1. Manuals
  2. Brands
  3. Blackmagicdesign Manuals
  4. Recording Equipment
  5. URSA Broadcast G2
  6. Installation and operation manual

Blackmagicdesign URSA Broadcast G2 Installation And Operation Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

Download this manual
June 2023
Installation and Operation Manual
Blackmagic
URSA
Broadcast G2
Blackmagic URSA Broadcast G2

Advertisement

Table of Contents
loading

Related Manuals for Blackmagicdesign URSA Broadcast G2

Summary of Contents for Blackmagicdesign URSA Broadcast G2

  • Page 1 June 2023 Installation and Operation Manual Blackmagic URSA Broadcast G2 Blackmagic URSA Broadcast G2...
  • 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 1122 1402 中文 1682 한국어 Русский 1962 Italiano 2242 Português 2522 Türkçe 2802...
  • Page 3 ISOs while maintaining the full dynamic range of the sensor! We hope you use your URSA Broadcast G2 to produce some of the world’s most exciting television programming, documentaries and live studio content. We are extremely excited...

  • Page 4: Table Of Contents

    Blackmagic RAW  31 Blackmagic URSA Viewfinder  136 Recording to Blackmagic RAW  31 Mounting and Connecting to Choosing Frame Rates  34 Blackmagic URSA Broadcast G2  136 Triggering Record on External Equipment  37 Adjusting the Eyepiece  137 Record Duration Table  37 Button Features  137...
  • Page 5  276 Blackmagic URSA Mini Pro F Mount  201 Help  278 Blackmagic URSA Mini Pro PL Mount  205 Regulatory Notices  279 Blackmagic URSA Broadcast G2 B4 Mount  208 Safety Information  280 Shimming Lens Mounts  209 Warranty  281 Blackmagic URSA Broadcast G2...

  • Page 6: Getting Started

    Attaching a Lens Your URSA Broadcast G2 comes fitted with a B4 lens mount for HD and Ultra HD broadcast lenses. An additional EF mount is included so you can also use stills lenses, other compact- zoom or EF cine lenses. For instructions on switching lens mount types, refer to the ‘Interchangeable lens mount’...

  • Page 7: Powering Your Camera

    Mini shoulder pad included with your camera can be adjusted accordingly. Center of gravity When mounting URSA Broadcast G2 on the URSA Mini shoulder pad, it’s a good idea to mount the camera towards the rear of the shoulder pad base when using longer zoom lenses. This moves your camera rig’s center of gravity back over the middle of the pad, making it easier to...
  • Page 8 Use the supplied AC to 12V DC adapter to power your Blackmagic URSA Broadcast G2 Blackmagic URSA Broadcast G2 comes fitted with an URSA VLock Battery Plate. This lets you use industry standard V mount batteries with your camera. Refer to the ‘mounting batteries’ section for more information about mounting different types of battery plates to support different batteries.

  • Page 9: Using Servo Zoom Lenses

    LCD to power your camera on or off TIP If your URSA Broadcast G2 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.
  • Page 10 Your Blackmagic URSA Broadcast G2 is shipped ready to record to Blackmagic RAW Ultra HD. To confirm your record settings simply press the menu button to open the menu settings on the LCD.
  • Page 11 The default Blackmagic RAW settings in the ‘record’ tab Ultra HD is also the default resolution for both ProRes and H.265 codecs. If you’d like to shoot in HD that is also available in ProRes or H.264. The record tab in the menu settings TIP If you notice any vignetting in your images when using a B4 lens check that your resolution is set to Ultra HD when set to Blackmagic RAW.
  • Page 12 ‘iris’ switch. These control your lenses’ aperture ring. Auto Set this switch to ‘auto’ or ‘a’ to adjust your lens aperture via your URSA Broadcast G2, Blackmagic Zoom Demand or an ATEM switcher. You can adjust lens aperture from URSA Broadcast G2 using the iris wheel, internal control panel buttons, touchscreen controls, or iris based auto exposure modes.
  • Page 13 Your lens will also accept zoom commands from URSA Broadcast G2, Blackmagic Zoom Demand and ATEM switchers, so long as it is connected to the camera via the lens connector. In this mode, you typically can’t adjust your lens’s manual zoom ring.
  • Page 14 ‘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 G2, Blackmagic Focus Demand or an ATEM switcher via the lens connector. Manual Set this switch to ‘manual’...

  • Page 15: Setting The Back Focus On B4 Lenses

    Ret and VTR On a B4 lens, the ‘vtr’ button toggles recording and the ‘ret’ button is for ‘program return’. For information on how you can configure the ‘vtr’ and ‘ret’ button as function buttons, see the ‘set function button’ section in ‘setup settings’ later in this manual. The ‘ret’...
  • Page 16 To check the back focus of a B4 lens: Place a focus test chart, or a flat white item with good high contrast detail, approximately seventy feet, or as far away as possible, from the camera. Set the iris on the lens wide open and compensate for exposure by using the built in NDs if you need to.
  • Page 17 Large studio box lenses like Fujinon’s UA27x6.5 and UA125x8 and Canon’s UHD Digisuper series lenses can also be used with URSA Broadcast G2’s B4 mount. These types of box lenses allow horizontal and vertical image stabilization on studio style 27x lenses, as well as extreme zoom ranges with 80x and even 125x magnification which are incredible for broadcasting sports and outdoor events.
  • Page 18 PL zoom lenses used for motion pictures can also be used with your URSA Broadcast G2. When using servo driven PL or EF lenses, the full 6K sensor area of URSA Broadcast G2 can be used to get the most out of these lenses. For more information on setting the sensor area on your URSA Broadcast G2, refer to the ‘record settings’...

  • Page 19: Storage Media

    Storage Media Your Blackmagic URSA Broadcast G2 uses standard SD cards, faster UHS-II SD cards or CFast 2.0 cards to record video. Using the rear USB-C 3.2 Gen 2x1 port, you can connect high speed flash disks or high capacity solid state drives. You can also record to SSDs using the optional Blackmagic URSA Mini Recorder.

  • Page 20: Sd Cards

    SD Cards In addition to CFast 2.0 cards, Blackmagic URSA Broadcast G2 can record on high speed UHS-I and UHS-II type SD cards. Using high end SDXC UHS-II cards, you can record ProRes HQ footage in Ultra HD or even 6K in Blackmagic RAW! With SD cards, you can use more affordable storage media when shooting compressed video formats in HD.
  • Page 21 URSA Broadcast G2, please refer to the Blackmagic Design support center at https://www.blackmagicdesign.com/support/faq/59037. NOTE When filming high frame rate or Ultra HD footage on your URSA Broadcast G2, we recommend CFast 2.0 or SD UHS-II recording media, which are typically faster and available in higher storage capacities than SD UHS-I media.

  • Page 22: Recording To Usb-C Flash Disks

    SD card Your URSA Broadcast G2 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 23: Ssds

    Blackmagic Design support center at www.blackmagicdesign.com/support. SSDs With the optional Blackmagic URSA Mini Recorder, URSA Broadcast G2 can record video directly to solid state drives, or ‘SSDs’. These fast, high capacity drives are readily available from a variety of consumer electronics outlets.
  • Page 24 We highly recommend using only the SSDs from our recommended list, which have been tested with Blackmagic URSA Broadcast G2 to ensure support for continuous filming at the specified resolutions. For the most up to date list of recommended SSDs please go to https://www.blackmagicdesign.com/support/faq/59031.

  • Page 25: Preparing Media For Recording

    Tap a format button at the bottom of the touchscreen to format the card in slot 1 or 2, respectively. If you have a USB-C flash disk or SSD connected to the rear USB-C port of your URSA Broadcast G2, tap the ‘Drive List’ button. Then select the drive you want to format and tap ‘Format Drive’.
  • Page 26 Tap the pencil icon to manually edit the reel number You will be asked to confirm your selection. Tap the format button again to continue or ‘cancel’ to cancel the format. Check that you have selected the correct card before formatting You will be prompted to press and hold the ‘format’...

  • Page 27: Preparing Media On Mac

    CFast, SD, USB or SSD media TIP If your URSA Broadcast G2 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.

