URSA Broadcast G2 - Camcorder Blackmagic Design - Free user manual and instructions

USER MANUAL URSA Broadcast G2 Blackmagic Design

April 2022 Installation and Operation Manual Blackmagic URSA Broadcast G2 Blackmagic URSA Broadcast G2Languages To go directly to your preferred language, simply click on the hyperlinks listed in the contents below. English 3 日本語 279 Français 556 Deutsch 833 Español 1110 中文 1387 한국어 1664 Русский 1941 Italiano 2218 Português 2495 Türkçe 2772Welcome Thank you for purchasing Blackmagic URSA Broadcast G2! Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The camera’s versatile design allows it to work as a 4Kproduction camera, a 4K studio camera or a 6K digital film camera! Built from strong, lightweight magnesium alloy, your Blackmagic URSA Broadcast G2 is perfectly balanced and comfortable to use all day with physical controls at your fingertips. This means you can change ND filters, shutter speed, white balance, ISO and more without looking away from the viewfinder. Your URSA Broadcast G2 is compatible with B4 broadcast lenses and records to common file types such as Blackmagic RAW and Apple ProRes, plus highly efficient 10-bit broadcast quality H.264 and H.265. Dual native gain provides fantastic low light performance and is optimized to reduce grain and noise at higher ISOs while maintaining the full dynamic range of the sensor! We hope you use your URSA Broadcast G2 to produce some of the world’s most exciting television programming, documentaries and live studio content. We are extremely excited to see what creative work you produce and would love your feedback on new features you would like to see us add to URSA! Grant Petty CEO Blackmagic Design EnglishContent s Getting Started  6 Attaching a Lens  6 Powering your Camera  7 Using Servo Zoom Lenses  9 Setting the Back Focus on B4 Lenses  15 Storage Media  18 CFast Cards  18 SD Cards  19 Recording to USB-C flash disks  21 SSDs  22 Preparing Media for Recording  24 Preparing Media on Blackmagic URSA Broadcast G2  24 Preparing Media on Mac  26 Preparing Media on Windows  27 Recording  28 Recording Clips  28 Choosing the Codec, Resolution and Sensor Area  29 Blackmagic RAW  30 Recording to Blackmagic RAW  30 Choosing Frame Rates  33 Triggering Record on External Equipment  36 Record Duration Table  36 Playback  38 URSA Broadcast G2 Connectors andFeatures  39 Camera Front  39 Left Side  40 Left Side Controls  40 Right Side  42 Rear Panel  43 Top Panel  45 Underside  45 URSA Broadcast G2 Controls  46 Forward Control Panel  46 Ergonomic Control Panel  49 Internal Control Panel  54 Camera Video Outputs  56 HD Monitoring Output  56 12G-SDI Output  56 Touchscreen Controls  58 Upper Toolbar  58 Lower Toolbar  75 Looping playback  81 Settings  82 Dashboard  82 Record Settings  82 File Naming Convention  88 Monitor Settings  89 Audio Settings  95 Setup Settings  98 Presets  115 LUTS  118 Entering Metadata  121 Streaming Video  127 Smartphone Setup  128 Settings  128 Setting the ATEM Camera ID  129 Creating the XML File  129 Exporting the XML File  129 Loading the XML File  130 URSA Mini Shoulder Kit  131 Blackmagic URSA Viewfinder  134 Mounting and Connecting to Blackmagic URSA Broadcast G2  134 Adjusting the Eyepiece  135 Button Features  135 Menu Settings  136 Blackmagic URSA Studio Viewfinder  140 Mounting and Connecting to Blackmagic URSA Broadcast G2  141 Adjusting the Blackmagic URSAStudio Viewfinder  143 Button Features  146 Menu Settings  148 Blackmagic Zoom and Focus Demands  153 Connecting and Attaching to your Camera  153 Using Blackmagic Focus Demand  155 Using Blackmagic Zoom Demand  156 Mounting Batteries  157 Mounting V-mount or GoldMount Batteries  157 Using your own Battery Plate  159 Blackmagic Fiber Converters  161 Getting Started with BlackmagicFiberConverters  162 About SMPTE Fiber  162 Connecting SMPTE Fiber  164 4Blackmagic URSA Broadcast G2Why Connections on the Front?  168 Plugging in Camera SDI  169 Plugging in Return SDI Outputs  169 Mounting BlackmagicCamera Fiber Converter  169 Attaching the URSA Studio Viewfinder  172 Plugging in a Talkback Headset  172 Operating the Camera Fiber Converter  173 Selecting a Return Feed  173 Using the Call Button  174 Using Talkback  174 Using Tally  175 Status Indicators  175 Audio Inputs  176 IP Video  177 Power Specifications  177 Additional Camera Controls  178 Operating the Studio Fiber Converter  179 Using the Menu  180 Rack Mounting the Studio Unit  183 Camera Unit Connections  187 Camera Power Connection  187 PTZ Interface  187 Talkback Connection  188 Tracker Interface  189 DC Connection  189 D-Tap Output  190 Reference Output and Operation  190 Studio Unit Connections  191 12G-SDI Output  191 Return SDI Inputs  191 Reference Input and Output  192 Talkback Interface  192 PTZ Interface  193 Audio Outputs  194 Updating Internal Software  195 Updating Blackmagic Camera Fiber Converter  195 Updating Blackmagic Studio Fiber Converter  195 Interchangeable Lens Mount  196 Removing the B4 Mount  197 Blackmagic URSA Mini Pro EF Mount  197 Blackmagic URSA Mini Pro F Mount  199 Blackmagic URSA Mini Pro PL Mount  203 Blackmagic URSA Broadcast G2 B4 Mount  206 Shimming Lens Mounts  207 Blackmagic URSA Mini Pro Shim Kit  207 Shimming mounts  208 URSA Mini Recorder  209 Mounting and connecting URSAMini Recorder  210 Using URSA Mini Recorder  212 Updating URSA Mini Recorder’s internal software  213 Understanding Studio Camera Control  214 Using Camera Control  215 DaVinci Resolve Primary ColorCorrector  220 Using DaVinci Resolve  224 Project Manager  224 Editing with the Cut Page  225 Adding Clips to the Timeline  228 Trimming Clips on the Timeline  229 Audio Trim View  229 Adding Titles  230 Working with Blackmagic RAW Files  231 Color Correcting your Clips with the Color Page  235 Adding a Power Window  238 Using Plugins  240 Mixing Your Audio  241 Adding VFX and Compositing on the Fusion Page  246 Mastering Your Edit  255 Quick Export  255 The Deliver Page  256 Blackmagic Camera Setup Utility  257 Working with Third Party Software  258 Working with Files from CFast2.0 and SD cards  259 Working with Files from SSDs  259 Using Final Cut Pro X  260 Using Avid Media Composer 2018  261 Using Adobe Premiere Pro CC  261 Developer Information  263 Blackmagic Bluetooth Camera Control  263 Blackmagic SDI and Bluetooth Camera Control Protocol  265 Example Protocol Packets  272 Blackmagic TallyControl Protocol  273 Help  275 Regulatory Notices  276 Safety Information  277 Warranty  278 5Blackmagic URSA Broadcast G2Getting Started Getting started with your Blackmagic URSA Broadcast G2 is as simple as mounting a lens andpowering your camera. Attaching a Lens Your URSA Broadcast G2 comes fitted with a B4 lens mount for HD and Ultra HD broadcast lenses. An additional EF mount is included so you can also use stills lenses, other compact- zoom or EF cine lenses. For instructions on switching lens mount types, refer to the ‘Interchangeable lens mount’ section later in this manual. URSA Broadcast G2’s B4 mount features optics specifically designed to work with your camera’s sensor to produce the same field of view and depth of field as traditional broadcast cameras with 2/3" sensors. This means that if you already have a broadcast background, you can be comfortable mounting your existing B4 lenses to URSA Broadcast G2 and shoot confidently. To remove the protective dust cap from the camera, rotate the outer locking ring counterclockwise and pull the dust cap away from the mount. To attach a B4 mount lens: Rotate the locking ring clockwise to secure the lens to the camera 1 Turn the B4 lens locking ring counterclockwise to reveal the alignment slot inside the top of the mount. Align the B4 lens to your URSA Broadcast G2’s B4 mount so the alignment pin on the lens matches the position of the alignment slot. 2 Hold the lens against the B4 mount so the mount plates are against each other and make sure the alignment pin is secured inside the alignment slot. 3 Turn the locking ring clockwise to tighten the lens against the mount and lock it into position. 4 To power the lens and provide lens control, simply plug the lens cable into the connector marked ‘Lens’ on the front of your URSA Broadcast G2’s turret. Most B4 lenses will have the 12 pin lens connector and cable built in. This will provide power and control signals from your URSA Broadcast G2 to the lens. 6Getting StartedFor information on the types of B4 lenses and how to use them with your camera, refer to the ‘Using Servo Zoom Lenses’ section in this manual. NOTE When no lens is attached to the camera, the optical element of URSA Broadcast G2’s B4 mount isexposed to dust and other debris. Ensure that you keepthe dust cap on whenever possible. Many B4 lenses can be quite long due to their extreme zoom range. When using URSA Broadcast G2 with B4 lenses, your camera’s center of gravity will move forward. The URSA Mini shoulder pad included with your camera can be adjusted accordingly. Center of gravity When mounting URSA Broadcast G2 on the URSA Mini shoulder pad, it’s a good idea to mount the camera towards the rear of the shoulder pad base when using longer zoom lenses. This moves your camera rig’s center of gravity back over the middle of the pad, making it easier to balance on your shoulder and rest steadily when sitting on a desk or flat surface. Refer to the ‘URSA Mini Shoulder Kit’ section later in this manual for more information on fitting the shoulder pad. Powering your Camera Now that you’ve attached a lens, you will need to supply power. The quickest way to power your camera is to connect external power using the supplied AC to 12V DC adapter. To plug in external power: 1 Connect the AC to 12V DC adapter plug to your mains power socket. 2 Connect the AC to 12V DC adapter’s 4 pin XLR connector to the 12-18V DC power connector on the camera. If you have both external and battery power connected, only external power will be used. If you remove external power while a charged battery is connected, your camera will switch to battery power without interruption. 7Getting StartedUse the supplied AC to 12V DC adapter to power your Blackmagic URSA Broadcast G2 Blackmagic URSA Broadcast G2 comes fitted with an URSA VLock Battery Plate. This lets you use industry standard V mount batteries with your camera. Refer to the ‘mounting batteries’ section for more information about mounting different types of battery plates to support different batteries. To turn on URSA Broadcast G2: 1 Move the power switch, located above the fold out LCD, to the ‘on’ position. 2 To turn the camera off, move the switch to the ‘off’ position. You are now ready to insert your media and start recording! Move the power switch to ‘on’ to power your camera URSA Broadcast G2 also features a redundant power switch, which allows the camera to be turned on and off by holding down the ‘rec’ and ‘forward skip’ buttons on the inside control panel. While you wouldn’t normally power your camera using this method, it is provided as a helpful alternative if the power switch along the top edge is obscured, for example when mounted on a custom rig. 8Getting StartedIf you need to, you can also hold down the record and forward skip buttons on the control panel behind the LCD to power your camera on or off TIP If your URSA Broadcast G2 is turned off when the power switch is set to ‘on’, your camera may have been powered down via Bluetooth® control or by holding down the record and forward skip control panel buttons. Simply toggle the power switch ‘off’ and‘on,’ or hold down the relevant control panel buttons to power the camera on. Using Servo Zoom Lenses Your URSA Broadcast G2 natively supports servo driven B4 broadcast lenses. For information on fitting a B4 lens to your camera, refer to the ‘attaching a lens’ section at the start of this manual. TIP With the optional URSA Mini Pro PL mount fitted, your URSA Broadcast G2 is also compatible with servo driven PL cine lenses. B4 broadcast lenses offer several features that aren’t typically present in still photography and cinema lenses. In addition to the ability to hold focus through a large zoom range, these lenses are distinguished by handgrip controls and servo driven iris and zoom functions. Some lenses also feature servo driven focus. With the lens connector fitted, iris and zoom can be controlled from the handgrip, from your camera or by using an optional Blackmagic Zoom Demand. You can even control your lens remotely via an ATEM switcher. Lenses which have a focus servo can accept auto focus commands from the camera, continuously track focus using an optional Blackmagic Focus Demand or receive focus commands from an ATEM switcher. 9Using Servo Zoom LensesB4 Lenses with iris and zoom control include: Fujinon B4 lens models with HA, ZA, XA, UA and LA prefixes in their model name and RM in their suffix. For example, Fujinon XA20sxBRM. Canon B4 lens models with HJ, KJ and CJ prefixes and IRSE or IRSD in their suffix. For example for example Canon KJ20x8.2B IRSD. B4 Lenses with full servo control for focus, iris and zoom include: Fujinon B4 lens models with HA, ZA and UA prefixes in their name and the letters RD or ZD in the suffix. For example, Fujinon HA22x7.8 BERD. Canon B4 lens models with HJ, KJ..ex and CJ prefixes in their name and the letters IASE or IASD in the suffix. For example, Canon HJ24ex7.5B IASE. Your Blackmagic URSA Broadcast G2 is shipped ready to record to Blackmagic RAW Ultra HD. Toconfirm your record settings simply press the menu button to open the menu settings on the LCD. The first menu item is the ‘record’ tab and you can check your codec and resolution settings here. More information on how to use the menu settings is provided later in the manual. The default Blackmagic RAW settings in the ‘record’ tab 10Using Servo Zoom LensesUltra HD is also the default resolution for both ProRes and H.265 codecs. If you’d like to shoot in HD that is also available in ProRes or H.264. The record tab in the menu settings TIP If you notice any vignetting in your images when using a B4 lens check that your resolution is set to Ultra HD when set to Blackmagic RAW. If you are recording ProRes or H.264/5, adjusting your camera’s ‘sensor area’ to 4K will suit the optical area that the B4 mount covers. For more information, refer to the ‘record settings’ section later in the manual. B4 lens controls Iris On the top of most B4 handgrips, you’ll find an ‘auto/manual’ or ‘A/M’ switch, and a ‘push auto’ or ‘iris’ switch. These control your lenses’ aperture ring. Auto Set this switch to ‘auto’ or ‘a’ to adjust your lens aperture via your URSA Broadcast G2, Blackmagic Zoom Demand or an ATEM switcher. You can adjust lens aperture from URSA Broadcast G2 using the iris wheel, internal control panel buttons, touchscreen controls, or iris based auto exposure modes. See the ‘URSA Broadcast G2 controls’ and ‘touchscreen controls’ sections in this manual for more details. While in ‘auto’ mode, the aperture ring on your B4 lens cannot be moved manually. Manual Set this switch to ‘manual’ or ‘m’ to adjust your lens aperture by turning the iris ring on the lens barrel. In this mode, your lens will not accept aperture commands from your URSA Broadcast G2 or ATEM switcher. 11Using Servo Zoom LensesPush Auto/Iris Use this button to momentarily activate ‘auto’ aperture control while in ‘manual’ mode. This can be combined with iris controls on your camera or ATEM switcher to great effect. For example, with your camera set to an iris based auto exposure mode and your lens aperture set to ‘manual,’ you can freely adjust your lens iris by using the aperture ring on the lens barrel, however tapping the ‘push auto’/‘iris’ button will momentarily activate auto exposure, adjusting your iris for the current lighting conditions. Alternatively, you can set an iris value using the controls on your URSA Broadcast G2’s LCDtouchscreen. While in ‘manual’ mode, you are free to adjust lens aperture using the aperture ring on the lens barrel, but tapping the ‘push auto’/‘iris’ button will return the lens to the preset value on your touchscreen. Zoom On the underside of most B4 handgrips, you’ll find a ‘zoom’ switch that can be set to ‘servo’ or‘manual.’ This controls zoom behavior. Servo Set this switch to ‘servo’ or ‘s’ to enable servo zoom control. In this mode, the rocker switch on your handset can be used to zoom your lens in and out, as well as any other zoom related controls, such as zoom speed and quickzoom. Your lens will also accept zoom commands from URSA Broadcast G2, Blackmagic Zoom Demand and ATEM switchers, so long as it is connected to the camera via the lens connector. In this mode, you typically can’t adjust your lens’s manual zoom ring. TIP Handgrip zoom rockers are typically linked to zoom speed. Push the rocker down gently to zoom slowly, push down harder to zoom more rapidly. 12Using Servo Zoom LensesManual Set this switch to ‘manual’ or ‘m’ to disable servo control and adjust zoom using the zoom ring on your lens barrel. In this mode, your lens will not accept zoom commands from the handgrip, URSA Broadcast G2, or ATEM switchers. Focus Some B4 lenses also have focus servo controls. If this control is present on your lens, you’ll seea ‘focus’ switch on the underside of the handgrip with two settings, ‘servo’ and ‘manual.’ Servo Set this switch to ‘servo’ or ‘s’ to enable servo focus control. In this mode, your lens canaccept focus commands from URSA Broadcast G2, Blackmagic Focus Demand or an ATEM switcher via the lensconnector. Manual Set this switch to ‘manual’ to use the focus ring on the lens barrel to control focus. B4lenses tend to autofocus quite slowly, so using manual control is more common. NOTE Analog B4 lenses with servos are also supported although the camera will only power the zoom servo and support electronic iris control. Many of them are standard definition and may not have the standard 12 pin broadcast connector. If you are going to use an analog B4 lens, it’s important to make sure it is compatible with your camera first as some have limited feature sets. It is also worth testing them for their image circle coverage as some of them may reveal resolution and light fall off towards the edge of the frame. 13Using Servo Zoom LensesRet and VTR On a B4 lens, the ‘vtr’ button toggles recording and the ‘ret’ button is for ‘program return’. For information on how you can configure the ‘vtr’ and ‘ret’ button as function buttons, see the ‘set function button’ section in ‘setup settings’ later in this manual. The ‘ret’ and ‘vtr’ buttons on a B4 lens 14Using Servo Zoom LensesSetting the Back Focus on B4 Lenses One of the huge advantages of B4 lenses is that they are designed to be ‘parfocal’ which means they hold focus all the way through the zoom range. This means you can zoom in, getfocus on an object and then when you zoom out it will remain in focus. The back focus ring is typically located at the rear of the lens, close to the mount Back focus is critical in ensuring that your HD or 4K B4 lenses retain focus right through the zoom range. When you first mount a B4 lens on your camera you should check that the back focus is correct. Back focus should also be checked when you swap lenses, and it’s a good idea to periodically check back focus at the start of major projects. To check the back focus of a B4 lens: 1 Place a focus test chart, or a flat white item with good high contrast detail, approximately seventy feet, or as far away as possible, from the camera. 2 Set the iris on the lens wide open and compensate for exposure by using the built in NDs if you need to. You’ll want a shallow depth of field so you can exaggerate any focus issues. 3 Zoom into the chart and set focus. 4 Now zoom out. If you reach maximum wide and the focus remains sharp, then your back focus is correct and you don’t need to make any adjustments. However, if you zoomed out and the chart drifted out of focus, the back focus is incorrect. Zoom all the way out and adjust the back focus ring on the rear of the lens close to the mount. The back focus ring typically has a twist knob used to loosen and tighten. Simply loosen the twist knob and rotate the ring until your chart is in focus. 5 Now zoom in and out slowly and check if your chart remains in focus all the way through the zoom. 6 Repeat steps 4 and 5, zooming in and out and making adjustments to the back focus ring. If your lens holds focus all the way through the zoom range your back focus is now set correctly. 15Using Servo Zoom LensesSetting back focus on Fuji LA16x8 BRM lenses The process of setting back focus on a Fuji LA16x8 BRM lens is slightly different. Instead of an external back focus ring this lens sets back focus electronically using a button underneath the hand grip. To set back focus on a Fuji LA16x8 BRM lens: 1 Place a focus test chart, or a flat white item with good high contrast detail, approximately seventy feet, or as far away as possible, from the camera. 2 Set the zoom switch underneath the lens handgrip to ‘servo’. 3 Locate the ‘F.f.’ button next to the zoom switch. Press and hold the ‘F.f.’ button for 5seconds. The indicator LED on top of the zoom rocker will flash red. 4 The lens will automatically zoom in. Set focus using the focus ring. It’s important to note that if you have Blackmagic Focus Demand attached you will need to unplug it from your camera to adjust the physical focus ring or adjust the focus using the focus demand for this step and step 5. 5 Press the ‘F.f.’ button again and the lens will automatically zoom out. Set focus using the focus ring. 6 Press the ‘F.f.’ button to confirm the settings. The top indicator LED will flash red. The electronic back focus on your Fuji LA16x8 BRM lens is now set. 7 Now zoom in and out slowly and check if your chart remains in focus all the way through the zoom. 8 If your lens holds focus all the way through the zoom range your back focus is now set correctly. If you need to make further adjustments, repeat steps 3 to 6. TIP As temperature changes and wear over time can have subtle effects on the back focus, it’s worth regularly checking the back focus on B4 lenses to ensure it stays accurate. Using Box Lenses Large studio box lenses like Fujinon’s UA27x6.5 and UA125x8 and Canon’s UHD Digisuper series lenses can also be used with URSA Broadcast G2’s B4 mount. These types of box lenses allow horizontal and vertical image stabilization on studio style 27x lenses, as well as extreme zoom ranges with 80x and even 125x magnification which are incredible for broadcasting sports and outdoor events. The large size of box lenses means that you will need to setup your camera correctly on a heavy duty tripod or pedestal, with adequate spacing. This is possible with URSA Mini Shoulder Kit, a VCT-14 plate and a box lens adapter. 16Using Servo Zoom LensesBox lenses have a high power draw, and need to be powered separately. You can add additional power to the lens by using an URSA 12 volt power supply, or if you are using Blackmagic Camera Fiber Converter, you can run additional power from the 12 volt D-tap output on the side of the unit. Plug the lens connector from the lens support bracket into URSA Broadcast G2. Add additional power to your box lens by plugging in a 4 pin XLR cable Once additional power is connected, you can power up your camera and control the lens with your URSA Broadcast G2. PL Servo Zoom Lenses PL zoom lenses used for motion pictures can also be used with your URSA Broadcast G2. When using servo driven PL or EF lenses, the full 6K sensor area of URSA Broadcast G2 can be used to get the most out of these lenses. For more information on setting the sensor area on your URSA Broadcast G2, refer to the ‘record settings’ section later in this manual. Super 35mm PL lenses with full servo control of focus, iris and zoom include: Brand Series Model Range Max. Aperture Fujinon Cabrio ZK2.5x14-SAF 14-35mm T2.9 Fujinon Cabrio ZK4.7x19-SAFB 19-90mm T2.9 Fujinon Cabrio ZK12x25 with ESM-15A-SA 25-300mm T3.5-3.85 Fujinon Cabrio ZK3.5x85-SAF 85-300mm T2.9 -T4 Fujinon Cabrio XK6x20 20-120mm T3.5 Canon Cine-servo CN7x17KAS S 17-120mm T2.9-3.9 Canon Cine-servo CN10x25 IAS S/P1 25-250mm T2.95-3.95 Canon Cine-servo CN20x50 50-1000mm T5-8.9 Focus and zoom controls can also be used to drive focus and zoom from the pan handles in astudio environment on all of the servo zoom lenses listed above. 17Using Servo Zoom LensesHybrid Compact Servo Zoom Lenses Recently, a new category of lenses known as ‘compact-servo’ zoom lenses have been introduced. These have some of the functionality of B4 and PL servo zoom lenses but use an EF mount. The zoom rocker for these lenses can be powered through the lens mount from URSA Broadcast G2 and information such as lens name, iris, focus and zoom position values are allable to be read and recorded by URSA Broadcast G2’s lens metadata system. Electronic control of the focus, iris and zoom is available with these lenses. When connected toa switcher, these can also be controlled remotely via ATEMSoftware Control. If you are operating in a live broadcast or studio environment, use of these lenses with Blackmagic Zoom and Focus Demands is possible provided the iris switch on the barrel of the lens is set to ‘A’, the focus switch is set to ‘AF’, and the zoom servo switch is set to ‘servo’. Lenses in this range include: Canon CN-E 18-80mm T4.4 Compact-servo Canon CN-E 70-200mm T4.4 Compact-servo Storage Media Your Blackmagic URSA Broadcast G2 uses standard SD cards, faster UHS-II SD cards or CFast2.0 cards to record video. Using the rear USB-C 3.2 Gen 2x1 port, you can connect high speed flash disks or high capacity solid state drives. You can also record to SSDs using the optional Blackmagic URSA Mini Recorder. For more information on connecting URSA Mini Recorder to your camera, refer to the ‘URSA Mini Recorder’ section later in this manual. Important Notes About Media Speeds Write and read speeds published by recording media manufacturers are often based on peak speeds for small files such as still images, and may not accurately reflect write speeds for a continuous stream of high speed video. Forreliable recording with your chosen frame rates, use only the cards recommended by Blackmagic Design. CFast Cards CFast 2.0 cards are capable of supporting very high data rates, so are perfect for recording HDand 4K video at high frame rates. Refer to the record duration table in the ‘recording’ section for details on the maximum frame rates that can be recorded in each format. It’s important to note that while CFast 2.0 cards are generally high speed cards, some cards have slower write speeds compared to read speeds, and maximum data rates can differ between models. For reliable recording with your chosen frame rates, use only the cards recommended by Blackmagic Design. 18Storage MediaInserting a CFast Card To record using CFastcards you need to set your camera accordingly. To do this, set the storage mediaswitch above the media slots to the ‘CFAST’ position. To insert a CFast card. 1 Open the fold out monitor to access the CFast slots. 2 With the label of the CFast card facing towards the touchscreen, insert the card into the CFast card slot until you feel it lock in place. The card should insert easily without the need for excessive force. Push the CFast card ejector button underneath the CFast card slot to eject the card. The storage information at the bottom of the LCD touchscreen will show the name and record time remaining of the detected CFast cards. Blackmagic URSA Broadcast G2 has two CFast slots for continuous recording TIP If you have CFast cards inserted but can not access them on the camera, check you have CFast selected on the storage media selection switch located above the media slots. Choosing a CFast 2.0 Card When working with high data rate video it’s important to carefully check the CFast card you would like to use. This is because CFast 2.0 cards have different read and write speeds. For the most up to date information on supported CFast cards on Blackmagic URSA Broadcast G2, please refer to the Blackmagic Design support center at www.blackmagicdesign.com/support. SD Cards In addition to CFast 2.0 cards, Blackmagic URSA Broadcast G2 can record on high speed UHS-I and UHS-II type SD cards. Using high end SDXC UHS-II cards, you can record ProRes HQ footage in Ultra HD or even 6K in Blackmagic RAW! With SD cards, you can use more affordable storage media when shooting compressed video formats in HD. SDXC and SDHC are a very common media storage format for consumer still and video cameras. If you’ve ever shot video using a DSLR, or use a Blackmagic Micro Cinema Camera, Pocket Cinema Camera or Blackmagic Video Assist, you probably already have compatible SD cards to use. 19Storage MediaFor projects that don’t require the highest resolution Blackmagic RAW files, or for when long recording durations are needed, using SD cards can be very economical. Lower capacity and lower speed SD cards can also be used for storing and loading LUTs and Presets. Inserting an SD Card To insert an SD Card. 1 Open the fold out monitor to access the SD card slots. These are the smaller slots located between the CFast slots. 2 Set the storage media toggle switch above the slots to ‘SD’. 3 With the label on the SD card facing away from the touchscreen, insert the card until you feel it lock into place. To remove an SD card, push the SD card in to eject it. 4 The storage indicator at the bottom of the LCD touchscreen will show the name and record time remaining of detected cards. When recording to SD cards on URSA Broadcast G2 make sure the storage media selection switch is set to ‘SD’ Choosing a fast SD Card If you are recording Ultra HD, then we recommend using the fastest high speed UHS-II type SDcards available. It’s important to use high speed UHS-II SDcards for Ultra HD and HD recording, or UHS-1 cards for HD recording. These cards are rated for fast data speeds and support larger storage sizes. Generally the faster the cards, thebetter. Before using your cards, you will need to format them to either HFS+ or exFAT formats. You can format your media with the storage manager or your computer. For more information, see the ‘preparing media for recording’ section. If you want to, you can format your cards using a Mac or Windows computer. When using your media on Mac, you can use HFS+ which is the Mac disk format. If you are using Windows then you should use exFAT format, which is the Windows disk format that Mac computers can also read. For the most up to date information on supported SD cards on Blackmagic URSA Broadcast G2, please refer to the Blackmagic Design support center at www.blackmagicdesign.com/support. NOTE When filming high frame rate or Ultra HD footage on your URSA Broadcast G2, werecommend CFast 2.0 or SD UHS-II recording media, which are typically faster andavailable in higher storage capacities than SD UHS-I media. 