Blackmagicdesign Blackmagic Pocket Cinema Camera 6K Pro Installation And Operation Manual
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Blackmagicdesign Blackmagic Pocket Cinema Camera 6K Pro Installation And Operation Manual

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Installation and Operation Manual
Blackmagic
Pocket Cinema Camera
Includes Blackmagic Pocket Cinema Camera 6K Pro,
Blackmagic Pocket Cinema Camera 6K and
Blackmagic Pocket Cinema Camera 4K
January 2021
日本語
English,
, Français, Deutsch, Español,
, Русский, Italiano, Português and Türkçe.
한국어
,
中文

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  • Page 1 Installation and Operation Manual Blackmagic Pocket Cinema Camera Includes Blackmagic Pocket Cinema Camera 6K Pro, Blackmagic Pocket Cinema Camera 6K and Blackmagic Pocket Cinema Camera 4K January 2021 日本語 English, , Français, Deutsch, Español, 中文 , Русский, Italiano, Português and Türkçe.
  • 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 1040 Русский 1213 Italiano 1386 Português 1559 Türkçe 1732...
  • Page 3 English Welcome Thank you for purchasing your new Blackmagic Pocket Cinema Camera! In 2013, we released the original Blackmagic Pocket Cinema Camera. We were excited by creating a small camera with high dynamic range and groundbreaking image quality that you could take anywhere. After all your amazing feedback and being asked to make a 4K version, we decided to do that with Pocket Cinema Camera 4K and then we released Blackmagic Pocket Cinema Camera 6K with a Super 35mm sensor and an EF lens mount.

  • Page 4: Table Of Contents

    Contents Which camera are you using? Camera Video Output Getting Started Using DaVinci Resolve Attaching a Lens Project Manager Turning Your Camera On Editing with the Cut Page Powering Your Camera with the Adding Clips to the Timeline Included Power Cable Editing Clips on the Timeline Storage Media Adding Titles...

  • Page 5: Which Camera Are You Using

    The control buttons and software menus are laid out the same way, and operating the cameras is essentially the same. Blackmagic Pocket Cinema Camera 6K Pro and 6K feature a Super 35mm sized sensor and an EF lens mount, and has a 6K icon above the lens mount. Blackmagic Pocket Cinema Camera 4K features a Micro Four Thirds sized sensor and a Micro Four Thirds lens mount.
  • Page 6 To attach an EF mount or Micro Four Thirds lens: Align the dot on your lens with the dot on the camera mount. Many lenses have a visual indicator, for example a blue, red or white dot. Press the lens mount against the camera mount, and twist the lens clockwise until it clicks into place.

  • Page 7: Turning Your Camera On

    Turning Your Camera On Now that you’ve attached a lens, you will need to supply power to your camera. Pocket Cinema Camera 6K Pro can be powered by inserting an NP-F570 battery, and Pocket Cinema Camera 6K and 4K can be powered by inserting an LP-E6 battery. You also have the option of powering your Pocket Cinema Camera from the supplied AC power adapter or from two NP-F570 batteries in a Blackmagic battery grip.

  • Page 8: Storage Media

    Your camera’s internal battery can be charged via USB when the camera is switched off. This is convenient as you can use a portable power bank to charge the camera when not in use. Blackmagic Pocket Cinema Camera supports charging via standard 10W USB wall chargers and can also be used with chargers that support USB-Power Delivery, or USB PD.
  • Page 9 For a list of CFast 2.0 cards tested and recommended by Blackmagic Design for shooting on Pocket Cinema Camera, see the ‘Recommended Recording Media’ section. For the most up to date information on supported CFast cards on Blackmagic Pocket Cinema Camera, please refer to the Blackmagic Design support center at www.blackmagicdesign.com/support. Storage Media...

  • Page 10: Sd Cards

    SD Cards In addition to CFast 2.0 cards, your camera can record on high speed UHS-I and UHS-II type SD cards. UHS-I SD cards allow you to use more affordable storage media when shooting compressed video formats in HD, and even faster UHS-II cards allow you to record Blackmagic RAW as well as Ultra HD content in ProRes.
  • Page 11 Cinema Camera, see the ‘Recommended Recording Media’ section. For the most up to date information on supported SD cards on Blackmagic Pocket Cinema Camera, please refer to the Blackmagic Design support center at www.blackmagicdesign.com/support. NOTE For high resolution, high frame rate recording, we recommend using CFast 2.0 media or an external USB-C flash disk, as they are typically faster and available in higher capacities.

  • Page 12: Usb-C Flash Disks

    Tap on the storage indicator at the bottom of the LCD touchscreen to enter the storage manager USB-C flash disks Your Blackmagic Pocket Cinema Camera features a high speed USB-C expansion port, which allows you to record video directly to USB-C flash disks. These fast, high capacity drives allow you to record video for long periods, which can be important when filming events with long durations.

  • Page 13: Preparing Media For Recording

    Pocket Cinema Camera, see the ‘Recommended Recording Media’ section. For the most up to date list of recommended USB-C flash disks please go to www.blackmagicdesign.com/support. Important Notes About USB-C flash disk Speed Some models of USB-C flash disk can’t save video data at the speed the manufacturer claims.

  • Page 14: Preparing Media On Blackmagic Pocket Cinema Camera

    Preparing Media on Blackmagic Pocket Cinema Camera Tap either storage indicator at the bottom of the LCD touchscreen to enter the storage manager. Tap ‘Format CFast card’ or ‘Format SD card’. If you have a USB-C flash disk connected to your camera, ‘Format drive’ will be displayed instead of ‘Format SD card’. ‘Format SD card’...
  • Page 15 Check that you have selected the correct card before formatting Hold down the format button for three seconds to format your media. The camera notifies you when the format is complete and your drive is ready for use, or if formatting has failed. Tap ‘ok’...

  • Page 16: Preparing Media On A Mac

    Tap on ‘reset project data’ in the ‘project’ tab of the slate if you’re starting a new project and want the numbering to reset back to 1. If the SD card is write protected, your camera will display the word ‘locked’ instead of the card’s duration on the LCD touchscreen, and will display a padlock icon in the storage menu.
  • Page 17 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 NOTE Partitioned media can be used with your Blackmagic Pocket Cinema Camera, though your camera will only recognize the first partition of your media for recording and playback.

