1. Manuals
  2. Brands
  3. Blackmagic Manuals
  4. Film Camera
  5. URSA Cine
  6. Installation and operation manual

Blackmagic URSA Cine Installation And Operation Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

Download this manual
August 2024
Installation and Operation Manual
Blackmagic
URSA Cine
Blackmagic URSA Cine

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the URSA Cine and is the answer not in the manual?

Questions and answers

Summary of Contents for Blackmagic URSA Cine

  • Page 1 August 2024 Installation and Operation Manual Blackmagic URSA Cine Blackmagic URSA Cine...
  • Page 2 12 and 24V power outputs and much more. With ultra fast storage using the included Blackmagic Media Module, you can shoot up to full 12K by 8K open gate resolution at up 80 frames per second, or even 8K 2.4:1 at up to 224 frames per second and never have to worry about...

  • Page 3: Table Of Contents

    What’s in the Kit?  5 Unloading Blackmagic Media Module  41 Blackmagic URSA Cine 12K LF  5 Loading Blackmagic Media Module  42 Blackmagic URSA Cine 12K LF + EVF  6 Preparing Media for Recording  43 Getting Started  7 Blackmagic Media Dock  45 Attaching a Lens  7...
  • Page 4 Pinout Tables for URSA Cine Iris  92 Connectors  189 Duration Display  93 Using DaVinci Resolve  191  94 Project Manager  192 White Balance  95 Editing with the Cut Page  192 Power  97 Adding Clips to the Timeline  195 Histogram  97 Trimming Clips on the Timeline  196...

  • Page 5: What's In The Kit

    The camera is fitted with PL lens mount, the URSA Cine handle and top rod mount as well as a B mount battery plate on the rear. The camera’s production baseplate, power supply and WiFi antennas are packed in the case, together with the locking EF mount, mount caps and screws.

  • Page 6: Blackmagic Ursa Cine 12K Lf + Evf

    URSA Cine 12K LF + EVF This kit includes all of the items contained in the URSA Cine 12K LF kit in a larger custom foamed Pelican hard case plus the following additional items: ‚ Blackmagic URSA Cine EVF.

  • Page 7: Getting Started

    Getting started with your Blackmagic URSA Cine is as simple as mounting a lens and powering your camera. URSA Cine is shipped with a PL mount already attached and a separate EF mount is included if you want to use EF lenses. The EF mount has a locking mechanism to secure EF lenses to the camera.

  • Page 8: Attaching A Pl Mount Lens

    Cooke /i Technology Interface URSA Cine’s PL mount features four pins at the 12 o’clock position that are used to communicate with lenses featuring Cooke’s /i Technology interface. The lenses that support this interface include lenses from Angenieux, Arri, Canon, Cooke, Fujinon, Leitz, Sigma and Zeiss. This lets you record lens information in your clips’...

  • Page 9: Powering Your Camera

    This detailed information can also be utilized by powerful applications such as DaVinci Resolve and Blackmagic Fusion for a wide variety of advanced functions. For example, the recorded metadata can be used to simulate the specific lens in 3D space, or to correct lens distortions.

  • Page 10: Turning On Your Camera

    The battery plate included on your camera is a B mount plate designed for 24 volt B mount batteries. Operating in the 24 to 34 voltage range is ideal for use with URSA Cine as the higher voltage reduces thermal losses allowing for high frame rate recording and powering multiple accessories from your camera.
  • Page 11 An alternative way to power your camera on and off is to briefly hold down the record and forward skip buttons on the control panel behind the fold out touchscreen That’s all there is to getting started with your URSA Cine! With the media module already formatted in your camera, you can start recording straight away. Please keep reading this...

  • Page 12: Ursa Cine Overview

    Lens Mount URSA Cine features an interchangeable lens mount and is shipped with the PL mount already attached. The interchangeable mount allows switching between PL, locking EF and LPL mounts. Refer to the ‘interchangeable lens mount’ section for more information.

  • Page 13: Camera Left

    Camera Left URSA Cine’s left side panel lets you access the control panels and features ergonomic controls for easy access to all of your camera’s essential functions. These controls are shared between the forward control panel, the ergonomic control panel located on the outside of the foldout touchscreen monitor, plus an internal control panel on the left side of the camera when the foldout monitor is open.

  • Page 14: Lcd Touchscreen

    Internal Control Panel When your URSA Cine’s foldout monitor is open, you have access to the internal control panel. Use the controls here to set your audio inputs as well as phantom power settings. You can also access auto focus, focus peaking, still image capture, menu, record and playback controls.

  • Page 15: Lock Switch

    Menu Press the ‘menu’ button labeled with the elipsis icon to open the menu settings. Press again to close the menu. Record Press the record button to start recording a clip and press again to stop. URSA Cine Overview...

  • Page 16: Rear Panel

    Molex power connector. Battery Mount Plate Your Blackmagic URSA Cine has plate mounting points and a recessed Molex connector to supply power to and from the camera as well as carrying some data information. When in use, the Molex connector can accept a 12 to 34 Volt input although the 24 to 34 Volt range is recommended.

  • Page 17: Ethernet Port

    You camera’s 10G Ethernet port is a very useful connector that can do lots of things. Connect your URSA Cine to a network, or directly to your computer using a standard CAT6 network cable. Your camera is set to DHCP by default, which means your network will assign it an IP address automatically.

  • Page 18: Top Panel

    The USB ports on the top edge of the camera are for expansion. The port closer to the rear panel is used to connect to a computer when updating the camera, or for using cellular data tethering when streaming from URSA Cine or uploading your proxy files to Blackmagic Cloud.

  • Page 19: Underside

    Your camera’s underside panel contains nine strong mounting points for attaching the URSA Cine baseplate and accessories. The mounting points include four 1/4” 20 and five 3/8” 16 threads. To ensure proper ventilation, take care not to obstruct your camera’s fan vents when connecting accessories. URSA Cine Overview...

  • Page 20: Recording

    Choosing the Resolution, Aspect Ratio and Codec Your URSA Cine can record from 4K up to 12K open gate at high frame rates using Blackmagic RAW. You can choose from a range of aspect ratios to meet the delivery requirements of your project.

  • Page 21: Choosing Frame Rates

    The higher the sensor frame rate compared to the project frame rate, the slower the playback speed. For example, URSA Cine allows you to shoot at very high sensor frame rates for extreme slow motion.
  • Page 22 Your shutter setting can also affect the visibility of flicker when shooting under lights, so your URSA Cine 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 23: Record Durations

    Shooting off speed lets you make creative decisions and achieve the look that you want. Your URSA Cine can shoot at 12K resolution at high frame rates, for example 80 fps open gate and up to 120 frames per second full width 2.4:1. When you shoot high frame rates with low compression, your camera uses extreme bitrates, so it is important to make allowances for the additional storage requirements or choose a slightly higher compression setting.

  • Page 24: Data Rate Tables

    Data Rate Tables URSA Cine can record at extremely high data rates. When recording on Blackmagic Media Module 8TB, the module is fast enough to record the highest frame rates at the highest resolution. Maximum Data Rates at 24p with Blackmagic RAW Constant Bitrate...
  • Page 25 4 perf Super 35 597 MB/s 224 MB/s 149 MB/s 100 MB/s A data rate calculator is provided on our website if you want to estimate the variables for Blackmagic RAW compression and storage sizes. The calculator is located here: https://www.blackmagicdesign.com/products/blackmagicursacine#data-rate-calculator Recording...

  • Page 26: Playback

    MENU URSA Cine playback controls NOTE Blackmagic URSA Cine will play back clips of different quality settings as long as they are in the same frame rate and resolution. Press the forward and reverse buttons to skip to the start or end of clips. Press the ‘reverse skip’...

  • Page 27: Media Pool

    Media Pool Your Blackmagic URSA Cine features a media pool that lets you play back, search and sort your recorded clips using a browser interface. You can also delete clips and sync clips to Blackmagic Cloud via the Internet. For example, uploading clips to DaVinci Resolve projects or directly to your own private Blackmagic Cloud storage.

  • Page 28: Controls

    The sidebar icon at the top left corner opens or closes the media pool side bar. Here, you can select which Blackmagic Cloud projects you want to upload clips to, or to upload clips directly to your personal Blackmagic Cloud storage. More information about uploading clips to Blackmagic Cloud projects and storage is provided later in this section.
  • Page 29 Playing a Single Clip Tap on a clip’s thumbnail to enter the clip viewer. This displays the clip thumbnail larger on the LCD, lists the clip’s file name and provides playback, upload, priority tagging, clip info and deletion controls. Swiping left and right on your camera’s touchscreen lets you select a different clip.

  • Page 30: Group Select

    Group Select Tap on the group select icon to select a sequence of clips to play back, or to choose clips to upload to a Blackmagic Cloud project or storage. You can also select a group of clips to delete.

  • Page 31: Storage

    Tap the media storage icon in the media library to enter the storage format page. This page lets you format Media Module 8TB and CFexpress cards connected to your camera. For information on how to format media, refer to the ‘Blackmagic Media Module’ section later in this manual.

  • Page 32: Uploading Clips To Blackmagic Cloud

    Blackmagic Cloud is a collaboration platform that lets you work together as a team and share DaVinci Resolve projects worldwide. When you sign into Blackmagic Cloud on your URSA Cine you can choose to upload clips directly to a DaVinci Resolve Cloud project or to manually select the clips you want to upload from your camera’s media pool.
  • Page 33 Once logged in, your Blackmagic Cloud avatar will be displayed in the controls menu. You can tap your avatar to view your account details or to log out of your account. Your account avatar is displayed in the controls menu...