  • Page 28: Preparing Media On Windows

    Use Disk Utility on Mac OS to erase your CFast card in the Mac OS extended (journaled) or exFAT format Preparing Media on Windows The ‘format’ dialog box can format a drive in the exFAT format on a Windows PC. Remember to back up anything important from your media as all data will be lost when it is formatted.

  • Page 29: Recording

    LANC controller to your tripod so you can trigger the recording without taking your hands off the focus ring and tripod handle. You can also trigger record on one or more URSA Broadcast G2 cameras using a Blackmagic 3G-SDI Shield for Arduino and the Blackmagic SDI Camera Control protocol. For more information, see the ‘Developer Information’...

  • Page 30: Choosing The Codec, Resolution And Sensor Area

    Choosing the Codec, Resolution and Sensor Area Your Blackmagic URSA Broadcast G2 can record using Blackmagic RAW with either a constant quality or constant bitrate setting. You can also use Apple ProRes, H.264 or H.265 compressed video codecs for recording in Ultra HD and HD resolutions.

  • Page 31: Blackmagic Raw

    Blackmagic RAW Blackmagic URSA Broadcast G2 supports the new 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 32 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 33 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: Recording...

  • Page 34: Choosing Frame Rates

    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. Your camera’s sensor frame rate can also have a big impact on the ‘look’...
  • Page 35 Your shutter setting can also affect the visibility of flicker when shooting under lights, so your URSA Broadcast G2 can automatically calculate and display flicker free shutter options for your current frame rate. Note that the characteristics of individual light sources may still cause flicker even when using flicker free values.
  • Page 36 Resolution Codec Max Frame Rate Max Data Rate 1920x1080 Blackmagic RAW 3:1 161.4 MB/s 1920x1080 Blackmagic RAW 5:1 97.2 MB/s 1920x1080 Blackmagic RAW 8:1 61.1 MB/s 1920x1080 Blackmagic RAW 12:1 41 MB/s 1920x1080 Blackmagic RAW Q0 121.2 - 241.6 MB/s 1920x1080 Blackmagic RAW Q1 81.8 - 193.4 MB/s...

  • Page 37: Triggering Record On External Equipment

    You will also need to set your equipment to enable SDI trigger recording to make sure it responds to the trigger signal from your URSA Broadcast G2. If your SDI equipment supports SDI trigger recording, it can usually be enabled using your SDI equipment’s settings menu.
  • Page 38 809 mins Recording Motion Sensor Data Your Blackmagic URSA Broadcast G2 Camera automatically records gyro data from the internal motion sensor. DaVinci Resolve can then use this data to stabilize clips. For more information refer to the ‘gyro stabilization’ section in this manual.

  • Page 39: Playback

    URSA Broadcast G2’s LCD touchscreen. Your clips can also be viewed on any display connected to your URSA Broadcast G2’s SDI outputs. URSA Broadcast G2 TIP Blackmagic URSA Broadcast G2 has playback and transport controls buttons on both the internal and ergonomic control panels. NOTE Blackmagic URSA Broadcast G2 will play back clips sharing the same codec family, frame rate and resolution.

  • Page 40: Ursa Broadcast G2 Connectors And Features

    Lens Mount URSA Broadcast G2 is supplied fitted with a B4 mount. However, it’s interchangeable with the included EF mount and compatible with URSA Mini Pro PL and F mounts. Refer to the ‘Interchangeable lens mount’ section for more information.

  • Page 41: Left Side

    ‘URSA Broadcast G2 Controls’ for more information. Left Side URSA Broadcast G2’s left side panel lets you insert CFast 2.0 cards, SDXC or SDHC 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 G2’s...
  • Page 42 URSA Broadcast G2 with touchscreen open Internal Control Panel When your URSA Broadcast G2’s foldout monitor is open, you have access to the internal control panel. Use the controls here to set your audio inputs as well as phantom power settings.

  • Page 43: Right Side

    Standard rosette mount for the side handle. Refer to the ‘Getting Started’ and ‘Blackmagic URSA Mini Shoulder Kit’ sections. URSA Broadcast G2 has a rosette mount built into the right side if you need to attach an optional URSA Mini side handle HD Monitoring Output 3G-SDI connector for down converted 1080HD output.

  • Page 44: Rear Panel

    12G-SDI Out Blackmagic URSA Broadcast G2’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 45 Refer to the ‘setup settings’ in the manual for more information. On URSA Broadcast G2 the SDI Input can be used for feeding external timecode to the camera as well. This will lock to the incoming timecode automatically if the frame rate of the incoming SDI signal matches and has valid timecode.

  • Page 46: Top Panel

    PA systems or external microphones. The XLR connectors supply 48V phantom power so you can use microphones that aren’t self powered. Refer to the ‘URSA Broadcast G2 controls/internal control panel’ section for more information on phantom power.

  • Page 47: Ursa Broadcast G2 Controls

    URSA Broadcast G2 forward control panel Power Switch Power your URSA Broadcast G2 by moving this switch to the ‘on’ position. Power off by moving the switch to the ‘off’ position. TIP You can also power your URSA Broadcast G2 on or off via a combination of control panel switches.
  • Page 48 When set to ‘iris’, the settings wheel is used to adjust the aperture of compatible lenses mounted to your URSA Broadcast G2. Rotating the wheel downwards opens the iris, and turning the wheel upwards closes the iris. These directions mimic the operation of aperture on adjustable still and cinema lenses.
  • Page 49 Holding the switch up or down will move more quickly through available values. There are twelve shutter speed presets between 1/24 and 1/2000. TIP Your URSA Broadcast G2 can also suggest flicker free shutter speeds based on the power frequency in your region. These must be selected through the LCD touchscreen menu.

  • Page 50: 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 G2’s ‘frame rate’ menu. Pressing this button will toggle between your chosen off speed frame rate and project frame rate.
  • Page 51 Your URSA Broadcast G2 supports two channels of audio. Lock Use this switch to lock all of the settings on your URSA Broadcast G2’s ergonomic control panel. The only controls that will remain active while the lock switch is ‘on’ are the monitor channel select switches.
  • Page 52 ‘f’ or ‘T’ stop. Card Information The ‘card 1’ and ‘card 2’ indicators will appear on your URSA Broadcast G2’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 53 ‘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 G2 touchscreen, and the record indicator on the status LCD will flash three times.
  • Page 54 If using the optional EF lens mount, in order for URSA Broadcast G2 to be able to auto focus with your lens, you need to ensure that your lens is set to auto focus mode.

  • Page 55: Internal Control Panel

    Internal Control Panel With your URSA Broadcast G2’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 56 See the ‘getting started’ section for more information. Some EF lenses also have both manual and auto focus modes. In order for URSA Broadcast G2 to be able to auto focus with your lens, you need to ensure that your lens is set to auto focus mode.

  • Page 57: Camera Video Outputs

    NOTE You can power your URSA Broadcast G2 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’...
  • Page 58 You can connect the 12G-SDI output to any 1080 HD or Ultra HD live production switcher or monitor. The HD monitoring output can be plugged into an external viewfinder, such as the Blackmagic URSA Viewfinder, or plugged into an external monitor when mounted to production equipment. For example a jib arm or crane 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.