20Storage MediaLocking and Unlocking SD Cards SD cards can be write protected, or ‘locked’, to prevent data from being overwritten. When inserting an SD card, make sure the card is not write protected. Write protection is disabled by moving the plastic switch on the left side of the card to the position closest to theconnectors. After recording, you can then write protect the card by sliding the switch backdown to the bottom position. Move the lock tab up or down to lock or unlock an SD card Your URSA Broadcast G2 will let you know if you’ve inserted a locked SD card by displaying a ‘locked’ icon on the LCD touchscreen and storage menu. If the card is locked, you won’t be able to record video, capture stills, or export LUTs and presets until it is unlocked. Your URSA Broadcast G2 will indicate when locked SD storage media is inserted Recording to USB-C flash disks Blackmagic URSA Broadcast G2 features two USB-C ports. The USB-C 3.1 Gen 1 port on the side near the CFast card slots is for software updates. The port on the rear panel near the SDI connectors is for recording to high speed SSDs and USB-C flash disks via USB-C 3.2 Gen 2x1. These fast, high capacity drives allow you to record video for longer periods, which can be important when filming events with long durations. When a USB-C flash disk is connected to your camera, it occupies the third media slot in your camera’s operating system. Tapping the drive name in the storage menu sets it as the active drive. This means that recording, playback and storage management is exactly the same for USB-C flash disks as it is for CFast, SD cards and SSDs. Once you have finished recording you can connect the same drive directly to your computer for editing and post production without having to copy media across. 21Storage MediaTo connect a USB-C flash disk: 1 Connect one end of a USB type-C cable to your USB-C flash disk. 2 On your URSA Broadcast G2, plug the USB-C cable into the USB-C port on the back panel below the SDI ports. 3 The USB-C flash disk will occupy the third media slot on your camera’s LCD touchscreen. 4 To switch recording to the USB-C flash disk, press and hold the drive name in the lower toolbar of your camera’s LCD display. The media bar will turn blue to indicate that the camera will now be recording to the USB-C flash disk. When recording the media bar will turn red. Choosing a fast USB-C flash disk USB-C flash disks are designed to offer fast, affordable storage for a wide range of devices and are readily available from a variety of consumer electronics outlets. It’s important to note that film making is only one part of the USB-C flash disk market, so choosing the best drive is vital to making sure you have enough speed to record Blackmagic RAW and Ultra HD footage. Many USB-C flash disks are designed for home computing and aren’t fast enough to record Ultra HD. For the most up to date list of recommended USB-C flash disks please go to www.blackmagicdesign.com/support. Use Blackmagic Disk Speed Test to accurately measure whether your USB-C flash disk will be able to handle high data rate video capture and playback. Blackmagic Disk Speed Test uses data to simulate the storage of video so you get results similar to what you’ll see when capturing video to a disk. During Blackmagic testing, we have found newer, larger models of USB-C flash disk and larger capacity USB-C flash disks are generally faster. Blackmagic Disk Speed Test is available from the Mac app store. Windows and Mac versions are also included in Blackmagic Desktop Video, which you can download from the ‘capture and playback’ section of the Blackmagic Design support center at www.blackmagicdesign.com/support. SSDs With the optional Blackmagic URSA Mini Recorder, URSA Broadcast G2 can record video directly to solid state drives, or ‘SSDs’. These fast, high capacity drives are readily available from a variety of consumer electronics outlets. URSA Mini Recorder features a USB-C port enabling high speeds to work with standard 2.5" SATA SSDs as well as 7mm U.2 SSDs. M.2 solid state drives will work when using an M.2to U.2 adapter. To reach the proper speeds available, a certified USB 3.1 Gen 2 cable is required. The supplied USB-C cable features locking connectors at each end to maintain a secure connection during use. NOTE See the section ‘Blackmagic URSA Mini Recorder’ in this manual forinformation on installing Blackmagic URSA Mini Recorder. 22Storage MediaInserting an SSD To insert an SSD: 1 Hold your SSD with the connection pins facing towards the front of your camera. 2 Open the spring loaded cover on Blackmagic URSA Mini Recorder and gently insert the SSDintothe slot. TIP Blackmagic URSA Mini Recorder has a pressure plate to keep different sized SSDs in place, so there’s no need to use spacers to fit your drive. 3 Once your SSD is all the way into the slot gently push it home until you feel it register, then lower URSA Mini Recorder’s cover. 4 The SSD will occupy the third media slot on your camera. 5 To switch recording to the SSD, press and hold the drive name in the lower toolbar of your camera’s LCD display. The media bar will turn blue to indicate that the camera will now be recording to the SSD. When recording the media bar will turn red. To remove an SSD: Open URSA Mini Recorder’s cover and gently grasp the drive between your thumb and forefinger. There’s a small recess in the top of the bay to let you get a grip on the drive. Simply pull the drive out and close the cover. Choosing a fast SSD for URSA Mini Recorder SSDs are designed to offer fast, affordable storage for a wide range of devices. It’s important to note that film making is only one part of the SSD market, so choosing the right drive is vital to ensuring that you have enough bandwidth to record Blackmagic RAW or Ultra HD footage. ManySSDs are designed for home computing and aren’t fast enough to record Ultra HD video. We highly recommend using only the SSDs from our recommended list, which have been tested with Blackmagic URSA Broadcast G2 to ensure support for continuous filming at the specified resolutions. For the most up to date list of recommended SSDs please go to www.blackmagicdesign.com/support Important Notes About SSD Speed Some models of SSD can’t save video data at the speed the manufacturer claims. Thisis due to the disk using hidden data compression to attain higher write speeds. This data compression can only save data at the manufacturer’s claimed speed when storing data such as blank data or simple files. Video data includes video noise and pixels which are more random so compression will not help, therefore revealing the true speed of the disk. Some SSDs can have up to 50% lower write speed than the manufacturer’s claimed speed. Even though the disk specifications claim an SSD has speeds fast enough to handle video, in reality the disk isn’t fast enough when used to store video data for real time capture. Use Blackmagic Disk Speed Test to accurately measure whether your SSD will be able to handle high data rate video capture and playback. Blackmagic Disk Speed Test uses data to simulate the storage of video so you get results similar to what you’ll see when capturing video to a disk. During Blackmagic’s rigorous testing, we have found newer, larger models of SSD and larger capacity SSDs are generally faster. 23Storage MediaPreparing Media for Recording You can format your recording media using Blackmagic URSA Broadcast G2’s storage manager, or via a Mac or Windows computer. Werecommend formatting storage media using URSA Broadcast G2 for best performance. HFS+ is also known as OS X Extended and is the recommended format as it supports ‘journaling’. Data on journaled media is more likely to be recovered in the rare event that your media becomes corrupted. HFS+ is natively supported by Mac OS. ExFAT is supported natively by Mac and Windows without needing to purchase any additional software. However, exFAT does not support journaling. NOTE Before formatting your media, it’s important to make sure the media storage switch has been set correctly to either SD card or CFast card. Always check the settings carefully before formatting. Preparing Media on Blackmagic URSA Broadcast G2 1 Tap any storage indicator at the bottom of the LCD touchscreen to enter the storage manager. 2 Tap a format button at the bottom of the touchscreen to format the card in slot 1 or 2, respectively. If you have a USB-C flash disk or SSD connected to the rear USB-C port of your URSA Broadcast G2, tap the ‘Drive List’ button. Then select the drive you want to format and tap ‘Format Drive’. Use your URSA Broadcast G2’s storage manager to format your camera’s storage media 3 If you want to change the reel number, tap on the pencil icon to open the keyboard. Type the new reel number and tap ‘update’. 4 Choose OS X Extended or exFAT format and tap the ‘format’ button. 24Storage MediaTap the pencil icon to manually edit the reel number 5 You will be asked to confirm your selection. Tap the format button again to continue or‘cancel’ to cancel the format. Check that you have selected the correct card before formatting 6 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 card is ready to use 7 Tap ‘ok’ to return to the storage manager. 8 Tap ‘exit’ to leave the storage manager. 25Storage MediaWhen formatting recording media using the storage manager, your URSA Broadcast G2 will use the Camera ID from the slate and reel number to name the card. Your camera automatically increments reel numbers each time you format. If you need to manually enter a specific reel number, tap the ‘pencil icon’ and enter the number you want to format the card as. When you start a new project, reel numbering will reset to 1 when you tap on ‘reset data’ in the ‘project’ tab of the slate. It’s worth mentioning that if your camera’s media storage switch is set to SD or CFast, only the selected card type will be formatted when you tap ‘format card’. For information on switching between CFast and SD storage see the ‘SD Cards’ section earlier in this manual. The storage manager on your URSA Broadcast G2 will indicate whether you are currently managing CFast, SD, USB or SSD media TIP If your URSA Broadcast G2 is set to record to SD cards and you have inserted alocked card, you will be unable to format that card. A padlock icon will appear next to the card’s name in the storage manager. Simply unlock thecard to format and record. For more information on locking SD cards, see the ‘SDcards’ section of this manual. Preparing Media on Mac The Disk Utility application included with Mac can format your CFast card, SD card, or SSD in the HFS+ or exFAT formats. Make sure you back up anything important from your media as all data will be lost when it is formatted. 1 Connect the storage media to your computer using a card reader, dock or adapter, and dismiss any message offering to use your media for Time Machine backups. 2 Go to applications/utilities and launch Disk Utility. 3 Click on the disk icon for your camera’s storage media and then click the ‘erase’ tab. 4 Set the ‘format’ to ‘Mac OS extended (journaled)’ or ‘exFAT’. 5 Type a ‘name’ for the new volume and then click ‘erase’. Your camera’s storage media will quickly be formatted and made ready for use. 26Storage MediaUse Disk Utility on Mac OS to erase your CFast card in the MacOS extended (journaled) or exFAT format Preparing Media on Windows The ‘format’ dialog box can format a drive in the exFAT format on a Windows PC. Remember to back up anything important from your media as all data will be lost when it is formatted. 1 Connect your camera’s storage media to your computer using an external reader/writer orSSD dock or adapter. 2 Open the ‘start’ menu or ‘start’ screen and choose ‘computer’. Right click on your camera’s storage media. 3 From the contextual menu, choose ‘format’. 4 Set the file system to ‘exFAT’ and the allocation unit size to 128 kilobytes. 5 Type a volume label, select ‘quick format’ and click ‘start’. 6 Your storage media will quickly be formatted and made ready for use. Use the ‘format’ dialog box feature in Windows to format your CFast, SD card or SSD in the exFAT format 27Storage MediaNOTE If your recordings are dropping frames, check that your card is on our list of recommended media for the codec and frame size you are using. For lower data rates try lowering your frame rate, resolution, or try a compressed codec such as ProRes. Check the Blackmagic Design website for the latest information at www.blackmagicdesign.com Recording Recording Clips B4 broadcast lenses typically have a record button positioned on the lens handle where your thumb would be when shooting from the shoulder. Simply press the record button on the handle to start recording. Press again to stop recording. Your camera has record buttons built into the camera itself. A record button is located on the inside control panel, and on the forward control panel for convenient access when shooting from the shoulder. Triggering Record from External Sources Using the ‘Blackmagic Camera Control’ app you can trigger recording remotely and adjust various camera settings via Bluetooth from your iPad. For more information on setting up and using the ‘Blackmagic Camera Control’ app refer to the ‘Bluetooth’ section later in this manual. If you are using an iPhone or Android smart phone there are also third party apps available that let you trigger recording on your URSA Broadcast G2 via Bluetooth. If you are using an optional Blackmagic Zoom Demand with your URSA Broadcast G2, you can trigger record using the function button. The function button on Blackmagic Zoom Demand sits under your thumb like the VTR button on a B4 lens. For more information on Blackmagic Zoom Demand, refer to the ‘using Blackmagic Zoom Demand’ section later in this manual. When your Blackmagic URSA Broadcast G2 is connected to an ATEM Mini Pro or Extreme model switcher via a Blackmagic Micro Converter BiDirectional SDI/HDMI 3G, you can trigger recording from the ATEM switcher. For example, the ‘record stream’ palette in ATEM Software Control has a checkbox labeled ‘record in all cameras’. When this checkbox is enabled and you click or press record, all connected cameras will start recording as well. This means you only have to click or press one button to start recording on all cameras simultaneously. Refer to the ATEM Mini manual for more information. Another option for starting and stopping record is to attach an external LANC controller to your URSA Broadcast G2’s LANC input and trigger the record externally. For example, you may want to attach a LANC controller to your tripod so you can trigger the recording without taking your hands off the focus ring and tripod handle. You can also trigger record on one or more URSA Broadcast G2 cameras using a Blackmagic 3G-SDI Shield for Arduino and the Blackmagic SDI Camera Control protocol. Formore information, see the ‘Developer Information’ section of this manual or visit www.blackmagicdesign.com/developer and download the manual for Blackmagic 3G-SDIShield for Arduino. 28RecordingYou can create your own hardware controller and plug it into your Blackmagic 3G-SDI Shield for Arduino for more interactive and refined control. NOTE If you toggle the ‘storage media selection’ switch mid-recording, the camera will complete the current recording before switching to the other type of media. This ensures that you can not damage your recording if the switch is adjusted during a take. Choosing the Codec, Resolution and Sensor Area Your Blackmagic URSA Broadcast G2 can record using Blackmagic RAW with either a constant quality or constant bitrate setting. You can also use Apple ProRes, H.264 or H.265 compressed video codecs for recording in Ultra HD and HD resolutions. Sensor frame rate options will vary depending on the codec and resolution you choose. Blackmagic RAW lets you use either a constant quality or constant bitrate compression. Blackmagic RAW 8:1, 12:1, Q3 or Q5 compression is recommended for ENG style shooting as its high compression offers long recording times with minimal visual reduction of image quality. For shots that contain a large amount of fine detail you can choose Blackmagic RAW 3:1 or Q0 for the highest level of image quality. It’s worth noting that clips recorded using Blackmagic RAW are compatible with DaVinci Resolve, Blackmagic RAW Player and other applications that support Blackmagic RAW SDK. Blackmagic RAW has already been adopted by many post production platforms. It may not be supported natively in all editing software but most work with the plugins provided in our Camera Update and Blackmagic RAW installer. For more information, see the ‘Working with Third Party Software’ section. 29RecordingBlackmagic RAW Blackmagic URSA Broadcast G2 supports the new Blackmagic RAW file format. This format offers superior image quality, wide dynamic range and a broad selection of compression ratios. Blackmagic RAW features all the user benefits of RAW recording, but the files are very fast because most of the processing is performed in the camera where it can be hardware accelerated by the camera itself. Blackmagic RAW also includes powerful metadata support so the software reading the files knows your camera settings. If you like shooting in video gamma because you need to turn around edits quickly and you don’t have time for color correction, then this metadata feature means you can select video gamma, shoot in video gamma, and the file will display with video gamma applied when you open it in software. However underneath, the file is actually film gamma and the metadata in the file is what’s telling the software to apply the video gamma. So what all this means is if you want to color grade your images at some point, then you have allthat film dynamic range preserved in the file. You don’t have your images hard clipped in the whites or the blacks, so you retain detail and you can color grade to make all your images look cinematic. However, if you don’t have time for color grading, that’s fine because your images will have the video gamma applied and look like normal video camera images. You are not locked in on the shoot and you can change your mind later during post production. Blackmagic RAW files are extremely fast and the codec is optimized for your computer’s CPU and GPU. This means it has fast smooth playback and eliminates the need for hardware decoder boards, which is important for laptop use. Software that reads Blackmagic RAW also gets the advantage of processing via Apple Metal, Nvidia CUDA and OpenCL. This means that Blackmagic RAW plays back at normal speed like a video file on most computers, without needing to cache it first or lower the resolution. 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. You have a choice to use either the constant bitrate codec, or the constant quality codec. The constant bitrate codec works in a similar way to most codecs. It tries to keep the data rate at a consistent level and won’t let the data rate go too high. This means even if you are shooting a complex image that might need a bit more data to store the image, a constant bitrate codec will just compress the image harder to make sure the images fit within the space allocated. This can be fine for video codecs, however when shooting RAW you really want to ensure the quality is predictable. What would happen if the images you were shooting needed more data, but the codec just compresses harder to make a specified data rate? It’s possible you could lose quality, but not be sure it’s happening until you return from a shoot. To solve this problem, Blackmagic RAW also has an alternative codec choice called constant quality. This codec is technically called a variable bitrate codec, but what it’s really doing is allowing the size of the file to grow if your images need extra data. There is no upper limit on the file size if you need to encode an image but maintain quality. So Blackmagic RAW set to the constant quality setting will just let the file grow as big as it needs to be to encode your images. It also means the files could be larger or smaller depending on what you are shooting. I guess if you leave your lens cap on the lens, you won’t waste space on your media! 30RecordingIt is also worth noting that the quality settings for Blackmagic RAW are not obscure names, butare more meaningful as they are derived from what’s happening technically. So for example when you have selected the constant bitrate codec, you will see quality settings of 3:1, 5:1, 8:1 and 12:1. These are the ratios of the uncompressed RAW file size vs the file sizes you should expect when shooting in Blackmagic RAW. 3:1 is better quality as the file is larger, while 12:1 is the smallest file size with the lowest quality. Many users of Blackmagic RAW find that 12:1 has been perfectly ok and they have not seen any quality limitations. However it’s best to experiment and try various settings for yourself. When using Blackmagic RAW in constant quality you will see the settings are Q0, Q1, Q3 and Q5. Theseare the compression parameters passed to the codec and they are setting how much compression is applied in a more technical way. This setting is different because the codec operates differently between constant bitrate vs constant quality. In this constant quality setting, you really cannot tell what the file size ratio will become as it varies a lot based on what you areshooting. So in this case the setting is different and the file will become the size needed tostore your media. Constant Bitrate Settings The names for 3:1, 5:1, 8:1 and 12:1 represent the compression ratio. For example, 12:1 compression produces a file size roughly 12 times smaller than uncompressed RAW. Constant Quality Settings Q0, Q1, Q3 and Q5 refer to different levels of quantization. Q5 has a greater level of quantization but offers a greatly improved data rate. As mentioned above, the constant quality setting can result in files that grow and shrink quite a lot, depending on what you are shooting. This also means it’s possible to shoot something and see the file size increase to beyond what your media card can keep up with. It could result in dropped frames. However the benefit is that you can instantly see if this happens on a shoot and then investigate your settings vs quality. Blackmagic RAW Player The Blackmagic RAW player included in your Blackmagic camera’s software installer is a streamlined application for reviewing clips. Simply double click on a Blackmagic RAW file to open it, and you can quickly play and scroll through the file with its full resolution and bit depth. When decoding frames, the CPU acceleration in the SDK library supports all main architectures, and also supports GPU acceleration via Apple Metal, Nvidia CUDA and OpenCL. It also works with the Blackmagic eGPU for extra performance. Blackmagic RAW player is available for Mac, Windows and Linux. Sidecar Files Blackmagic RAW sidecar files let you override metadata in a file without overwriting embedded metadata in the original file. This metadata includes the RAW settings as well as information on iris, focus, focal length, while balance, tint, color space, project name, take number and more. Metadata is encoded frame by frame over the duration of the clip, which is important for lens data if the lens is adjusted during a shot. You can add or edit metadata in sidecar files with DaVinci Resolve or even a text editor because it’s a human readable format. Sidecar files can be used to automatically add new RAW settings to a playback simply by moving the sidecar file into the same folder as the corresponding RAW file. If you move the sidecar file out of the folder and reopen the Blackmagic RAW file, the RAW settings are not applied and you see the file as it was originally shot. Any software that uses the BlackmagicRAW SDK can access these settings. Changes made are saved in the sidecar file and can then be seen by Blackmagic RAW Player or any other software capable of reading Blackmagic RAW files. 31RecordingWhen shooting video gamma, the file stays in film gamma, and the metadata tells the Blackmagic RAW processing to display using video gamma. Video gamma is great when you don’t want to grade the image and want to deliver content quickly, however if you want to pull up the black parts of the image, or pull down the white areas, all the detail is retained. Younever 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. In addition to the other metadata your camera files contain, DaVinci Resolve can read your selected dynamic range, so your clips will automatically display in DaVinci Resolve with ‘film’, ‘extended video’ or ‘video’ dynamic range. You can then customize these settings by adjusting the saturation, contrast and midpoint, aswell as the highlight and shadow rolloff. Any adjustments can then be saved as a sidecar file, sothe changes can be seen by anyone else working with the files in post. You can always return to the original camera metadata at any time. 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. For more information on how to use Blackmagic RAW in DaVinci Resolve, see the ‘Using DaVinci Resolve’ chapter in this manual. Blackmagic RAW SoftwareDevelopment Kit The Blackmagic RAW Software Development Kit is an API developed by Blackmagic Design. You can use the Blackmagic RAW SDK to write your own applications to use the Blackmagic RAW format. This SDK library can be used by any developer to add support for reading, editing, and saving Blackmagic RAW files. The Blackmagic RAW SDK includes all the generation 4 and generation 5 color science so you can achieve organic cinematic images across any app that supports it. The Blackmagic RAW SDK supports Mac, Windows and Linux, and is available as a free download from the developer page of the Blackmagic website at www.blackmagicdesign.com/developer The following diagram illustrates the components of the Blackmagic RAW API: 32RecordingChoosing Frame Rates Your camera is able to shoot video using many different frame rates and you may be wondering which is the best one to use. Your camera’s sensor frame rate can also have a big impact on the ‘look’ of footage. Generally, when selecting a sensor frame rate, there are some common items to consider. For many years, there have been presentation standards for film and television. These have set frame rates that differ between countries, but all share the same purpose; todisplay an efficient number of frames every second that portrays pleasing and convincing motion. Cinema, for example, uses a standard 24 frames per second and while there have been recent experiments with faster frame rates, 24 frames per second remains widely accepted for international audiences. Television frame rates have generally conformed to technical broadcast standards for each country. For example, if you were making television content you would typically record using 29.97 frames per second for North American distribution, and 25frames per second for Europe. However, as technology has improved, today we have more choices and broadcast standards are changing. It is now common for sporting events to be recorded and broadcasted at higher frame rates. For example, some sporting events are recorded and broadcasted at up to 59.94 frames per second in North America, and 50 frames per second in Europe. This provides smoother motion on fast action and appears more lifelike. Alternatively, streaming and online broadcasters normally use frame rates similar to television, however there is more freedom to experiment due to user selectable viewing formats, and being limited only to what the audience’s screens are capable of displaying. Generally, when choosing a frame rate for a project, let your delivery format guide your choice. Your camera’s project frame rate should be set to this, and your sensor frame should be set to match. This means your clips will play back at the same speed the event happened in real life. If you are looking to create an interesting effect, for example slow motion, then you can set the sensor frame rate to a higher setting. The higher the sensor frame rate compared to the project frame rate, the slower the playback speed. For more information on using off speed sensor frame rates to achieve creative effects, refer to the ‘touchscreen controls’ section. Shooting at High Frame Rates When shooting at high frame rates, your camera captures an increased number of frames per second when compared with the traditional sync speed frame rates of 24, 25 and 30 frames per second. This means that the image sensor has less time to collect light for each frame it captures and the resulting image from your camera will be darker. So for example, if you switch from 25 to 50 frames per second, the amount of light reaching the sensor will be halved. To maintain your exposure you need to compensate for this change by opening up your lens an extra stop, by opening up your shutter angle from 180º to 360º or by adding some extra lighting to the scene that you are shooting. When shooting at 60 frames per second you have 2.5 times less light than 24 frames per second so you may need to adjust multiple things such as lens aperture, shutter angle and lighting to achieve the same level of exposure. Another thing to be mindful of when shooting at higher frame rates, is the fact that electronic light sources can add flicker to your recorded image. Artificial light sources such as tungsten, fluorescent and LED may introduce some flicker to your images. You may not see these flicker issues when previewing the scene on your LCD and SDI feed or while recording, so it’s important to perform a test shoot with the lights you plan to use and to play the clip back to check for flicker. 33RecordingYour shutter setting can also affect the visibility of flicker when shooting under lights, so your URSA Broadcast G2 can automatically calculate and display flicker free shutter options for your current frame rate. Note that the characteristics of individual light sources may still cause flicker even when using flicker free values. For more information, refer to the ‘touchscreen controls’ section. If you have opened up your shutter to the slowest shutter speed or widest shutter angle possible and are still seeing flicker in recorded footage, you may need to consider using different light sources for your scene or look into using a faster lens. Maximum Sensor Frame Rates and Data Rates The table below contains available codecs and resolutions with their maximum sensor frame rates and data rates. It should be noted that the references to Blackmagic RAW, ProRes 444 and ProRes 422 are references to all of the supported variants within each particular codec. Because of the data rates required for recording high resolutions in slow motion you will need to choose a fast CFast card, USB-C flash disk or SSD. Refer to the ‘storage media’ section for more information. TIP You can test the speed your card can sustain by switching on the ‘stop recording’ option from the ‘if card drops frame’ settings menu and recording a test clip. This will allow you to test how long you can shoot at a particular frame rate in any given resolution. If the card stops recording too quickly, moving to the next available compression setting or resolution will lower the data rate and make it easier for the card to maintain. Maximum Frame Rates for URSA Broadcast G2 Resolution Codec Max Frame Rate Max Data Rate Ultra HD 3840x2160 Blackmagic RAW 3:1 60 254 MB/s 3840x2160 Blackmagic RAW 5:1 60 152 MB/s 3840x2160 Blackmagic RAW 8:1 60 96 MB/s 3840x2160 Blackmagic RAW 12:1 60 64 MB/s 3840x2160 Blackmagic RAW Q0 60 48.7 - 96.8 MB/s 3840x2160 Blackmagic RAW Q1 60 32.6 - 77.6 MB/s 3840x2160 Blackmagic RAW Q3 60 21.9 - 55.6 MB/s 3840x2160 Blackmagic RAW Q5 60 13.4 - 32.6 MB/s 3840x2160 ProRes HQ 60 220 MB/s 3840x2160 ProRes 422 60 148 MB/s 3840x2160 H.265 SDI 60 24.6 MB/s 3840x2160 H.265 High 60 21.6 MB/s 3840x2160 H.265 Medium 60 15.6 MB/s 3840x2160 H.265 Low 60 6.4 MB/s 34RecordingResolution Codec Max Frame Rate Max Data Rate