  • Page 34: Blackmagic Cloud Projects Panel

    Blackmagic Cloud Projects Panel Tap the sidebar icon at the top left of the touchscreen to open the Blackmagic Cloud projects panel. When you are signed into your Blackmagic Cloud account, projects that you can upload clips to are listed in the ‘Blackmagic Cloud’ section of the viewer.
  • Page 35 Your Blackmagic Cloud avatar will remain visible in the controls menu and you will stay logged in even if you have disconnected your phone or removed the Ethernet connection. This ensures that any recordings you have in your project upload queue will resume as soon as possible after plugging in your phone or network again.

  • Page 36: Selectively Uploading Clips To Projects

    Tap the ‘group select’ icon in the controls menu and select the clips that you want to upload. Tap the ‘cloud upload’ icon. Select the Blackmagic Cloud projects that you want to upload your clips to by tapping the project names.

  • Page 37: Upload Original

    To upload an original clip: Select the Blackmagic Cloud project from the projects panel and tap the clip to open it in the playback viewer. Tap the ‘information’ icon in the controls menu to display the clip’s metadata.

  • Page 38: Clip Upload Status Indicators

    Tap your private Blackmagic Cloud storage to select it. Clip Upload Status Indicators When you have chosen to upload clips to a Blackmagic Cloud project, you can check the upload status by selecting the project from the Blackmagic Cloud projects panel.

  • Page 39: Closing The Media Pool

    Blackmagic Media Module 8TB and 16TB are self contained modular storage units with 8 and 16 Terabytes of storage space. The module is similar to a Blackmagic Cloud Store and is a fast, easy to use removable storage solution that enables recording at the highest resolutions and high frame rates.

  • Page 40: Transferring Clips To Edit Storage

    CFexpress cards you use in your Blackmagic Cinema Camera 6K or Blackmagic Pyxis 6K. Blackmagic Media Modules are designed to be easily loaded and unloaded if you want to swap to an empty module or load the module into an optional Blackmagic Media Dock for post production.

  • Page 41: Unloading Blackmagic Media Module

    Ethernet, you will be able to access the media module straight away without touching any of these settings. For information on Blackmagic Camera Setup and what all the settings are for, go to the ‘Blackmagic Camera Setup’ section in this manual.

  • Page 42: Loading Blackmagic Media Module

    NOTE When unloading a media module, it’s important to always check the camera is not recording. Loading Blackmagic Media Module Align the Blackmagic Media Module with the camera’s module bay. Slide the module into the bay until it touches the inner terminal. Blackmagic Media Module...

  • Page 43: Preparing Media For Recording

    Tap the media storage icon to open the storage manager Tap the ‘format’ button at the bottom of the touchscreen. Use your URSA Cine’s storage manager to format the media module Blackmagic Media Module...
  • Page 44 You will be prompted to press and hold the ‘format’ button for 3 seconds. The camera will notify you once formatting is complete. When formatting is complete your media module is ready to use Tap ‘ok’ to return to the storage manager and ‘exit’ to return to the media pool. Blackmagic Media Module...

  • Page 45: Blackmagic Media Dock

    ‘project’ tab of the slate. Blackmagic Media Dock After shooting clips, your media module can be unloaded from your URSA Cine and loaded into an optional Blackmagic Media Dock for editing, grading, file back up, and cloud sync. The module is loaded into a module bay in exactly the same way as loading and unloading to and from your camera.

  • Page 46: Loading And Unloading Blackmagic Media Modules

    Blackmagic Cloud Store 1.3.1 or later. Loading and Unloading Blackmagic Media Modules Blackmagic Media Dock features three media module bays for reading and writing files on three modules simultaneously. To load a module into a module bay: Align the media module with the module bay Swing the module’s handle up to seat the...
  • Page 47 If you have already created syncs and back up locations using Blackmagic Cloud Store Setup, your media dock will automatically upload any new files to them. You can learn more about creating syncs and back ups in the Blackmagic Cloud Store manual at https://documents.blackmagicdesign.com/UserManuals/CloudStoreManual.pdf...

  • Page 48: Blackmagic Raw

    All loaded media modules are now accessible and the Blackmagic Media Dock is visible in the locations sidebar. To access storage on a Windows computer: Click on the ‘network’ menu item in File Explorer sidebar. You will see your Blackmagic Media Dock listed.

  • Page 49: Recording To Blackmagic Raw

    It’s also worth mentioning that lens information is recorded in the metadata on a frame by frame basis. For example, when using compatible lenses, any zoom or focus changes performed over the length of a clip will be saved, frame by frame, to the metadata in the Blackmagic RAW file. Recording to Blackmagic RAW Blackmagic RAW works in two different ways.
  • Page 50 You never clip the video and all the detail is still there if you want to access it at any time. Blackmagic RAW in DaVinci Resolve Settings can be adjusted for each Blackmagic RAW file, and then saved as a new sidecar file from the RAW tab in DaVinci Resolve for creative effect or optimized viewing. This also means you can copy your media for another DaVinci Resolve artist and they will have access to your modified gamma settings automatically on import.

  • Page 51: Blackmagic Raw Software Development Kit

    You can also export a single Blackmagic RAW frame from the RAW tab in DaVinci Resolve, which contains all adjustments, metadata, full resolution and color information so it is easy to share a single frame grab or reference file with others.

  • Page 52: Blackmagic Ursa Cine Evf

    Assembling and Attaching the EVF If you have purchased the URSA Cine 12K plus EVF kit, URSA Cine EVF is packed inside your camera case in two parts. The EVF eyepiece is stored towards the front left of the case and the factory assembled EVF arm with 15mm carbon fibre rods are stored behind it.
  • Page 53 Tighten the thumbscrews to secure the rods. You will notice there is an adjustable top rod mount attached to the front of URSA Cine’s top handle. Loosen the rod clamps on each side and insert the rods of the assembled EVF arm.

  • Page 54: Attaching The Eyepiece To Ursa Cine Evf Rotating Bracket

    Rotating Bracket’s mini dovetail slot. locking lever forward to secure URSA Cine EVF. URSA Cine EVF is now fully assembled! The next step is to connect the eyepiece to your camera via USB. Connecting URSA Cine EVF to your Camera Connect your URSA Cine EVF to the ‘viewfinder’ USB port on the camera’s front panel using the supplied short USB cable.

  • Page 55: Positioning Ursa Cine Evf

    Adjusting Forwards and Backwards For forwards and backwards movement, the fastest way is to loosen URSA Cine EVF Bracket Rod Mount’s thumbscrew and slide the EVF forwards or backwards on the 15mm rods. Tighten to secure in place.

  • Page 56: Adjusting The Eyepiece

    URSA Cine EVF and the URSA Cine 12K LF + EVF kit both contain a fabric eyepiece chamois as an alternative to the rubber eye cup. This provides a more comfortable option for pressing your eye against and can work quite well for dissipating heat in very cold or hot situations.

  • Page 57: Exposure Button

    EVF + LCD2 or all outputs. ZOOM ZOOM All the buttons on Blackmagic URSA Cine EVF can be customized using your camera’s ‘setup’ page ‘EVF’ settings Motion Sensor The motion sensor on your viewfinder automatically detects when you are near the eyepiece and turns on the OLED display.

  • Page 58: Attaching Ursa Cine Evf Extension

    Blackmagic URSA Cine EVF Extension is an EVF accessory that is packed inside the URSA Cine 12K LF + EVF kit and the URSA Cine EVF accessory box when purchasing the EVF separately. The extension arm lets you extend the EVF eyepiece when you’re positioned further away from the camera.
  • Page 59 Attaching the EVF to URSA Cine EVF Extension Align URSA Cine EVF’s dovetail bracket with Lower the URSA Cine EVF into URSA Cine EVF URSA Cine EVF Extension’s mini dovetail slot. Extension’s mini dovetail slot.
  • Page 60 Extending the Arm While attaching URSA Cine EVF Extension, you can add support by swinging open the support brace and resting it on URSA Cine’s top panel. Rotate URSA Cine EVF Extension’s thumbscrew counter clockwise to loosen the arm and then extend the arm outwards.

  • Page 61: Attaching An Eyepiece Leveller

    When using tripod heads designed for larger camera systems, for example OConnor and Ronford Baker heads, they typically have an eyepiece leveller accessory that is supplied with the head. URSA Cine’s EVF Extension has a small bracket underneath the arm that is designed for this accessory.
  • Page 62 Attach the levelling rod bracket to the head mount and tighten the thumbscrews. Fix the leveller base to the levelling rod bracket and tighten the screws. Attaching an Eyepiece Leveller...
  • Page 63 Attach the telescopic levelling rod to the mount base. Now swing the levelling rod up and extend to meet URSA Cine EVF Extension’s leveller bracket. You may need to adjust the rod’s length to suit. Attaching an Eyepiece Leveller...
  • Page 64 Connect the levelling rod to the leveller bracket slot. The bracket slot will click when the rod is locked into place. To release the rod, press the release button on the side of the URSA Cine EVF Extension bracket and remove the rod from the slot. The eyepiece leveller is now fully assembled.

  • Page 65: Control Buttons

    Control Buttons Blackmagic URSA Cine has control panels on each side of the camera for quick and easy access to all of its essential functions and provides powerful monitoring tools. These panels are designed to be close to hand when shooting from a tripod or on the shoulder.

  • Page 66: Menu Wheel

    1/16 1/64 Power Switch Power your URSA Cine by moving this switch to the ‘on’ position. Power off by moving the switch to the ‘off’ position. Settings Wheel Set this wheel’s function by adjusting the switch located next to the wheel. The three switch options are ‘headphone,’...
  • Page 67 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 Cine’s ‘frame rate’ menu. Pressing this button will toggle between your chosen off speed frame rate and project frame rate.