  • Page 59: Touchscreen Controls

    Your Blackmagic URSA Broadcast G2’s fold out LCD touchscreen pivots for shooting high and low angles. Buttons on the outside of the LCD panel let you control your URSA Broadcast G2 when mounted on your shoulder using the URSA Viewfinder and the LCD closed.
  • Page 60 ‘focus assist’ tab. To set the level of focus assistance for all outputs on your URSA Broadcast G2, drag the slider left and right along the bottom of your touchscreen, or tap the arrow buttons next to the focus assist level.
  • Page 61 The ‘frame guide’ setting toggles the appearance of frame guides on the LCD touchscreen. You can also choose from frame guide options for all outputs on your URSA Broadcast G2. Frame guides include aspect ratios for various cinema, television and online standards.
  • Page 62 14:9. You can use this as a compositional guide if you know your project may be broadcast by a television station that uses 14:9 cropping. URSA Broadcast G2 LCD touchscreen with 14:9 frame guides enabled Displays the 4:3 aspect ratio compatible with SD television screens, or to help with framing when using 2x anamorphic adapters.
  • Page 63 ‘frame guides’ tab. When your URSA Broadcast G2 is set up and connected to an ATEM switcher as the current program source, and ‘grids’ are set to ‘on’, the red ‘program’ tally outline will automatically illuminate on the LCD.
  • Page 64 The rule of thirds grid automatically scales to any on screen frame guides Thirds The ‘thirds’ setting displays a grid with two vertical and horizontal lines placed in each third of the image. Thirds are an extremely powerful tool to help compose your shots. For example, the human eye typically looks for action near the points where the lines intersect, so it’s helpful to frame key points of interest in these zones.
  • Page 65 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 G2. Safe areas can be used in broadcast production to ensure that the most important parts of a shot can be seen by viewers.
  • Page 66 False Color The ‘false color’ setting toggles the appearance of false color exposure assistance on the LCD touchscreen. False color overlays different colors onto your image that represent exposure values for different elements in your image. For example, pink represents optimum exposure for lighter skin tones, while green is a good match to darker skin tones.
  • Page 67 The ‘screen brightness’ setting set to 50%. ND Filter indicator Your URSA Broadcast G2 has an ND filter indicator in the top left of the LCD touchscreen and any SDI outputs set to show status text. The indicator uses the format you’ve selected in the ‘setup’...
  • Page 68 29.97, 30, 50, 59.94 and 60 frames per second. To adjust your URSA Broadcast G2’s project frame rate while in the ‘FPS’ menu, tap the left or right arrows next to the current frame rate at the bottom left of your touchscreen. Alternatively, you can drag the slider left or right.
  • Page 69 Broadcast G2 will automatically calculate flicker free shutter speeds for your current frame rate. These speeds are affected by mains power frequency in your region. You can set your local power frequency to 50Hz or 60Hz in your URSA Broadcast G2’s setup menu. See the ‘setup settings’ section in this manual for more information.
  • Page 70 Tapping the ‘shutter’ indicator brings up the shutter speed menu along the bottom of your URSA Broadcast G2’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 G2’s ‘setup’...
  • Page 71 URSA Broadcast G2 will begin adjusting the shutter speed to keep exposure constant. TIP When an auto exposure mode that effects the shutter is enabled, a  small “A” will appear next to the shutter speed indicator at the top of your URSA Broadcast G2 touchscreen.
  • Page 72 For this reason, we recommend using only ‘shutter’ auto exposure mode if shooting with EF lenses. Duration Display At the top of your URSA Broadcast G2 LCD touchscreen, you’ll see your camera’s duration display. Your URSA Broadcast G2’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.
  • Page 73 Appears to the right of the duration display when you are viewing preset record run timecode. Appears when a valid reference source is connected and locked, based on the reference input settings. Appears to the left of the duration display when your Blackmagic URSA Broadcast G2 is using a windowed sensor mode. Gain The ‘Gain’...
  • Page 74 3200K adds some blue to the image. This balances the color so white is accurately recorded. Your URSA Broadcast G2 comes with white balance presets for a variety of color temperature conditions. These are:...
  • Page 75 Use this with a white or neutral gray surface to automatically set a neutral white balance Power Your URSA Broadcast G2’s power status is displayed in the top right of the LCD screen. There are five possible indicators: Your URSA Broadcast G2’s power indicator is at the top right of the LCD touchscreen.

  • Page 76: Lower Toolbar

    Lower Toolbar Histogram At the bottom left of your URSA Broadcast G2 touchscreen, you’ll see the histogram. The RGB histogram shows the tonal distribution of the image separated into individual red, green and blue channels.
  • Page 77 A red ‘LUT’ icon is displayed when recording to ProRes, H.265 or H.264 Dropped Frame Indicator The ‘record’ button will be overlaid with a flashing ‘!’ indicator if your URSA Broadcast G2 begins dropping frames while recording. The time remaining indicator for the affected card or cards will also turn red.
  • Page 78 See the ‘record settings’ section in this manual for more information. Storage Indicators At the bottom of your URSA Broadcast G2 touchscreen next to the ‘record’ button, you’ll see the storage indicators. Recording Time Remaining When a CFast or SD card is inserted, or a USB-C flash disk or SSD is attached to your camera, the storage indicators show how much recording time is left on each card or drive.
  • Page 79 This menu displays the amount of free space on each CFast card, SD card, USB-C flash disk or SSD currently connected to your URSA Broadcast G2, as well as the name of the card or drive, remaining record time, total number of clips, and the file format for each card or drive. Tapping the card or drive name in the storage menu sets it as the active card or drive.
  • Page 80 When you have ‘focus zoom’ enabled you can also make a pinch to zoom multitouch gesture to adjust the zoom level on the touchscreen. The ‘setup’ menu on your URSA Broadcast G2 lets you configure a function button as a ‘focus zoom’ toggle that behaves like a double tap on the touchscreen.
  • Page 81 It can be useful when framing or focusing a shot to temporarily hide your touchscreen’s status text and meters. Simply swipe up or down on URSA Broadcast G2’s LCD touchscreen to hide these. The record indicator, frame guides, grids, focus assist and zebra will remain visible.

  • Page 82: Looping Playback

    ‘play’. TIP Swipe up or down on your URSA Broadcast G2’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’...

  • Page 83: Settings

    Settings Dashboard Pressing the ‘menu’ control button on your URSA Broadcast G2 will bring up your camera’s dashboard. This is a tabbed menu containing the settings not available from your URSA Broadcast G2’s head up display. Settings are divided by function into ‘record,’ ‘monitor,’ ‘audio,’...
  • Page 84 ‘codec and quality’ menu. Now choose ‘Ultra HD’ in the resolution menu. Blackmagic RAW ‘resolution’ options NOTE Blackmagic URSA Broadcast G2 supports Blackmagic RAW in all resolutions, Apple ProRes in Ultra HD and HD, H.265 in Ultra HD and H.264 in HD.
  • Page 85 When using broadcast lenses on URSA Broadcast G2’s B4 mount you should ensure that your sensor area is set to 4K as this is the area of the frame that these lenses will cover. The 5.3K and 6K sensor area is roughly Super 35 size and so is compatible with most EF, F mount and PL lenses.
  • Page 86 Preferred Media for Recording Use this setting to select which storage card, SSD or flash disk your URSA Broadcast G2 will record to first when more than one storage slot is in use. The options are ‘card 1’, ‘card 2’, ‘USB’...
  • Page 87 Merging files for Editing Copy the .BRAW and .BRAW2 files from both memory cards into the same folder on your computer, and DaVinci Resolve will bring them in as a single, merged clip when you import them into your media pool. If the .BRAW and .BRAW2 files are separated, the clips can play independently at half the frame rate.
  • Page 88 B4 lenses, particularly those with more extreme zoom ranges. The Lens Correction feature allows you to correct for this in-camera on URSA Broadcast G2 with broadcast B4 and broadcast PL lenses. It is switched on by default when the camera detects necessary information from the broadcast lens.
  • Page 89 Apply LUT in File If you are applying a LUT to any of the outputs from your URSA Broadcast G2, the selected LUT will be embedded into the Blackmagic RAW file you are recording. This means that the LUT will be saved in the header of the file and can easily be applied to the clip in post production without needing to handle a separate file.

  • Page 90: File Naming Convention

    The ‘monitor’ tab lets you adjust status text, overlays, and other monitoring options for your URSA Broadcast G2’s LCD touchscreen, front and main SDI outputs. Options are arranged by output between ‘LCD’, ‘front SDI’ and ‘main SDI’. Each of these menus have five pages of options, which you can cycle through by tapping the arrows at the edge of your camera’s touch...
  • Page 91 ‘display LUT’ switch in the ‘Monitor’ menu for that output. Display 3D LUT Your URSA Broadcast G2 can apply 3D LUTs to any output to approximate the look of color graded footage. This is especially useful when shooting with ‘film’ dynamic range as it can produce an intentionally ‘flat’...
  • Page 92 For more information on false color, see the ‘touchscreen features’ section in this manual. Monitor Settings 2 The second page of your URSA Broadcast G2’s ‘LCD’ monitor tab contains some settings that vary depending on the selected output. LCD, Front SDI and Main SDI...
  • Page 93 Anamorphic lenses designed for 16:9 digital image sensors often use a 1.33x squeeze factor to produce 2.4:1 cinematic widescreen images from the entire 16:9 sensor. Therefore, when your URSA Broadcast G2 is set to 16:9 resolutions such as ’4K 16:9’ and ‘HD 16:9,’ ‘anamorphic desqueeze’ should be set to ‘1.33x’.
  • Page 94 ‚ OPERATOR Identifies the camera operator as set in your URSA Broadcast G2’s Slate. See the ‘slate’ section in this manual for more information. ‚ DURATION DISPLAY Displays the duration of the current clip, while recording, or the last recorded clip in the following format: hours:minutes:seconds ‚...
  • Page 95 Tap the left or right arrows in the ‘frame guides’ menu setting to cycle through frame guide options for all outputs on your URSA Broadcast G2, including EVFs such as Blackmagic URSA Viewfinder. The options are detailed in the ‘touchscreen features’ section of this manual, and are also accessible from the LCD monitoring menu in your LCD touchscreen head up display.
  • Page 96 For more information, see the ‘grids’ guide in the ‘touchscreen features’ section earlier in this manual. Monitor Settings 5 The fifth page of your URSA Broadcast G2’s ‘LCD’ monitor tab contains some settings that vary depending on the selected output. LCD only LCD Brightness Drag the ‘LCD brightness’...