  • Page 18: Recording

    Recording Recording Clips Blackmagic Pocket Cinema Camera features two record buttons. The primary record button is located on the top of the handgrip for triggering with your index finger when holding the handgrip of the camera with your right hand. The second record button is located on the front of your camera to allow you to begin recording while holding the camera with one hand in situations where you want to record yourself.

  • Page 19: Blackmagic Raw

    Blackmagic RAW Blackmagic Pocket Cinema Camera supports the Blackmagic RAW file format. This format offers superior image quality, wide dynamic range and a broad selection of compression ratios. Blackmagic RAW features all the user benefits of RAW recording, but the files are very fast because most of the processing is performed in the camera where it can be hardware accelerated by the camera itself.
  • Page 20 It is also worth noting that the quality settings for Blackmagic RAW are not obscure names, but are more meaningful as they are derived from what’s happening technically. So for example when you have selected the constant bitrate codec, you will see quality settings of 3:1, 5:1, 8:1 and 12:1.
  • Page 21 The Blackmagic RAW SDK supports Mac, Windows and Linux, and is available as a free download from the developer page of the Blackmagic website at www.blackmagicdesign.com/developer The following diagram illustrates the components of the Blackmagic RAW API: Blackmagic RAW API Decoder .Braw...

  • Page 22: Maximum Sensor Frame Rates

    Maximum Sensor Frame Rates Blackmagic Pocket Cinema Camera 6K Pro and Pocket Cinema Camera 6K Maximum Sensor Frame Rates Resolution Codec Sensor Scan Max Frame Rate 6144 x 3456 Blackmagic RAW Full 6K 2.4:1 6144 x 2560 Blackmagic RAW Window 5.7K 17:9...

  • Page 23: Record Duration

    Blackmagic Pocket Cinema Camera 4K Maximum Sensor Frame Rates Resolution Codec Sensor Scan Max Frame Rate 4096 x 2160 Blackmagic RAW Full 4096 x 2160 ProRes 422 HQ Full 4K DCI 4096 x 2160 ProRes 422 Full 4096 x 2160 ProRes 422 LT Full 4096 x 2160...
  • Page 24 approximately 880 Mbps. At 24 frames per second, you can record approximately 47 minutes of video on a 256GB CFast 2.0 card. At the same settings you can record approximately 23 minutes of video on a 128GB CFast card, which is approximately half the record duration of a 256GB CFast card.
  • Page 25 4K DCI CFast Frame ProRes ProRes ProRes ProRes Blackmagic Blackmagic Blackmagic Blackmagic Card Rate RAW 3:1 RAW 5:1 RAW 8:1 RAW 12:1 422 HQ 422 LT 422 Proxy Duration Duration Duration Duration Duration Duration Duration Duration 23.98 39 mins 65 mins 104 mins 155 mins 44 mins...
  • Page 26 3.7K Anamorphic CFast Frame Blackmagic Blackmagic Blackmagic Blackmagic Card Rate RAW 3:1 RAW 5:1 RAW 8:1 RAW 12:1 Duration Duration Duration Duration 23.98 31 mins 51 mins 82 mins 123 mins 31 mins 51 mins 82 mins 123 mins 29 mins 49 mins 79 mins 118 mins...
  • Page 27 2.6K 16:9 CFast Frame Blackmagic Blackmagic Blackmagic Blackmagic Card Rate RAW 3:1 RAW 5:1 RAW 8:1 RAW 12:1 Duration Duration Duration Duration 23.98 87 mins 144 mins 230 mins 342 mins 87 mins 144 mins 229 mins 342 mins 83 mins 138 mins 220 mins 328 mins 256GB...
  • Page 28 Choosing Frame Rates Your camera is able to shoot video using many different frame rates and you may be wondering which is the best one to use. Generally, when selecting a sensor frame rate, there are some common items to consider.

  • Page 29: Playback

    Playback Playing Back Clips Once you have recorded your video, you can use the transport control buttons to play back your video on the LCD. Press the play button to switch to playback mode. Press the button again for instant playback of the last recorded clip on the LCD, and on any display connected to the HDMI output.

  • Page 30: Right Side

    Settings Wheel The settings wheel lets you adjust the aperture of compatible lenses mounted to your camera. With the touchscreen facing you, rotate the wheel left to open the iris, and right to close. The settings wheel is also used to adjust white balance, shutter angle and ISO settings.

  • Page 31: Left Side

    Left Side Ports on the left side of Pocket Cinema Camera 6K Pro Ports on the left side of Pocket Cinema Camera 6K and Pocket Cinema Camera 4K 3.5mm Microphone Input Connect a microphone to your camera’s 3.5mm stereo connector. Mic and line level audio are supported.
  • Page 32 HDMI The full size HDMI connector supports 10-bit 4:2:2 1080p HD video with support for HDR and two channels of embedded audio. Use the touchscreen menu to set a clean feed or include overlays on the output. You can use the HDMI port to connect to an external monitor, recorder or ATEM Mini switcher.

  • Page 33: Top Panel

    Top Panel Top panel for Pocket Cinema Camera 6K Pro 21 22 Top panel for Pocket Cinema Camera 6K and Pocket Cinema Camera 4K 1/4-20 Mounting Point You can use the 1/4-20 mounting point on the top of your camera to attach an external microphone or other small accessories.
  • Page 34 Record Press the record button to begin recording immediately. Press again to stop recording. Still To capture a single uncompressed DNG frame, press the ‘still’ button. A camera icon appears briefly in the top right corner of the touchscreen display to let you know you have successfully captured a still.

  • Page 35: Camera Underside

    Camera Underside Underside of Pocket Cinema Camera 6K Pro Underside of Pocket Cinema Camera 6K and Pocket Cinema Camera 4K 1/4-20 Mounting Point Attach your Pocket Cinema Camera 4K or Pocket Cinema Camera 6K to a tripod, rigging or accessories using the bottom 1/4-20 mounting point. Pocket Cinema Camera 6K Pro has two 1/4 inch mounting points on the underside.

