ icon or the image of your HyperDeck to open the settings page. In the ‘record’ settings, click on the ‘codec’ drop down menu and select your desired codec.

  • Page 23: Choosing A Codec

    HyperDeck Studio Mini can also record OP-1A DNx MXF files allowing multiple tracks of audio to be recorded in the same interleaved file.
  • Page 24 Avid DNxHR LB 8-bit MXF files recorded on the HyperDeck Studio Mini are recorded in the OP-1A operational pattern, allowing audio and video to be recorded in a single interleaved file. The HyperDeck Studio Mini supports playing back OP-1A and OP-Atom files.
  • Page 25 High 720p60 Medium High 720p50 Medium High 525i59.94 NTSC Medium High 625i50 PAL Medium HyperDeck Studio Mini will play back H.264 files recorded on a HyperDeck Studio Mini, but not H.264 files recorded on other video equipment. Blackmagic HyperDeck Setup...

  • Page 26: Control Panel Display Menu

    Using the Display Menu Use your HyperDeck’s control panel display menu to change your video and audio inputs and outputs as well as any settings changes you would make in HyperDeck Setup such as trigger recording, timecode output and your chosen recording codec.

  • Page 27: Trigger Recording

    Press ‘set’ to enter the ‘timecode input’ menu and select ‘input’. Press ‘set’ to confirm your selection. It might be necessary to turn on the RP 188 setting in your camera before HyperDeck will be able to record the timecode.
  • Page 28 HD-SDI connection Timecode Run Recording HyperDeck also supports timecode run recording, which is similar to start/stop recording, but is only used if your HD-SDI camera does not support trigger recording via HD-SDI. To set up timecode run recording using HyperDeck Setup: Go into your camera’s timecode settings and change them from ‘free run timecode’...

  • Page 29: Rs-422 Control

    Recording will stop whenever the timecode stops. Be careful if your HyperDeck is connected to the SDI output of a video router, as any change to the video source might cause HyperDeck to start recording unexpectedly due to a change in timecode being detected via HD-SDI.
  • Page 30 LCD menu in HyperDeck Studio Mini, to allow remote deck control. You can now remotely start and stop recording and playback of your HyperDeck as well as performing other common jog and shuttle functions. The full list of supported RS-422 MENU commands is in the following section named ‘supported RS-422 commands’.
  • Page 31 Supported RS-422 Commands Command Reply No Remote Notes 0 - System Control NTSC: 0xF0E0 0x00 0x11 DeviceTypeRequest PAL: 0xF1E0 Enabled 24P: 0xF2E0 1 - Slave Response 0x20 0x00 Stop Acknowledge Disabled 0x20 0x01 Play Acknowledge Disabled 0x20 0x02 Record Acknowledge Disabled 0x20 0x04...
  • Page 32 Command Reply No Remote Notes 0x20 0x61 FullEEOn Acknowledge Disabled 0x20 0x63 SelectEEOn Acknowledge Disabled 4 - Preset/Select Control 0x40 0x10 InEntry Acknowledge Disabled Treated as N=1; 0x22 0x23 ShuttleRev2 Acknowledge Disabled Same as ShuttleRev1 0x20 0x30 Preroll Acknowledge Disabled 0x24 0x31 CueData...
  • Page 33 Command Reply No Remote Notes Current Time and 0x78 0x00 Timer1Data — — 00:00:00:00 Current Time and 0x78 0x04 LTCUserBitsTimeData — — 00:00:00:00 Current Time and 0x78 0x06 VITCUserBitsTimeData — — 00:00:00:00 0x74 0x06 VITCTimeData — — Current Time 0x74 0x07 UserBitsVITCTimeData —...
  • Page 34 Command Reply No Remote Notes 2 Bytes for the length N of the clip name N Bytes for each character of the clip name 0x4f 0x16 AppendPreset Acknowledge Disabled 4 Byte in point timecode (format is FFSSMMHH) 4 Byte out point timecode (format is FFSSMMHH) Blackmagic Extensions 16-bit little endian...

  • Page 35: Transferring Files Over A Network

    HyperDeck Studio Mini to transfer files to and from the recorder. Connecting to HyperDeck Studio Mini With your computer and HyperDeck Studio Mini on the same network, all you’ll need is an ftp client and your HyperDeck Studio Mini’s IP address.
  • Page 36 You can transfer any file to and from your HyperDeck Studio Mini, but it’s worth noting that any files you intend to play back from HyperDeck Studio Mini will need to conform to your HyperDeck’s supported codecs and resolutions.

  • Page 37: Connecting To An Atem Switcher

    Connecting to an ATEM Switcher If you’re using an ATEM switcher, you can plug in up to 4 Blackmagic HyperDeck disk recorders and control them using the ATEM software control panel. This is a very powerful feature that effectively gives you an entire videotape department at your fingertips. You can also trigger...

  • Page 38: Understanding Post Production Workflows

    01:42:56:12 INPUT 01:42:56:12 DISP INPUT Make sure your HyperDeck has remote set to ‘on’ in the LCD menu, or via the control panel remote button, to enable Ethernet control with an ATEM switcher Understanding Post Production Workflows Accessing Your Clips To access your clips, simply plug the SD card or SSD into your computer via an SD card slot, external reader, or SSD dock.