  • Page 68: Ergonomic Control Panel

    Ergonomic Control Panel On the outside of your URSA Cine’s touchscreen monitor, you’ll find an LCD status monitor and a variety of monitoring, playback, assist and setup controls. This panel lets you see all of your camera’s status information at a glance. Automatic focus can be set using compatible EF lenses and the transport controls let you playback clips.

  • Page 69: Status Lcd

    Status LCD This display shows you your URSA Cine’s essential settings at a glance without needing to open the internal touchscreen. The following information is visible: Timecode Frames per second ISO Indicator Project frame rate Off speed frame rate Shutter indicator...
  • Page 70 Record Indicator While recording, the circular indicator will illuminate red. Battery indicator If your Blackmagic URSA Cine is running on battery power, this indicator displays remaining battery life as a percentage. Power Indicator This indicator displays the current amount of charge in voltage when using a battery, or displays percentage of charge remaining.

  • Page 71: Status Lcd Controls

    NOTE You can set your URSA Cine to stop recording if dropped frames are detected. See the ‘record settings’ section in this manual for more information. This feature is user selectable as you may be able to get away with brief periods of ‘burst’ recording at higher frame rates or resolutions when shooting to slower media.

  • Page 72: Control And Playback Buttons

    Bright Press the ‘bright’ button to cycle through four brightness settings for your URSA Cine’s LCD status display and backlit buttons. The settings are ‘off,’ ‘low,’ ‘medium’ and ‘high.’ Still Press this button to capture a single Blackmagic RAW still frame. Image files will be saved to the ‘stills’...

  • Page 73: Internal Control Panel

    URSA Cine’s internal control panel XLR1 / XLR2 Use these switches to set how your URSA Cine’s XLR inputs behave when selected as an input source. The options available are mic audio, line level audio and AES digital audio. Phantom Power Your URSA Cine’s XLR inputs can provide 48V phantom power so you can use...
  • Page 74 It’s worth noting that some lenses have both manual and auto focus modes. In order for URSA Cine to be able to auto focus with your lens, you need to ensure that your lens is set to auto focus mode.

  • Page 75: Assist Station

    Assist Station The right side assist station provides a touchscreen LCD for picture and audio monitoring and changing settings, plus you can use the focus page to set custom focus and iris marks for maintaining perfect focus and exposure. LOCK 12G SDI OUT VIEWFINDER LOCK...
  • Page 76 Slate Press to toggle the slate feature on or off. The slate lets you enter metadata for post production use. For more information, refer to the ‘entering metadata’ section. Audio The audio page is not currently active, to adjust the audio gain levels simply use the knobs to the left of the assist station, or tap the audio meters on the heads up display.

  • Page 77: Using The 1St Ac Page

    When shooting with PL or LPL lenses that have built in Cooke /i technology, and also some EF cine primes and zooms your URSA Cine will be able to read the movement of the focus, iris and zoom position through the lens mount. This means you can set marks on the focus distance scale on the right of the screen that you can use for precisely and repeatedly hitting any specific exposure and focus points you choose.
  • Page 78 It’s important to note that focus scales are only able to be shown for lenses that provide accurate focus distance information to URSA Cine through the lens mount. This means regular EF stills lenses that don’t supply this information will not show focus scales on the 1st AC Page.

  • Page 79: Touchscreen Controls

    Buttons on the outside of the LCD panel let you control your URSA Cine when shooting on the shoulder using the URSA Cine EVF and the LCD closed. The touchscreens feature a touch and gesture based interface that is specifically designed for fast and intuitive user operation.

  • Page 80: Focus Assist

    The ‘focus assist’ setting toggles the appearance of focus assist on the LCD touchscreen, as well as setting the level of focus assistance for all outputs on your URSA Cine. Tap the ‘focus assist’ icon to access your URSA Cine’s focus assist settings To toggle focus assistance for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘focus assist’...
  • Page 81 The ‘frame guide’ setting toggles the appearance of frame guides on the LCD touchscreen. You can also choose from a range of frame guide options for all outputs on your URSA Cine. Frame guides include aspect ratios for various cinema, television and online standards. These guides can also be used as safe area guides to assist with framing your shot where you know the shot will be stabilized in post production, which can crop the edges of the image.
  • Page 82 The available guides are: 2.35:1, 2.39:1 and 2.4:1 Displays the broad widescreen aspect ratio compatible with anamorphic or flat widescreen cinema presentation. The three widescreen settings differ slightly based on the changing cinema standards over time. 2.39:1 is one of the most prominent standards in use today. The LCD touchscreen with 2.40:1 frame guides enabled Displays a ratio slightly wider than 16:9 but not as wide as 2.35:1.
  • Page 83 This vertical aspect ratio is ideal for portraits and viewing on smartphones. 9:16 This vertical aspect ratio is useful for framing social media content. Custom Frame Guide Ratio To create your own frame guide ratio for a unique appearance, tap on the ratio displayed between the arrow buttons.
  • Page 84 ‘frame guides’ tab. To set which overlay you want to display on all URSA Cine outputs, tap the options at the bottom of the display for ‘thirds’, ‘horizon’, ‘crosshairs’ or ‘center dot’.
  • Page 85 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 Cine. Safe areas can be used in broadcast production to ensure that the most important parts of a shot can be seen by viewers.

  • Page 86: False Color

    ‘safe area guides’ tab. To set the level of safe area guides for all outputs on your URSA Cine, tap the left or right arrows on either side of the current numerical value at the bottom of your touchscreen. Alternatively, you can drag the slider left or right.

  • Page 87: Nd Filter Indicator

    Tap the screen brightness icon to access the touchscreen brightness setting ND Filter indicator When adjusting your URSA Cine’s ND filter, it will be displayed via the indicator in the top left of the LCD touchscreen and any outputs set to show status text. This indicator will remain on in your ‘status text’...

  • Page 88: Lut Indicator

    LCD touchscreen. Project Frame Rate The project frame rate is URSA Cine’s recording format frame rate and provides a selection of common frame rates used in the film and television industry. This frame rate is normally set to match your playback speed used in your post production workflow.

  • Page 89: Sensor Frame Rate

    By default, your URSA Cine’s project and sensor frame rates are matched for a natural playback speed. However, by tapping the ‘off speed frame rate’ switch icon in the bottom right hand side of your camera’s ‘FPS’...

  • Page 90: Shutter

    URSA Cine’s ‘setup’ menu. For more information, see the ‘setup settings’ section in this manual. It’s worth mentioning the characteristics of individual light sources may still cause flicker even when using flicker free values.
  • Page 91 Your URSA Cine will suggest flicker free shutter values based on the mains power frequency you choose in the ‘setup’ menu If you would like to choose a specific shutter value, you can do so by double tapping the current shutter indicator at the bottom left of your screen.

  • Page 92: Iris

    While in the shutter menu, tap ‘auto exposure’ to access shutter based auto exposure modes TIP When an auto exposure mode that effects the shutter is enabled, a  small ‘A’ will appear next to the shutter angle indicator at the top of your URSA Cine touchscreen. Iris The ‘Iris’...

  • Page 93: Duration Display

    EF lenses. Duration Display At the top of your URSA Cine’s LCD touchscreen, you’ll see your camera’s duration display. The duration display 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 94: Iso

    Tap your URSA Cine’s ISO indicator to access ISO settings While in the ‘ISO’ menu, your URSA Cine’s ISO settings appear along the bottom of the LCD touchscreen, with a slider below the presets for adjusting your ISO in 1/3 stop increments Numerical presets provide the option to select an ISO setting in full stop increments by tapping on the number.

  • Page 95: White Balance

    For example, adding some magenta can compensate for the green cast of many fluorescent lights. Many of your URSA Cine’s white balance presets include some tint. Tapping the white balance and tint indicator on your URSA Cine gives you access to white balance and tint presets plus manual adjustment controls...

  • Page 96: Auto White Balance

    Fill this square with a neutral surface such as a white or gray card and tap ‘update.’ Your URSA Cine will automatically adjust its white balance and tint values to ensure that the average of the white or gray within the white balance square is as neutral as possible. Once updated, this will be set as your camera’s custom white balance.

  • Page 97: Power

    Power Your URSA Cine’s power status is displayed in the top right of the LCD screen. There are five possible indicators: While using battery power, tapping the power indicator toggles between ‘voltage’ and ‘percentage’ displays Displayed when your URSA Cine is plugged into mains power.

  • Page 98: Record Button

    Record Button Next to the histogram at the bottom of your URSA Cine’s touchscreen, you’ll see a round gray button. This is the ‘record’ button. Tap this once to begin recording, and tap it again to stop.
  • Page 99 Tapping the card in the storage menu sets it as the active card. Your URSA Cine will fill this card first. You can format your media from this menu. For more information on formatting media using URSA Cine, see the ‘Blackmagic media module’...

  • Page 100: Audio Meter

    You can tap the audio meter to bring up volume controls for audio input channels 1 and 2, as well as headset or speaker volume. Tap the audio meters on your URSA Cine’s touchscreen to easily access volume and headset or speaker settings Focus Zoom You can magnify any part of your URSA Cine’s preview image by double tapping the LCD...

  • Page 101: Full Screen Mode

    It can be useful when framing or focusing a shot to temporarily hide your touchscreen’s status text and meters. Simply swipe up or down on URSA Cine’s touchscreen, or press the ‘display’ button on the assist station, to hide these. The record indicator, frame guides, grids, focus assist and zebra will remain visible.

  • Page 102: Playback Menu

    Playback Menu Press the ‘play’ control button to access the playback menu. You can control previously recorded clips with your camera’s control buttons or the LCD touchscreen. The LCD touchscreen displays a timeline of segments representing all the recorded clips. Each segment in the timeline represents an individual clip.