  • Page 36: Camera Rear

    Tap and swipe to adjust settings and control your camera. Blackmagic Pocket Cinema Camera 6K Pro has a tilt screen so you can angle the LCD touchscreen up or down for a wide range of viewing angles and a power save setting to dim the LCD when it’s inactive.
  • Page 37 The tilt screen on Blackmagic Pocket Cinema Camera 6K Pro offers a wide range of viewing angles Iris Button Pressing the ‘iris’ button automatically sets an average exposure based on the highlights and shadows in your shot. You can adjust your lens aperture manually by rotating the settings wheel to the left and right, or by tapping ‘iris’...
  • Page 38 For more information, see the ‘focus chart’ section. ND Filter Blackmagic Pocket Cinema Camera 6K Pro has internal neutral density filters. ND filters allow you to reduce the amount of light reaching the sensor by a preset number of exposure stops. By reducing the exposure, you can shoot at wide apertures for a shallow depth of field in bright conditions such as outdoors on sunny days.

  • Page 39: Touchscreen Controls

    Touchscreen Controls Touchscreen Features Your Blackmagic Pocket Cinema Camera’s LCD touchscreen features a touch and gesture based interface that is specifically designed for fast and intuitive operation. By touching and swiping on different areas of the LCD touchscreen, you can quickly access the camera’s functions while shooting.
  • Page 40 To toggle zebra for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘zebra’ tab. Set the exposure level that zebra appears at by dragging the slider left and right, or tapping the arrow buttons next to the zebra level percentage.
  • Page 41 Tap the ‘frame guides’ icon while accessing ‘LCD monitor options’ to access your frame guide settings To toggle the appearance of frame guides on the LCD touchscreen, tap the switch icon in the bottom left of the screen. Choose the frame guide you want to use by dragging the slider left and right, or tapping the arrow buttons on either side of the currently selected aspect ratio.
  • Page 42 Displays the 4:3 aspect ratio compatible with SD television screens, or to help with framing when using 2x anamorphic adapters. Displays a 1:1 ratio slightly narrower than 4:3. This square ratio is growing in popularity on social media. Displays a 4:5 aspect ratio. This vertical aspect ratio is ideal for portraits and viewing on smartphones. Custom Frame Guide Ratio To create your own frame guide ratio for a unique appearance, tap on the ratio displayed between the arrow buttons.
  • Page 43 Grids and crosshair are overlays that can help with image composition. When ‘grids’ are enabled, the LCD shows a rule of thirds grid, horizon, crosshair or dot. To toggle the appearance of grids on your camera’s touchscreen, tap the switch icon in the bottom left of the screen while in the ‘frame guides’...
  • Page 44 This table shows examples of the horizon meter indicating tilt and roll of the camera. Horizon meter Description Straight and level Tilted down and level Straight and rolled left Tilted up and rolled right For normal use, calibrate the horizon meter for straight and level operation. If you want to use the horizon meter to help maintain a consistent ‘dutch angle’...
  • Page 45 The ‘safe area’ indicator set to 85% To toggle safe area guides for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘safe area guides’ tab. To set the level of safe area guides for your camera’s HDMI output, tap the left or right arrows on either side of the current numerical value at the bottom of the touchscreen.
  • Page 46 ND Filter indicator Adjusting your Blackmagic Pocket Cinema Camera 6K Pro’s ND filter will display the ND filter indicator in the top left of the LCD touchscreen and the HDMI output. This indicator will remain on when you have an ND filter engaged. When you have it set to use no ND filter, the ‘clear’ text will disappear after four seconds.
  • Page 47 Sensor Frame Rate The sensor frame rate sets how many actual frames from the sensor are recorded every second. This frame rate will affect how fast or slow your video will play back at your set project frame rate. With ‘off speed frame rate’ enabled, tap a preset or the arrows on either side of the sensor frame rate or move the slider to make adjustments By default, the project and sensor frame rates are matched for a natural playback speed.
  • Page 48 Shutter The ’shutter’ indicator displays your shutter angle or shutter speed. By tapping this indicator, you can manually change your camera’s shutter values or configure shutter priority auto exposure modes. The shutter measurement setting can be used to select whether to display shutter information as ‘shutter angle’...
  • Page 49 Your camera will suggest flicker free shutter values based on the mains power frequency you choose in the ‘setup’ menu If you are shooting outside, or using flicker free lights, you can also manually select a shutter value by double tapping the current shutter indicator at the bottom left of your screen. When shutter angle is selected, this will bring up a keypad which you can use to set any shutter angle between 5 and 360 degrees.
  • Page 50 When an auto exposure mode that effects the shutter or iris is enabled, a small ‘A’ appears next to the shutter or iris indicator at the top of the LCD touchscreen. Iris The ‘Iris’ indicator displays your current lens aperture. By tapping this indicator, you can change the aperture of compatible lenses and configure iris based auto exposure modes.
  • Page 51 When an auto exposure mode that effects the iris or shutter is enabled, a small ‘A’ appears next to the iris or shutter indicator at the top of the LCD touchscreen. Duration Display At the top of your camera’s LCD touchscreen, you’ll see your camera’s duration display. Your camera’s duration display will turn red while recording.
  • Page 52 The ‘ISO’ indicator displays the current ISO setting, or light sensitivity. Tapping this indicator lets you adjust your ISO to suit varying lighting conditions. Tap the ISO indicator to access ISO settings. While in the ‘ISO’ menu, your camera’s ISO settings appear along the bottom of the LCD touchscreen.
  • Page 53 Blackmagic Pocket Cinema Camera 6K Pro and Blackmagic Pocket Cinema Camera 6K Dynamic Range 1000 1250 1600 2000 2500 3200 4000 5000 6400 8000 10000 12800 16000 20000 25600 13.4 13.4 13.4 13.4 13.4 13.4 13.4 13.4 13.4 13.4 13.4 12.1...
  • Page 54 White Balance The ‘WB’ and ‘TINT’ indicators display your camera’s current white balance and tint. Tapping these indicators lets you adjust your camera’s white balance and tint to suit varying lighting conditions. Tap the white balance and tint indicators to access white balance and tint settings Every light source emits a color.
  • Page 55 NOTE Customizing the white balance or tint will change your preset to ‘CWB,’ or custom white balance. Custom white balances are persistent; your CWB settings will stay configured between power cycles, and when switching to a preset and back to CWB. This makes it easy to compare a custom white balance to the last preset used. Auto White Balance Your Blackmagic Pocket Cinema Camera can set white balance automatically.
  • Page 56 The battery included with your camera shows a battery icon Battery bars that drains in 25% steps. At 20% charge remaining, the battery bar turns red. If you have a battery grip attached to Pocket Cinema Camera Battery grip bars 4K or 6K these battery bars allow you to monitor the state of both batteries independently.
  • Page 57 Record button Next to the histogram, at the bottom of your Pocket Cinema Camera’s touchscreen, is a round grey button. This is the ‘record’ button. Tap it once to begin recording, and tap it again to stop. While recording, the button, the storage indicator, and the timecode at the top of your Pocket Cinema Camera’s touchscreen turn red.
  • Page 58 NOTE You can set your Blackmagic Pocket Cinema Camera to stop recording if dropped frames are detected to avoid recording unusable footage. See the ‘record settings’ section in this manual for more information. Recording Time Remaining When a CFast or SD card is inserted, or a USB-C flash disk is attached to your camera, the storage indicators at the bottom of the touchscreen show how much recording time is left on the card or USB-C flash disk.
  • Page 59 Audio Meter The peak audio meters display audio levels for channels 1 and 2 when using the internal microphone, or via external audio when connected. The display is calibrated to dBFS units and features peak hold indicators which stay visible for a short time so you can clearly see the maximum levels reached.
  • Page 60 When you double tap on the touchscreen or press the ‘focus zoom’ button, the zoom level toggles between your previous magnification level and the full view. For example, if you pinch to zoom to x8 magnification, double tap zooms out, and a further double tap returns to x8. Touch to Focus You can focus your lens in any region of the image by tapping and holding on the LCD screen in the area that you want to focus.