  • Page 39: Using Davinci Resolve

    Using DaVinci Resolve Recording clips with your HyperDeck Disk Recorder 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. DaVinci Resolve for Mac OS...

  • Page 40: Editing With The Cut Page

    Using the ‘cut’ page, you can start working on your edit immediately. The project manager shows all projects belonging to the current user For more information about the Project Manager, refer to the DaVinci Resolve manual which is available to download on the Blackmagic Design website support page. Editing with the Cut Page The ‘cut’...
  • Page 41 For more information on the Cut page, see the ‘Using the Cut Page’ chapter in the DaVinci Resolve manual. Media Tabs At the top left corner of the user interface you will see five tabs. Click on these tabs to open the media toolsets you will use when creating your edit. For example, the first tab is the media pool and you can see it is already selected.
  • Page 42 Source Clip The source clip viewer displays a single clip from the media pool and you can set in and out points along the entire length of the viewer timeline. This gives you greater control. Select a source clip to view by double clicking on a clip in the media pool, or dragging it into the viewer.

  • Page 43: Adding Clips To The Timeline

    Adding Clips to the Timeline Now that you are familiar with the media tabs and viewer mode buttons, you can open the media pool and quickly start adding clips to your timeline. The timeline of the cut page, comprising the upper timeline and the zoomed in timeline below The timeline is where you will build your edit and is like a board with tracks you can attach clips to, move them around and trim their edits.

  • Page 44: Editing Clips On The Timeline

    Now click the ‘append’ icon underneath the media pool. Your first clip will be placed at the head of the timeline. Repeat steps 1 to 3 to keep adding more clips and they will automatically append, ensuring there are no gaps in the timeline. Appending clips ensures there are no gaps between them on the timeline You can speed up the process further by assigning a keyboard shortcut to the ‘append’...

  • Page 45: Color Correcting Your Clips With The Color Page

    To do this: Click on the ‘text’ title and drag it onto the timeline. It doesn’t matter which timeline, but for greater accuracy we recommend using the detailed timeline. The title will automatically create a new video track for the title and will snap to the playhead. Release the mouse and the title will appear on the new track.
  • Page 46 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.
  • Page 47 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.

  • Page 48: Adding A Power Window

    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: Add a new serial node.
  • Page 49 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 notice. To add a power window to your clip: Add a new serial node.

  • Page 50: Using Plugins

    To track a window to a moving object: Create a new serial node and add a power window. Go to the start of your clip and position and size the window to highlight just the object or area you want. Open the ‘tracker’...

  • Page 51: Mixing Your Audio

    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 52 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 53 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 54 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.

  • Page 55: Adding Vfx And Compositing On The Fusion Page

    To add EQ to a track: Double click in the EQ section for one of your tracks in the mixer to open the equalizer for that track. Select the band filter type from the dropdown 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...
  • Page 56 The Fusion Page The Fusion page features 2 viewer windows across the top with transport controls to view your media, an inspector window to the right to access tool settings, and a nodes window at the bottom where you build your composition. While the viewers and transport controls are always visible, clicking on the icons on the interface toolbar at the very top of the display will let you show or hide the nodes and inspector windows, or reveal or hide additional windows including the effects library and editors for spline and keyframes.
  • Page 57 Viewers: The viewers are always visible and let you see the different views of your ‚ composition, for example an overall 3D perspective via the merge 3D node, a camera output, or your final render output. These viewers also let you see how your changes are affecting a specific element.
  • Page 58 The text inspector contains additional tabs for text, layout, transform, shading, image and settings. Getting Started with Fusion To get started with Fusion, simply position your playhead over any clip on your timeline and click on the ‘Fusion’ tab to open the Fusion page. On the Fusion page, your clip is immediately available in a media input node labelled ‘MediaIn’.
  • Page 59 Multiple outputs on nodes means a single node can connect to many different nodes in your composition, so you don’t have to duplicate clips as you would in layer based software. Arrows on the line between connected nodes are a great visual indicator to show you which direction the image data is flowing.
  • Page 60 Selected nodes appear with a red border. Here the inspector panel is displaying the layout tab controls for the text node. There are different parameters and settings you can adjust for every node depending on its task, from sizing and center positions to changing the number of particles in an emitter node. Setting keyframes and changing the settings over time will animate the effect.
  • Page 61 Using the Motion Tracker and Adding Text To get a better idea of how to use Fusion, we have included the following examples to show how to use the tracker tool to track an element in a clip, plus add text and attach it to the element using the tracking data.
  • Page 62 Click on the ‘tracker’ node and type ‘1’ so you can see the merged results on your left hand viewer. In the ‘tracker’ inspector panel, click on the ‘operations’ tab. You can see the tab’s name by hovering the mouse pointer over it. Click the dropdown menu next to operation and select ‘match move’.
  • Page 63 Click on the keyframes tab above the inspector to open the keyframes editor. Any nodes with keyframes applied will have a small arrow next to the node label, and only the parameter with keyframes added will appear in the list below. Click on the magnify icon and drag a box around the area you want to edit.