  • Page 97: Audio Settings

    You can map each audio channel to a different source, as well as adjusting various settings such as padding and low cut filters. These settings work together with the switches on your URSA Broadcast G2’s internal control panel. So after you’ve set your audio source for a particular channel, you can use the internal control panel switches to set the signal type and whether phantom power is enabled for that channel.
  • Page 98 ‚ XLR 1 or 2 - Mic Backup Use this setting to record audio from a microphone plugged into your URSA Broadcast G2 XLR 1 or 2 input at a lower level than the standard ‘mic’ recording. This can be used to avoid audio clipping in the event of an unexpected increase in loudness.

  • Page 99: Setup Settings

    If you are using VU metering, adjust the input levels on you Blackmagic URSA Broadcast G2 so that the meter peaks at the 0db indicator on the audio meter. This maximizes the signal to noise ratio and ensures your audio is at the highest quality.
  • Page 100 Date and Time Tap the pencil icon to set your URSA Broadcast G2’s date and time. The date format is year, month, day and the time format is 24 hour. Your URSA Broadcast G2’s date and time are also used for time of day timecode if an external timecode source is not connected.
  • Page 101 NTSC frame rates. Display ND Filter As Use this setting to adjust how the ND filter indicator on your URSA Broadcast G2 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...
  • Page 102 G2, including the LCD touchscreen, simply tap the ‘color bars’ switch icon. Reference Source This setting is used to select the reference source. Your URSA Broadcast G2 can lock to an internal or external reference source, or to the reference signal in the program input from an ATEM switcher.
  • Page 103 LCD touchscreen closed, such as when you are using URSA Viewfinder. The default setting for the ‘HFR’ button is ‘off speed rec’, though you can assign other functions to it. Your URSA Broadcast G2’s ‘F1’, ‘F2’ and ‘HFR’ buttons are located on the forward control panel Settings...
  • Page 104 TIP If your URSA Broadcast G2 has a B4 lens with a lens connector, you can configure the ‘vtr’ and ‘ret’ buttons as function buttons and assign preset or toggle functions in addition to the ‘F1’, ‘F2’ and ‘HFR’ buttons. To set these buttons, use the arrows to select a function button and then its behavior, a setting, and a parameter for that setting.
  • Page 105 Configuring the ‘vtr’ button on a B4 lens to function as a ‘push to talk’ button Setup Settings Page 5 The fifth page of your URSA Broadcast G2’s ‘setup’ tab contains settings to configure the optional Blackmagic Zoom Demand. These settings are only active when you have Blackmagic Zoom Demand attached to your URSA Broadcast G2.
  • Page 106 Setup Settings Page 6 The sixth page of your URSA Broadcast G2’s ‘setup’ tab contains settings to configure the optional Blackmagic Focus Demand. These settings are only active when you have Blackmagic Focus Demand attached to your URSA Broadcast G2.
  • Page 107 The seventh page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Status LED Your URSA Broadcast G2 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 108 Status LED Brightness To set the brightness of your URSA Broadcast G2’s status LED, simply tap ‘low,’ ‘medium,’ or ‘high.’ TIP The status LED settings on your Blackmagic URSA Broadcast G2 also control the status LEDs on URSA Mini Recorder, Blackmagic Zoom Demand and Blackmagic Focus Demand.
  • Page 109 Quality Use the arrow buttons to select a streaming quality. Setup Settings Page 9 The ninth page of your URSA Broadcast G2’s ‘setup’ tab contains settings that relate to your camera’s streaming options. Stream Information Toggle the ‘stream information’ switch to ‘on’ to display information on your camera’s status display.
  • Page 110 Display 3D LUT Toggle this setting to ‘on’ if you want to apply a 3D LUT to your stream. Switching the ‘display 3D LUT’ setting to ‘on’ will only apply a LUT to the direct stream output. If you are simultaneously recording to Blackmagic RAW or ProRes video codecs while streaming, you can use the LUT options in the record menu to add a LUT to your files, or the monitor settings to add a LUT on the LCD or SDI outputs.
  • Page 111 Bluetooth devices up to 30 feet away. Because URSA Broadcast G2 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 112 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 G2 is now paired with your iPad.
  • Page 113 Use this setting to disconnect your URSA Broadcast G2 from the iPad it is currently paired with. Clear Paired Devices Use this setting to clear the list of devices that your URSA Broadcast G2 has been paired with. Controlling Your Camera with the Blackmagic Camera Control App...
  • Page 114 As this is the same type of protocol used in portable devices, it only uses a minimal amount of battery power. You can power off your URSA Broadcast G2 by tapping ‘power off’ in the top right corner. You will be prompted to confirm your selection...
  • Page 115 When selecting ‘factory reset’ you will be prompted to confirm your action Motion Sensor Calibration To calibrate the horizon meter on URSA Broadcast G2, place your camera on a surface you know is level and tap the ‘calibrate motion sensor’ button. It is essential that you keep the camera stable during calibration.

  • Page 116: Presets

    All camera sensors, regardless of manufacturer, will develop this variation in pixel brightness over time. To solve this, URSA Broadcast G2 has a built in recalibration feature that you can run if you see any pixels that are brighter than others.
  • Page 117 You can also import and export presets, which is very useful for setting up a multi camera shoot. Simply set up one URSA Broadcast G2 to suit your project, then export that preset for all the other URSA Broadcast G2s on set.
  • Page 118 You can update a preset by tapping the ‘update’ icon. This will bring up a prompt asking you if you want to update the preset with your URSA Broadcast G2’s current setting. Tap ‘update’ to confirm. Select a preset and tap the ‘load’ icon to load it. Selected presets will appear solid blue, while currently loaded presets have a blue line on the left of their icon...

  • Page 119: Luts

    Deleting presets Your URSA Broadcast G2 has space for sixty presets. To delete a preset, select it and tap the ‘delete’ icon. You will be prompted to confirm your choice. Tap ‘delete’ to confirm. LUTS The ‘LUTS’ menu lets you import, export and apply 3D LUTs to your camera’s outputs.
  • Page 120 Tap a LUT to select it and tap ‘import’ to confirm your selection. The LUT will be saved to your URSA Broadcast G2. NOTE If your URSA Broadcast G2’s thirty 3D LUT slots are full, you will not be able to import until you delete some existing LUTs to make space.
  • Page 121 Deleting LUTs Your URSA Broadcast G2 has space for thirty 17 point or 33 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.

  • Page 122: Entering Metadata

    The Slate Swiping left or right on your URSA Broadcast G2’s touchscreen will bring up the slate. The slate is divided into ‘clips’, ‘project’ and ‘lens data’ tabs. The ‘clips’ 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 123 The ‘reel’ indicator shows the current reel. Your URSA Broadcast G2 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 124 When entering ‘scene’ metadata, your URSA Broadcast G2 will prompt you with increment 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 increment this up or down by tapping the left or right arrows on either side of the take number, or tapping the indicator to enter the take number editor.
  • Page 125 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 G2 is in standby mode, or the clip currently being viewed in playback mode.
  • Page 126 Lens Data The ‘lens data’ page displays information about the lens fitted to your URSA Broadcast G2. Many electronic lenses automatically supply information such as the lens model, aperture and focal length. If you are using a lens that does not provide this information, or you want to enter additional data, you can tap the pencil icon in this setting to enter the information manually.