  • Page 61: Settings

    The shuttle speed indicator displays the speed and direction of footage being fast forwarded or reversed Tapping the ‘record’ control button in playback mode returns your camera to standby mode, ready to record. Swipe up or down on the touchscreen to hide status text while playing back footage.
  • Page 62 Codec and Quality The ‘codec and quality’ menu is split into two rows. The top row lets you choose between two codec families, Blackmagic RAW and Apple ProRes, while the bottom row offers quality options in those families. For example, the quality options available in the ProRes codec family are ProRes 422 HQ, ProRes 422, ProRes 422 LT and ProRes 422 Proxy.
  • Page 63 NOTE When you coordinate a multi camera recording through ATEM Mini, Pocket Cinema Cameras change their codec setting to Blackmagic RAW for high quality isolated recording to internal media. When you plug Pocket Cinema Cameras into ATEM Mini they change their frame rate to match the frame rate setting of ATEM Mini.
  • Page 64 NOTE When recording Blackmagic RAW and ProRes using ‘film’ dynamic range, the image will appear dull and desaturated on your touchscreen. This is because the image file contains a lot of data that hasn’t yet been graded to suit a standard display.
  • Page 65 NOTE For information on the maximum frame rates available for each recording format and codec, refer to the tables in the ‘maximum sensor frame rates’ section. Preferred Card for Recording Use this setting to select which storage card or drive your Blackmagic Pocket Cinema Camera records to first when both slots are in use.
  • Page 66 Timelapse This setting activates the timelapse feature to automatically record a still frame at the following intervals: Frames 2 – 10 Seconds 1 – 10, 20, 30, 40, 50 Minutes 1 – 10 For example, you can set the camera to record a still frame every 10 frames, five seconds, 30 seconds, five minutes etc.

  • Page 67: File Naming Convention

    If you have the optional viewfinder installed on Blackmagic Pocket Cinema Camera 6K Pro, settings on the first page of the ‘monitor’ tab let you control what is displayed on the LCD, HDMI and viewfinder independently.
  • Page 68 NOTE If you have Blackmagic Pocket Cinema Camera Pro EVF installed on your camera, the ‘monitor’ tab includes a ‘viewfinder’ button and an ‘all’ button. The ‘all’ button replaces the ‘both’ button and refers to status text you can display on the LCD touchscreen, HDMI output and the electronic viewfinder at the same time.
  • Page 69 Display 3D LUT Your Blackmagic Pocket Cinema Camera can apply 3D LUTs to any output to approximate the look of color graded footage. This is especially useful when recording clips using ‘film’ dynamic range. If your camera has a 3D LUT active, use this setting to independently apply that LUT to your LCD touchscreen or HDMI output.
  • Page 70 LCD Monitor Settings 2 The second page of the ‘LCD’ monitor tab contains settings unique to your LCD touchscreen. ‘Status text’ gives you a clear view of your camera’s preview image Status Text This setting can be useful to hide the status text and meters on your LCD touchscreen, leaving only the information necessary to compose or direct a shot.
  • Page 71 HDMI Monitor Settings 2 The second page of your ‘HDMI’ monitor tab contains settings unique to your HDMI output. Status Text It can be useful to hide the status text and meters on your HDMI output, leaving only the information necessary to compose or direct a shot. Tap the ‘status text’ switch icon in the HDMI monitor menu to toggle the appearance of status text and meters.
  • Page 72 ‚ CAM Displays the camera index as set in your camera’s slate. For more information, see the ‘slate’ section. ‚ OPERATOR Identifies the camera operator as set in your camera’s slate. For more information, see the ‘slate’ section. ‚ DURATION DISPLAY Displays the duration of the current clip while recording, or the last recorded clip in the following format: hours:minutes:seconds.
  • Page 73 Viewfinder Brightness Allows adjustments for the brightness of the viewfinder display. Focus Chart The viewfinder has a built in focus chart so you can focus the eye piece to suit your eyes. The diopter has an adjustment range of -4 to +4. Simply turn the focus diopter on the eyepiece until the chart is in perfect focus.
  • Page 74 Focus Assist Your camera has two focus assist modes, including ‘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 HDMI output, but not in the recorded image itself.