  • Page 103: Looping Playback

    ‘play’. TIP Swipe up or down on your URSA Cine’s touchscreen to hide status text while playing back footage. Swiping left or right will open the slate where you can mark the current clip ‘good take’...

  • Page 104: Settings

    Tap the ‘record,’ ‘monitor,’ ‘audio,’ ‘setup,’ ‘presets,’ and ‘LUTS’ headings to move between your URSA Cine’s dashboard tabs Record Settings The ‘record’...
  • Page 105 A table is provided at the end of this section showing all the different sensor area options and a description for each. Choose a Blackmagic RAW codec setting to suit the project you are working on. The options are divided between four ‘constant bitrate’ and ‘constant quality’ settings. You can learn more about Blackmagic RAW and the different compression settings in the ‘recording’...
  • Page 106 The second page of the ‘record’ settings tab contains the following settings. Project Frame Rate The project frame rate is URSA Cine’s video standard frame rate and provides a selection of common frame rates used in the film and television industry. For example, Ultra HD at 29.97 frames per second.
  • Page 107 Off Speed Recording By default, your URSA Cine’s project and sensor frame rates are matched for a natural playback speed. However, by tapping the ‘off speed recording’ switch icon you can set your sensor frame rate independently. Off Speed Frame Rate With ‘off speed frame rate’...

  • Page 108: Time Lapse

    Apply LUT in File If you are applying a LUT to any of the outputs from your URSA Cine, the selected LUT will be embedded into the Blackmagic RAW file you are recording. This means 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 109 When you record footage in timelapse mode, the timecode counter updates when a frame of video is recorded. Your URSA Cine will indicate it is in time lapse mode with an icon over the ‘record’ button Preferred Media for Recording Use this setting to select which storage card your URSA Cine will record to first when more than one storage slot is in use.

  • Page 110: File Naming Convention

    Resolve manual. If Card Drops Frame Use this setting to configure your URSA Cine’s behavior when dropped frames are detected. When set to ‘alert’ the dropped frame indicator will be displayed on the LCD touchscreen, and recording will continue with dropped frames. When set to ‘stop recording’ your camera will stop recording when dropped frames are detected.

  • Page 111: Monitor Settings

    Clean Feed Tap the ‘clean feed’ switch in the outputs menu to disable all status text and overlays for that output, except the record tally indicator. Your URSA Cine LCD touchscreens will still display a record tally in clean feed mode Settings...
  • Page 112 This is especially useful when shooting with ‘film’ dynamic range as it can produce an intentionally ‘flat’ low contrast image. If your URSA Cine has a 3D LUT active, use this setting to independently apply that LUT to your camera’s outputs.
  • Page 113 Monitor Settings 2 The second page of your URSA Cine’s ‘monitor’ tab contains settings that vary depending on the selected output. LCD 1, LCD 2, SDI A, SDI B and EVF Status Text It can be useful to hide the status text and meters on your outputs, leaving only the information necessary to compose or direct a shot.
  • Page 114 1.89 from 1.8:1 or from 2.49 to 2.4:1. URSA Cine’s more vertical capture formats with 6:5 and 3:2 aspect ratios allow you to use the full height of the 23.32mm 12K large format image sensor in combination with anamorphic lenses for a variety of widescreen delivery formats which range between a 1.8:1...
  • Page 115 If an off speed frame rate is being used, the sensor frame rate will be shown, followed by the project frame rate. Displays the camera index as set in your URSA Cine’s Slate. See the ‘slate’ section in this manual for more information.
  • Page 116 The third page of ‘monitor’ tab contains identical settings for each output. These settings act globally across all three monitoring outputs. For example, if focus assist is enabled on your URSA Cine’s LCD, EVF and SDI outputs, changing the ‘focus assist type’ from ‘peaking’ to ‘colored lines’ will effect all outputs.
  • Page 117 Peaking When ‘peaking’ style focus assist is selected, areas of the shot that are in focus are heavily sharpened on the outputs, but not in the recorded image itself. This causes focused parts of your shot to ‘pop’ out of the softer background on screen. As no additional overlays are used, this can be a very intuitive way to tell when focus is dialed in, especially when the subject you’re focusing on is physically well separated from other elements in shot.
  • Page 118 LCD touchscreen head up display. Safe Area Guide To adjust the size of the safe area overlay on your URSA Cine’s outputs, tap the arrows to the left and right of the percentage displayed in this setting. This percentage indicates the size of the safe area in relation to the image frame.

  • Page 119: Audio Settings

    ‘Level B’ icon to select each standard. Audio Settings The ‘audio’ tab lets you adjust the audio input and monitoring settings on your URSA Cine. The settings are spread over two pages and divided between channels 1 and 2. You can map each audio channel to a different source, as well as adjusting various settings such as padding and low cut filters.
  • Page 120 Camera Left or Right Use this setting to record from your camera’s internal microphones. Camera Mono Use this setting to record audio from your URSA Cine’s built in microphone’s left and right channels onto a single audio channel. XLR 1 or 2 Use this setting to record from your camera’s XLR inputs.
  • Page 121 Pad XLR -20dB The -20dB pad option gives you added control to further reduce the input gain levels on your URSA Cine’s XLR audio inputs when shooting in a loud environment even after your input levels are already turned down.

  • Page 122: Setup Settings

    EBU R.68 Headphone Level This slider adjusts the output levels for headphones attached to URSA Cine’s 3.5mm headphone jack. Move the audio slider left or right to adjust levels. These levels will also update when you adjust the headphone volume using the settings wheel on the forward control panel.
  • Page 123 Name When you first set up your URSA Cine it’s important to give your camera a unique name. If you are using more than one camera, this lets you easily identify it on a network and when changing settings using the Blackmagic Camera Setup utility.
  • Page 124 Hardware ID The ‘hardware ID’ indicator displays an 8 character identifier for your Blackmagic URSA Cine. This is unique to each camera. A longer, 32 character version of this ID is also included in the metadata for Blackmagic RAW. This can be useful for identifying which footage came from a particular camera.
  • Page 125 Display ND Filter As Use this setting to adjust how the ND filter indicator on your URSA Cine displays the ND filter setting. Each setting corresponds to a different camera convention. Cinematographers typically use ND.number notation, while those familiar with DSLRs or broadcast cameras may prefer this information displayed as f stops or as a fraction of available light.
  • Page 126 The third page of your URSA Cine’s ‘setup’ tab contains the following settings. ATEM Camera ID If you’re streaming from URSA Cine to an ATEM Television Studio HD8 ISO, or an ATEM switcher via an ATEM Streaming Bridge, then your camera can receive tally and camera control signals from the switcher.
  • Page 127 These are mappable to frequently used features and are quickly accessible when using your camera with the LCD touchscreen closed, such as when you are using URSA Cine EVF. The default setting for the ‘HFR’ button is off speed record, however this button, plus a group of other buttons on your camera, can be set to control any functions you choose.
  • Page 128 To set these buttons, use the arrows to select a function button and then its behavior, a setting, and a parameter for that setting. 1 Button 2 Behavior 3 Setting 4 Parameter 5 Parameter Displayed On Function Button Behaves as Preset or Toggle Once you have selected the function button you want to map, you can select a behavior. The available options are: Preset When set to this behavior, pressing a function button will recall a combination of a setting...
  • Page 129 ‘color bars’ which always applies to all outputs, the output options are disabled. Setup Settings Page 5 The fifth page of your URSA Cine’s ‘setup’ tab contains settings to configure the URSA Cine EVF. Zoom Displayed On Select the display or displays you want the focus zoom to appear on when zooming into the image on the EVF.
  • Page 130 Setup Settings Page 6 The sixth page of your URSA Cine’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 Cine. For more information on attaching and using Blackmagic Zoom Demand with your URSA Cine, refer to the ‘Blackmagic Zoom and Focus Demand’...
  • Page 131 Setup Settings Page 7 The seventh page of your URSA Cine’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 Cine.
  • Page 132 The eighth page of your URSA Cine’s ‘setup’ tab contains the following settings. Status LED Your URSA Cine has a small LED next to the power switch that provides tally and status information. You can enable or disable this LED, plus the camera’s backlit button LEDs, by tapping the ‘status LED’...
  • Page 133 Selecting ‘single clip’ will loop one clip at a time. Setup Settings Page 9 The ninth page of your URSA Cine’s ‘setup’ tab contains settings that allow you to set your camera’s streaming options.
  • Page 134 Quality Use the arrow buttons to select a streaming quality. Setup Settings Page 10 The tenth page of your URSA Cine’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 135: Network Connection

    Low Latency Setting low latency to ‘on’ will ensure that there is minimum delay between what is happening live and what is being viewed by the audience. Setting it to ‘off’ gives you more buffering so is a more stable stream if you have an Internet connection that may be subject to dropouts or poor connection.
  • Page 136 Camera Control REST API. The first step to using WiFi is to attach URSA Cine’s WiFi antennas to your camera. Please ensure you use the antennas that are provided with your camera. Once the antennas are attached, you will need to enable WiFi in the camera’s menu settings and connect to your...
  • Page 137 Tap the WiFi icon and then tap on the ‘enable WiFi’ setting to turn it on. Tap the WiFi network box to open a list of available networks. Settings...
  • Page 138 Tap on the desired network router in the list and then tap ‘connect’. Type in your password and tap ‘enter’. Settings...

  • Page 139: Streaming Video

    URSA Cine will now connect. If any of the other connection types are selected, you will see the WiFi icon is illuminated blue to indicate you are connected wirelessly. That’s all you need to do! When you are finished with the WiFi connection, simply turn it off by setting ‘enable WiFi’ to ‘off’.