  • Page 127: Gyro Stabilization

    Gyro Stabilization Your Blackmagic URSA Broadcast G2 Camera automatically records pan, tilt and roll data captured by an internal motion sensor. This data is also known as gyro data, which DaVinci Resolve can then use to stabilize handheld shots.
  • Page 128 Tap on the ‘focal length’ section and type in the focal length of the lens you are using. For example, if you are using an analog B4 lens at a 8mm focal length type in ‘8mm’. Enter ‘lens data’ when using lenses that do not have electronic communication with the camera NOTE You will need to update this information each time you change focal lengths on manual or analog lenses.

  • Page 129: Streaming Video

    Streaming Video URSA Broadcast G2 has its own built in streaming engine that enables the camera to stream directly to platforms such as YouTube, Facebook Live and Twitch. You can also connect URSA Broadcast G2 to an ATEM switcher on the same Ethernet network, or via the Internet anywhere in the world using an optional ATEM Streaming Bridge.

  • Page 130: Smartphone Setup

    Smartphone Setup Connect a smartphone to your camera’s USB-C expansion port using a USB-C cable. This connection lets you set up fast and be streaming to the world in any location where your smartphone has a 4G or 5G cellular connection. Settings The first step to setting up your smartphone for internet streaming is to make sure it has hotspot activated.

  • Page 131: Setting The Atem Camera Id

    The ATEM camera ID is a setting in your camera’s menu settings that determines which SDI input your URSA Broadcast G2 is connected to on the ATEM switcher. When the camera ID corresponds to the switcher’s input number, your camera will detect tally data for that input and tally and camera control will work correctly.

  • Page 132: Loading The Xml File

    Loading the XML File To import an XML settings file in to your URSA Broadcast G2, copy the file to an SD card, CFast card or USB-C flash disk. On the ninth page of your camera’s setup menu, tap on the button labeled ‘import settings’.

  • Page 133: Ursa Mini Shoulder Kit

    URSA Mini Shoulder Kit Attaching the shoulder kit The URSA Mini Shoulder Kit lets you carry your Blackmagic URSA Broadcast G2 on the shoulder for ENG style shooting. Most of the items in the URSA Mini Shoulder kit are shipped with your Blackmagic URSA Broadcast G2, including the shoulder pad, baseplate, top handle and viewfinder adapter plate.
  • Page 134 Gently place your URSA Broadcast G2 upside down on a flat, stable surface so you can easily access the base of your camera. Fasten the shoulder kit baseplate to URSA Broadcast G2 using the 2 x 1/4" flat head screws and driver.
  • Page 135 To attach the side handle extension arm: Place your URSA Broadcast G2 on a flat, stable surface allowing room next to the camera to lower the extension arm. Mounting URSA Broadcast G2 to a tripod is helpful for this purpose.

  • Page 136: Blackmagic Ursa Viewfinder

    For example, if you select the ‘2.40:1’ frame guide option in URSA Broadcast G2’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 137: Adjusting The Eyepiece

    To connect your URSA Viewfinder to your URSA Broadcast G2, simply connect the viewfinder’s attached cables to your camera’s front 12V power and 3G-SDI outputs. The URSA Viewfinder will turn on automatically when your camera is powered. Connect your viewfinder’s SDI and power cables to your URSA Broadcast G2’s HD-SDI monitoring output and +12 volt output...

  • Page 138: Menu Settings

    ZOOM (F1) - ‘menu’ The ‘zoom’ feature helps you find sharp focus by zooming into your picture. Press the ‘zoom’ button to zoom in and press again to return to 100% view. When using the settings menu, the ‘zoom’ button also serves as the ‘menu’ button. Press and hold this button to open the settings menu.
  • Page 139 Meters Switches between the types of meters to display in overlay view. The options are ‘histogram’, ‘audio’, ‘both’ or ‘none’. Peaking Switches peaking on and off. Zebra Switches zebra levels on and off. Set your desired zebra levels using the camera settings. For more information, refer to the ‘settings’...
  • Page 140 Grid Toggles the appearance of a rule of thirds grid, crosshair or center dot. When ‘grids’ are turned ‘on’ in your URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting toggle their appearance in your Blackmagic URSA Viewfinder.
  • Page 141 Toggles the appearance of status text, such as white balance, frame rate and ISO. When ‘status text’ is turned ‘on’ in your URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting toggle its appearance in your Blackmagic URSA Viewfinder.

  • Page 142: Blackmagic Ursa Studio Viewfinder

     need to be powered when updating, so we recommend keeping the viewfinder connected to your URSA Broadcast G2 during the update process. This also means your URSA Broadcast G2 will need to supply consistent power, so be sure to plug into external power.

  • Page 143: Mounting And Connecting To Blackmagic Ursa Broadcast G2

    Using the supplied VLock mount plate you can mount the Blackmagic URSA Studio Viewfinder directly to the top of your URSA Broadcast G2 or to the top handle of the URSA Mini Shoulder Kit that is included with your camera.
  • Page 144 V-Lock mount plate being attached to 3rd party camera The V-Lock mount plate can also be installed on any camera you want to use the URSA Studio Viewfinder with that has 1/4" mounting points, or by using a third party cheese plate. You can also mount the Blackmagic URSA Studio Viewfinder to a third party camera system that has an existing V-lock mount plate as many of them have this quick release plate on them already.

  • Page 145: Adjusting The Blackmagic Ursa Studio Viewfinder

    To connect your Blackmagic URSA Studio Viewfinder to your URSA Broadcast G2, 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 146 The supplied mount features tension dials for pan and tilt, with additional tension dials on either side of the viewfinder for additional friction control. The left hand dial allows you to adjust the drag friction of the arm and the right hand dial allows you to lock the Viewfinder in place once you have found the angle you require.
  • Page 147 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.

  • Page 148: Button Features

    As with functions. URSA Broadcast G2 you have the option of ‘red’, ‘green’, ‘blue’, ‘black’ and ‘white’ ON/OFF switch lines which gives you flexibility to make...
  • Page 149 TIP When using the Blackmagic URSA Studio Viewfinder with an ATEM switcher, it is important to select ‘clean feed’ on URSA Broadcast G2 to ensure that you don’t see overlays or the focus box on the SDI output to the ATEM switcher. Navigate to the ‘monitor’...

  • Page 150: Menu Settings

    Switches zebra levels on and off. The level of zebra will be determined by the setting on your URSA Broadcast G2, in the third page of the ‘Monitor’ settings menu. When the Studio Viewfinder is not connected with URSA Broadcast G2, the zebra level will represent 95% of the luminance levels of a Rec 709 signal.
  • Page 151 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 G2, in the fourth page of the ‘Monitor’ settings 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 152 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 153 Gives you the option to show ‘frame guides’ as part of your Studio Viewfinder’s ‘Guides’. When connected to URSA Broadcast G2 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 154 URSA Broadcast G2 during the update process. This also means your camera will need to supply consistent power, so be sure to plug into external power.

  • Page 155: Blackmagic Zoom And Focus Demands

    NOTE When using your Blackmagic URSA Studio Viewfinder with URSA Broadcast G2, we recommend updating your viewfinder’s internal software to the latest version to ensure compatibility. The latest software can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support. Refer to the ‘Blackmagic Camera Setup Utility’...
  • Page 156 Each unit is supplied with a 1 meter long USB-C cable which is connected directly from your URSA Broadcast G2’s rear USB-C port to the demand unit’s ‘cam’ port. If you are using both demand units, daisy chain them together by connecting the first unit to the second unit via USB-C.

  • Page 157: Using Blackmagic Focus Demand

    The USB-C cable has locking screws on each end to secure the connectors to each unit, preventing accidental disconnection. You don’t have to use the locking screws, but they are helpful for studio setups where the units are always connected to your URSA Broadcast G2. The Blackmagic Focus and Zoom Demands let you control focus...

  • Page 158: Using Blackmagic Zoom Demand

    NOTE The quick zoom feature is only visible on the Blackmagic URSA Broadcast G2’s LCD and will not be visible on the output video connected to a switcher or recorder.