1920x1080 Blackmagic RAW 3:1 150 161.4 MB/s 1920x1080 Blackmagic RAW 5:1 150 97.2 MB/s 1920x1080 Blackmagic RAW 8:1 150 61.1 MB/s 1920x1080 Blackmagic RAW 12:1 150 41 MB/s 1920x1080 Blackmagic RAW Q0 150 121.2 - 241.6 MB/s 1920x1080 Blackmagic RAW Q1 150 81.8 - 193.4 MB/s 1920x1080 Blackmagic RAW Q3 150 54.4 - 138.4 MB/s 1920x1080 Blackmagic RAW Q5 150 33 - 81.1 MB/s 1920x1080 ProRes HQ 120 110 MB/s 1920x1080 ProRes 422 120 74 MB/s 1920x1080 H.264 SDI 60 14 MB/s 1920x1080 H.264 High 60 11.2 MB/s 1920x1080 H.264 Medium 60 6.4 MB/s 1920x1080 H.264 Low 60 3.6 MB/s It’s important to note that Blackmagic RAW Q0, Q1, Q3 and Q5 use variable bit rate compression to achieve constant quality. Q0, Q1, Q3 and Q5 data rates depend on the complexity of the image subject matter and can vary considerably throughout a clip. To select your desired codec and resolution: 1 Press the ‘menu’ button on the control panel. 2 Navigate to the first page of the ‘record’ tab. 3 Tap your desired combination of codec, quality, and resolution. 4 Press ‘menu’ to exit. Recording Formats and Project Frame Rates After setting your codec and resolution, you should set your ‘project’ and ‘sensor’ frame rates. Refer to the ‘recording’ section in this manual for more information about frame rates. The project frame rates available are: 23.98, 24, 25, 29.97, 30, 50, 59.94, and 60 frames per second. When using Blackmagic RAW and ProRes codecs up to ProRes 422 HQ, the maximum project frame rate is 60 frames per second at all resolutions. 35RecordingTriggering Record on External Equipment Your URSA Broadcast G2 automatically sends a signal via the SDI outputs that will trigger recording when connected to equipment that supports the SDI trigger record feature, such as Blackmagic Video Assist. This means when you press record on your camera, your external SDI equipment will also start recording, and will stop recording when you press record again. You will also need to set your equipment to enable SDI trigger recording to make sure it responds to the trigger signal from your URSA Broadcast G2. If your SDI equipment supports SDI trigger recording, it can usually be enabled using your SDI equipment’s settings menu. You can trigger recording on other SDI video equipment, for example BlackmagicVideoAssist 12G HDR, using the trigger record feature on your camera Record Duration Table Tables are provided showing approximate record duration in minutes and seconds compared toformat, project frame rate and media size. The maximum recording duration for your storage media depends on its capacity, the recording format and the frame rate. For example, the storage rate for Apple ProRes 422 HQ at 3840x2160 is approximately 880 Mbps. At 24 frames per second, you can record approximately 47minutes ofvideo on a 256GB CFast 2.0 or SD card. At the same settings youcan record approximately 23minutes of video on a 128GB CFast

2.0 or SD card, which is approximately half the record duration of the 256GB card.