  • Page 64: Mastering Your Edit

    Mastering Your Edit Now you’ve edited, graded, added vfx and mixed your audio, you’ll want to share it with others. You can use the Quick Export button, or menu selection, to output the contents of the Timeline as a self contained file in one of a variety of different formats, or use the additional features of the ‘deliver’...

  • Page 65: The Deliver Page

    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.

  • Page 66: Developer Information

    The Blackmagic HyperDeck Ethernet Protocol is a text based protocol accessed by connecting to TCP port 9993 on HyperDeck Studio models that have a built in Ethernet connection. If you are a software developer you can use the protocol to construct devices that integrate with our products.
  • Page 67 Command Command Description record record from current input record: name: {name} record named clip record spill spill current recording to next slot spill current recording to specified slot record: spill: slot id: {n} use current id to spill to same slot stop stop playback or recording clips count...
  • Page 68 Command Command Description notify: dynamic range: {true/false} set dynamic range settings notifications goto: clip id: {start/end} goto first clip or last clip goto: clip id: {n} goto clip id {n} goto: clip id: +{n} go forward {n} clips goto: clip id: -{n} go backward {n} clips goto: clip: {n} goto frame position {n} within current clip...

  • Page 69: Protocol Details

    The HyperDeck Ethernet server listens on TCP port 9993. Basic syntax The HyperDeck protocol is a line oriented text protocol. Lines from the server will be separated by an ascii CR LF sequence. Messages from the client may be separated by LF or CR LF.
  • Page 70 Response syntax Simple responses from the server consist of a three digit response code and descriptive text terminated by a new line: {Response code} {Response text}↵ If a response carries parameters, the response text is terminated with a colon, and parameter name and value pairs follow on subsequent lines until a blank line is returned: {Response code} {Response text}:↵...
  • Page 71 Connection response On connection, an asynchronous message will be delivered: 500 connection info:↵ protocol version: {Version}↵ model: {Model Name}↵ ↵ Connection rejection Only one client may connect to the server at a time. If other clients attempt to connect concurrently, they will receive an error and be disconnected: 120 connection rejected↵...
  • Page 72 Getting help The "help" or "?" commands return human readable help text describing all available commands and parameters: help↵ ?↵ The server will respond with a list of all supported commands: 201 help:↵ {Help Text}↵ {Help Text}↵ ↵ Switching to preview mode The "preview"...
  • Page 73 Changing timeline position The "goto" command instructs the deck to switch to playback mode and change its position within the timeline. To go to the start of a specific clip: goto: clip id: {Clip ID}↵ To move forward/back {count} clips from the current clip on the current timeline: goto: clip id: +/-{count}↵...
  • Page 74 Retrieving device information The "device info" command returns information about the connected deck device: device info↵ The server will respond with: 204 device info:↵ protocol version: {Version}↵ model: {Model Name}↵ unique id: {unique alphanumeric identifier}↵ ↵ Retrieving slot information The "slot info" command returns information about a slot. Without parameters, the command returns information for the currently selected slot: slot info↵...
  • Page 75 "notify" command. When enabled, changes in transport state will generate a "508 transport info:" asynchronous message with the same parameters as the "208 transport info:" message. Video Formats The following video formats are currently supported on HyperDeck Studio: NTSC, PAL, NTSCp, PALp 720p50, 720p5994, 720p60...
  • Page 76 All HyperDeck models currently support the following file formats: QuickTimeUncompressed QuickTimeProResHQ QuickTimeProRes QuickTimeProResLT QuickTimeProResProxy QuickTimeDNxHD220 DNxHD220 HyperDeck Studio Mini and HyperDeck Studio 12G additionally support the following file formats: QuickTimeDNxHR_HQX DNxHR_HQX HyperDeck Studio Mini also supports the following file formats: H.264Low H.264Medium H.264High QuickTimeDNxHD45...
  • Page 77 Selecting active slot and video format The "slot select" command instructs the deck to switch to a specified slot, or/and to select a specified output video format. To switch to a specified slot: slot select: slot id: {slot ID}↵ To select the output video format: slot select: video format: {video format}↵...

  • Page 78: Help

    Blackmagic Design support office. Checking the Software Version Currently Installed To check which version of Blackmagic HyperDeck software is installed on your computer, open the About Blackmagic HyperDeck Setup window. ‚ On Mac OS, open Blackmagic HyperDeck Setup from the Applications folder.

  • Page 79: Regulatory Notices

    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 80: Safety Information

    Safety Information For protection against electric shock, the equipment must be connected to a mains socket outlet with a protective earth connection. In case of doubt contact a qualified electrician. To reduce the risk of electric shock, do not expose this equipment to dripping or splashing. Product is suitable for use in tropical locations with an ambient temperature of up to 40 Ensure that adequate ventilation is provided around the product and that it is not restricted.

  • Page 81: Warranty

    Warranty 12 Month 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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