  • Page 159: Mounting Batteries

    Mounting Batteries Mounting V-mount or Gold Mount Batteries Your Blackmagic URSA Broadcast G2 comes fitted with a URSA VLock Battery Plate for attaching industry standard VLock batteries to your camera. Other battery types can also be mounted by attaching an optional Blackmagic URSA Gold Battery Plate, or a third party battery plate.
  • Page 160 If you want to modify your own battery plate to use with your Blackmagic URSA Broadcast G2, then you can use the supplied adapter cable and connector. Refer to the ‘using your own battery plate’ section for information about how any battery plate can be modified to use with URSA Broadcast G2.

  • Page 161: Using Your Own Battery Plate

    Using your own Battery Plate Adapter Cable and Connector If you want to modify a third party battery plate for use with your URSA Broadcast G2, you can use the supplied adapter cable and connector, which is also available at your local Blackmagic Design support office.
  • Page 162 Wire Configuration Table Pins Signal Color Direction Description 1, 2, 3, 4 Batt To URSA 12 V to 20 V 5, 6, 9, 10 Black – – Monitor0 Blue To URSA Analog battery level or open drain data line (20 V max) Monitor1 Green To URSA...

  • Page 163: 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 G2 or URSA Mini camera and an ATEM switcher. SMPTE fiber lets 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 164: 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 165 TIP Connect the rubber cap from each end of the SMPTE fiber cable into the rubber cap on each converter to prevent any dust or debris from entering the caps. 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.

  • Page 166: 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 167 Once plugged in, it is a good idea to connect the rubber cap from the end of the SMPTE fiber cable into the rubber cap from the Blackmagic Studio Fiber Converter. This will prevent any dust or debris from entering the caps, and ensure that the caps remain clean. 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...
  • Page 168 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 crucial that great care is taken. For example, avoid kinks in the cable, always prevent the cable from being pressed under heavy items, and avoid bending at 90 degree angles.
  • Page 169 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 170: Why Connections On The Front

    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 ‘SDI out’...

  • Page 171: Plugging In Camera Sdi

    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 G2 or URSA Mini’s rear panel.
  • Page 172  Before installing Blackmagic Camera Fiber Converter you should check that URSA Mini’s internal software is version 4.4 or above and URSA Broadcast G2 is 4.6 or above. You can check your software version on page 4 of the camera’s ‘setup’ menu.
  • Page 173 SDI input on the rear of your camera. NOTE  When setting up your production and using URSA Broadcast G2 or URSA Mini with the fiber unit attached, it’s important to maintain some clearance underneath the fiber unit to allow adequate ventilation.

  • Page 174: 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 Plug a broadcast headset into one of the two 5 pin XLR connectors on the front of the...

  • Page 175: 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 176: Using The Call Button

    Using the Call Button Next to the return buttons is a ‘call’ button, that when pressed, flashes the red tally indicator on your Blackmagic Studio Fiber Converter’s LCD screen. The ‘call’ button also makes a numbered ‘press to talk’ button on the panel of ATEM Talkback Converter 4K flash red. These visual indicators are to alert people in the control room that you need assistance.

  • Page 177: Using Tally

    Each intercom also has 2 selectable channels, a production channel and an engineering channel. This means that for broadcast setups with a large crew, you can split your crew communications between the two channels. The production channel lets you communicate with the director, producer and other crew members in the control room or broadcast truck, whilst the engineering channel lets you communicate with the lighting crew, technical operators and other camera operators.

  • Page 178: Audio Inputs

    Below is a description of each LED color, LED action, and the status represented: 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 179: Ip Video

    4 pin XLR from the camera’s power supply plugged into the +12V input on your URSA Broadcast G2 or URSA Mini. The power will be sent through the molex connector to the Camera Fiber Converter.

  • Page 180: Additional Camera Controls

    ‘DC out’ connector Additional Camera Controls When URSA Broadcast G2 or URSA Mini 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 181: Operating The Studio Fiber Converter

    Iris If you are using a compatible active lens that allows control from the camera, you can open or close the iris using the ‘iris’ wheel. Rotate the wheel up or down to open or close the lens aperture. Operating the Studio Fiber Converter Selecting the LCD Source When powered on, your Blackmagic Studio Fiber Converter’s large LCD will display the feed from your camera.

  • Page 182: Using The Menu

    Audio Meters The peak audio meters display audio levels when using camera audio embedded into channels 1 and 2 of the camera feed. Channels 3 and 4 correspond with audio sources connected to the two XLR inputs on the back of your Blackmagic Camera Fiber Converter. 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 183 Use the arrow buttons to adjust the input level for each XLR input and the ‘set’ button to set the level You can configure which audio channels from the Camera Fiber Converter get mapped to the embedded SDI and XLR outputs. The embedded audio channels from URSA Mini or URSA Broadcast G2 are on channels 1 and 2 by default.
  • Page 184 The intercom section will be grayed out when nothing is connected to the XLR inputs and will display ‘connecting’ during connection Setup The ‘setup’ menu lets you configure the PTZ source, select the language for the menus, and select the type of SDI level return. Select the source of PTZ commands using the PTZ source setting.

  • Page 185: Rack Mounting The Studio Unit

    The settings menu page provides the option to select ‘SDI’ or ‘9-pin’ as the source of PTZ commands The ‘language’ setting sets the language for the menus. Studio Fiber Converter supports 11 popular languages: English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.
  • Page 186 Your Studio Fiber Converter is two rack units high, and is half the width of a standard rack shelf, so two Studio Fiber Converters can fit neatly side by side in a 2RU rack space. Blackmagic Studio Fiber Converters mounted side by side The supplied blanking plate can be used to cover an empty rack space if needed The Blackmagic Studio Fiber Rack Kit contains the following items: 2x Rack ears...
  • Page 187 Preparing the Blackmagic Studio Fiber Converter for installation into a rack: Position the blanking panel on one of the sides of your Studio Fiber Converter, depending on whether you would like the unit to sit on the left or right side of the rack shelf. The front face of the blanking panel should be parallel with the front panel of the unit.
  • Page 188 Turn the attached units back over and attach the rack ears to the outer edges near the front of both converters, using the supplied rack ear screws. Your converters are now ready to be installed into a rack using the mounting holes on both sides and standard rack screws. Operating the Studio Fiber Converter...

  • Page 189: Camera Unit Connections

    The DE-9 serial connector allows you to connect to a PTZ motorized head. For example, if your Blackmagic URSA Broadcast G2 or URSA Mini is attached to a camera crane using a pan, tilt, zoom head that is controlled remotely. You can select the source of PTZ commands being sent to your camera in the menu of your Blackmagic Studio Fiber Converter.

  • Page 190: 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 191: Tracker Interface

    Tracker Interface The 10 pin ‘tracker’ 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 192: D-Tap Output

    If you want to reduce the latency of the re-synchronizing process within the ATEM, firstly apply a reference signal to the URSA Broadcast G2 or URSA Mini, then adjust the back timing so the line input is before the switch timing of the ATEM.

  • Page 193: 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. All SDI inputs support 12G-SDI for video formats up to Ultra HD 2160p60. 12G-SDI Output The two 12G-SDI outputs are for connecting the camera signal from the studio unit to any of your switcher’s camera SDI inputs.

  • Page 194: 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 195: Ptz Interface

    Talkback Pinout Diagram Pins Signal Specifications ENG(R) IN+ Engineering channel input 0dBu balanced ENG(R) IN- ENG GND GND for ENG ENG(T) OUT + Engineering channel output 0dBu balanced ENG(T) OUT - PGM IN+ -20dBu PGM IN- -20dBu PGM GND -20dBu GND for aux –...

  • Page 196: 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 G2 or URSA Mini camera, and the two XLR audio inputs on the Camera Fiber Converter.

  • Page 197: Updating Internal Software

    Updating Blackmagic Camera Fiber Converter Your Camera Fiber Converter will need to be powered when updating, so we recommend keeping the converter connected to URSA Broadcast G2 or URSA Mini 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 198: Interchangeable Lens Mount

    Interchangeable Lens Mount Blackmagic URSA Broadcast G2 is shipped with its own custom B4 mount attached, as well as an additional EF mount. The interchangeable lens mount means you can also attach Blackmagic URSA Mini Pro PL or URSA Mini Pro F Mount kits to your camera. Lens mount kits are available from Blackmagic Design Resellers.