It should be noted that record duration on CFast 2.0 and SD cards can also vary slightly between cards from different manufacturers. It can also vary depending on whether the storage media is formatted as ExFat or Mac OS Extended. Simple scenes containing less detail tend to require less data than more dense compositions. The values in these tables assume shots with a high complexity, which means you may get slightly longer record times depending on the nature of your shoot. 36RecordingHD CFast Card Frame Rate ProRes 422 HQ ProRes

H.264 SDI H.264 High H.264 Medium H.264 Low Duration Duration Duration Duration Duration Duration 256GB

H.265 SDI H.265 High H.265 Medium H.265 Low Duration Duration Duration Duration Duration Duration 256GB

23.98 47 mins 71 mins 353 mins 404 mins 571 mins 1499 mins

24 47 mins 71 mins 353 mins 404 mins 571 mins 1499 mins 25 45 mins 68 mins 339 mins 389 mins 550 mins 1442 mins 30 38 mins 57 mins 286 mins 325 mins 461 mins 1223 mins 50 22 mins 34 mins 242 mins 280 mins 389 mins 960 mins 60 18 mins 28 mins 241 mins 277 mins 325 mins 809 mins 37RecordingPlayback Playing Back Clips Once you have recorded your video, you can use the transport control buttons to play back your clips. Press the ‘play’ button once for instant playback and you’ll see your recorded video on URSABroadcast G2’s LCD touchscreen. Your clips can also be viewed on any display connected toyourURSABroadcast G2’s SDI outputs. URSA Broadcast G2 TIP Blackmagic URSA Broadcast G2 has playback and transport controls buttons on both the internal and ergonomic control panels. NOTE Blackmagic URSABroadcast G2 will playback clips sharing the same codec family, frame rate and resolution. For example, if you want to play back HD clips recorded using ProRes 422 HQ at 29.97 fps, make sure your camera is set to the same frame rate and resolution, and a ProRes codec. The controls of your camera work just like a CD player, so pressing the ‘forward skip’ button willskip to the start of the next clip. Press the ‘reverse skip’ button once to go to the start of the current clip or press twice to skip back to the start of the previous clip. Hold the ‘forward’ or ‘reverse skip’ button to play or reverse at 2x speed. Once shuttling forward or backwards, press the ‘fast forward’ or ‘reverse skip’ buttons twice for 4x, three times for x8 and four times for x16. You can also use the forward and reverse skip buttons to open or close the iris on compatible lenses while recording clips. When recording a clip using a sensor frame rate that differs from your project frame rate, your clip’s playback speed will also differ. For example, imagine you have set your camera’s project frame rate to match your post production timeline of 24 frames per second. If you record a clip with your sensor frame rate set to 60 frames per second, your clips will play back in slow motion on both the camera and on your post production timeline. TIP Refer to the ‘recording’ section of this manual for more information about framerate. 38PlaybackURSA Broadcast G2 Connectors andFeatures Industry standard BNC connectors are located on the right and rear panel of your URSA Broadcast G2 for SDI connections. There is also a LANC input on the right panel for the optional Blackmagic URSA Handgrip. XLR inputs are on the top panel behind the mounting points for professional balanced analog audio and AES digital audio. A 4 pin XLR connector is provided on the rear panel for external power input, and an output is available on the right side for powering accessories such as Blackmagic URSAViewfinder. The USB port above the storage media slots is for connecting to a computerwhen updating your camera’s internal software. NOTE Your camera has additional ergonomic controls that make it easy to quickly access the camera’s essential settings and functions without opening the foldouttouchscreen. Camera Front

URSA Broadcast G2 with B4 mount 1 Stereo Microphone Built in high quality stereo microphone. Refer to the ‘settings’ section for information on microphone audio settings. 2 Lens Mount URSA Broadcast G2 is supplied fitted with a B4 mount. However, it’s interchangeable with the included EF mount and compatible with URSA Mini Pro PL and F mounts. Refer to the ‘Interchangeable lens mount’ section for more information. 3 Broadcast Lens Connector This 12 pin connector provides power and control to compatible broadcast servo zoom lenses. Refer to the ‘using servo zoom lenses’ section in this manual for details on functionality available with these B4 and PL lenses. 39URSA Broadcast G2 Connectors andFeatures4 ND Filters Use this wheel to cycle through three built in neutral density filters, as well as a clear setting. See the section ‘URSA Broadcast G2 Controls’ for more information. 5 Auto White Balance The auto white balance button is marked ‘Auto W/B’ and is used when you want to set the white balance based on what is currently in the center of the screen. Forexample, setting auto white balance on a gray card placed in front of the lens. Seethe section ‘URSA Broadcast G2 Controls’ for more information. Left Side URSA Broadcast G2’s left side panel lets you insert CFast 2.0 cards, SDXC or SDHC cards, access the control panel and change settings. The USB-C port is located just above the CFast slots so you can easily plug into a computer when updating your URSA Broadcast G2’s internal software. Left Side Controls The left side panel features additional controls for easy access to all of your camera’s essential functions. These controls are split between the forward control panel, the ergonomic control panel located on the outside of the foldout touchscreen monitor, and a control panel on the inside of the foldout monitor.

URSA Broadcast G2 with touchscreen closed 6 Power Switch Power switch for turning on the camera. There is also a backup power switch inside the fold out monitor that allows the camera to be powered on by pressing both the record and forward skip buttons at the same time. 7 ND Filters Your URSA Broadcast G2 has three internal neutral density filters to adjust the amount of light reaching the sensor. Four settings are available, ranging from clear to six stops of light reduction. Simply turn this wheel to move through the available settings. The filter will click into place for each setting. For more information see the section ‘URSABroadcast G2 Controls’ in this manual. 40URSA Broadcast G2 Connectors andFeatures8 Forward Control Panel The forward control panel provides quick access to all of your URSA Broadcast G2’s essential functions. These controls are located for easy access when shooting on a tripod or on the shoulder, and you can use them to adjust settings such as ISO, shutter speed, iris, white balance, frame rate, and more. See the section ‘URSA Broadcast G2 Controls’ for more information. 9 Ergonomic Control Panel On the outside of your URSA Broadcast G2’s foldout touchscreen monitor, you’ll find an LCD status monitor and a variety of controls for fast, powerful monitoring control. Here you can see all of your camera’s status information at a glance, as well as controlling a variety of powerful monitoring functions. See the section ‘URSA Broadcast G2 Controls’ formore information. 10 Storage Media Selection Switch Use this switch to choose between CFast and SD storage media. 11 USB Port USB-C port for updating internal software. See the section ‘Blackmagic Camera Setup Utility’ for more information.

URSA Broadcast G2 with touchscreen open 12 Internal Control Panel When your URSA Broadcast G2’s foldout monitor is open, you have access to the internal control panel. Use the controls here to set your audio inputs as well as phantom power settings. You can also access iris, focus, menu and playback controls and more. See the section ‘URSA Broadcast G2 Controls’ for more information. 13 Memory Card Slots Insert CFast 2.0 cards, SDXC or SDHC cards for record and playback. Please note that you should check the list of certified cards on our website. See the section ‘storage media’ for more information. 41URSA Broadcast G2 Connectors andFeaturesRight Side URSA Broadcast G2’s right side panel gives you access to all the video, audio and power connectors plus the side handle rosette mount. 14 Side Rosette Mount Standard rosette mount for the side handle. Refer to the ‘Getting Started’ and ‘BlackmagicURSA Mini Shoulder Kit’ sections.

URSA Broadcast G2 has a rosette mount built into the right side if you need to attach an optional URSA Mini side handle 15 HD Monitoring Output 3G-SDI connector for down converted 1080HD output. Use with Blackmagic URSA Viewfinder or external monitors. Refer to the ‘camera video output’ and ‘Blackmagic URSA Viewfinder’ sections for more information. 16 +12V Power Output 4 pin XLR connector for powering Blackmagic URSA Viewfinder, Blackmagic URSA Studio Viewfinder or external monitors and accessories. Refer to the ‘Blackmagic URSAViewfinder’ and ‘Blackmagic URSA Studio Viewfinder’ sections for more information. This output combined with the Broadcast Lens Connector supplies 12 Volts at up to 2Amps in total. 17 LANC Input Dedicated 2.5mm TRS LANC connector for Blackmagic URSA Handgrip. 18 Broadcast Lens Control Connector Provides power and control to compatible PL and B4 mount lenses with 12pin connections. This output combined with the +12V Power Output supplies 12 Volts at up to 2 Amps in total. 42URSA Broadcast G2 Connectors andFeaturesRear Panel 19 Battery Mount Plate Your Blackmagic URSA Broadcast G2 comes fitted with Blackmagic URSA VLock Battery Plate for attaching VLock batteries to your camera. URSA VLock Battery Plate features a D-Tap port for powering accessories. The D-tap port can output a regulated 12 Volts at up to 1.5 Amps. URSA VLock Battery Plate can be replaced with an optional Blackmagic URSA Gold Battery Plate or a third party battery plate. The battery plate can be removed to access a recessed Molex connector and to attach optional accessories such as Blackmagic Camera Fiber Converter or Blackmagic URSA Mini Recorder onto the back of the camera. If your connected accessory has a D-tap power output then the Molex connector will supply a pass through output of 12 Volts at up to 1.5 Amps. For more information, refer to the chapter for ‘Mounting Batteries’, ‘Getting Started with Blackmagic Fiber Converters’ and ‘URSA Mini Recorder’.

20 Headphone/Headset The 3.5mm jack output is used for headphone monitoring and talkback. You can plug in iPhone and Android compatible headsets that have a built in microphone for quick and easy talkback. Talkback audio is embedded in channels 15 and 16 of the SDI output. TIP When using URSA Broadcast G2’s 3.5mm jack for talkback, a very affordable option is using an iPhone or Android compatible headset. These typically feature an inline button that can be used to mute and unmute their microphone. If you would like to use a broadcast headset without this inline switch you can configure your URSA Broadcast G2’s function buttons to offer the same functionality. See the ‘setup settings’ section of this manual for moreinformation. 21 12G-SDI Out Blackmagic URSA Broadcast G2’s 12G-SDI output is used to send HD and Ultra HD video to SDIequipment such as routers, monitors, SDI capture devices, and broadcast switchers. You can also connect the 12G-SDI output to an external recorder such as theBlackmagic Video Assist for backup recording. 43URSA Broadcast G2 Connectors andFeatures22 12G-SDI In The 12G-SDI input is used for connecting to a switcher or external recorder. This means if you’re using URSABroadcast G2 in a live broadcast, you can plug in the switcher’s program output and monitor it during the shoot, or check playback from an external recorder. Press and hold the program button to see your program feed. For more information, refer to the ‘Ergonomic Control Panel’ section in this manual. You can also use an ATEM switcher’s ‘camera control’ feature to remotely adjust many URSABroadcastG2 functions. See the section ‘Understanding Studio Camera Control’ for moreinformation. Blackmagic 3G-SDI Shield for Arduino can also be used to provide custom control of the camera over SDI. To receive tally and talkback via the SDI input, make sure you have set your ATEM Camera ID in the camera’s setup menu. If you want to use the SDI input to receive an external reference signal, you will need to select ‘program’ as your reference source in the setup settings. ‘REF’ will appear next to the timecode display on your camera’s LCDscreen when the external reference is locked. Refer to the ‘setup settings’ in the manual for more information. On URSA Broadcast G2 the SDI Input can be used for feeding external timecode to the camera as well. This will lock to the incoming timecode automatically if the frame rate ofthe incoming SDI signal matches and has valid timecode. The ‘EXT’ logo will appear on URSA Broadcast G2’s LCD when external timecode is locked. If you unplug the cable timecode will remain jammed and the logo will switch to ‘INT’ to let you know it is now running from URSA Broadcast G2’s internal timecode clock. 23 Reference and Timecode In This input automatically recognizes and switches between timecode and reference input signals. Synchronize Blackmagic URSA Broadcast G2 to a common reference signal, such as tri-level sync, by connecting to the ‘reference’ BNC input marked ‘REF In’. It’s worth noting that to use a reference signal through this input, you must set your reference source to ‘external’ in your URSA Broadcast G2’s setup menu. Alternatively you can use this connector to match an external timecode source to sync up multiple cameras, or audio and picture when shooting dual-system. This ensures audio and picture, or video from multiple cameras, can be easily synchronized during post production. When external timecode with a matching frame rate is plugged into this connector the camera will lock to the incoming timecode automatically. The ‘EXT’ logo will appear on URSA Broadcast G2’s LCD when external timecode is locked. If you unplug the cable, timecode will remain jammed and the logo will switch to ‘INT’ to let you know it is now running from URSA Broadcast G2’s internal timecode clock. You can also set your camera to use the reference signal from an ATEM switcher via the Program SDI Input. This is helpful when working with ATEM switchers because all cameras can receive program return, camera control and be referenced together using a single SDI signal. See the ‘setup settings’ section in this manual for more information. 24 12V+ Power Input Use the 4 pin 12-18 Volt DC XLR connector to plug in power from external sources such as the supplied power adapter, or portable batteries. 25 USB Port USB-C 3.2 Gen 2x1 port for recording to an external flash disk or to an SSD using Blackmagic URSA Mini Recorder. Also used for connecting Blackmagic Zoom and Focus Demand to your camera for focus and zoom control with compatible lenses. The threaded connector under the USB-C port works with the locking USB cable supplied with URSA Mini Recorder to maintain a secure connection during use. Formore information refer to the ‘URSA Mini Recorder’ section in this manual. 44URSA Broadcast G2 Connectors andFeaturesTop Panel

External analog audio can be plugged into the balanced XLR connectors on the top panel 26 1/4 Inch Mounting Points Your camera’s top panel contains 4 strong mounting points for attaching the top handleandaccessories. 27 XLR Audio In Use the balanced XLR inputs to plug in external analog audio from professional equipment such as audio mixers, PA systems or external microphones. The XLR connectors supply 48V phantom power so you can use microphones that aren’t self powered. Refer to the ‘URSA Broadcast G2 controls/internal control panel’ section for more information on phantom power. Underside 28 1/4 Inch Mounting Points The 5 mounting points on the underside are used for attaching tripod heads, the URSAMini Shoulder Kit and other accessories.

45URSA Broadcast G2 Connectors andFeaturesURSA Broadcast G2 Controls Blackmagic URSA Broadcast G2 has control panels on the chassis, outside and inside of the foldout touchscreen monitor to give you quick, easy access to all of its essential functions as well as powerful monitoring tools. These panels are designed to be close to hand whether shooting from a tripod, handheld or with the URSA Mini Shoulder Kit. Forward Control Panel Your camera’s forward control panel groups together all of the controls you might need to adjust when setting up a shot and recording. These are all designed for easy access while shooting with the foldout monitor closed, such as when using the shoulder kit.

URSA Broadcast G2 forward control panel 1 Power Switch Power your URSA Broadcast G2 by moving this switch to the ‘on’ position. Power off by moving the switch to the ‘off’ position. TIP You can also power your URSA Broadcast G2 on or off via a combination ofcontrol panel switches. Holding the ‘rec’ and ‘forward skip’ buttons will power upthe camera if it is turned off, or power it off if it is turned on. If your camera’s power switch is set to ‘on’ but your camera is powered down, it may have been powered down via the control panel. Toggle the power switch to return it to normaloperation. 2 ND Filters Your URSA Broadcast G2 has three internal neutral density filters. Together with a clear filter, the available settings are 1/4, 1/16th and 1/64th. These filters allow you to reduce the amount of light reaching your URSA Broadcast G2’s sensor by a preset fraction. 46URSA Broadcast G2 ControlsByreducing the exposure, you can continue shooting at wide apertures in bright conditions such as outdoors on sunny days. To adjust your neutral density setting, rotate the wheel upwards or downwards. The‘clear’ setting means there is no ND filter being used. From settings 1/4 to 1/64th, the NDfilters gradually increase in density so you can decrease light if you need to. Because different people prefer to use different terms for each ND filter, the measurement of your ND settings can be customized in the LCD menu. You can identify the ND filter number, amount of stops in light reduction, or the fraction representing the amount of light reduced for the filters to suit your preference. Neutral Density Filter Settings Wheel position ND number Stops Fraction 1 clear 0 1 2 0.6 2 1/4 3 1.2 4 1/16 4 1.8 6 1/64 3 Settings Wheel Set this wheel’s function by adjusting the adjacent three position switch next to the wheel. The options are ‘headphone,’ ‘monitor’ and ‘iris’. Headphone When set to ‘headphone’, the settings wheel will adjust headphone audio levels. Rotatethe wheel upwards to increase volume, and downwards to decrease. Monitor When set to ‘monitor’, the settings wheel adjusts audio levels on your camera’s built in monitor speaker. The speaker is located on the outside of the LCDmonitor door and can be used to monitor audio without headphones. Rotate the wheel upwards to increase volume, and downwards to decrease. This function is disabled while recording from the camera’s internal microphone to prevent unwanted feedback. Iris When set to ‘iris’, the settings wheel is used to adjust the aperture of compatible lenses mounted to your URSA Broadcast G2. Rotating the wheel downwards opens the iris, and turning the wheel upwards closes the iris. These directions mimic the operation of aperture on adjustable still and cinema lenses. TIP To change aperture settings via the settings wheel, URSA Broadcast G2 must be fitted with a lens that supports changing aperture via the camera. Ifyou are using a B4 or PL lens connected via the broadcast 12 pin connector, make sure that the lens iris switch on the handgrip is set to ‘A’ or ‘auto’. 4 Menu Wheel and Back Button When ‘status text’ is turned on for your camera’s front SDI output, you can use the menu wheel to navigate many of the head up display features usually accessed via the LCD touchscreen. 47URSA Broadcast G2 ControlsSimply press the menu wheel as you would a button to access your URSABroadcastG2’s head up display on an external monitor such as Blackmagic SmartView, Video Assist or URSA Viewfinder. While the menu wheel is active, turn the wheel to select features such as LCDmonitor options, frame rate, ISO, white balance and tint. Press the wheel to confirm selections and make additional changes, and use the ‘back’ button next to the wheel to cancel. You can also use the back button to move up a menu level, or exit the menu completely if you’re at the top level. The menu will automatically close after one minute of inactivity. For more information on setting status text and the controls available, see the ‘touchscreen controls’ and ‘monitor settings’ sections of this manual. 5 Lock Toggle this switch to lock all of the controls on the forward control panel to prevent them from being accidentally adjusted while shooting. Move this switch to the lower position to lock, and the upper position to unlock. TIP When shooting in busy or uncontrolled environments, you can lock your URSA Broadcast G2’s forward control panel when you leave your camera unattended. Thisensures that your settings are not changed unintentionally byothers. 6 ISO, Shutter and White Balance Switches These small switches are used to adjust your ISO/Gain, white balance, and shutter settings. They are helpful when you want to make fast adjustments without taking your eyes off the shot. Gently push the switches up or down to make setting adjustments. Theswitches are spring loaded so they always return to a neutral position. ISO/Gain Push this switch up or down to adjust your camera’s gain setting. Pushing up will increase the setting by 1/3 stop, and pushing down will decrease by 1/3 stop. Theavailable settings range from -12 to 36dB. Shutter Use this switch to adjust the camera’s shutter speed. Pushing up will increase the shutter speed to the next available preset, and pushing down will decrease to the next available preset. Holding the switch up or down will move more quickly through available values. There are twelve shutter speed presets between 1/24and 1/2000. TIP Your URSA Broadcast G2 can also suggest flicker free shutter speeds based on the power frequency in your region. These must be selected through the LCDtouchscreen menu. For more information see the ‘touchscreencontrols’ section in this manual. White Balance This switch is used to adjust the camera’s white balance. Pushing up will increase the color temperature by 50K, and pushing down will decrease it by 50K. Holding the switch up or down will move more quickly through available values. 7 Auto White Balance Pressing this button will reveal a white ‘auto white balance’ box in the center of the LCDfor five seconds. This box will also appear on any SDI output that has ‘status text’ 48URSA Broadcast G2 Controlsenabled in the menu settings. The white box indicates the specific area of your image where the white balance will be calculated from, so your gray card should be positioned within this box. Pressing and holding the ‘Auto W/B’ button for three seconds will perform an ‘auto white balance’, and the square will change from white to green to confirm that this has been performed successfully. For more information on enabling status text for your URSA Broadcast G2’s front or main SDIoutputs, see the ‘monitor settings’ section in this manual. 8 F1 and F2 The F1 and F2 keys are ‘function’ keys that can be programmed to a variety of commonly used functions using your URSA Broadcast G2’s ‘setup’ menu. By default, F1 is set to toggle ‘focus zoom’ on the LCD and front SDI output, while F2 is set to toggle ‘false color’ on the LCD. For more information, see the ‘touchscreen controls’ section of this manual. HFR Use the HFR or high frame rate button to toggle off speed frame rates. To use this button, simply set the off speed frame rate you’d like to use in your URSA Broadcast G2’s ‘frame rate’ menu. Pressing this button will toggle between your chosen off speed frame rate and project frame rate. It’s worth mentioning that this setting can only be adjusted when the recording is stopped. The HFR button can also operate as a function button that you can program to a variety of commonly used functions, or can be disabled. For more information on project and off speed frame rates, see the ‘touchscreen controls’ section in this manual. 9 Record The ‘record’ button is marked REC on your Blackmagic URSA Broadcast G2’s left side. Pressthe record button to start and stop recording. Refer to the ‘recording’ section for more information. Ergonomic Control Panel On the outside of your URSA Broadcast G2’s touchscreen monitor, you’ll find an LCD status monitor and a variety of monitoring controls. This panel lets you see all of your camera’s status information at a glance, as well as monitoring and adjusting audio levels. Automatic focus can be set using compatible lenses and the transport controls let you playback clips.