  • Page 75: Audio Settings

    Both Monitor Settings 2 The second page of the ‘both’ monitor tab contains the following options: Page 2 of ‘monitor’ options for both LCD and HDMI Grids To set which combination of grids and crosshair you want to display on your camera’s LCD touchscreen and HDMI output, tap the ‘thirds’, ‘horizon’, ‘crosshair’...
  • Page 76 Audio Settings 1 The first page of the ‘audio’ tab contains the following settings. Channel Source Use the ‘channel 1 source’ and ‘channel 2 source’ buttons to select your audio source for each audio channel. Below is a description of each channel source setting. ‚...
  • Page 77 NOTE When selecting the 3.5mm input as an audio source, the channel 1 and channel 2 source both need to be line level or mic level. This means that if you select ‘3.5mm left - line’ as your channel 1 source, the available options for the 3.5mm input on channel 2 will all be line level: ‘3.5mm left - line’, ‘3.5mm right - line’...

  • Page 78: Setup Settings

    NOTE It is standard practice to plug in your XLR cable before switching phantom power on. It is also important to switch phantom power to ‘off’ when you no longer have a phantom powered microphone connected. Connecting equipment that doesn’t require phantom power when still in phantom power mode can damage your equipment, as the camera outputs a charge when in this mode.
  • Page 79 Date and Time Set your camera’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. Date and time are also used for time of day timecode if an external timecode source is not connected.
  • Page 80 NTSC frame rates. Display ND Filter As On Blackmagic Pocket Cinema Camera 6K Pro, you can adjust how the ND filter indicator displays your ND filter setting. Each option corresponds to a different camera convention.
  • Page 81 Set Function Button On the top of your Blackmagic Pocket Cinema Camera you’ll notice three function buttons. The dots on the buttons represent function 1, function 2 and function 3. These can be mapped to frequently used features and are quickly accessible when using your camera. The function buttons are represented by dots and are located on the top of your camera To set these buttons, select a function button and then the behavior, settings and parameters...
  • Page 82 Toggle When set to this behavior, pressing a function button toggles a particular setting on or off. The ‘setting’ menu is greyed out in this mode. Instead, tap the left or right arrows in the parameter menu to scroll through the available options.
  • Page 83 Recording to storage media in the camera. Camera is live on air. Camera is about to go on air. To enable or disable the tally light indicator, use the ‘tally light LED’ switch. LED Brightness To set the brightness of the tally light LED, tap ‘low,’ ‘medium,’ or ‘high.’ Auto Dim Display Blackmagic Pocket Cinema 6K Pro has an option to automatically turn down the brightness of the LCD touchscreen during periods of inactivity to conserve battery power.
  • Page 84 DaVinci Resolve color corrector or even lens control. For more information see the ‘Blackmagic Camera Control’ document available at www.blackmagicdesign.com/au/developer/ To pair your camera with an iPad for the first time: Enable Bluetooth by tapping the ‘Bluetooth’ switch icon in the ‘setup’ menu.
  • Page 85 When your camera connects to your iPad, it confirms it is paired. If pairing the camera to your iPad fails, the camera presents an error message. Try connecting again. Settings...
  • Page 86 NOTE If you are not using Bluetooth to control your Blackmagic Pocket Cinema Camera, it is a good idea to turn Bluetooth off for the purpose of security. Disconnect Current Device Use this setting to disconnect your Blackmagic Pocket Cinema Camera from the iPad it is currently paired with.
  • Page 87 Blackmagic Pocket Cinema Camera uses Bluetooth LE to communicate with devices for wireless control. This is the same type of protocol used in portable devices, and uses a minimal amount of battery power. Setup Settings 5 The fifth page of the ‘setup’ tab has controls to perform a factory reset, remap pixels and to calibrate the horizon meter.

  • Page 88: Presets

    To begin this process, simply put on the lens cap and run the pixel remapping feature by tapping the ‘remap pixels’ button. The process takes approximately one minute to complete. Motion Sensor Calibration To calibrate the horizon meter, place your camera on a surface you know is level and tap the ‘calibrate motion sensor’...
  • Page 89 If your camera already has a preset loaded with the same name, you can choose to overwrite the existing preset or keep both. Enter a name for your preset by tapping the ‘add’ icon in the preset tab and using the touch keyboard Once you have a preset saved, tap its name in the preset menu to select it.

  • Page 90: 3D Luts

    NOTE If all 12 of your camera’s preset slots are full, the import menu is unavailable, and you need to delete an existing preset to make room. If the preset you want to import has the same name as a preset already saved to your camera, you can choose to overwrite the existing preset or keep both.
  • Page 91 Your Blackmagic Pocket Cinema Camera supports 33 point 3D LUTs in .cube format created in DaVinci Resolve and 17 point 3D LUTs converted to Resolve .cube format via LUT conversion programs. Your camera processes 3D LUTs using high quality tetrahedral interpolation. For more information on displaying LUTs, see the ‘monitor settings’...
  • Page 92 LUTs buttons The button icons along the bottom of your camera’s ‘LUTS’ screen correspond to the following functions: Load Media Manage Delete Importing LUTs To import a 3D LUT, tap the ‘manage’ icon at the bottom of the ‘LUTs’ menu. Tap ‘import LUT’, then tap ‘import’...