  • Page 199: 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 G2. Blackmagic URSA Mini Pro EF Mount The EF mount lets you attach EF stills lenses to your URSA Broadcast G2. The EF mount kit includes: 1x EF mount The EF mount lets you attach common EF stills lenses.
  • Page 200 0.45Nm to reduce the potential of over tightening the screws. 2mm Hex driver Attaching the EF Mount Place Blackmagic URSA Broadcast G2 vertically Carefully place the Blackmagic URSA Mini Pro on a solid, clean bench top to ensure that the mount EF mount onto the camera body ensuring the can be inserted vertically.

  • Page 201: 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 G2, you can use F mount lenses. Nikon’s F mount system stretches back to 1959, and F mount lenses are still made today.
  • Page 202 It’s worth noting that the F mount is a mechanical mount. This means it does not offer electronic focus or iris control. Instead, the F mount features a mechanical iris adjuster. This moves the iris pin present in most Nikon lenses to achieve smooth cine style iris adjustment. With an F mount mounted, simply move the iris adjuster on Blackmagic URSA Mini Pro F mount to achieve your preferred exposure.
  • Page 203 2mm Hex driver Attaching the F Mount Place Blackmagic URSA Broadcast G2 vertically on Carefully place the Blackmagic URSA Mini Pro a solid, clean bench top to ensure the mount can be F mount onto the camera body ensuring the attached vertically.
  • Page 204 NOTE Because of the way URSA Mini Pro F mount works, a small number of F mount lenses are not compatible. These are Nikkor AF-S E series lenses, which do not offer mechanical iris control, and Nikon PC-E tilt-shift lenses like the 24mm f/3.5D PC-E and 85mm PC-E. To attach a F mount lens: Attaching and removing a F mount lens on Blackmagic URSA Broadcast G2 with the optional F mount fitted...

  • Page 205: Blackmagic Ursa Mini Pro Pl Mount

    Blackmagic URSA Mini Pro PL Mount Attaching the PL mount to your URSA Broadcast G2 lets you use high end precision cinema lenses and Super 16mm PL lenses for feature film and television production. The PL mount kit includes: 1x PL mount The PL mount is shipped with a protective dust cap.
  • Page 206 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 G2, you can also connect the 12 pin broadcast connector for servo control. Interchangeable Lens Mount...
  • Page 207 URSA Broadcast G2 supports control of PL 35mm lenses with servo handgrips. When the lens is plugged in to the lens connector on the camera, URSA Broadcast G2 will provide power and control signals to your lens in the same way it does with B4 lenses. For more information refer to the ‘Using Servo Zoom Lenses’...

  • Page 208: Blackmagic Ursa Broadcast G2 B4 Mount

    Blackmagic URSA Broadcast G2 B4 Mount The Broadcast B4 mount is the mount that your URSA Broadcast G2 camera originally ships with. If you have removed the mount to fit the included Blackmagic URSA EF mount or optional URSA PL or F mount, follow these instructions to reattach your B4 mount.

  • Page 209: Shimming Lens Mounts

    Blackmagic URSA Mini Pro Shim Kit Your URSA Broadcast G2 camera ships with two shims, a 0.10mm plastic shim and a 0.50mm metal shim. These shims set the proper focal distance for your URSA Broadcast G2 camera’s B4, EF, and F mount lenses.

  • Page 210: Shimming Mounts

    To shim your camera’s mounts you’ll need a torque wrench able to accurately set a maximum torque of 0.45Nm, with a 2.0mm Hex key and driver. Torque wrench Place URSA Broadcast G2 vertically on a solid, Remove the screws holding your mount in place clean bench top and remove your lens or dust cap.

  • Page 211: Ursa Mini Recorder

    Add or remove shims to slightly change the depth of Place your lens mount onto the camera body, your mount. It is a good idea to start with a small tighten screws and remount your lens and check if shim thickness such as a 0.10mm. your lens focus marks are now in alignment with the focal distance.

  • Page 212: Mounting And Connecting Ursa Mini Recorder

    T10 torx driver, and a 2mm hex key driver Mounting and connecting URSA Mini Recorder URSA Mini Recorder mounts to the back of URSA Broadcast G2 directly behind the camera body, using your camera’s rear USB-C data port to pass data to and from URSA Mini Recorder.
  • Page 213 Attach URSA Mini Recorder to the mounting bracket Connect the Mini Recorder’s USB-C cable to the using 2 x T10 torx screws on the left and right side USB-C data port on the rear of URSA Broadcast G2. of the brackets. Tighten the locking connectors with your fingers, or use a 2mm hex key driver.

  • Page 214: Using Ursa Mini Recorder

    When URSA Mini Recorder is connected and an SSD is loaded, the recorder occupies slot 3 in URSA Broadcast G2’s operating system. You’ll see an ‘SSD’ indicator over slot 3 on your camera’s storage manager when URSA Mini Recorder is in use.

  • Page 215: Updating Ursa Mini Recorder's Internal Software

    The Mini Recorder will need to be powered when updating, so we recommend keeping the Mini Recorder connected to URSA Broadcast G2 during the update process. This also means your camera will need to supply consistent power, so be sure to plug into external power or battery pack.

  • Page 216: Understanding Studio Camera Control

    Understanding Studio Camera Control Blackmagic URSA Broadcast G2 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 217: Using Camera Control

    ‘main SDI’ to ensure that you don’t see overlays or the focus box on the SDI output to the ATEM switcher. Connect your URSA Broadcast G2 to any of the ATEM switcher’s SDI inputs Using Camera Control Launch ATEM Software Control and click on the ‘camera’ button located at the bottom of the software window.
  • Page 218 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.
  • Page 219 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 220 Coarse Setting The coarse setting is located to the left of the iris/pedestal control and is used to limit the iris range. This feature helps you prevent over exposed images from going to air. To set your coarse threshold, completely open the iris using the iris control, then drag the coarse setting up or down to set optimum exposure.
  • Page 221 If this happens, the closest available shutter angle is used. When your URSA Broadcast G2 is connected to an ATEM switcher, the shutter speed setting is also be visible in your camera’s touchscreen status display. It is visible in an URSA Viewfinder if attached.

  • Page 222: Davinci Resolve Primary Color Corrector

    11.25* 11.25* 11.25* * Shutter speeds outside URSA Broadcast G2’s shutter angle range use its closest available minimum or maximum shutter angle. TIP Decreasing shutter speed is a good way to brighten your images without using camera gain because you are increasing the exposure time of the image sensor.
  • Page 223 Your Blackmagic URSA Broadcast G2 features a DaVinci Resolve primary color corrector built in. If you have used DaVinci Resolve, then creatively, grading in your URSA Broadcast G2 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 224 Lift, gamma and gain color wheels in the color corrector panel Master Wheels Use the master wheels below the color wheels to adjust each YRGB channels’ lift, gamma and gain controls. To make adjustments using the master wheel: ‚ Drag the master wheel left or right: Dragging to the left darkens the selected parameter of the image, dragging to the right lightens that parameter.
  • Page 225 Lum Mix Setting The color corrector built into your Blackmagic URSA Broadcast G2 is based on the DaVinci Resolve primary color corrector. DaVinci has been building color correctors since the early 1980’s and more Hollywood films are color graded on DaVinci Resolve than any other method.

  • Page 226: Using Davinci Resolve

    Using DaVinci Resolve Shooting with your Blackmagic URSA Broadcast G2 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...

  • Page 227: Editing With The Cut Page

    To create a new project, click on ‘new project’ at the bottom of the window and give your project a name. Click ‘create’. 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.
  • Page 228 For more information on the Cut page, see the ‘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 229 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 230: 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 231: Trimming Clips On 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 TIP You can speed up the process further by assigning a keyboard shortcut to the ‘append’...

  • Page 232: Adding Titles

    Audio trim view expands the audio waveform in the timeline. After you have finished editing clips using the ‘cut’ page, you might want to add a title. The next section will show you how. Adding Titles Placing a title on your timeline is easy and you have many options. To see the different types of titles you can use, click on the ‘titles’...