URSA Broadcast G2 ergonomic control panel 49URSA Broadcast G2 Controls10 Monitor Speaker The small speaker built into the outside control panel lets you monitor audio when in playback. It is located where your ear would normally be when shooting with the camera on your shoulder. To adjust the volume of the speaker, simply rotate the settings wheel as described in the ‘URSA Broadcast G2 Controls’ section. 11 Monitor Channel Select Your URSA Broadcast G2 supports two channels of audio. 12 Lock Use this switch to lock all of the settings on your URSA Broadcast G2’s ergonomic control panel. The only controls that will remain active while the lock switch is ‘on’ arethe monitor channel select switches. 13 Status LCD This display shows you your URSA Broadcast G2’s essential settings at a glance, without needing to open the internal touchscreen. This screen is designed to be visibleeven inbright daylight. The following information is available: Timecodes Your URSA Broadcast G2 displays three timecodes. If you have an external timecode connected, this will be shown under the ‘ext’ indicator in the top left of the status LCD. Your camera’s internally generated timecode is shown next to this under the ‘gen’ indicator. Both the external and generated timecodes are shown in hours, minutes, seconds and frames. The larger, main timecode indicator displays your current timecode as either clip duration or timecode. You can switch between these two display modes by pressing the ‘timecode’ button underneath the status LCD. Battery indicator If your URSA Broadcast G2 is running on battery power, this indicator displays remaining battery life in 25% increments. Each of the battery indicator’s four bars corresponds to Battery indicator Audio metersCard indicatorIris Low record time remaining FPS, Shutter Angle, White Balance Record indicator Timecodes ISO/Gain Dropped frame indicator 50URSA Broadcast G2 Controls25% battery life remaining. When your battery drops below 20% charge, the color of the status LED, near the record button begins to flash. It will alternate slowly between red and orange during recording and alternate between white and orange during standby mode. If the mains power connector is plugged into your camera, the battery indicator shows as full. FPS, Shutter Angle, White Balance The ‘FPS,’ ‘SA,’ and ‘WB’ indicators display your camera’s current frame rate, shutter angle and white balance. The ‘fps’ indicator shows the current sensor frame rate. Formore information on sensor and project frame rates, see the ‘touchscreen controls’ section in this manual. ISO/Gain Displays your camera’s currently set gain. Iris Displays your current lens aperture. Depending on your lens type, this will be displayedas an ‘f’ or ‘T’ stop. Card Information The ‘card 1’ and ‘card 2’ indicators will appear on your URSA Broadcast G2’s status LCDwhen these slots are occupied. The ‘SD’ indicator appears if you are recording on SD cards, and disappears if you are recording on CFast cards. Record Indicator While recording, a circular indicator will appear under the card or cards being currently written to. Low Time Remaining A ‘low’ indicator will appear under the relevant card when you have approximately 5minutes of record time remaining. Audio Meters The peak audio meters display audio levels when using the internal microphone, or viaexternal audio when connected. The display is calibrated to dBFS units and features peak hold indicators which stay visible for a short time so you can clearly see the maximum levels reached. To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is the maximum level that your camera can record, meaning that any audio that exceeds this level will be clipped, resulting in distortion. Dropped Frame Indicator This indicator will flash when your camera detects dropped frames. Once you stop recording, the indicator will remain on the screen to let you know that the previous clip detected dropped frames. This warning disappears the next time you start recording, or if you power cycle the camera. For more information on avoiding dropped frames, see the ‘storage media’ section in this manual. NOTE You can set your URSA Broadcast G2 to stop recording if dropped frames are detected. See the ‘recordsettings’ 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. 51URSA Broadcast G2 Controls14 Status LCD Controls URSA Broadcast G2 status LCD controls Still Press this button to capture a still image as a single uncompressed DNG frame. Image files will be saved to the ‘stills’ folder in the root directory of the media you are currently recording to. These will follow the file naming convention for video clips but the filename will have an ‘S001’ representing the ‘still number’ as the last four digits of the filename. To confirm you have successfully saved a still, an image of a camera will show in the top right corner of the URSA Broadcast G2 touchscreen, and the record indicator on the status LCD will flash three times. Hold Use this button to temporarily hold the main status LCD timecode when the timecode is in free running time of day code. The timecode will continue to run in the background and return to its actual position when you release the ‘hold’ button. While holding you can take note of the timecode for a particular event. This can be useful in electronic news gathering or documentary situations for noting key timecode points. Reset The reset button allows you to reset the timecode to 00:00:00:00 when you are setting your preset timecode. Timecode Press the ‘timecode’ button to toggle the main timecode display’s format between clip duration and timecode. By default the timecode will be free running time of day code as this is the most frequently used. If you press and hold the ‘timecode’ button for five seconds it will switch the camera into record run timecode and the timecode generator will flash as well as the first two digits of the large timecode display. This indicates that you are now editing your preset timecode and allows you to set a specific timecode number for your preset timecode. Pressing ‘reset’ at this stage will zero the timecode and then you can turn and press themenu wheel to set the desired value starting with hours, minutes, seconds and then frames. When you are happy with the timecode, press and hold the ‘timecode’ button again for three seconds to set this as your preset timecode point. You will notice that the timecode generator now shows this value and will only increment when the camera is recording giving you continuous ascending timecode values. To switch your timecode back to free running time of day code, press the ‘timecode’ and ‘hold’ buttons simultaneously for three seconds. Bright Press the ‘bright’ button to cycle through four brightness settings for your URSA Broadcast G2’s LCD status display. The settings are ‘off,’ ‘low,’ ‘medium’ and ‘high.’ 52URSA Broadcast G2 Controls15 Control and Playback Buttons URSA Broadcast G2 control and playback buttons Iris The ‘iris’ button activates the automatic aperture setting on compatible lenses. When using video dynamic range settings, a single press of the iris button will set an average exposure based on the highlights or shadows in your shot. When using film dynamic range settings, pressing the iris button sets your exposure to the brightest highlight in your shot. This button works with compatible EF lenses and PLlenses connected with acompatible broadcast lens controller. To set your aperture manually, press the forward and reverse skip transport buttons. Focus When using a B4 or EF lens that supports electronic focus adjustments, press the ‘focus’ button to activate auto focus. A white focus square will appear on any viewfinder or monitor connected to your URSA Broadcast G2. Anything within the square will be correctly focused. When the lens is focused, the square will disappear. NOTE To use the ‘focus’ button, your B4 lens must have servo focus control, with the servo activated. See the ‘getting started’ section for more information. Some EF lenses have both manual and auto focus modes. If using the optional EF lens mount, in order for URSA Broadcast G2 to be able to auto focus with your lens, you need to ensure that your lens is set to auto focus mode. Program The program button is marked PGM and lets you switch the LCD and front SDI output between the camera view and any signal plugged into the 12G-SDI input on the rear panel. This means if you’re using the camera in a live broadcast, you can plug in the switcher’s program output and monitor it during the shoot. Press and hold the program button to see your program feed. The program feed will continue to display whilst the program button is being held. If you want to lock the LCD and front SDI output to display the program input feed, then double press the program button to lock to the program feed. Pressing the program button again will exit the program feed and return to the camera view. Playback Control Buttons The playback buttons let you start and stop playback, plus skip to the next or previous clip. When using an EF lens, the forward and reverse skip buttons can also be used to open or close the iris when using compatible lenses. Refer to the ‘playback’ section for more information on how to use the playback buttons. 53URSA Broadcast G2 Controls16 Audio Level Adjustment Knobs URSA Broadcast G2 audio adjustment knobs Use the built in adjustment knobs to set the recording levels for audio channels 1 and 2. Turn each knob clockwise or counterclockwise to increase or decrease the recording level for each channel of audio. Monitor the corresponding on screen audio meters as you adjust each knob so you can see the best level to set it to. Internal Control Panel With your URSA Broadcast G2’s foldout monitor open, you can access the internal control panel. Use the controls here to set your audio inputs as well as phantom power settings, iris, focus, menu and playback controls and more.