  • Page 140: Connecting Over The Internet

    To stream to a monitor on set all you need to do is: Ensure your URSA Cine is set to DHCP. Connect your URSA Cine to an existing local network via WiFi or Ethernet. Plug your ATEM Streaming Bridge into the same network.
  • Page 141 Once this is done, provided both are on the same network URSA Cine will be able to detect the streaming bridge and show it as a streaming platform in page 9 of your camera’s setup settings. Simply select the streaming bridge as a platform and begin streaming to it by toggling the ‘stream’...

  • Page 142: Smartphone Setup

    Smartphone Setup Connect a smartphone to your camera’s USB-C expansion port on the top rear 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. 12G SDI OUT VIEWFINDER LOCK...
  • Page 143 Setting the ATEM Camera ID URSA Cine can also stream to an ATEM Television Studio HD8 ISO with tally, record trigger and basic camera control functionality. For this, you will need to set the ATEM Camera ID in the URSA Cine setup settings.
  • Page 144 Loading the XML File To import an XML settings file in to your URSA Cine, copy the file to a media module, CFexpress card, or USB-C flash disk. On the tenth page of your camera’s setup menu, tap on the button labeled ‘import stream settings’.
  • Page 145 Because URSA Cine 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 146 The information on the screen will confirm that your URSA Cine is now paired with your iPad. Settings...
  • Page 147 If there is a problem pairing the camera to your iPad you will see the following error message: NOTE If you are not using Bluetooth to control your URSA Cine, it is a good idea to turn Bluetooth off for the purpose of security.
  • Page 148 Once paired, Blackmagic Camera Control will display this screen, allowing you to adjust your settings and start recording Tap the slate icon in the lower right corner to access and update the slate Settings...
  • Page 149 You will be prompted to confirm your selection before your camera is powered off When Bluetooth is enabled and URSA Cine is powered off, the name of your camera will still show up on the list of available devices in Blackmagic Camera Control. Since you have already paired with your camera, you can now switch it on remotely by selecting your camera name and tapping ‘connect’.
  • Page 150 When selecting ‘factory reset’ you will be prompted to confirm your action Motion Sensor Calibration To calibrate the horizon meter on URSA Cine, 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 151: Regulatory Information

    13. This will show a page containing the logos and IDs for regulatory compliance that URSA Cine has been approved for. For the most up to date information please ensure that your URSA Cine is updated and is running the latest software version.

  • Page 152: Presets

    You can also import and export presets, which is very useful for setting up a multi camera shoot. Simply set up one URSA Cine to suit your project, then export that preset for all the other URSA Cine cameras on set.

  • Page 153: Importing Presets

    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 Cine’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...

  • Page 154: Exporting Presets

    Deleting Presets Your URSA Cine 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’...
  • Page 155 Introducing 3D LUTs Your URSA Cine can apply 3D LUTs to images on the touchscreens and all outputs. LUTs work by telling your camera what color and luminance output to show for a particular color and luminance input. For example you may want to record internally in camera with normal color but send a preview out to your monitors and switcher of what broadcast legal colors for your region...
  • Page 156 Tap a LUT to select it and tap ‘import’ to confirm your selection. The LUT will be saved to your camera. NOTE If your URSA Cine’s thirty 3D LUT slots are full, you will not be able to import until you delete some existing LUTs to make space.
  • Page 157 Deleting LUTs Your URSA Cine 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 158: Entering Metadata

    ‘Clips’ Metadata Changes made to clip metadata work slightly differently in standby mode when your URSA Cine is ready to record, plus playback mode when you’re reviewing footage you’ve already shot. In ‘standby,’ clip metadata will be saved to the next clip recorded, except for ‘good take last clip’...
  • Page 159 For example 23A would indicate scene twenty three, shot one. If you have a shot letter added to your scene, your URSA Cine will suggest letter increments whenever you enter the scene number editor. For example, if your current scene number is 7B, your URSA Cine will offer ‘7C’ as an increment suggestion.
  • Page 160 Close up Big close up Extreme close up When entering ‘scene’ metadata, your URSA Cine 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 161 ‘standby’ mode. A small 'A' appears next to the take number on the slate when enabled. When entering ‘take’ metadata, your URSA Cine will offer prompts for additional shot types to the right of the touch keyboard Good Take Tap the ‘good take’ indicator to flag good takes for easy recall in post production. This tag applies to either the last clip recorded, if your URSA Cine is in standby mode, or the clip currently being viewed in playback mode.
  • Page 162 NOTE Camera index is used in metadata and for file naming purposes and differs from your URSA Cine’s ‘ATEM Camera ID’ used when controlling URSA Cine with an ATEM switcher via an ATEM Streaming Bridge or an ATEM Television Studio HD8 ISO.
  • Page 163 Lens Data These settings display information about the current lens fitted to your camera. Many electronic lenses automatically supply information such as the lens model, aperture and focal length. 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 164 Iris Shows the iris aperture setting at the start of your clip. This information can be displayed in f- or T-stops depending on the lens used, if supplied automatically. Tap this setting to enter data manually. Focal Length Shows the focal length setting of the lens at the start of the recorded clip. When automatically supplied, this is shown in millimeters.
  • Page 165 The ‘lens data’ menu showing information automatically populated from a lens with Cooke /i Technology, and filter information that has been manually entered NOTE You can clear lens data at any time by tapping the ‘reset lens data’ icon in the ‘lens data’...

  • Page 166: Camera Video Outputs

    Camera Video Outputs URSA Cine has two 12G-SDI outputs, one Ethernet streaming output, and 5 USB outputs including the EVF output. This section describes each output and how you can use them. 12G-SDI Outputs The 12G-SDI out connectors on the rear panel support HD and 4K video including high frame rate progressive formats such as 2160p50, 59.94 and 60 on a single SDI cable.

  • Page 167: Ursa Cine Baseplates

    URSA Cine is shipped with an URSA Cine Baseplate 19. This plate has built in rosettes on each side for attaching accessories and rod holes for 15mm lightweight and 19mm studio rods for attaching and positioning cinema accessories like matte boxes or follow focus equipment.

  • Page 168: Adjusting The Baseplate

    Adjusting the Baseplate The baseplate has a small lever towards the front of the plate with 3 lever adjustment positions. Swing the lever left or right to select an adjustment position. The different positions include ‘lock’, ‘slide’ and ‘release’. Lock This tightens the mounting clamp so the baseplate is firmly secured to the tripod.

  • Page 169: Interchangeable Lens Mount

    Interchangeable Lens Mount Blackmagic URSA Cine ships with the PL mount attached. However, your camera has an interchangeable lens mount so you are not locked into using lenses to match the lens mount supplied with your camera. This means you can remove the original mount and attach an optional EF or LPL mount.

  • Page 170: Removing The Pl Mount

    URSA Cine. Blackmagic URSA Cine Mount LPL Attaching the LPL mount to your URSA Cine lets you use high end precision cinema that are designed for large format digital cinema camera sensors. The LPL mount kit includes: 1 x LPL mount The LPL mount is shipped with a protective dust cap.

  • Page 171: Blackmagic Ursa Cine Mount Ef

    Blackmagic URSA Cine Mount EF Blackmagic URSA Cine Mount EF supports an extensive range of EF stills and cinema lenses. The EF mount kit includes: 1 x EF mount The EF mount lets you attach common EF stills lenses.
  • Page 172 4 x 3mm Hex mount screws The EF mount kit also comes with a full spare sets of screws in case the originals are misplaced. Tools Required When attaching the EF mount, you will need a 3mm Hex driver. While it’s not absolutely required, we recommend using a torque wrench able to accurately set a maximum torque of 1.5Nm to remove the potential of over tightening the screws.

  • Page 173: Attaching An Ef Lens

    Attaching an EF Lens The EF lens is easily attached by placing the lens mount against the camera mount and rotating the lens until it clicks into place. The lens can then be secured to the mount using the EF mount’s locking ring.

  • Page 174: Shimming Lens Mounts

    Shims are thin disks of varying thickness that let you make fine adjustments to the distance between your lens and URSA Cine’s sensor. This distance is commonly known as the flange focal distance, or back focus, and can change slightly due to variables such as lens age and the environmental conditions of your shoot.

  • Page 175: Blackmagic Camera Setup

    This software lets you update your camera with the latest features, so it is worth regularly checking the Blackmagic Design website for new versions. The Blackmagic Camera Setup utility lets you update your URSA Cine and change administration settings Updating Camera Software for a 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.
  • Page 176 After installing the latest Blackmagic Camera Setup utility on your computer, connect a USB cable between the computer and your URSA Cine. Use the left USB port on the assist station above the LCD touchscreen. Simply open the rubber cap to access the port.

  • Page 177: Setup Settings

    Setup If you have more than one URSA Cine, you may wish to give each unit a discrete name to make them easy to identify. You can do this by entering a new name into the name field and clicking the ‘set’...

  • Page 178: Network Access

    If you encounter a conflict, simply change the identifying number in the unit’s IP address. Network Access Your URSA Cine can be accessed via a network for transferring files. Access will be disabled by default, but you can choose to enable individually or via a username and password for added security when using the web manager.
  • Page 179 To enable web media manager access via HTTPS, you will require a secure certificate. This digital certificate acts as an identification card for your URSA Cine so that any incoming connections can confirm they are connecting to the correct unit. Along with confirming the identity of the unit, using a secure certificate ensures data transmitted between your camera and a computer or server will be encrypted.
  • Page 180 To obtain a signed certificate, you first need to generate a certificate signing request, or CSR, using Blackmagic Camera Setup. This signing request is then sent to a certificate authority, also known as a CA, or your IT department to be signed. Once completed, a signed certificate with a .cert, .crt or .pem file extension will be returned which you can import into your camera.
  • Page 181 Since a domain name was selected, you will need to speak to your IT department about resolving the DNS entry for your URSA Cine. This will point all traffic for the IP address of the camera to the selected domain address in the signing request. This will also be the HTTPS address you use to access files via the web media manager, for example https://camera.melbourne...