  • Page 233: Working With Blackmagic Raw Files

    To add a standard title: Click on the 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 234 Alternatively, if you are shooting mainly with cameras that create Blackmagic RAW files with generation 4 color science, you can mix in clips shot on URSA Broadcast G2 with generation 5 color science by reverting them to generation 4. This makes it easy to match shots filmed on cameras using different generations of Blackmagic color science.
  • Page 235 Adjusting Exposure using Blackmagic URSA Broadcast’s Gain Setting If you’re familiar with the DaVinci Resolve workflow for other Blackmagic cameras, it’s worth noting that URSA Broadcast G2’s ‘gain’ setting is treated a bit differently to the ‘ISO’ setting on Blackmagic cinema cameras.
  • Page 236 five stops of exposure. Each ‘stop’ is equivalent to one sensitivity step, for example 1 additional stop of exposure is the equivalent of going from -6 to 0 db of gain, or 200 to 400 ISO, however you have much finer adjustment here and can go to 0.01 of a stop. Any changes you have made to your Blackmagic RAW clips will be identified by the gamma setting changing to Blackmagic Design Custom.

  • Page 237: Color Correcting Your Clips With The Color Page

    Project Settings for Blackmagic RAW If you need to make a setting change that is common to all the clips, for example a global change to the white balance or ISO setting, you can set the clips to use the project ‘camera raw’ settings and make global changes from there.
  • Page 238 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 239 For more accurate control of each color using a mouse, you can change the color wheels to ‘primaries bars’ which let you adjust each color and luminance channel for the lift, gamma and gain controls separately. Simply select ‘primaries bars’ from the dropdown menu near the top right of the color wheels.

  • Page 240: Adding A Power Window

    However, if you need to adjust specific parts of your image, say for example you wanted to improve the color in the grass in a scene, or you wanted to deepen the blue in a sky, then you can use secondary corrections. Secondary color corrections are where you select a part of the image and then adjust only that part.
  • Page 241 Use power windows to mask out areas you don’t want to be affected by the HSL qualifier secondary adjustments For example, you can track a window on a person in order to make color and contrast changes just to that person without affecting his or her surroundings. By making corrections like this you can influence the audience’s attention on areas you want them to notice.

  • Page 242: Using Plugins

    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 can 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 243: Mixing Your Audio

    OFX plugins are a quick and easy way to create an imaginative and interesting look In the ‘edit’ page you can add plugin filters, generators and transitions to clips by opening the ‘Open FX’ panel in the ‘effects library’ and dragging your selected plugin onto the video clip or track above your clip on the timeline depending on the plugin requirements.
  • Page 244 Dragging a volume overlay to adjust the clip level 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 245 The Audio Timeline Track Header: At the left of each track is a header area that displays the track number, track ‚ name, track color, audio channels, fader value and audio meters. The track header also contains different controls for locking and unlocking tracks, plus solo and muting controls. These controls can help to keep your tracks organized, and let you preview individual tracks one at a time.
  • Page 246 The audio mixer, with channel strips corresponding to the tracks in the timeline 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 247 The four band equalizer can be applied to every clip in the timeline Outer bands let you make band filter adjustments using hi-shelf, lo-shelf, hi-pass and lo-pass filters. A pass filter affects all the frequencies above or below a particular frequency, by removing those frequencies completely from the signal.

  • Page 248: Adding Vfx And Compositing On The Fusion Page

    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 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.
  • Page 249 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 250 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 251 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 252 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 253 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 254 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 255 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. Click the menu next to operation and select ‘match move’. Click the ‘text’...
  • Page 256 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 257: 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 258: 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 259: 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 260: Working With Third Party Software

    How to Update the Camera Software After installing the latest Blackmagic Camera Setup utility on your computer, connect a USB cable between the computer and your Blackmagic URSA Broadcast G2. The USB port is located on the left side panel above the memory card slots.

  • Page 261: Working With Files From Cfast 2.0 And Sd Cards

    CFast 2.0 reader/writer or 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 G2. Mount the card to your Mac or Windows computer using a card reader.

  • Page 262: Using Final Cut Pro X

    Edit directly from the SSD by removing it from your camera and mounting it on your computer using an eSATA Thunderbolt dock or USB 3.0 docking cable. Using Final Cut Pro X To edit your clips using Final Cut Pro X, create a new project and set a suitable video format and frame rate.

  • Page 263: Using Avid Media Composer 2018

    Using Avid Media Composer 2018 To edit your clips using Avid Media Composer 2018, create a new project and set a suitable video format and frame rate. For this example, clips are set using 1080p24. Setting the project name and project options in Avid Media Composer 2018 Launch Avid Media Composer 2018 and the ‘select project’...
  • Page 264 Launch Adobe Premiere Pro CC. In the ‘welcome’ window select ‘new project’. A window will open containing project settings. Name your project. Choose the location for your project by clicking ‘browse’ and selecting your desired folder. Once you’ve selected your location folder click OK in the ‘new project’...

  • Page 265: Developer Information

    Camera Manufacturer UUID: 2A29 Read the name of the manufacturer (always “Blackmagic Design”). Camera Model UUID: 2A24 Read the name of the camera model (“URSA Broadcast G2”). Service: Blackmagic Camera Service UUID: 291D567A-6D75-11E6-8B77-86F30CA893D3 Characteristics Outgoing Camera Control (encrypted) UUID: 5DD3465F-1AEE-4299-8493-D2ECA2F8E1BB...
  • Page 266 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. 09:12:53:10 = 0x09125310) Camera Status (encrypted) UUID: 7FE8691D-95DC-4FC5-8ABD-CA74339B51B9 Request notifications for this characteristic to receive camera status updates. The camera status is represented by flags contained in an 8-bit integer: None = 0x00...

  • Page 267: Blackmagic Sdi And Bluetooth Camera Control Protocol

    Blackmagic SDI and Bluetooth Camera Control Protocol Version 1.6.2 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 268 Messages must be padded up to a 32 bit boundary with 0x0 bytes. Padding (uint8[]) Any padding bytes are NOT included in the command length. Receiving devices should use the destination device address and or the command identifier to determine which messages to process. The receiver should use the command length to skip irrelevant or unknown commands and should be careful to skip the implicit padding as well.
  • Page 269 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 270 Group Parameter Type Index Minimum Maximum Interpretation fps as integer [0] = frame rate – – (eg 24, 25, 30, 50, 60) [1] = M-rate – – 0 = regular, 1 = M-rate 0 = NTSC, 1 = PAL, 2 = 720, 3 = 1080, 4 = 2kDCI, 5 = 2k16:9, Video mode int8...
  • Page 271 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 272 Group Parameter Type Index Minimum Maximum Interpretation Brightness fixed16 – 0.0 = minimum, 1.0 = maximum bit flags: uint16 [0] = Zebra Exposure and focus tools [0] = bit field – – bit field [1] = Focus Assist [2] = False Color bit flags: [0] = LCD uint16...
  • Page 273 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 274 Group Parameter Type Index Minimum Maximum Interpretation 0 = CinemaDNG, 1 = DNxHD, [0] = basic codec – – 2 = ProRes, 3 = Blackmagic RAW CinemaDNG: 0 = uncompressed, – – 1 = lossy 3:1, 2 = lossy 4:1 ProRes: 0 = HQ, 10.0...

  • Page 275: Example Protocol Packets

    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)

  • Page 276: Blackmagic Tally Control Protocol

    Blackmagic 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 Tally Control Protocol to their products or system. It describes the protocol for sending tally information embedded in the non-active picture region of a digital video stream. Data Flow A master device such as a broadcast switcher embeds tally information into its program feed which is broadcast to a number of slave devices such as cameras or camera controllers.
  • Page 277 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) .

  • Page 278: 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 279: Regulatory Notices

    This equipment has been tested for compliance with the intended use in a commercial environment. Bluetooth® The URSA Broadcast G2 is a Bluetooth wireless technology enabled product. Contains Transmitter Module FCC ID: QOQBGM113 This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment.

  • Page 280: Safety Information

    The full text of the EU declaration of conformity is available from compliance@blackmagicdesign.com Safety Information The supplied AC to 12V DC power supply for Blackmagic URSA Broadcast G2 and the IEC power cable for Blackmagic Studio Fiber Converter, must be connected to a mains socket outlet with a protective earth connection.

  • Page 281: 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.

Table of Contents