URSA Broadcast G2 internal control panel 17 XLR1/XLR2 Use these switches to set how your URSA Broadcast G2’s XLR inputs behave when selected as an input source. The options available are mic audio, line level audio and AES digital audio. 18 Phantom Power The camera’s XLR inputs can provide 48V phantom power so you can use microphones that aren’t self powered. Move this switch to ‘48V’ to enable phantom power for any microphone connected to the XLR above, or ‘off’ to disable phantom power. It is standard practice to plug in your XLR cable before switching phantom power on. It is also important to switch phantom power to ‘off’ when you no longer have a phantom powered microphone connected. Connecting devices that don’t have phantom power protection built into their AES XLR outputs whilst still sending phantom power from the 54URSA Broadcast G2 Controlscamera’s XLR audio inputs may damage your equipment. Always ensure that the +48V switch is turned ‘off’ when you disconnect your microphone. 19 Control and Playback Buttons Focus When using a B4 or EF lens that supports electronic focus adjustments, press the ‘focus’ button to activate auto focus. A white focus square will appear on the fold out monitor. Anything within the square will be correctly focused. When the lens is focused, the square will disappear. To use the ‘focus’ button, your B4 lens must have servo focus control, with the servo activated. See the ‘getting started’ section for more information. Some EF lenses also have both manual and auto focus modes. In order for URSA Broadcast G2 to be able to auto focus with your lens, you need to ensure that your lens is set to auto focus mode. Peak Press the ‘Peak’ button to activate focus peaking. Your camera has two focus peaking modes, traditional focus peaking, which artificially sharpens areas of the image that are in focus, and ‘colored lines’ with overlays the sharp areas of your image with black, white, red, green or blue colored lines. See the ‘monitor settings’ section of this manual for more information. TIP If you are recording your video output to a Blackmagic Video Assist or HyperDeck Studio HD Mini, you may want to ensure that you don’t have peaking switched on for that output. This can be done by using our ‘clean feed’ feature on your front SDI or main SDI. For more information on outputting a ‘clean feed’ see the ‘monitor settings’ section in this manual. Program The program button is marked PGM and lets you switch the LCD and front SDI output between the camera view and any signal plugged into the camera’s 12G-SDI input on the rear panel. This means if you’re using your camera in a live broadcast, you can plug in the switcher’s program output and monitor it during the shoot. Press and hold the program button to see your program feed. Double press the button to lock the program feed on. Press again to turn the program feed off. To display a switcher’s program output, your camera and switcher must be set to the same resolution and frame rate. Menu Press the ‘menu’ button to open the dashboard. Refer to the ‘settings’ section for more information about the dashboard feature and how to adjust settings. Record Press any of the record buttons marked REC to start and stop recording. Refer to the ‘recording’ section for more information. Playback Control Buttons The playback buttons let you start and stop playback, plus skip to the next or previous clip. When using the EF mount, the forward and reverse skip buttons can also be used to open or close the iris when using compatible lenses. Refer to the ‘playback’ section for more information on how to use the playback buttons. 55URSA Broadcast G2 ControlsNOTE You can power your URSA Broadcast G2 on or off via a combination of internal control panel buttons. Holding the ‘rec’ and ‘forward skip’ buttons will power up the camera if it is turned off, or power it off if it is turned on. If your camera’s power switch is set to ‘on’ but your camera is powered down, it may have been powered down via the control panel. Toggle the power switch to return it to normal operation. Camera Video Outputs HD Monitoring Output Blackmagic URSA Broadcast G2’s down converted 3G-SDI out connector always outputs 1080HD video so you can easily connect to routers, monitors, SDI capture devices, broadcast switchers and other SDI devices. This output is labeled ‘front SDI’ in the touchscreen settings menu. 12G-SDI Output The 12G-SDI out connector on the rear panel supports HD and Ultra HD video including high frame rate progressiveformats such as 2160p50, 59.94 and 60 on a single SDI cable. Interlaced HD formats are also supported including 1080i50, 59.94 and 60. You can use the 12G-SDI output to connect to anySDI monitor as well as Ultra HD switchers such as ATEM Production Studio 4K. This output can be switched between HD and Ultra HD by selecting 1080p or 2160p in the ‘SDI output’ setting for the ‘main SDI’ on the ‘monitor’ tab on the touchscreen. For more information please refer to the ‘monitor settings’ section later in this manual. Connecting to Video Switchers The SDI outputs allow you to use your camera for live television production. You can connect the rear panel SDI output directly to production switchers for live production work, or to ATEMCamera Converters to convert your signal to optical so you can send it hundreds of meters to a broadcast truck on location. When connected to a switcher, you can easily view the switcher’s program output on your Blackmagic URSA Broadcast G2. To do this, first connect the switcher to your camera’s rear 12G-SDI input. Now press the ‘program’ button marked PGM on your camera’s fold out monitor. To switch back to the camera image, simply press the PGM button again. 56Camera Video OutputsYou can connect the 12G-SDI output to any 1080 HD or Ultra HD live production switcher or monitor. The HD monitoring output can be plugged into an external viewfinder, such as the Blackmagic URSA Viewfinder, or plugged into an external monitor when mounted to production equipment. For example a jib arm or crane Connecting to Monitors SDI monitoring can be really helpful when accessing the fold out monitor is impractical, such as when secured high on a jib arm, on a crane, or mounted on a vehicle. Monitoring information is displayed via your HD-SDI monitoring out connector by adjusting the settings for the ‘front SDI’ on the ‘monitor’ tab on the touchscreen. These settings enable frame guides and information such as recording details and camera settings. If you simply want to monitor your shots, you can always turn overlays off for a clean SDI output. Connect the camera’s SDI output to SDI monitors or to a Blackmagic SmartScope Duo 4K for live waveform monitoring. NOTE The rear SDI output and 3G-SDI monitoring output automatically flag HDR video with ancillary metadata when you are working in ‘Film’ dynamic range and use the Gen 5 Film to Rec 2020 Hybrid Log Gamma or Gen 5 Film to Rec 2020 PQ Gamma LUT on the SDI output. This means you can display stunning HDR images on HDR enabled screens from either SDI output. SDI Output Formats Rear SDI Output 2160p23.98, 24, 25, 29.97, 30, 50, 59.94, 60. 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60. 1080i50, 59.94, 60. 3G-SDI Monitoring Output 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60. 1080i50, 59.94, 60. 57Camera Video OutputsTIP To make a live recording with two codecs at once or a simultaneous backup, youcan feed the rear SDI out from URSA Broadcast G2 to a Blackmagic Video Assist orHyperDeck. Touchscreen Controls Touchscreen Your Blackmagic URSA Broadcast G2’s fold out LCD touchscreen pivots for shooting high and low angles. Buttons on the outside of the LCD panel let you control your URSA Broadcast G2 when mounted on your shoulder using the URSA Viewfinder and the LCD closed. Touchscreen Features The LCD touchscreen features a touch and gesture based interface that is specifically designed for fast and intuitive user operation. By touching and swiping on different areas of URSA Broadcast G2’s LCD touchscreen, you can quickly access the camera’s functions while shooting. The touchscreen display features upper and lower toolbars. The upper toolbar provides access to commonly used settings such as shutter speed, iris and gain controls. The lower toolbar includes storage indicators, audio meters, transport controls and a histogram. Your URSA Broadcast G2’s LCD touchscreen has a comprehensive head up displayand gives you easy access to your camera’s most used settings Upper Toolbar LCD Monitor Options Tap the ‘monitor’ icon at the top left of your URSA Broadcast G2’s LCD touchscreen to access the LCDmonitor settings. These settings let you toggle and adjust the appearance of your URSA Broadcast G2’s monitoring features, including zebra, focus assist, frame guide, and grids. When accessing LCDmonitor options, the controls for these features appear in a tabbed menu along the bottom edge of the LCD touchscreen. 58Touchscreen ControlsTap the icon at the top left of your URSA Broadcast G2’s LCDtouchscreen to access LCD monitor options Zebra The ‘zebra’ setting toggles the appearance of zebra on the LCD touchscreen, as well as setting the zebra level for all URSA Broadcast G2’s outputs. Zebra displays diagonal lines over areas of your image that exceed a set exposure level. Forexample, setting zebra to 100% shows which areas are completely overexposed. This is useful for achieving optimum exposure in fixed lighting conditions. Tap the ‘zebra’ icon while accessing ‘LCD monitor options’ to access your URSA Broadcast G2’s zebra settings To toggle zebra for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘zebra’ tab. Set the exposure level that zebra appears at by dragging the slider left and right, or tapping thearrow buttons next to the zebra level indicator. There are eight zebra presets available including middle gray and middle gray plus one stop, then in five percent increments from 75 to 100 percent exposure. For information on enabling zebra on your camera’s front and main SDIoutputs, see the ‘monitor settings’ section in this manual. TIP If you’re shooting in variable light such as outdoors on a partly overcast day, setting your zebra level lower than 100 can warn you of potential overexposure. Focus Assist The ‘focus assist’ setting toggles the appearance of focus assist on the LCD touchscreen, aswell as setting the level of focus assistance for all outputs on your URSA Broadcast G2. Tap the ‘focus assist’ icon while accessing ‘LCD monitor options’ toaccess your URSA Broadcast G2’s focus assist settings To toggle focus assistance for the LCD touchscreen, tap the switch icon in the bottom left of thescreen while in the ‘focus assist’ tab. To set the level of focus assistance for all outputs on your URSA Broadcast G2, drag the slider left and right along the bottom of your touchscreen, or tap the arrow buttons next to the focus assist level. 59Touchscreen ControlsThe optimum level of focus assistance varies shot by shot. When focusing on actors, for example, a higher level of focus assistance can help resolve edge detail in faces. A shot of foliage or brickwork, on the other hand, may show distracting amounts of focus information athigher settings. For information on enabling focus assist on your camera’s front and main SDI outputs, see the ‘monitor settings’ section in this manual. TIP Your URSA Broadcast G2 has two focus assist modes. You can switch between ‘peaking’ and ‘colored lines’ focus assistance in the ‘monitor’ settings menu. Formore information, see the ‘monitor settings’ section and the ‘focus assist’ section. Frame Guides The ‘frame guide’ setting toggles the appearance of frame guides on the LCD touchscreen. Youcan also choose from frame guide options for all outputs on your URSA Broadcast G2. Frame guides include aspect ratios for various cinema, television and online standards. Tap the ‘frame guides’ icon while accessing ‘LCD monitor options’ to access your URSA Broadcast G2’s frame guide settings To toggle the appearance of frame guides on your URSA Broadcast G2’s LCD touchscreen, tap the switch icon in the bottom left of the screen. Choose the frame guide you want to use by dragging the slider left and right, or tapping the arrow buttons on either side of the currently selected aspect ratio. 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 cinema widescreen standards in use today. 2:1 Displays a ratio slightly wider than 16:9 but not as wide as 2.35:1. 1.85:1 Displays another common flat widescreen cinema aspect ratio. This ratio is slightly wider than HDTV 1.78:1 but not as wide as 2.39:1. 16:9 Displays a 1.78:1 aspect ratio compatible with 16:9 HD television and computer screens. This ratio is most commonly used for HD broadcasting and online videos. The same aspect ratio has also been adopted for Ultra HD broadcasting. 60Touchscreen Controls14:9 Displays a 14:9 aspect ratio used by some television broadcasters as a compromise between 16:9 and 4:3 television sets. Ideally, both 16:9 and 4:3 footage remains legible when center cropped to fit 14:9. You can use this as a compositional guide if you know your project may be broadcast by a television station that uses 14:9 cropping. URSA Broadcast G2 LCD touchscreen with 14:9 frame guides enabled 4:3 Displays the 4:3 aspect ratio compatible with SD television screens, or to help with framing when using 2x anamorphic adapters. 1:1 Displays a 1:1 ratio slightly narrower than 4:3. This square ratio is growing in popularity on social media. 4:5 Displays a 4:5 aspect ratio. This vertical aspect ratio is ideal for portraits and viewing on smartphones. Custom Frame Guide Ratio To create your own frame guide ratio for a unique appearance, tap on the ratio displayed between the arrow buttons. On the ‘custom frameguide’ screen tap the backspace button to delete the current ratio, then use the numeric keypad to specify a new ratio. Tap ‘update’ to apply your custom frame guide ratio and return to shooting. Use the numeric keypad on the ‘custom frame guide’ screen to enter a new frame guide ratio 61Touchscreen ControlsTIP You can change the opacity of frame guide overlays. For more information see the ‘monitor settings’ section of this manual. NOTE For information on enabling frame guides on your camera’s front and main SDIoutputs, see the ‘monitor settings’ section in this manual. Grids The ‘grids’ setting toggles the appearance of a rule of thirds grid, crosshair or center dot on theLCD touchscreen, as well as setting the overlay that will be visible on all URSA Broadcast G2’s outputs. Tap the ‘grids’ icon while accessing ‘LCD monitor options’ toaccess your URSA Broadcast G2’s grid settings Grids and crosshairs are overlays that can help with image composition. When ‘grids’ are enabled, your URSA Broadcast G2 can show a rule of thirds grid, crosshairs, or center dot. To toggle the appearance of grids on your URSA Broadcast G2 touchscreen, tap the switch icon inthe bottom left of the screen while in the ‘frame guides’ tab. When your URSA Broadcast G2 is set up and connected to an ATEM switcher as the current program source, and ‘grids’ are set to ‘on’, the red ‘program’ tally outline will automatically illuminate on the LCD. When connected to an ATEM switcher sending a tally signal, a red border will appear around your camera’s image preview when grids are set to ‘on’ To set which overlay you want to display on all URSA Broadcast G2 outputs, tap the ‘thirds,’ ‘crosshairs,’ or ‘center dot’ options. 62Touchscreen ControlsThe rule of thirds grid automatically scales to any on screen frame guides Thirds The ‘thirds’ setting displays a grid with two vertical and horizontal lines placed in each third of the image. Thirds are an extremely powerful tool to help compose your shots. For example, the human eye typically looks for action near the points where the lines intersect, so it’s helpful to frame key points of interest in these zones. An actor’s eyeline is commonly framed along the top third of the screen, so you can use the top horizontal third to guide your framing. Thirds are also useful to maintain framing consistency between shots. Horizon The ‘horizon’ meter indicates when your camera is rolled left or right and tilted up or down. This can help you keep the horizon level during handheld shots and balance the camera tilt on a gimbal. The gray vertical and horizontal indicators move away from the center as the camera is rolled and tilted. The distance the lines move away from the central crosshair is proportional to the amount of roll or tilt. After you calibrate the camera’s motion sensor, the motion indicators will illuminate blue when the camera’s roll and tilt become level. Note that if the camera is tilted straight down for an overhead shot or straight up, the horizon meter takes this into account. If you roll the camera to shoot in portrait orientation, the horizon meter rotates its axes 90 degrees. This table shows examples of the horizon meter indicating tilt and roll of the camera. Horizon meter Description Straight and level Tilted down and level Straight and rolled left Tilted up and rolled right For normal use, calibrate the horizon meter for straight and level operation. If you want to use the horizon meter to help maintain a consistent ‘dutch angle’ or a consistent tilt for a low or high shot, you can calibrate the horizon meter at an incline. For information on how to calibrate the horizon meter, see the ‘motion sensor calibration’ section. 63Touchscreen ControlsCrosshairs The ‘crosshair’ setting places a crosshair in the center of the frame. Like thirds, the crosshair is a very useful compositional tool, making it easy to frame the subject of a shot in the very center of a frame. This is sometimes used when filming scenes that will be assembled using very fast cuts. Keeping viewers’ eyes focused on the center of a frame can make rapid editing easier to follow. Center Dot The ‘center dot’ setting places a dot in the center of the frame. This works in exactly the same way as the ‘crosshair’ setting, albeit with a smaller overlay that you may find lessintrusive. You can enable a combination of ‘thirds’ and ‘crosshairs’ or ‘thirds’ and ‘center dot’ bytapping both options in the ‘grids’ menu. ‘Crosshairs’ and ‘center dot’ cannot be selected together. TIP For information on enabling grids on your URSA Broadcast G2’s front and main SDIoutputs, see the ‘monitor settings’ section in this manual. Safe Area Guides The ‘safe area guides’ setting toggles the safe area guides on or off the LCDtouchscreen, aswell as setting the size of safe area guides for all outputs on your URSA Broadcast G2. Safe areas can be used in broadcast production to ensure that the most important parts of a shotcan be seen by viewers. By keeping the most important parts of your shot within a central ‘safearea,’ you can avoid cropping on some televisions, as well as leaving space for abroadcaster to add bugs, news tickers and other overlays along the edges of the screen. Manybroadcasters require footage to be submitted within a 90% safe area. Safe area guides can also be used to assist with framing your shot where you know that the shot will be stabilized in post production, which can crop the edges of the image. They can also be used to indicate a specific crop. For example by setting it to 50% whilst recording at Ultra HD 3840x2160 you can see what a 1920x1080 crop of the frame would look like. The safe area guides also scale to your frame guides, so they will adjust to indicate the chosen percentage of your target frame. The ‘safe area’ indicator set to 50% To toggle safe area guides for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘safe area guides’ tab. To set the level of safe area guides for all outputs on your URSA Broadcast G2, 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. 64Touchscreen ControlsFalse Color The ‘false color’ setting toggles the appearance of false color exposure assistance on the LCDtouchscreen. False color overlays different colors onto your image that represent exposure values for different elements in your image. For example, pink represents optimum exposure for lighter skin tones, while green is a good match to darker skin tones. By monitoring the pink or green false color when recording people, you can maintain consistent exposure for their skin tones. Similarly, when elements in your image change from yellow to red, that means they are now over exposed. The IRE false color chart on the left side of your camera’s display shows you how to interpret the different false colors. False Color Meaning 95%WC White clipping 80%WC Near white clipping MG+1 One stop over middle gray 18%MG Middle gray NBDL Near black detail loss BDL Black detail loss In a well exposed image, skin tones are represented by green and pink false colors To toggle false color for the LCD touchscreen, tap the switch icon in the bottom left of the screen while in the ‘false color’ tab. The ‘false color’ exposure assistance tab 65Touchscreen ControlsScreen Brightness Tap the ‘screen brightness’ icon and drag the slider to the left or right to adjust the brightness of your URSA Broadcast G2’s touchscreen. The ‘screen brightness’ setting set to 50%. ND Filter indicator Your URSA Broadcast G2 has an ND filter indicator in the top left of the LCD touchscreen and any SDI outputs set to show status text. The indicator uses the format you’ve selected in the ‘setup’ menu. ND filter setting indicator on your URSA Broadcast G2 NOTE You can adjust the terminology used by the ND filter indicator to reflect the conventions you’re used to. The options are ND number, stops and fractions. You can set your preferred format in your URSA Broadcast G2’s ‘setup’ menu. LUT indicator A white icon will be visible on the LCD, front SDI or main SDI when ‘status text’ is switched on and you have a LUT applied to that output. If you are recording to Blackmagic RAW and have ‘Apply LUT in File’ switched on in the ‘Record’ settings the LUT icon will be blue. The LUT icon lets you know that you have a LUT applied to the image Frames Per Second The ‘FPS’ indicator displays your currently selected frames per second. URSA Broadcast G2’s frames per second indicator. Tap this to access frame rate settings Tapping the ‘FPS’ indicator lets you change your camera’s sensor and project frame rates via amenu at the bottom of your LCD touchscreen. 66Touchscreen ControlsProject frame rate The project frame rate is URSA Broadcast G2’s recording format frame rate and provides aselection 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. Your Blackmagic URSA Broadcast G2 has 8 project frame rate settings including 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 frames per second. To adjust your URSA Broadcast G2’s project frame rate while in the ‘FPS’ menu, tap the left or right arrows next to the current frame rate at the bottom left of your touchscreen. Alternatively, you can drag the slider left or right. Tap the arrows on either side of the project frame rate or move the slider to make adjustments TIP Your URSA Broadcast G2’s project frame rate also sets the frame rate of the front and main SDI outputs. Sensor frame rate The sensor frame rate sets how many actual frames from the sensor are recorded every second. This frame rate will affect how fast or slow your video will play back at your set project frame rate. With ‘off speed frame rate’ enabled, tap a preset or the arrows on either side of the sensor frame rate or move the slider to make adjustments By default, your URSA Broadcast G2’s project and sensor frame rates are matched for a natural playback speed. However, by tapping the ‘off speed frame rate’ switch icon in the bottom right hand side of your URSA Broadcast G2’s ‘FPS’ menu, you can independently set your sensor frame rate. It’s worth mentioning that the ‘off speed frame rate’ option is only available when recording to Blackmagic RAW or ProRes codecs. To change your sensor frame rate, tap the arrows next to the sensor frame rate indicator in the lower left of your touchscreen. You can also drag the slider left or right to increase or decrease the frame rate. Once you release the slider, the sensor frame rate will be selected. Above the slider, you can tap on a common off speed frame rate. These are based on your current project frame rate. 67Touchscreen ControlsYou can create dynamic and interesting speed effects in your clips by varying the sensor frame rate. Setting the sensor frame rate higher than your project frame rate willcreate slow motion during playback. For example, shooting with a 60 FPS sensor frame rate and playing back at a 24 FPS project frame rate creates slow motion at less than half the real speed of action. Alternatively, the lower your sensor frame rate, the faster your clips will appear. The principle is similar to overcranking and undercranking a film camera. Overcranking speeds up the sensor frame rate so you can stretch out moments in time during playback to enhance emotion. Undercranking slows down the sensor frame rate so you can increase the action in fast moving scenes. The creative possibilities are endless and entirely up to you! For information on the maximum frame rates available for each recording format and codec, refer to the table in the ‘recording’ section of this manual. NOTE When ‘off speed frame rate’ is selected your URSA Broadcast G2’s audio and video are no longer synced. This is true even if you set the same project and sensor frame rate. For this reason, ‘off speed frame rate’ should never be selected if you want to guarantee audio syncing. Shutter The ‘Shutter’ indicator displays your shutter speed. By tapping this indicator, you can manually change your URSA Broadcast G2’s shutter speed or configure shutter priority auto exposure modes. URSA Broadcast G2’s shutter indicator. Tap this to access shutter settings Shutter speed defines the level of motion blur in your video, and can be used to compensate for varying light conditions. The shutter speed setting for natural motion blur, and the settings available, depend on the frame rate you are using. For example, when shooting at 30p, a 1/60 of a second shutter speed is the equivalent of a 180 degree shutter angle, a very common setting for film projects. However if you are shooting at 25p, you will need to set the shutter to 1/50 for the same look. For natural motion blur you can calculate the shutter speed by doubling your frame rate. Soat30p, set your shutter speed to 1/60 of a second for natural motion blur. If you need more light on the sensor, you can set the shutter at the slowest setting corresponding with your frame rate. For example, 1/25 for 25p, or 1/30 for 30p. At the slowest shutter speed, your motion blur will appear slightly exaggerated. If you want to reduce the motion blur so action appears sharper and more defined, set the shutter to a faster speed, such as 1/120 of a second for 30p, or 1/100 of a second for 25p. Ifyouare familiar with shutter angles, this equates to a shutter angle of 90 degrees. It’s worth experimenting with different shutter speeds to see how this setting can provide different levels of motion blur to your image. When shooting under lights, your shutter speed can affect the visibility offlicker. Your URSA Broadcast G2 will automatically calculate flicker free shutter speeds for your current frame rate. These speeds are affected by mains power frequency in your region. You can set your local power frequency to 50Hzor60Hz in your URSA Broadcast G2’s setup menu. See the ‘setup settings’ section in thismanual for moreinformation. 68Touchscreen ControlsTapping the ‘shutter’ indicator brings up the shutter speed menu along the bottom of your URSA Broadcast G2’s touch screen. If you have auto exposure set to ‘off,’ this screen will show youyour currently selected shutter speed, as well as the available flicker free shutter speeds, based on the mains power frequency you have selected in your URSA Broadcast G2’s ‘setup’ menu. Formore information, see the ‘setup settings’ section in this manual. NOTE The characteristics of different light sources may still cause flicker even when using flicker free shutter speeds. We recommend always performing a test shoot when not using continuous lights. To select one of the flicker free shutter speeds, simply tap on one of the displayed shutter values. Using the arrows on either side of the current shutter value indicator will cycle through some of the most commonly used values. Your URSA Broadcast G2 will suggest flicker free shutter speeds 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. This will bring up a keypad that allows you to type in any shutter value you wish. If you type in a shutter value that is less than your current frame rate, for example 1/25th when shooting at 29.97 frames per second, the nearest achievable shutter value will be used. Thenearest shutter speed in this example would be 1/30th. The manual shutter keypad allows you to type in any shutter value you wish Your URSA Broadcast G2 has three shutter based auto exposure modes. To select one of these, tapthe ‘auto exposure’ button in the far right of the shutter menu. Tap ‘auto exposure’ to access shutter based auto exposure modes 69Touchscreen ControlsShutter This setting automatically adjusts shutter speed to maintain a constant exposure while keeping iris aperture constant. If you want to maintain a fixed depth of field, this is the setting to choose. It’s worth mentioning that the subtle automatic adjustments of the shutter may have an effect on motion blur. It’s also worth keeping an eye out for any flicker that may be introduced from various light fixtures on indoor shoots. URSABroadcast G2’s auto iris feature is not available when the ‘shutter’ auto exposure mode is selected. Shutter + Iris Maintains the correct exposure levels by adjusting the shutter, then the aperture. If the maximum or minimum available shutter speed is reached and exposure still cannot be maintained, URSA Broadcast G2 will begin adjusting the aperture to keep exposure constant. Iris + Shutter Maintains the correct exposure levels by adjusting the aperture, then the shutter speed. If the maximum or minimum available aperture is reached and exposure still cannot be maintained, URSA Broadcast G2 will begin adjusting the shutter speed to keep exposure constant. TIP When an auto exposure mode that effects the shutter is enabled, a small “A” willappear next to the shutter speed indicator at the top of your URSA Broadcast G2 touchscreen. Iris The ‘Iris’ indicator displays your current lens aperture. By tapping this indicator, you can change the aperture of compatible lenses and configure iris based auto exposure modes. Your URSA Broadcast G2’s iris indicator. Tap this to access iris settings NOTE To adjust your iris from the LCD touchscreen, your URSA Broadcast G2 must befitted with a lens that supports changing aperture via the camera. If you are using a B4 or PL lens connected via the broadcast 12 pin connector, make sure that the lens iris switch on the handgrip is set to ‘A’ or ‘auto.’ Tapping the ‘iris’ indicator once brings up the iris menu along the bottom of your URSABroadcast G2 touchscreen. You’ll see your current lens aperture at the far left of this menu. You can change the aperture by tapping the left and right arrows on either side of the current aperture, or moving the slider left or right. While in the ‘iris’ menu, tap the arrows on either side of the iris indicator or use the slider to adjust iris settings 70Touchscreen ControlsTapping the ‘auto exposure’ switch icon at the far right of the iris menu opens the iris auto exposure menu. While in the iris menu, tap ‘auto exposure’ to access iris based auto exposure modes This gives you the following auto exposure options. Iris This setting automatically adjusts the aperture to maintain a constant exposure, while keeping shutter speed constant. This will keep motion blur constant, but may affect your depth of field. Iris + Shutter Maintains the correct exposure levels by adjusting the aperture, then the shutter speed. If the maximum or minimum available aperture is reached and exposure still cannot be maintained, URSA Broadcast G2 will begin adjusting the shutter speed to keep exposure constant. Shutter + Iris Maintains the correct exposure levels by adjusting the shutter, then the aperture. If the maximum or minimum available shutter speed is reached and exposure still cannot be maintained, URSA Broadcast G2 will begin adjusting the aperture to keep exposure constant. When an auto exposure mode that effects the iris is enabled, a small “A” will appear next to the iris indicator at the top of your URSA Broadcast G2 touchscreen. TIP Automatic exposure works smoothly with compatible B4 or PL lenses which are designed for video or film production. EF lenses may produce noticeable ‘steps’ in exposure when changing aperture. For this reason, werecommend using only ‘shutter’ auto exposure mode if shooting with EF lenses. Duration Display At the top of your URSA Broadcast G2 LCD touchscreen, you’ll see your camera’s duration display. Your URSA Broadcast G2’s duration display. This will turn red while recording The duration display provides a timecode counter for checking the duration of your clips and monitoring timecode during recording and playback. The counter displays a time sequence showing Hours:Minutes:Seconds:Frames and will progress through the sequence as you record or play back clips. The timecode will turn red during recording. The displayed duration of each clip starts from 00:00:00:00 for each clip. The clip duration ofthe current, or last recorded, clip is displayed on the touchscreen. Time of day timecode is embedded into clips for easier post production. To see the timecode, simply tap the duration display. Tap the duration display again to return toclip duration. 71Touchscreen ControlsAdditional status indicators may appear around the duration display: Appears to the right of the duration display when showing timecode. Appears to the right of the duration display if an external timecode is connected and valid. Appears to the right of the duration display if the camera is running off an internal timecode after being ‘jam synced’ anddisconnected. Appears to the right of the duration display when you are viewing preset record run timecode. Appears when a valid reference source is connected andlocked, based on the reference input settings. Appears to the left of the duration display when your Blackmagic URSA Broadcast G2 is using a windowed sensor mode. Gain The ‘Gain’ indicator displays your URSA Broadcast G2’s current gain setting, or light sensitivity. Tapping this indicator lets you adjust your gain to suit varying lighting conditions. The optimum setting for URSA Broadcast G2 is 0dB. Your URSA Broadcast G2’s gain indicator. Tap the indicator to access gain settings While in the ‘gain’ menu, your URSA Broadcast G2’s gain settings appear along the bottom of the LCD touchscreen. The slider and arrows below the presets let you adjust the gain in 1/3 stop increments. Depending on your situation, you may choose a lower or higher gain setting. For example, inlowlight conditions +18dB can be suitable but may introduce some visible noise. In bright conditions -6dB can provide richer colors. White Balance The ‘WB’ and ‘TINT’ indicators display your camera’s current white balance and tint. Tapping these indicators lets you adjust your camera’s white balance and tint to suit varying lighting conditions. Tap the white balance and tint indicators to access white balance and tint settings 72Touchscreen ControlsEvery light source emits a color. For example, a candle flame emits a warm color, and an overcast sky emits a cool color. White balance settings are used to color balance your image so white stays white by adjusting the mix of orange and blue in your image. For example, when shooting under tungsten lamps which emit a warm, orange light, selecting 3200K adds some blue to the image. This balances the color so white is accurately recorded. Your URSA Broadcast G2 comes with white balance presets for a variety of color temperature conditions. These are: Bright sunlight (5600K) Incandescent bulbs (3200K) Fluorescent bulbs (4000K) Mixed light (4500K) Cloud (6500K) You can customize any of these presets by tapping or holding the arrow icons to the left and right of the temperature indicator in the bottom left of the ‘white balance’ menu. Each tap moves the color temperature up or down 50K, but holding the arrow icons down will increase these increments for faster changes. Alternatively, you can move the temperature slider in the middle of the ‘white balance’ menu. To further dial in your image, you can adjust the ‘tint.’ This adjusts the mix of green and magenta inyour image. For example, adding some magenta can compensate for the green cast of many fluorescent lights. Many of your URSA Broadcast G2’s white balance presets include some tint. Tapping the white balance and tint indicator on your URSA Broadcast G2 gives you access to fivepresets, as well as a white balance indicator and slider on the left, and a tint indicator on the right. Adjust thesetoset a custom white balance for your lighting conditions While in the ‘white balance’ menu, your camera’s current tint setting is shown at the bottom right of the screen. To adjust the tint, simply tap or hold the arrows to the left and right of the tint indicator. The available range is -50 to +50 in one unit increments. Holding down on the arrows speeds up adjustment. NOTE Customizing the white balance or tint will change your preset to‘CWB,’ or custom white balance. Custom white balances are persistent; your CWB settings will stay configured between power cycles, and when switching to a preset and back to CWB. This makes iteasy to compare a custom white balance to the last preset used. Auto White Balance Your URSA Broadcast G2 can set white balance automatically. Tapping ‘AWB’ will bring up the white balance screen. 73Touchscreen ControlsWhen setting white balance automatically, a square will be overlaid on the center of your image. Fill this square with a neutral surface such as a white or gray card and tap ‘update.’ Your URSA Broadcast G2 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. Tapping the ‘AWB’ icon in the white balance menu will bring up theauto white balance screen. Use this with a white or neutralgray surface to automatically set a neutral white balance Power Your URSA Broadcast G2’s power status is displayed in the top right of the LCD screen. There are five possible indicators: Your URSA Broadcast G2’s power indicator is at the top right of the LCD touchscreen. Whileusingbattery power, tapping this toggles between ‘voltage’ and ‘percentage’ displays AC Displayed when your URSA Broadcast G2 is plugged into mainspower. Percentage If you are using a percentage accurate battery and plate combination and have your battery display set to ‘percentage,’ theindicator will display your battery level as a percentage. At20% charge remaining, the indicator will turn red. Battery bars If your battery display is set to ‘percentage’ but your battery plate andbattery combination does not support percentage accurate battery information, your URSABroadcast G2 will display abattery icon that drains in 25% increments. At 20% charge remaining, the battery bar will turn red. Voltage When your battery display is set to ‘voltage,’ this indicator will display your battery’s remaining voltage. When your battery drops below 12.5 volts, this indicator will turn red. Your URSA Broadcast G2 will automatically shut down once the battery reaches 11.9 volts. Fiber Displayed when you have Blackmagic Camera Fiber Converter attached to your camera and are powering thecamera through theSMPTE fiber cable. If you have an XLR power cable plugged into URSABroadcast G2 whilst the converter is attached, the AC icon will be displayed instead. 74Touchscreen ControlsWhen using battery power, you can switch between ‘voltage’ and ‘percentage’ or ‘battery bars’ power indicators by tapping the power indicator. Lower Toolbar Histogram At the bottom left of your URSA Broadcast G2 touchscreen, you’ll see the histogram. The RGB histogram shows the tonal distribution of the image separated into individual red, green and blue channels. The histogram gives you an indication of the tonal rangebetween shadows and highlights in your clip. Itis also a helpful tool for checking thebalance of your exposure and to prevent your highlights from clipping The left edge of the histogram displays shadows, or blacks, and the far right displays highlights, or whites. When you close or open the lens aperture, you’ll notice the information in the histogram moves to the left or right accordingly. You can use this to check ‘clipping’ in your image shadows and highlights. When clipping occurs in the red, green or blue channel, the respective indicator on the right side of the histogram lights up. If the left and right of your edges of the histogram come to an abrupt stop rather than falling off gradually, you may be losing highlight or shadow detail. If you don’t see a histogram in the bottom left of your touchscreen, your LCDmonitor settings may be set to display ‘codec and resolution.’ See the ‘monitor settings’ section in this manual for more information. Record button Next to the histogram at the bottom of your URSA Broadcast G2’s touchscreen, you’ll see a round button with a red center. This is the ‘record’ button. Tap this once to begin recording, andtap it again to stop. While recording, button, media bar icon and the timecode at the top of your URSABroadcast G2 touchscreen will turn red. Your URSA Broadcast G2’s ‘record’ button, next to the storage indicatorsat the bottom of the LCD touchscreen The ‘record’ button turns red when recording 75Touchscreen ControlsApply LUT in File If you are recording to Blackmagic RAW and have chosen to apply a LUT to your recorded clips in the ‘record’ settings tab, a blue ‘LUT’ icon is displayed next to the ‘record’ button. The LUT indicator is displayed in both standby and record mode. For more information on recording LUTs with Blackmagic RAW, refer to the ‘Record Settings’ section later in this manual. A blue ‘LUT’ icon is displayed when recording to Blackmagic RAW Record LUT to Clip If you are recording to ProRes, H.264 or H.265 and have chosen to record a LUT to your recorded clips, a red ‘LUT’ icon is displayed next to the ‘record’ button. The LUT indicator is displayed in both standby and record mode. For more information on recording LUTs with ProRes, H.265 or H.264 video codecs, refer to the ‘Record Settings’ section later in this manual. A red ‘LUT’ icon is displayed when recording to ProRes, H.265 or H.264 Dropped Frame Indicator The ‘record’ button will be overlaid with a flashing ‘!’ indicator if your URSA Broadcast G2 begins dropping frames while recording. The time remaining indicator for the affected card or cards will also turn red. For example, if you are recording in dual card mode and card 1 is dropping frames, the ‘!’ indicator will appear over the ‘record’ button, and the time remaining indicator on card 1 will turn red. This lets you know if a particular card is too slow for your currently selected codec and resolution. The ‘dropped frame indicator’ will also display if you have dropped a frame on the previously recorded clip. This indicator will continue to display until another clip is recorded, or the camera is power cycled. Refer to the ‘Choosing a CFast