  • Page 182: Transferring Files Over A Network

    Access to your URSA Cine via any of these protocols can be enabled or disabled via the Blackmagic Camera Setup utility. For example, you could disable FTP access and enable HTTPS access at the same time.
  • Page 183 If you have imported a certificate signed by a CA or IT department, copy and paste the address in the domain field for the current certificate. Copy the domain address and paste into a browser Open your web browser and paste the address into a new window. If you have enabled access with security only you will be prompted to enter the username and password set in Camera Setup.

  • Page 184: Transferring Files Via Ftp

    Transferring Files via FTP With your computer and Blackmagic URSA Cine on the same network, all you need is an ftp client and your camera’s IP address or the FTP URL in the Camera Setup utility. Download and install an FTP client on the computer you want to connect your camera to.

  • Page 185: Accessories

    Accessories URSA Cine has 4 USB ports which can be used to connect a variety of accessories, from the URSA Cine EVF, USB-C display port monitors, smart phone data tethering, to Blackmagic Zoom and Focus Demands. This section of the manual describes the different accessories you can attach to your URSA Cine.

  • Page 186: Connecting To Your Camera

    Tighten the latch knob to secure the bracket to the tripod arm. Connecting to Your Camera Blackmagic Focus and Zoom Demands have two USB-C ports. This lets you use one unit individually, or both units together. Each unit is supplied with a 1 meter long USB-C cable which is connected directly from your URSA Cine’s USB-C port to the demand unit’s ‘cam’...

  • Page 187: Using Blackmagic Focus Demand

    You can change the focus direction in the menu by setting it to either ‘normal’ or ‘reverse’. TIP If you are also using a Blackmagic Zoom Demand, press the quick zoom button to magnify the image as you focus using the focus demand.

  • Page 188: Using Blackmagic Zoom Demand

    Using Blackmagic Zoom Demand The controls on the Zoom Demand are mappable through your URSA Cine’s dashboard settings. To change the button functions, refer to the ‘setup settings’ chapter in the ‘settings’ section. The following commands are set as default: Zoom F1 This is the zoom function button 1.

  • Page 189: Pinout Tables For Ursa Cine Connectors

    ‚ 7 pin EXT connector ‚ 3 Pin RS Fischer Connector ‚ 2 pin +12V 1.5A power output connector The 8 pin, 7 pin and 2 pin connectors on URSA Cine are compatible with Lemo style connectors. 8 pin power input connector External View...
  • Page 190 Signal Ground 24V Output Record Run/Stop 3 pin RS Fischer Connector DPB102A052 2 pin +12V 1.5A Power Output Connector External View Pins Signal Ground 12V Output 2 pin +12V 1.5A Power Output Connector EEG.0B.302 Pinout Tables for URSA Cine Connectors...

  • Page 191: Using Davinci Resolve

    Using DaVinci Resolve Shooting with your Blackmagic URSA Cine 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 Cine includes a version of DaVinci Resolve for Mac and Windows so you have a complete solution for shooting and post production!

  • Page 192: Project Manager

    The project manager shows all projects belonging to the current user For more information about the Project Manager, refer to the DaVinci Resolve manual which is available to download on the Blackmagic Design website support page. Editing with the Cut Page The ‘cut’...
  • Page 193 The Cut page default workspace, with the Media Pool in icon view 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.

  • Page 194: Viewer Tabs

    TIP Use the search tool near the media tab icons to find the exact items you are looking for. For example, if you have the transitions tab selected, type “dissolve” in the search tool and only dissolve transition types will be shown in the viewer, making it quicker for you to find the dissolve transition you want.

  • Page 195: Adding Clips To The Timeline

    Import Media The import media option will import individual media files selected from your storage location. Import Media Folder To import a folder from your media storage, select the import folder option. When importing a folder, DaVinci Resolve will keep the file structure, treating each folder as a separate bin so you can navigate between bins to find your videos and other media files.

  • Page 196: Trimming Clips On The Timeline

    To append a clip: Double click on a clip in the media pool to open it in the viewer. Using the scratch trim tool, drag the in and out points to select the precise duration of your shot. You can also press the ‘i’ and ‘o’ keyboard shortcuts to set in and out points. Now click the ‘append’...

  • Page 197: Audio Trim View

    Audio Trim View Audio trim view helps you make accurate audio edits by expanding the audio waveform in the timeline. This is useful if you’re editing a dialogue scene or a music clip and makes it easy to find an edit point between words or beats. To use Audio Trim view: Click the audio trim icon between the snapping and marker tools to the left of the timeline.

  • Page 198: Working With Blackmagic Raw Files

    It’s worth shooting in Blackmagic RAW if you are after the highest possible quality, or for shots where there is an extreme variance between highlights and shadows and you may need to push and pull those regions as much as possible in the grade.

  • Page 199: Clip Settings For Blackmagic Raw

    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 Cine with generation 5 color science by reverting them to generation 4 color science. This makes it easy to match shots filmed on cameras using different generations of Blackmagic color science.
  • Page 200 2. Midpoint In Blackmagic Design Film, your middle gray value defaults to 0.38, or 38.4%. Drag the slider to the left to lower your midpoint or to the right to raise it to 100. When contrast is adjusted away from the default setting, you can modify your highlight and shadow rolloff.
  • Page 201 A ‘sidecar’ file will now be created in the same folder as your .braw file. When another user imports the Blackmagic RAW files, the sidecar files will automatically be read by DaVinci Resolve. If you make additional adjustments, press ‘update sidecar’ again.

  • Page 202: Color Correcting Your Clips With The Color Page

    Choose your resolution from the ‘Decode Quality’ menu. A lower resolution will give you better playback on limited systems. You also have the flexibility to change to full resolution later on before delivery for the highest quality output. Now you can adjust the camera settings for your clips such as saturation, contrast and midpoint. This will affect all clips in your project that are set to decode using ‘project’.
  • Page 203 The parade scope helps you optimize highlights, mid tones and shadows Another way to color grade is to use the built in scopes to help you balance shots. You can open a single video scope by clicking the ‘scope’ button, which is the second from the right on the palette toolbar.
  • Page 204 The primaries bars make color adjustments easier when using a mouse. 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.

  • Page 205: Secondary Color Correction

    The curves palette is another tool you can use to make primary color corrections, or enhance specific areas of your clip when using a power window Secondary Color Correction If you want to adjust a specific part of your image then you need to use secondary corrections. The adjustments you have been doing up until now using the lift, gamma and gain adjustments affect the whole image at the same time and so they are called primary color corrections.

  • Page 206: Adding A Power Window

    Usually you’ll need to make some adjustments to soften the edges of your selection and limit the region to only the desired color. Click on the ‘highlight’ button above the viewer to see your selection. Adjust the ‘width’ control in the ‘hue’ window to broaden or narrow your selection. Experiment with the high, low and softness controls to see how to refine your selection.

  • Page 207: Tracking A Window

    Power windows let you make secondary corrections to specific parts of your image 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 208: Using Plugins

    Using Plugins While making secondary color corrections you can also add Resolve FX or Open FX plugins to create fast, interesting looks and effects using the ‘color’ page, or imaginative transitions and effects on your clips on the ‘cut’ and ‘edit’ pages. Resolve FX are installed with DaVinci Resolve, OFX plugins can be purchased and downloaded from third party suppliers.

  • Page 209: The Fairlight Page

    TIP If you wish to change the type of track after creating it, right click next to the name of the track and select ‘change track type to’ and select the type of audio track you want, such as stereo, mono or 5.1. Adjusting Audio Levels in the Timeline Each clip of audio in the timeline has a volume overlay that lets you set that clip’s level by simply dragging it up or down with the pointer.

  • Page 210: The Audio Timeline

    This guide provides a basic overview of the features on the Fairlight page, but to learn more about all the details for each feature, refer to the DaVinci Resolve manual. The DaVinci Resolve manual provides details on the purpose of each tool and describes how to use them in easy to follow steps.

  • Page 211: Using The Equalizer To Enhance Your Audio

    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 212 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 213 To add EQ to a track: Double click in the EQ section for one of your tracks in the mixer to open the equalizer for that track. Select the band filter type from the dropdown menu for the band you want to adjust. The EQ section in the mixer panel indicating an EQ curve has been applied to track one The 6 Band parametric equalizer that can be applied to every track...

  • Page 214: Adding Vfx And Compositing On The Fusion Page

    Adding VFX and Compositing on the Fusion Page Now that you have completed your edit, you can open the Fusion page to add 2D or 3D visual effects and motion graphics right within DaVinci Resolve. Unlike layer based compositing software, Fusion uses nodes, giving you the freedom to build complex effects while routing image data in any direction.
  • Page 215 Create a new version of your composition by right clicking on a thumbnail and selecting ‘create new composition’. 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.

  • Page 216: Getting Started With Fusion

    Spline: When the spline editor is open, it will appear to the right of the nodes window. This ‚ editor lets you make precise adjustments to each node, such as smoothing the animation between two keyframes using bezier curves. Keyframes: Keyframes for each tool can be added, removed or modified using the ‚...
  • Page 217 Some tools have multiple inputs and outputs you can connect to other nodes. The merge node, for example, lets you attach a foreground input, background input, and a mask input for mattes or keys. Foreground input Background input Effect mask input Output 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.