  • Page 93: Entering Metadata

    Deleting LUTs To delete LUTs you are no longer using or make room for more, select the LUTs you want to delete and tap the delete icon. When you are prompted to confirm your choice, tap ‘delete’. Embedded 3D LUTs When a 3D LUT is used while shooting Blackmagic RAW on Blackmagic Pocket Cinema Camera, the selected LUT will be embedded into the Blackmagic RAW file that you are recording.
  • Page 94 ‘Clip’ metadata Making changes to clip metadata works differently in standby mode to playback mode. In standby mode, when your camera is ready to record, clip metadata gets saved to the next clip recorded, except the ‘good take last clip’ button applies a ‘good take’ tag to the most recently recorded clip.
  • Page 95 ‚ 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. Your camera has an internal database stored for many commonly used lenses, so if you need to enter data manually, your camera will suggest names automatically as you type.
  • Page 96 NOTE You can clear lens data at any time by tapping the ‘reset lens data’ icon in the ‘lens data’ menu. You will be prompted to confirm your choice. If you confirm, all lens data will be cleared and repopulated with any lens data automatically provided by the currently fitted lens.
  • Page 97 When entering ‘scene’ metadata, the camera prompts you with scene number suggestions to the left of the touch keyboard, and shot types to the right Take The ‘take’ indicator shows the take number for the current shot. You can adjust it by tapping the left or right arrows on either side of the take number, or tapping the indicator to enter the take number editor.

  • Page 98: Camera Video Output

    Good take Tap the ‘good take’ indicator to tag good takes for easy recall in post production. This button applies the ‘good take’ tag to the clip currently being viewed in playback mode. If the camera is in standby mode and ready to record, the ‘good take last clip’ button applies a ‘good take’ tag to the last clip recorded.

  • Page 99: Using Davinci Resolve

    HDMI monitoring can be helpful when accessing the LCD is impractical, such as when the camera is secured high on a jib arm, on a crane, or mounted on a vehicle. Monitoring information is displayed on your HDMI output by adjusting the HDMI overlays options in the display settings menu.

  • Page 100: Project Manager

    Included here is information on how to get started using DaVinci Resolve with your camera files. Of course, DaVinci Resolve is extremely advanced and includes a lot more features than you immediately see when first looking at its user interface. To learn more about how to use DaVinci Resolve, please check for the DaVinci Resolve instruction manual on the Blackmagic website, where you can also find many training courses and tutorial videos.
  • Page 101 The Cut Page Layout When you open the cut page, you will see the media pool, viewer window and timeline. These three primary windows give you complete control over your edit. The ‘cut’ page default workspace, with the media pool in icon view For more information on the Cut page, see the ‘Using the Cut Page’...
  • Page 102 Titles: Next to transitions is the ‘titles’ tab. Here you can select the title type you ‚ want to use. For example a scroll, standard text or lower thirds title. There are also a list of Fusion templates you can use for more animated dynamic titles which can be customized in DaVinci Resolve’s ‘Fusion’...

  • Page 103: Adding Clips To The Timeline

    Importing Clips to the Media Pool Now you can start importing media into your project. You can do this in the media pool window of the cut page using the import tools at the top. Select one of the import options to add media to your project Import Media The import media option will import individual media files...
  • Page 104 There are different ways to add clips to the timeline, such as smart insert, append, place on top and more. Appending Clips When selecting takes and assembling an edit, you will likely want to add these shots to your timeline one after the other. The append tool is perfect for this task and will get you editing very fast.

  • Page 105: Editing Clips On The Timeline

    You can speed up the process further by assigning a keyboard shortcut to the ‘append’ icon. For example, if you assign the ‘P’ key, you can set your in and out points using ‘I’ and ‘O’ then press ‘P’ to append the clip. Refer to the DaVinci Resolve manual for information on how to assign shortcut keys.

  • Page 106: Working With Blackmagic Raw Files

    Working with Blackmagic RAW Files Blackmagic RAW clips give you maximum flexibility in post production. This lets you make adjustments to clips, such as white balance and ISO settings, as if you were changing the original camera settings. Working with Blackmagic RAW also retains more tonal information within shadows and highlights, which is useful for recovering details, for example in blown out skies and dark areas of the picture.
  • Page 107 The following information contains descriptions for the clip and gamma controls. The ISO value can be changed by increasing or decreasing this setting. This setting is helpful if you need to set the clip to a brighter or darker starting point for optimization. Highlight Recovery Check the box to reconstruct highlight information in clipped channels using information from non-clipped channels.
  • Page 108 Update Sidecar Click this button to update the Blackmagic RAW sidecar file for the current clip. Any changes you have made to your Blackmagic RAW clips will be identified by the gamma setting changing to Blackmagic Design Custom. If you want to revert your clip to one of the default gamma options available, simply select it from the gamma dropdown menu.

  • Page 109: Color Correcting Your Clips With The Color Page

    Set the white balance setting to ‘custom’. Select ‘Blackmagic Design Custom’ from the dropdown gamma menu. Set the color space to ‘Blackmagic Design’. This will also set the gamma setting to ‘Blackmagic Design Film’. Choose your resolution from the ‘Decode Quality’ menu. A lower resolution will give you better playback on limited systems.
  • Page 110 The parade scope helps you optimize highlights, mid tones and shadows Another way to color grade is to use the built in scopes to help you balance shots. You can open a single video scope by clicking the ‘scope’ button, which is the second from the right on the palette toolbar.
  • Page 111 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 112: 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 113 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 114: 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 115: 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 116 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 117 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 118 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 119: 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 120 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 121 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 122 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 123 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 124 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 125 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 126 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 127 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 128: 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 129: 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 130: Camera Control With Atem Mini

    Camera Control with ATEM Mini Pocket Cinema Camera gains studio features when you connect it to ATEM Mini. You can plug up to four Pocket Cinema Cameras into ATEM Mini, and control them from ATEM Mini and use professional studio features on networked computers running the ATEM Software Control application.
  • Page 131 Channel Status The channel status at the top of each camera controller displays the camera label, On Air indicator and lock button. Press the lock button to lock all the controls for a specific camera. When on air, the channel status illuminates red and displays the On Air alert. Camera Settings The camera settings button near the bottom left of the master wheel lets you adjust detail settings for each camera’s picture signal.
  • Page 132 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 133 Click on the auto focus button or drag the manual focus adjustment left or right to focus a compatible lens. Manual Focus Adjustment When you want to adjust the focus on your camera manually, you can use the focus adjustment located at the bottom of each camera controller. Drag the wheel control left or right to manually adjust focus while viewing the video feed from the camera to ensure your image is nice and sharp.