2.0 card’ ‘Choosing a fast SD Card’ and ‘Choosing a fast SSD’ sections in this manual,

for more information on how to avoid dropping frames. Dropped frame indicator for CFast card 1 dropping frames TIP If you have your URSA Broadcast G2’s status LED enabled, this will rapidly flash red when dropped frames are detected. For more information, see the ‘setup settings’ section in this manual. 76Touchscreen ControlsNOTE You can set your URSA Broadcast G2 to stop recording if dropped frames are detected toprevent a situation where you waste time shooting unusable footage if youdon’t notice the dropped frame indicator. See the ‘record settings’ section in this manual for more information. Storage Indicators At the bottom of your URSA Broadcast G2 touchscreen next to the ‘record’ button, you’ll see the storage indicators. Recording Time Remaining When a CFast or SD card is inserted, or a USB-C flash disk or SSD is attached to your camera, the storage indicators show how much recording time is left on each card or drive. The recording time is displayed in hours:minutes:seconds based on your chosen frame rate and codec and is automatically recalculated if you change either of these settings. When there is approximately 5 minutes remaining on your card or drive, the indicator text will turn red. If you are recording to a single card or drive or have filled any additional storage attached to your camera, the indicator will blink slowly when there is 3 minutes remaining and blink quickly when there is less than 30 seconds of recording time remaining. Your URSA Broadcast G2’s storage indicator will display the name of your CFastcard, SD card, SSD or USB flash disk and the remaining record time Media Bar The media bar icon above the recording time will be either blue, white or red depending onitscurrent status and will display the used space on the card or drive. The blue drive icon indicates the active drive. This is the drive that will be used for recording. A white drive icon indicates there is media present, but not active. A solid white icon indicates the media is full. The bar will illuminate red during recording. To switch recording to a different card or drive, press and hold the name or media bar of the card, USB-C flash disk or SSD that you wish to record to. Tapping the storage indicators will bring up the storage and formatting menu. 77Touchscreen ControlsTap the storage indicators on your URSA BroadcastG2’s LCDtouchscreen to access the storage manager This menu displays the amount of free space on each CFast card, SD card, USB-C flash disk or SSD currently connected to your URSA Broadcast G2, as well as the name of the card or drive, remaining record time, total number of clips, and the file format for each card or drive. Tapping the card or drive name in the storage menu sets it as the active card or drive. Your URSA Broadcast G2 will fill this card first. You can format your media from this menu. For more information on formatting media using URSA Broadcast G2, see the ‘preparing media on Blackmagic URSA Broadcast G2’ section ofthis manual. Audio Meter The peak audio meters display audio levels for channels 1 and 2 when using the internal microphone, or via external audio when connected. You can display PPM or VU meters. To change the meter type, see the ‘setup’ settings later in this manual. To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is the maximum level that your camera can record, meaning that any audio that exceeds this level will be clipped, resulting in distortion. The colored bars on the audio meter represent peak audio levels. Ideally your peak audio levels should fall in the upper end of the green zone. If your peaks enter into the yellow or red zones your audio is in danger of clipping. You can tap the audio meter to bring up volume controls for audio input channels 1 and 2, aswell as headset or speaker volume. 78Touchscreen ControlsTap the audio meters on your URSA Broadcast G2 LCD touchscreen toeasily access volume and headset or speaker settings Focus Zoom You can magnify any part of your URSA Broadcast G2’s preview image by double tapping the LCD touchscreen in the location you would like to zoom. You can move the magnified image by dragging your finger around the touchscreen. This is very helpful when checking focus. To return to the standard magnification, double tap on the touchscreen again. When you have ‘focus zoom’ enabled you can also make a pinch to zoom multitouch gesture to adjust the zoom level on the touchscreen. The ‘setup’ menu on your URSA Broadcast G2 lets you configure a function button as a ‘focus zoom’ toggle that behaves like a double tap on the touchscreen. This can be configured to show on the LCD or the front or main SDI to outputs. For information on how to configure a function button as ‘focus zoom’, see the ‘Function Button Behaves as Preset or Toggle’ section. While zoomed in, an indicator in the top left of your LCD touchscreen will show which part of the image you are viewing. You can move around the image using the menu wheel or by dragging your finger around the screen. 79Touchscreen ControlsFull Screen Mode It can be useful when framing or focusing a shot to temporarily hide your touchscreen’s statustext and meters. Simply swipe up or down on URSA Broadcast G2’s LCD touchscreen to hide these. Therecord indicator, frame guides, grids, focus assist and zebra will remain visible. Swipe up or down to hide all status indicators on your URSA Broadcast G2 LCD touchscreen 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. The current clip name and number is shown at the top left of the display and the total number of clips on the card or drive is shown in brackets. The counter ahead of the timeline displays the current location of the playhead and the counter after the timeline displays the total duration of all the clips. The playback controls below the timeline let you navigate through the clips. 80Touchscreen ControlsTap the ‘record’ button in playback mode to return your camera to standby mode, ready to record. Tap the ‘play’ button to view your clips. You are now in ‘playback’ mode. Press the ‘stop’ button to stop playback. Pressing the ‘stop’ button a second time will return your camera to standby mode. Tap the ‘skip’ back button once to move the playhead to the first frame of the current clip. If the playhead is already on the start of a clip, it will jump to the first frame of the previous clip. Tap the ‘skip’ forward button once to move the playhead to the last frame of the current clip. If the playhead is already at the end of a clip, it will jump to the first frame of the next clip. Press and hold the ‘skip’ back and ‘skip’ forward buttons to change them to ‘rewind’ and ‘forward’ shuttle buttons. Now you can use them to change the shuttle speed to 2x, 4x, 8x or 16x. To reduce the shuttle speed, simply tap the button in the opposite direction. The shuttle speed indicator displays the speed and direction of footage being fast forwarded or reversed You can change the playback mode from ‘all clips’ to ‘single clip’ in the ‘setup’ menu. In ‘single clip’ mode the last recorded clip is displayed when you press ‘play’. TIP Swipe up or down on your URSA Broadcast G2’s touchscreen to hide status text while playing back footage. Entering the slate in playback mode will allow you to mark the current clip ‘good take’ in metadata. For more information, see the ‘entering metadata’ section in this manual. Looping playback Tapping the play button more than once enables the ‘loop’ feature. Looping can be useful if you want to continue looping the same clip, or loop all clips on the timeline. Loop Once your clip is playing, press the ‘play’ button again to set your camera to play the current clip on a continuous loop. Loop all Tap ‘play’ again to play all your recorded clips on a continuous loop. Play Tap again to return to real time playback. 81Touchscreen ControlsSettings Dashboard Pressing the ‘menu’ control button on your URSA Broadcast G2 will bring up your camera’s dashboard. This is a tabbed menu containing the settings not available from your URSA Broadcast G2’s head up display. Settings are divided by function into ‘record,’ ‘monitor,’ ‘audio,’ ‘setup,’ ‘presets,’ and ‘LUTS’ tabs. Some tabs, such as ‘record,’ ‘monitor,’ and ‘setup’ contain multiple pages. You can cycle between these pages by tapping the arrows on the left and right of the settings screen, orswiping left or right as you would on a smartphone or tablet. Tap the ‘record,’ ‘monitor,’ ‘audio,’ ‘setup,’ ‘presets,’ and ‘LUTS’ headings to move between your URSA Broadcast G2’s dashboard tabs Record Settings The ‘record’ tab allows you to set your video format, codec, and resolution, as well as other settings which affect the footage saved by your URSA Broadcast G2, such as preferred card and detail sharpening. This menu has three pages, which you can cycle through by tapping the arrows at the edge of your camera’s touchscreen, or swiping left or right. Record Settings 1 The first page of the ‘record’ settings tab contains the following settings. 82SettingsCodec and Quality The ‘codec and quality’ menu is split into two rows. The top row lets you choose between three codec families, Blackmagic RAW, Apple ProRes and H.264/5, while the bottom row offers quality options in those families. For example, the quality options available in the ProRes codec family are ProRes HQ and ProRes 422. Blackmagic RAW options are divided between four ‘constant bitrate’ and four ‘constant quality’ settings. Blackmagic RAW ‘constant bitrate’ and ‘constant quality’ options TIP The amount of video you can record on your storage media on URSA Broadcast G2 will increase when choosingcodecs that utilize higher compression. Refer to the ‘record duration table’ inthe ‘recording’ section for more information. Resolution This setting works in combination with the ‘codec’ setting. Use it to select the resolution for your desired recording format. For example, if you want to record Ultra HD clips using ProRes HQ, select ‘ProRes’ and ‘HQ’ in the ‘codec and quality’ menu. Now choose ‘Ultra HD’ in the resolution menu. Blackmagic RAW ‘resolution’ options NOTE Blackmagic URSA Broadcast G2 supports Blackmagic RAW in all resolutions, Apple ProRes in Ultra HD and HD, H.265 in Ultra HD and H.264 in HD. Record Settings 2 The second page of the ‘record’ settings tab contains the following settings. 83SettingsDynamic Range Adjust the ‘dynamic range’ setting by tapping the dynamic range icons. Blackmagic URSA Broadcast G2 has three dynamic range settings: Video The ‘video’ setting is the best choice for recording to a high contrast, saturated look suitable for direct delivery or minimal post processing. Video uses Rec.709 primaries with a pleasing roll off in the highlights. This is a good option if you want an accurate starting point that still has a pleasing gamma curve with room for grading if needed. Ext Video The ‘extended video’ setting is based on Blackmagic Wide Gamut with contrast and saturation applied. The most notable differences to the video mode come from the magenta/green axis having less saturation which is more typical of print film. Film The ‘film’ setting shoots video using a log curve that allows you to maintain the greatest dynamic range and maximizes the information in your video signal to help you get the most out of color grading software, such as DaVinci Resolve. If you are using ‘video’ or ‘extended video’ dynamic range, make sure that display LUT is not enabled on any of the monitor outputs, LCD, Front SDI or Main SDI. If the display LUT is enabled, the LUT indicator will be visible on the HUD and the image appears to have more saturation and contrast than intended. To check your display LUTs setting, see the ‘monitor’ settings later in this manual. Sensor Area This setting is available when shooting in ProRes, H.265 and H.264 video codecs. It lets you choose between scaling from the full ‘6K’ sensor area, or using a smaller ‘window’ of the sensor area. Choosing a larger sensor area like 5.3K or 6K gives you a wider field of view whereas choosing a smaller sensor area like 2.7K gives you higher frame rate options. It’s important to mention that windowing to a smaller area only uses the center of the camera’s sensor, the field of view of any given lens will be narrower due to the crop involved. When using broadcast lenses on URSA Broadcast G2’s B4 mount you should ensure that your sensor area is set to 4K as this is the area of the frame that these lenses will cover. The 5.3K and 6K sensor area is roughly Super 35 size and so is compatible with most EF, F mount and PL lenses. For more information on ‘full’ and ‘window’ formats, see the ‘maximum sensor frame rates’ section. Project Frame Rate The project frame rate is URSA Broadcast G2’s recording format frame rate and provides a selection of common frame rates used in the film and television industry. For example, Ultra HD at