  • Page 218: Working With Keyframes

    Adjusting Nodes Using the Inspector Panel Adjust your node settings using the inspector panel. Simply click on the node you want to modify and the panel will update to display its settings and controls. With Fusion, you don’t have to be viewing the node you’re editing, as you can modify one node while viewing another in your composition.

  • Page 219: Using The Motion Tracker And Adding Text

    The splines panel gives you further control over keyframe animation. You can select keyframes, such as the first and last, and smooth the animation between them into a bezier curve by typing ‘shift’ + ’s’, or right clicking on a keyframe and selecting ‘smooth’. 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...
  • Page 220 Click on the ‘text+’ node icon from the toolbar of commonly used nodes and drag it to the node panel near the ‘tracker’ node. Connect the ‘text’ output square to the green foreground input on the ‘tracker’. Click on the ‘tracker’ node and type ‘1’ so you can see the merged results on your left hand viewer.
  • Page 221 The green square is the tracker’s current position along the green path, and the red dashed line is the offset position used to animate the text. For some shots you might want to remove track points after tracking, such as when the object you are tracking disappears off the screen.

  • Page 222: Mastering Your Edit

    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 223: Quick Export

    The ‘deliver’ page is where you export your edit. You can select from many different video formats and codecs Quick Export You can choose File > Quick Export to use one of a variety of export presets to export your program from any page of DaVinci Resolve.

  • Page 224: 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 225: Developer Information

    API empowers you to unlock the full potential of your Blackmagic camera with ease. We look forward to seeing what you come up with! NOTE It’s important to mention that controlling Blackmagic cameras via REST API relies on the web manager being enabled on each compatible Blackmagic camera.

  • Page 226: Livestream Control Api

    Web media manager URL or IP address. For example, https://ursa-broadcast-g2.local/control/documentation.html NOTE It’s worth noting that changing the camera name in Blackmagic Camera Setup will also change the camera’s Web media manager URL. Livestream Control API API for controlling Livestreams on Blackmagic Design products.
  • Page 227 PUT /livestreams/0/stop Stop the livestream. Response 204 - No Content GET /livestreams/0/activePlatform Get the currently selected platform configuration for the livestream. Response 200 - OK The response is a JSON object. Name Type Description platform (required) string Platform name. The platform’s server name, or “Custom” when the URL is server (required) string customizable.
  • Page 228 GET /livestreams/platforms Get the list of available platforms. Response 200 - OK Name Type Description Response array List of available platforms names. Response[i] string Platform name. GET /livestreams/platforms/{platformName} Get the service configuration for a platform. Parameters Name Type Description {platformName} (required) string Name of the platform.
  • Page 229 200 - OK Name Type Description Response object Blackmagic streaming XML file format. 404 - Not Found PUT /livestreams/customPlatforms/{filename} Update a custom platform file if it exists, if not, create a new file with the given file name. Parameters Name...

  • Page 230: Event Control Api

    List of events that can be subscribed to using the events[i] string websocket API System Control API API for controlling the System Modes on Blackmagic Design products. GET /system Get device system information. Response 200 - OK The response is a JSON object.
  • Page 231 GET /system/supportedCodecFormats Get the list of supported codecs. Response 200 - OK The response is a JSON object. Name Type Description codecs array codecs[i] object codecs[i].codec string Currently selected codec. codecs[i].container string Multimedia container format. 501 - This functionality is not implemented for the device in use. GET /system/codecFormat Get the currently selected codec.
  • Page 232 GET /system/videoFormat Get the currently selected video format. Response 200 - OK The response is a JSON object. Name Type Description name (required) string Video format serialised as a string. Possible values are: 23.98, 24.00, 24, 25.00, 25, 29.97, frameRate string 30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60, 119.88, 120.00, 120.
  • Page 233 GET /system/supportedVideoFormats Get the list of supported video formats for the current system state. Response 200 - OK The response is a JSON object. Name Type Description formats array List of video formats. formats[i] object Video format configuration. formats[i].name (required) string Video format serialised as a string.
  • Page 234 supportedFormats[i]. number Height of the resolution. sensorResolution.height supportedFormats[i]. number Width of the resolution. sensorResolution.width 501 - This functionality is not implemented for the device in use. GET /system/format Get current format. Response 200 - OK The response is a JSON object. Name Type Description...

  • Page 235: Transport Control Api

    Width of the resolution. Response 204 - No Content 501 - This functionality is not implemented for the device in use. Transport Control API API for controlling Transport on Blackmagic Design products. GET /transports/0 Get device’s basic transport status. Response 200 - OK The response is a JSON object.
  • Page 236 GET /transports/0/stop Determine if transport is stopped. Response 200 - OK Name Type Description True when transport mode is InputPreview or when in Response boolean Output mode and speed is 0 PUT /transports/0/stop Stop transport. Response 204 - No Content GET /transports/0/play Determine if transport is playing.
  • Page 237 PUT /transports/0/playback Set playback state. Parameters Name Type Description type string Possible values are: Play, Jog, Shuttle, Var. When true playback loops from the end of the timeline to loop boolean the beginning of the timeline When true playback loops from the end of the current clip to singleClip boolean the beginning of the current clip...

  • Page 238: Timeline Control Api

    GET /transports/0/timecode/source Get timecode source selected on device Response 200 - OK The response is a JSON object. Name Type Description timecode string Possible values are: Timecode, Clip. Timeline Control API API for controlling playback timeline. GET /timelines/0 Get the current playback timeline. Response 200 - OK The response is a JSON object.

  • Page 239: Media Control Api

    Media Control API API for controlling media devices in Blackmagic Design products. GET /media/workingset Get the list of media devices currently in the working set. Response 200 - OK The response is a JSON object. Name Type Description size integer The fixed size of this device’s working set...
  • Page 240 GET /media/devices/doformatSupportedFilesystems Get the list of filesystems available to format the device. Response 200 - OK Name Type Description Response array Response[i] string GET /media/devices/{deviceName} Get information about the selected device. Parameters Name Type Description Device name of the media device, as returned by {deviceName} (required) string deviceName member of Workingset or ActiveMedia...

  • Page 241: Preset Control Api

    Volume name to set for the disk after format Response 204 - No Content Preset Control API API For controlling the presets on Blackmagic Design products GET /presets Get the list of the presets on the camera Response 200 - OK The response is a JSON object.
  • Page 242 GET /presets/active Get the list of the presets on the camera Response 200 - OK The response is a JSON object. Name Type Description preset string PUT /presets/active Set the active preset on the camera Parameters Name Type Description preset string Response 204 - No Content...

  • Page 243: Audio Control Api

    Response 204 - No Content Audio Control API API For controlling audio on Blackmagic Design Cameras GET /audio/channels Get the total number of audio channels available Response 200 - Returns the total number of channels The response is a JSON object.
  • Page 244 GET /audio/channel/{channelIndex}/input Get the audio input (source and type) for the selected channel Parameters Name Type Description The index of the channel that its input is being controlled. {channelIndex} (required) integer (Channels index from 0) Response 200 - Currently selected input The response is a JSON object.
  • Page 245 GET /audio/channel/{channelIndex}/input/description Get the description of the current input of the selected channel Parameters Name Type Description The index of the channel that its input is being controlled. {channelIndex} (required) integer (Channels index from 0) Response 200 - Description of the current input of the selected channel The response is a JSON object.
  • Page 246 GET /audio/channel/{channelIndex}/level Get the audio input level for the selected channel Parameters Name Type Description The index of the channel that its input is being controlled. {channelIndex} (required) integer (Channels index from 0) Response 200 - Currently set level for the selected channel The response is a JSON object.
  • Page 247 GET /audio/channel/{channelIndex}/phantomPower Get the audio input phantom power for the selected channel if possible Parameters Name Type Description The index of the channel that its input is being controlled. {channelIndex} (required) integer (Channels index from 0) Response 200 - Currently set level for the selected channel The response is a JSON object.
  • Page 248 PUT /audio/channel/{channelIndex}/padding Set the audio input padding for the selected channel Parameters Name Type Description The index of the channel that its input is being controlled. {channelIndex} (required) integer (Channels index from 0) Name Type Description padding boolean Response 204 - No Content 400 - Padding is not supported for this input 404 - Channel does not exist GET /audio/channel/{channelIndex}/lowCutFilter...

  • Page 249: Lens Control Api

    Name Type Description available boolean 404 - Channel does not exist Lens Control API API For controlling the lens on Blackmagic Design products GET /lens/iris Get lens’ aperture Response 200 - OK The response is a JSON object. Name Type...
  • Page 250 GET /lens/zoom Get lens’ zoom Response 200 - OK The response is a JSON object. Name Type Description focalLength integer Focal length in mm normalised number Normalised value PUT /lens/zoom Set lens’ zoom Parameters Name Type Description focalLength integer Focal length in mm normalised number Normalised value...

  • Page 251: Video Control Api

    Video Control API API For controlling the video on Blackmagic Design products GET /video/iso Get current ISO Response 200 - OK The response is a JSON object. Name Type Description integer Current ISO value PUT /video/iso Set current ISO Parameters...
  • Page 252 PUT /video/gain Set current gain value Parameters Name Type Description gain integer Gain value in decibels to set Response 204 - No Content GET /video/supportedGains Get the list of supported gain settings in decibels Response 200 - List of supported gain values in decibels The response is a JSON object.
  • Page 253 GET /video/whiteBalanceTint Get white balance tint Response 200 - OK The response is a JSON object. Name Type Description whiteBalanceTint integer Current white balance tint PUT /video/whiteBalanceTint Set white balance tint Parameters Name Type Description whiteBalanceTint integer White balance tint to set Response 204 - No Content GET /video/ndFilter...
  • Page 254 GET /video/supportedNDFilters Get the list of available ND filter stops Response 200 - List of available ND filter stops The response is a JSON object. Name Type Description supportedStops array Array of available ND filter stops supportedStops[i] string 501 - Not implemented for this device GET /video/ndFilter/displayMode Get ND filter display mode on the camera Response...
  • Page 255 GET /video/shutter Get current shutter. Will return either shutter speed or shutter angle depending on shutter measurement in device settings Response 200 - OK The response is a JSON object. Name Type Description continuousShutterAutoExposure boolean Is shutter controlled by auto exposure Shutter speed value in fractions of a second (minimum is shutterSpeed integer...
  • Page 256 GET /video/detailSharpening Get the current state of detail sharpening Response 200 - Current detail sharpening state The response is a JSON object. Name Type Description enabled boolean Whether detail sharpening is enabled 500 - Internal server error PUT /video/detailSharpening Enable or disable detail sharpening Parameters Name Type...