  • Page 134: Davinci Resolve Primary Color Corrector

    DaVinci Resolve Primary Color Corrector If you have a color correction background, then you can change your camera control from a switcher style CCU interface to a user interface that’s more like a primary color corrector on a post production color grading system. Blackmagic cameras feature a DaVinci Resolve primary color corrector built in.
  • Page 135 Color Wheels Click and drag anywhere within the color ring Note that you don’t need to drag the color balance indicator itself. As the color balance indicator moves, the RGB parameters underneath change to reflect the adjustments being made to each channel.
  • Page 136 Saturation Setting The Saturation setting increases or decreases the amount of color in the image. The default setting is 50%. Hue Setting The Hue setting rotates all hues of the image around the full perimeter of the color wheel. The default setting of 180 degrees shows the original distribution of hues. Raising or lowering this value rotates all hues forward or backward along the hue distribution as seen on a color wheel.

  • Page 137: Working With Third Party Software

    Working with Third Party Software To edit your clips using your favorite editing software such as DaVinci Resolve, you can copy your clips from your camera to an external drive or RAID and then import your clips into the software. You an also import your clips directly from your storage media using a dock or adapter for your CFast or SD card, or via the USB-C port for a USB-C flash disk.

  • Page 138: Using Final Cut Pro X

    Using Final Cut Pro X To edit your 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 1080p24. Final Cut Pro X project settings Launch Final Cut Pro X, go to the ‘menu’...

  • Page 139: Using Adobe Premiere Pro Cc

    In the ‘format’ menu select HD 1080 > 1080p/24 and click ‘ok’ to create the project. Double click the project in the ‘select project’ window to open it. Select file > input > source browser and navigate to the files you wish to import. Select your ‘target bin’...

  • Page 140: 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 141: Recommended Recording Media

    Recommended Recording Media CFast 2.0 Cards Recommended for Pocket Cinema Camera 6K Pro and 6K The following CFast 2.0 cards are recommended for recording 6K Blackmagic RAW 5:1 up to 50 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage...
  • Page 142 The following CFast 2.0 cards are recommended for recording 6K 2.4:1 Blackmagic RAW 5:1 up to 60 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO CF 128GB Angelbird AV PRO CF 256GB Angelbird AV PRO CF 512GB...
  • Page 143 The following CFast 2.0 cards are recommended for recording 2.8K 17:9 Blackmagic RAW 3:1 up to 120 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO CF XT 512GB CinediskPro 510MB/s CFast 2.0 256GB Hagiwara Solutions DC-SMAN64GA CFast 2.0...
  • Page 144 Brand Card Name Storage Delkin Devices CFAST 2.0 128GB Delkin Devices CFAST 2.0 256GB Exascend Essential 512GB Exascend Essential FreeTail Evoke Pro 3700x 128GB FreeTail Evoke Pro 3700x 256GB FreeTail Evoke Pro 3700x 512GB FreeTail Evoke Pro 3700x Hagiwara Solutions DC-SMAN64GA CFast 2.0 64GB Hagiwara Solutions...
  • Page 145 The following CFast 2.0 cards are recommended for recording 1080 ProRes 422 HQ up to 120 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO CF 128GB Angelbird AV PRO CF 256GB Angelbird AV PRO CF 512GB Angelbird AV PRO CF...
  • Page 146 Recommended for Pocket Cinema Camera 4K The following CFast 2.0 cards are recommended for recording 4K DCI Blackmagic RAW 3:1 up to 60 fps on Pocket Cinema Camera 4K. Brand Card Name Storage Angelbird AV PRO CF 128GB Angelbird AV PRO CF 256GB Angelbird AV PRO CF...
  • Page 147 The following CFast 2.0 cards are recommended for recording 4K DCI ProRes HQ up to 60 fps on Pocket Cinema Camera 4K. Brand Card Name Storage Angelbird AV PRO CF 128GB Angelbird AV PRO CF 256GB Angelbird AV PRO CF 512GB Angelbird AV PRO CF CinediskPro 510MB/s CFast 2.0...
  • Page 148 The following CFast 2.0 cards are recommended for recording 4K DCI Lossless RAW up to 30 fps on Blackmagic Pocket Cinema Camera 4K. Brand Card Name Storage Angelbird AV PRO CF 128GB Angelbird AV PRO CF 256GB Angelbird AV PRO CF 512GB CinediskPro 510MB/s CFast 2.0 256GB...
  • Page 149 SD Cards Recommended for Pocket Cinema Camera 6K Pro and 6K The following SD cards are recommended for recording 6K 16:9 Blackmagic RAW 5:1 up to 30 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO SD V90 64GB...
  • Page 150 The following SD cards are recommended for recording 6K 2.4:1 Blackmagic RAW 12:1 up to 60 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO SD V90 64GB ProGrade Digital SDXC UHS-II V90 300R 64GB ProGrade Digital SDXC UHS-II V90 300R 128GB...
  • Page 151 The following SD cards are recommended for recording 1080 ProRes 422 HQ up to 120 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird AV PRO SD V60 64GB Angelbird AV PRO SD V60 128GB Angelbird AV PRO SD V60 256GB Angelbird AV PRO SD V90...
  • Page 152 Recommended for Pocket Cinema Camera 4K The following SD cards are recommended for recording 4K DCI Blackmagic RAW 12:1 up to 30 fps on Pocket Cinema Camera 4K. Brand Card Name Storage Angelbird AV PRO SD V60 64GB Angelbird AV PRO SD V60 128GB Angelbird AV PRO SD V60...
  • Page 153 Brand Card Name Storage Sony Tough SF-G64T 64GB Sony Tough SF-G128T 128GB The following SD cards are recommended for recording 4K DCI 4:1 RAW up to 60 fps on Pocket Cinema Camera 4K. Brand Card Name Storage Sony Tough SF-G64T 64GB Sony Tough SF-G128T 128GB Toshiba...
  • Page 154 USB-C SSD Recommended for Pocket Cinema Camera 6K Pro and 6K The following USB-C drives are recommended for recording 6K Blackmagic RAW 5:1 up to 50 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird SSD2GO PKT 512GB Angelbird...
  • Page 155 The following USB-C drives are recommended for recording 2.8K 17:9 Blackmagic RAW 3:1 up to 120 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird SSD2GO PKT Delkin Devices Juggler G-Technology G-DRIVE mobile SSD R-Series 512GB G-Technology G-DRIVE mobile SSD R-Series...
  • Page 156 The following USB-C drives are recommended for recording 1080 ProRes 422 HQ up to 120 fps on Pocket Cinema Camera 6K Pro and 6K. Brand Card Name Storage Angelbird SSD2GO PKT Delkin Devices Juggler Delkin Devices Juggler GLYPH Atom Silver 250GB G-Technology G-DRIVE mobile SSD R-Series...
  • Page 157 The following USB-C drives are recommended for recording 4K DCI ProRes HQ up to 60 fps on Pocket Cinema Camera 4K. Brand Card Name Storage Angelbird SSD2GO PKT 512GB Angelbird SSD2GO PKT Angelbird SSD2GO PKT Delkin Devices Juggler Glyph Atom 500GB Lacie Portable SSD 500GB LaCie...