  • Page 257: Camera Control Api

    Camera Control API API For controlling the Camera specific features on Blackmagic Design products GET /camera/colorBars Get the status of color bars display Response 200 - Returns the current status of color bars The response is a JSON object. Name...

  • Page 258: Color Correction Control Api

    Current tally status of the camera Possible values are: None, status string Preview, Program. 500 - Internal server error Color Correction Control API API For controlling the color correction on Blackmagic Design products based on DaVinci Resolve Color Corrector GET /colorCorrection/lift Get color correction lift Response 200 - OK The response is a JSON object.
  • Page 259 PUT /colorCorrection/lift Set color correction lift Parameters Name Type Description number Default value is: 0. green number Default value is: 0. blue number Default value is: 0. luma number Default value is: 0. Response 204 - No Content GET /colorCorrection/gamma Get color correction gamma Response 200 - OK...
  • Page 260 GET /colorCorrection/gain Get color correction gain Response 200 - OK The response is a JSON object. Name Type Description number Default value is: 0. green number Default value is: 0. blue number Default value is: 0. luma number Default value is: 0. PUT /colorCorrection/gain Set color correction gain Parameters...
  • Page 261 PUT /colorCorrection/offset Set color correction offset Parameters Name Type Description number Default value is: 0. green number Default value is: 0. blue number Default value is: 0. luma number Default value is: 0. Response 204 - No Content GET /colorCorrection/contrast Get color correction contrast Response 200 - OK...
  • Page 262 Response 204 - No Content Alongside the Blackmagic Camera Control REST API we also have our Camera Control REST Web Socket which is an extension of the Camera Control REST API but allows you to listen to various parameters in the camera so that when they change or are adjusted subscribers will be notified of the state change.

  • Page 263: Notification Websocket - 1.0.0

    Notification websocket - 1.0.0 Service that notifies subscribers of device state changes. messages Subscribe (The messages from the server/device) (JSON) Name Type Description .data object Possible values are: subscribe, unsubscribe, .data.action string listSubscriptions, listProperties, websocketOpened. .data.properties array device property that the user can subscribe to. The user can either choose a value from the predefined enum, or provide a wildcard string.
  • Page 264 (JSON) Name Type Description .data object .data.action string Possible values are: propertyValueChanged. device property that the user can subscribe to. The user can either choose a value from the predefined enum, or provide a wildcard string. Possible values are: /media/active, /system, /system/codecFormat, /system/videoFormat, /system/format, /system/supportedFormats, /timelines/0, /transports/0, /transports/0/stop, /transports/0/play,...

  • Page 265: Device Properties

    An object with property names as the key and a property .data.values object value as json. Check the next section for a the device properties and their return values. .data.success boolean .data.deviceProperties array device property that the user can subscribe to. The user can either choose a value from the predefined enum, or provide a wildcard string.
  • Page 266 /system The value JSON returned via the eventResponse when the /system property changes on the device: Name Type Description .codecFormat object Currently selected codec .codecFormat.codec string Currently selected codec .codecFormat.container string Multimedia container format .videoFormat object Currently selected video format Frame rate Possible values are: 23.98, 24.00, 24, 25.00, 25, .videoFormat.frameRate string...
  • Page 267 /system/format The value JSON returned via the eventResponse when the /system/format property changes on the device: Name Type Description .codec string Currently selected codec Frame rate Possible values are: 23.98, 24.00, 24, 25.00, 25, .frameRate string 29.97, 30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60, 119.88, 120.00, 120.
  • Page 268 /timelines/0 The value JSON returned via the eventResponse when the /timelines/0 property changes on the device: Name Type Description .clips array .clips[i] object .clips[i].clipUniqueId integer Unique ID used to identify this clip .clips[i].frameCount integer Number of frames in this clip on the timeline /transports/0 The value JSON returned via the eventResponse when the /transports/0 property changes on the device:...
  • Page 269 /transports/0/record The value JSON returned via the eventResponse when the /transports/0/record property changes on the device: Name Type Description .recording boolean Is transport in Input Record mode /transports/0/timecode The value JSON returned via the eventResponse when the /transports/0/timecode property changes on the device: Name Type Description...
  • Page 270 /audio/channel/{channelIndex}/phantomPower The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/ phantomPower property changes on the device: Name Type Description .phantomPower object .phantomPower.phantomPower boolean /audio/channel/{channelIndex}/padding The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/ padding property changes on the device: Name Type Description...
  • Page 271 /colorCorrection/gamma The value JSON returned via the eventResponse when the /colorCorrection/gamma property changes on the device: Name Type Description .Gamma object .Gamma.red number .Gamma.green number .Gamma.blue number .Gamma.luma number /colorCorrection/gain The value JSON returned via the eventResponse when the /colorCorrection/gain property changes on the device: Name Type...
  • Page 272 /colorCorrection/color The value JSON returned via the eventResponse when the /colorCorrection/color property changes on the device: Name Type Description .Color object .Color.hue number .Color.saturation number Default value is: 1. /colorCorrection/lumaContribution The value JSON returned via the eventResponse when the /colorCorrection/lumaContribution property changes on the device: Name Type...
  • Page 273 /presets The value JSON returned via the eventResponse when the /presets property changes on the device: Name Type Description .presetList object .presetList.presets array List of the presets on the camera .presetList.presets[i] string /presets/active The value JSON returned via the eventResponse when the /presets/active property changes on the device: Name Type...
  • Page 274 /video/ndFilter The value JSON returned via the eventResponse when the /video/ndFilter property changes on the device: Name Type Description .stop number Current filter power (fStop) /video/videoNdFilterDisplayMode The value JSON returned via the eventResponse when the /video/videoNdFilterDisplayMode property changes on the device: Name Type Description...

  • Page 275: Blackmagic Bluetooth Camera Control

    Blackmagic Bluetooth Camera Control Blackmagic cameras with Bluetooth LE implement a variety of features and commands that allow users to control their cameras wirelessly. Developers have full access to these features for their custom applications. The following services and characteristics describe the full range of communication options that are available to the developer.
  • Page 276 Read this value to determine the camera’s supported CCU protocol version. NOTE Encrypted characteristics can only be used once a device has successfully bonded or paired with the Blackmagic Camera. Once a connection has been established, any attempt to write to an encrypted characteristic will initiate bonding.

  • Page 277: Blackmagic Sdi Camera Control Protocol

    Blackmagic SDI Camera Control Protocol Version 1.6.2 If you are a software developer you can use the Blackmagic SDI to construct devices that integrate with our products. Here at Blackmagic Design, our approach is to open up our protocols and we...
  • Page 278 The command data may contain between 0 and 60 bytes of data. Command data (uint8[]) The format of the data section is defined by the command itself. 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.
  • Page 279 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 280 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 281 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 282 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 283 Group Parameter Type Index Minimum Maximum Interpretation [0] time BCD - HHMMSSFF (UCT) Real Time Clock int32 [1] date BCD - YYYYMMDD ISO-639-1 two character System language string [0-1] language code Timezone int32 Minutes offset from UTC BCD - s0DDdddddddddddd Confi- where s is the sign: guration...
  • Page 284 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, 1 = 422, 10.0...
  • Page 285 Group Parameter Type Index Minimum Maximum Interpretation -1.0 = full speed left, [0] = pan velocity -1.0 1.0 = full speed right 11.0 Pan/Tilt Velocity fixed 16 -1.0 = full speed down, [1] = tilt velocity -1.0 1.0 = full speed up 0 = reset, Control int8...

  • Page 286: 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 287: Blackmagic Tally Control Protocol

    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.
  • Page 288 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 289: Help

    Help The fastest way to obtain help is to go to the Blackmagic Design online support pages and check the latest support material available for your camera. Blackmagic Design Online Support Pages The latest manual, software and support notes can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support.

  • Page 290: Regulatory Notices

    Regulatory Notices Disposal of Waste of Electrical and Electronic Equipment Within the European Union. The symbol on the product indicates that this equipment must not be disposed of with other waste materials. In order to dispose of your waste equipment, it must be handed over to a designated collection point for recycling.
  • Page 291 This equipment contains specified radio equipment that has been certified to the technical regulation conformity certification under the Radio and Telecommunication Business Law. Hereby, Blackmagic Design declares that the product is using 2.4GHz and 5 GHz bands, are in compliance with directive 2014/53/EU and Radio Equipment Regulations 2017.

  • Page 292: Safety Information

    Safety Information The supplied AC to 24V DC power supply for Blackmagic URSA Cine must be connected to a mains socket outlet with a protective earth connection. No operator serviceable parts inside Blackmagic URSA Cine. Refer servicing to your local Blackmagic Design service center.

  • Page 293: Warranty

    Blackmagic Design parts or supplies, or d) to service a product that has been modified or integrated with other products when the effect of such a modification or integration increases the time or difficulty of servicing the product.

This manual is also suitable for:

Pyxis 6k

Table of Contents

Save PDF