  • Page 158: Using A Battery Grip

    Using a Battery Grip Adding a battery grip to your Pocket Cinema Camera adds a horizontal handle and is a portable way to extend the duration of your shooting sessions. If you have a battery grip then it’s a good idea to install it now before you continue.
  • Page 159 Turn the knob on the front of the battery grip to the right to tighten the screw firmly and secure the battery grip to the camera. Attaching Blackmagic Pocket Camera Battery Grip Before you start attaching a battery grip, switch off your Pocket Cinema Camera 6K or Pocket Cinema Camera 4K and unplug any external power source.
  • Page 160 Insert the battery shaped part of the camera grip Turn the knob on the front of the battery grip to into the battery compartment of your camera. The the right to tighten the screw firmly and secure the 1/4 inch screw on top of the battery grip should line battery grip to the camera.

  • Page 161: Developer Information

    When you have a battery grip attached to Pocket Cinema Camera 4K or 6K and two batteries inserted, the battery level indicator in the top right corner of the LCD touchscreen shows two battery icons so you can monitor their charge level independently.
  • Page 162 These messages are identical to those described in the Blackmagic SDI Camera Control Protocol section below. Please read that section for a list of supported messages and required formatting information. Timecode (encrypted) UUID: 6D8F2110-86F1-41BF-9AFB-451D87E976C8 Request notifications for this characteristic to receive timecode updates. Timecode (HH:MM:SS:mm) is represented by a 32-bit BCD number: (eg.

  • Page 163: Blackmagic Sdi And Bluetooth Camera Control Protocol

    Blackmagic SDI and Bluetooth Camera Control Protocol Version 1.5 If you are a software developer you can use the Blackmagic SDI and Bluetooth Camera Control Protocol to construct devices that integrate with our products. Here at Blackmagic Design, our approach is to open up our protocols and we eagerly look forward to seeing what you come up with! Overview This document describes an extensible protocol for sending a unidirectional stream of small control messages embedded in the non-active picture region of a digital video stream.
  • Page 164 Defined Commands Command 0 : change configuration The category number specifies one of up to 256 configuration categories Category (uint8) available on the device. The parameter number specifies one of 256 potential configuration parameters available on the device. Parameters 0 through 127 are device Parameter (uint8) specific parameters.
  • Page 165 Group Parameter Type Index Minimum Maximum Interpretation Focus fixed16 – 0.0 = near, 1.0 = far Instantaneous autofocus void – – – trigger instantaneous autofocus Aperture Value (where fnumber Aperture (f-stop) fixed16 – -1.0 16.0 = sqrt(2^AV)) Aperture (normalised) fixed16 –...
  • Page 166 Group Parameter Type Index Minimum Maximum Interpretation 0 = Manual Trigger, 1 = Iris, 1.10 Set auto exposure mode int8 – 2 = Shutter, 3 = Iris + Shutter, 4 = Shutter + Iris Shutter angle in degrees, 1.11 Shutter angle int32 –...
  • Page 167 Group Parameter Type Index Minimum Maximum Interpretation Brightness fixed16 – 0.0 = minimum, 1.0 = maximum 0x1 = zebra, int16 Exposure and focus tools 0x2 = focus assist, – – 0 = disable, 1 = enable bit field 0x4 = false color Zebra level fixed16 –...
  • Page 168 Group Parameter Type Index Minimum Maximum Interpretation [0] red -2.0 default 0.0 [1] green -2.0 default 0.0 Lift Adjust fixed16 [2] blue -2.0 default 0.0 [3] luma -2.0 default 0.0 [0] red -4.0 default 0.0 [1] green -4.0 default 0.0 Gamma Adjust fixed16 [2] blue...
  • Page 169 Group Parameter Type Index Minimum Maximum Interpretation 0 = Preview, [0] = mode – – 1 = Play, 2 = Record -ve = multiple speeds backwards, [1] = speed – – 0 = pause, +ve = multiple speeds forwards 1<<0 = loop, 1<<1 = play all, [2] = flags –...

  • Page 170: Example Protocol Packets

    Group Parameter Type Index Minimum Maximum Interpretation 12.8 Project Name string [0-28] = project – – – 12.9 Lens Type string [0-55] = type – – – 12.10 Lens Iris string [0-19] = iris – – – 12.11 Lens Focal Length string [0-29] = focal length –...

  • Page 171: Help

    Blackmagic Design Online Support Pages The latest manual, software and support notes can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support. Contacting Blackmagic Design Support If you can’t find the help you need in our support material, please use the ‘Send us an email’...

  • Page 172: 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 173: Safety Information

    2.4 GHz ISM band is in compliance with directive 2014/53/EU. The full text of the EU declaration of conformity is available from compliance@blackmagicdesign.com Certified for South Africa by ICASA, approval number TA-2019/1517 for Pocket Camera 6K and TA-2019/1516 for Pocket Camera 4K.

  • Page 174: 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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