29.97 frames per second using ProRes HQ. This frame rate is normally set to match your playback

speed and audio sync used in your post production workflow and delivery requirements. Your Blackmagic URSA Broadcast G2 has 8 project frame rate settings including 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 frames per second. 84SettingsNOTE Your camera’s project frame rate has a large impact on the ‘look’ of footage. Inbroadcast environments, frame rates are typically set to 50, 59.94, or 60 frames per second. These relatively high frame rates are great for capturing smooth motion and eliminate or minimize stutter while panning. Lower frame rates, such as 24 or 25 frames per second, are typically used for cinema production. These have a distinct filmic ‘look,’ but require much slower camera movement to avoid stutter. Off Speed Recording By default, your URSA Broadcast G2’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. This option is only available when recording to Blackmagic RAW or ProRes codecs. Off Speed Frame Rate With ‘off speed frame rate’ enabled, tap the arrows next to the ‘off speed frame rate’ indicator toset your URSA Broadcast G2’s sensor frame rate. The sensor frame rate sets how many actual frames from the sensor are recorded every second. This frame rate will affect how fast or slow your video will play back at your set project frame rate. For more information on off speed frame rates, see the ‘frames per second’ section in the ‘touchscreen features’ section of this manual. NOTE For information on the maximum frame rates available for each recording format and codec, refer to the ‘maximum sensor frame rates’ table in the ‘recording’ section of this manual. Preferred Media for Recording Use this setting to select which storage card, SSD or flash disk your URSA Broadcast G2 will record to first when more than one storage slot is in use. The options are ‘card 1’, ‘card 2’, ‘USB’ and ‘fullest’. Picking either ‘card 1’ or ‘card 2,’ isa matter of personal preference, but using either consistently will let you know which card to swap out first as your storage fills up. ‘Fullest card’ can help group files chronologically when shooting a single camera project. The ‘fullest card’ setting is based on the percentage that your storage cards are filled, rather than their sizes or the amount of data used. The setting you choose is applied when a CFast card, SD card or SSD is inserted or when a USB flash disk is connected. You can override this setting at any time by entering the storage manager and setting a different card as ‘active.’ It’s important to note, however, that ejecting and reinserting cards will revert to the current ‘preferred media for recording’ setting. Record RAW on Recording Blackmagic RAW on two cards lets you record extremely high resolution clips at high frame rates with lower levels of compression. Insert a pair of CFast or SD Cards and choose the ‘2 cards’ option. Since this relies on striping across both cards sequentially, the data rate of the slowest card will be the limiting factor, so you are advised to use two cards of the same or similar specification. You can also stripe between a CFast card in storage slot 1 or 2 and a USB-C flash disk in storage slot 3.. When you use the ‘2 cards’ option, the speed limit is twice the data rate of the slowest card in the striped array. 85SettingsMerging files for Editing Copy the .BRAW and .BRAW2 files from both memory cards into the same folder on your computer, and DaVinci Resolve will bring them in as a single, merged clip when you import them into your media pool. If the .BRAW and .BRAW2 files are separated, the clips can play independently at half the frame rate. To play back a .BRAW2 file independently, change the file extension from .BRAW2 to .BRAW. TIP You can use the Media Management tool in DaVinci Resolve to combine a .BRAW and .BRAW2 file into a single, independent clip. Combining .BRAW files heps to make sure they can’t be separated. This can be useful for media management or if you are sending files to another editor. For more information, refer to the ‘Using Media management’ section in the Davinci Resolve manual. Record Settings 3 The third page of the ‘record’ settings tab contains the following settings. Timelapse This setting activates the time lapse feature to automatically record a still frame at the following intervals: Frames 2 – 10 Seconds 1 – 10, 20, 30, 40, 50 Minutes 1 – 10 For example, you can set the camera to record a still frame every 10 frames, 5 seconds, 30seconds, 5 minutes etc. The time lapse feature offers many creative options. For example, setting a 2 frame time lapse interval will give your recorded video a high speed effect when played back. The format of each still frame is based on your recording format, so if you set the camera to record Ultra HD using ProRes HQ, the time lapse setting will maintain this format. The frame rate will be based on your project frame rate. This is so your time lapse footage can be easily incorporated into your post production workflow. 86SettingsWhen you record footage in timelapse mode, the timecode counter updates when a frame of video is recorded. Your URSA Broadcast G2 will indicate it is in time lapse mode with an icon over the ‘record’ button Detail Sharpening Use this setting to sharpen your URSA Broadcast G2’s image. When sharpening is enabled, decrease or increase the level of sharpening by selecting ‘low’, ‘medium’ or ‘high’. When sharpening is enabled, it will be applied to ProRes video recorded on camera as well as your URSA Broadcast G2’s SDI output. This setting is intended for live studio production where there is no time for post production and you want to output the image live to air. If you are doing extensive image manipulation and color correction in post production then we recommend leaving detail sharpening ‘off’. For this reason sharpening is not applied to Blackmagic RAW files that are intended for significant post processing. TIP When post processing your Blackmagic RAW files, you can achieve a comparable level of sharpening to these settings by using the blur/sharpening tool in DaVinci Resolve’s ‘color’ page. Set the tool to a radius of 0.48 and adjust the scaling to 0.6, 0.3 or 0.15 for comparable sharpening to ‘high,’ ‘medium,’ or ‘low.’ For detailed information on sharpening in post production, see the ‘motion effects and blur palettes’ section in the full DaVinci Resolve manual. If Card Drops Frame Use this setting to configure your URSA Broadcast G2’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. This can prevent you wasting time shooting unusable footage if you don’t spot the dropped frames indicator. Refer to the ‘Choosing a CFast 2.0 card’, ‘Choosing a fast SD card’, ‘Choosing a fast SSD’ and ‘Choosing a fast USB-C flash disk’ sections for more information on how to avoid dropping frames. Apply LUT in File If you are applying a LUT to any of the outputs from your URSA Broadcast G2, the selected LUT will be embedded into the Blackmagic RAW file you are recording. This means that the LUT will be saved in the header of the file and can easily be applied to the clip in post production without needing to handle a separate file. When the ‘Apply LUT in file’ switch is set to ‘on’ in URSA Broadcast G2’s record menu, this clip will open in Blackmagic RAW Player and DaVinci Resolve with the chosen LUT already applied to it. The LUT can then be easily toggled ‘on’ or ‘off’ but will always travel with the Blackmagic RAW file as it is written into the clip itself. 87SettingsDaVinci Resolve also has an ‘Apply LUT’ switch in the RAW settings palette for enabling or disabling the 3D LUT in the Blackmagic RAW file. The ‘Apply LUT’ setting in DaVinci Resolve is the same setting as in the camera. This means that when shooting you can direct the colorist to use the LUT by setting it in the camera, but they can switch it off easily in DaVinci Resolve by setting ‘Apply LUT’ to ‘off’. Record LUT to Clip The ‘record LUT to clip’ option is available when shooting with ProRes, H.265 or H.264 video codecs. YourBlackmagic URSA Broadcast G2 does not apply, or ‘bake in,’ LUTs by default to recorded footage, however you can choose to ‘bake in’ the LUT to your footage by tapping the ‘record LUT to clip’ switch icon. This can be a useful option for situations where you do not have the time to grade your footage in post-production, or where you need to give the footage directly to a client or an editor. For more information, refer to the ‘3D LUTs’ and ‘touchscreen controls’ sections. Lens Correction Broadcast zoom lenses can often suffer from color fringing at the edge of frame or near the corners of the image. This is more prominent in high contrast image areas on more affordable B4 lenses, particularly those with more extreme zoom ranges. The Lens Correction feature allows you to correct for this in-camera on URSA Broadcast G2 with broadcast B4 and broadcast PL lenses. It is switched on by default when the camera detects necessary information from the broadcast lens. File Naming Convention Clips are recorded in the Blackmagic RAW format, Apple ProRes and MP4 formats, depending upon which recording format you have chosen. The table below shows an example of the file naming convention: A001_08151512_C001.mov QuickTime Movie Filename A001_08151512_C001.mov Camera index A001_08151512_C001.mov Reel Number A001_08151512_C001.mov Month A001_08151512_C001.mov Day A001_08151512_C001.mov Hour A001_08151512_C001.mov Minute A001_08151512_C001.mov Clip Number Still image files captured in DNG format using the still button will follow the file naming convention for video clips, however the filename will have an ‘S001’ representing the ‘still number’ as the last four digits of the filename in place of the clip number. For more information, refer to the ‘Status LCDControls’ section in this manual. 88SettingsMonitor Settings The ‘monitor’ tab lets you adjust status text, overlays, and other monitoring options for your URSA Broadcast G2’s LCD touchscreen, front and main SDI outputs. Options are arranged by output between ‘LCD’, ‘front SDI’ and ‘main SDI’. Each of these menus have five pages of options, which you can cycle through by tapping the arrows at the edge of your camera’s touch screen, or swiping left or right. Monitor Settings 1 The first page of the ‘LCD,’ ‘front SDI,’ and ‘main SDI,’ monitor tab contains identical settings for each output. Forexample, you can set ‘zebra’ on for the LCD touchscreen, but off for the front or main SDI outputs. Clean Feed Tap the ‘clean feed’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to disable allstatus text and overlays for that output, except the record tally indicator. Your URSA Broadcast G2 LCD touchscreen will still display a record tally in clean feed mode NOTE LUTs will still be applied to outputs with ‘clean feed’ enabled. Todisable LUTs, disable the ‘display LUT’ switch in the ‘Monitor’ menu for thatoutput. 89SettingsDisplay 3D LUT Your URSA Broadcast G2 can apply 3D LUTs to any output to approximate the look of color graded footage. This is especially useful when shooting with ‘film’ dynamic range as it can produce an intentionally ‘flat’ low contrast image. If your URSA Broadcast G2 has a 3D LUT active, use this setting to independently apply that LUTto your LCD touchscreen, front or main SDI output. NOTE For more information on loading and using 3D LUTs, see the ‘LUTS’ section of this manual. Zebra Tap the ‘zebra’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable zebra guides for those outputs. For more information on zebra guides and setting zebra levels, see the ‘touchscreen features’ section in this manual. Focus Assist Tap the ‘focus assist’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable focus assist for those outputs. For more information on focus assist and setting focus assist levels, see the ‘touchscreen features’ section in this manual. Frame Guide Tap the ‘frame guide’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable frame guides for those outputs. For more information on frame guides and choosing different guides, see the ‘touchscreen features’ section in this manual. Grid Tap the ‘grid’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable a rule of thirds grid for those outputs. For more information on the rule of thirds grid, see the ‘touchscreen features’ section in this manual. Safe Area Guide Tap the ‘safe area’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable safe area overlay for those outputs. For more information on safe area guides, and setting the level of safe area guides, seethe ‘touchscreen features’ section in this manual. False Color Tap the ‘false color’ switch in the ‘LCD,’ ‘front SDI’ and ‘main SDI’ menus to enable false color exposure assistance for those outputs. For more information on false color, see the ‘touchscreen features’ section in this manual. 90SettingsMonitor Settings 2 The second page of your URSA Broadcast G2’s ‘LCD’ monitor tab contains some settings that vary depending on the selected output. LCD, Front SDI and Main SDI Status Text It can be useful to hide the status text and meters on your LCD, front SDI or main SDI output, leaving only the information necessary to compose or direct a shot. Tap the ‘status text’ switch icon in the LCD, ‘front SDI’ or ‘main SDI’ monitor menus to toggle the appearance of status text and meters for that output. Overlays such as frame guides, grids, focus assist and zebra will remain visible, if enabled. Swiping up or down on your URSA Broadcast G2’s LCD touchscreen has the same effect for the touchscreen. Anamorphic Desqueeze When shooting with anamorphic lenses, the image will appear horizontally ‘squeezed’ on your URSA Broadcast G2’s preview outputs and in recorded files. Enabling ‘anamorphic desqueeze’ will correct the preview image on your URSA Broadcast G2 as well as recording the desqueeze amount used in the clip metadata for easy correction in post. The desqueeze amount you choose will vary depending on what you’ve set your URSA Broadcast G2 resolution to, but the resulting image will always be in the cinematic widescreen 2.4:1 aspect ratio. Anamorphic lenses designed for film typically have a 2x squeeze factor. Your URSA Broadcast G2’s ‘3.7K anamorphic’ resolution is designed for use with these lenses and will perform a 2x desqueeze when set to this resolution with ‘anamorphic desqueeze’ set to ‘2x’. Anamorphic lenses designed for 16:9 digital image sensors often use a 1.33x squeeze factor to produce 2.4:1 cinematic widescreen images from the entire 16:9 sensor. Therefore, when your URSA Broadcast G2 is set to 16:9 resolutions such as ’4K 16:9’ and ‘HD 16:9,’ ‘anamorphic desqueeze’ should be set to ‘1.33x’. TIP If your image appears horizontally stretched when shooting with a standard spherical lens, make sure you don’t have ‘anamorphic desqueeze’ enabled. 91SettingsLCD Only Display Instead of a histogram and audio meters, your URSA Broadcast G2 can display codec and resolution information at the left and right bottom edges of the LCD touchscreen. This can be useful if you prefer to use false color for dialing in exposure, or are recording audio separately and want to display additional information in the space normally used by the histogram and audio meter. Simply tap ‘meters’ or ‘codec and resolution’ in the ‘LCD’ menu to select your preferred view. Front SDI and Main SDI Display Status Text For Cinematographer or Director The LCD touchscreen displays information such as ISO, white balance, and aperture that is useful to a camera operator or cinematographer setting up individual shots on that camera. Your camera’s SDI output, however, can also show information useful to a director or script supervisor who is keeping track of multiple shots or cameras. Setting the status text to ‘director’ in your URSA Broadcast G2’s ‘front SDI’ or ‘main SDI’ monitor settings changes the status text for that output to show the following information. FPS Displays the currently selected frames per second. If off speed frame rate is disabled, only the project frame rate will be shown. If an off speed frame rate is being used, the sensor frame rate will be shown, followed by the project frame rate. CAM Displays the camera index as set in your URSA Broadcast G2’s Slate. See the ‘slate’ section in this manual for more information. OPERATOR Identifies the camera operator as set in your URSA Broadcast G2’s Slate. See the ‘slate’ section in this manual for more information. DURATION DISPLAY Displays the duration of the current clip, while recording, or the last recorded clip in the following format: hours:minutes:seconds

Displays the current reel, scene and take. For more information on reels, scenes, takes and their labelling conventions, refer to the ‘slate’ section in this manual. DYNAMIC RANGE The bottom left hand corner of the monitor displays your URSA Broadcast G2’s currently applied LUT, if applied to that output. If no LUT is applied, ‘film’ or ‘video’ dynamic range will be displayed. 92Settings TIMECODE The bottom right of the monitor displays your URSA Broadcast G2’s timecode, in the following format: hours:minutes:seconds:frames. Monitor Settings 3 The third page of the ‘LCD’, ‘front SDI’ and ‘main SDI’ 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 Blackmagic URSA G2’s LCD, Front SDI and Main SDI outputs changing the ‘focus assist type’ from ‘peaking’ to ‘colored lines’ will effect all three outputs. Zebra Level Set the exposure level that zebra appears at by tapping the arrow icons on either side of this setting. There are eight zebra level presets available, from middle gray through to 100 percent exposure. For more information, see the ‘zebra’ guide in the ‘touchscreen features’ section of this manual. Focus Assist Type Your URSA Broadcast G2 camera has two focus assist modes, ‘peaking’ and ‘colored lines.’ Peaking When ‘peaking’ style focus assist is selected, areas of the shot that are in focus are heavily sharpened on your LCD touchscreen or SDI outputs, but not in the recorded image itself. 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. Colored Lines When ‘colored lines’ style focus assist is selected, a colored line is superimposed around the parts of the image that are in focus. This can be a little more intrusive than ‘peaking’ style focus assistance as the lines are drawn over your image, but especially in busy shots with a lot of visible elements, it can be a precise focus aid. Focus Color Use this setting to change the color of focus line overlays when using ‘colored lines’ style focus assistance. Changing the focus line color can make it easier to tell focus assistance lines apart from your image. The available options are ‘white,’ ‘red,’ ‘green,’ ‘blue’ and ‘black.’ Focus Assist Level To set the level of focus assistance for your LCD touchscreen, front SDI or main SDI, move the slider from left to right. 93SettingsTIP The optimum level of focus assistance varies shot by shot. When focusing on actors, for example, a higher level of focus assistance can help resolve edge detail in faces. A shot of foliage or brickwork, on the other hand, may show distracting amounts focus information at higher settings. Monitor Settings 4 The fourth page of the ‘LCD’, ‘front SDI’ and ‘main SDI’ monitor tab contains identical settings for each output. These settings act globally across all three of your camera’s monitor outputs. Frame Guides Tap the left or right arrows in the ‘frame guides’ menu setting to cycle through frame guide options for all outputs on your URSA Broadcast G2, including EVFs such as Blackmagic URSA Viewfinder. The options are detailed in the ‘touchscreen features’ section of this manual, and are also accessible from the LCD monitoring menu in your LCD touchscreen head up display. Safe Area Guide To adjust the size of the safe area overlay on your URSA Mini’s LCD touchscreen, front SDI and main SDI outputs, tap the arrows to the left and right of the percentage displayed in this setting. This percentage indicates the size of the safe area in relation to the image frame. Most broadcasters require a 90% safe area. Guide Opacity Tap the left or right arrows in the ‘guide opacity’ menu setting to choose the opacity of the areas blocked out by frame guides on your LCD touchscreen, front and main SDI outputs. The options are 25%, 50%, 75% and 100%. Guides Color Tap the left or right arrows in the ‘guides color’ menu setting to choose a color for the guides. Grids To set which combination of grids and crosshairs you want to display on your URSA Broadcast G2’s LCD touchscreen, front and main SDI outputs, tap the ‘thirds’, ‘horizon’ ‘crosshairs,’ or ‘dot’ options in this setting. For more information, see the ‘grids’ guide in the ‘touchscreen features’ section earlier in this manual. 94SettingsMonitor Settings 5 The fifth page of your URSA Broadcast G2’s ‘LCD’ monitor tab contains some settings that vary depending on the selected output. LCD only LCD Brightness Drag the ‘LCD brightness’ slider left or right to adjust the brightness of your URSA Broadcast G2’s LCD touchscreen. Front SDI and Main SDI SDI Output Both outputs allow you to choose between progressive and interlaced HD output or progressive Ultra HD. The options available in this setting depend on your camera’s resolution and frame rate settings. Progressive HD, or ‘1080p’ is always available regardless of your recording resolution and frame rate, while interlaced HD, or ‘1080i’ is available when your project frame rate is set to 50, 59.94 or 60. Ultra HD SDI output, or ‘2160p’ is available when shooting at Ultra HD resolutions. 3G-SDI Output You can change the 3G-SDI output standard to maintain compatibility with equipment that can only receive level A or level B 3G-SDI video. This option will only appear when you are operating in 50, 59.94 or 60 frames per second and outputting 1080p. Tap the ‘Level A’ or ‘Level B’ icon to select each standard. Audio Settings The ‘audio’ tab lets you adjust the audio input and monitoring settings on your URSABroadcast G2. The settings are spread over two pages and divided between channels 1 and 2, while an upcoming software update will add two additional channels. You can map each audio channel to a different source, as well as adjusting various settings such as padding and low cut filters. 95SettingsThese settings work together with the switches on your URSA Broadcast G2’s internal control panel. So after you’ve set your audio source for a particular channel, you can use the internal control panel switches to set the signal type and whether phantom power is enabled for that channel. Audio Settings 1 The first page of your URSA Broadcast G2’s ‘audio’ tab contains the following settings. Channel Source Use the ‘channel 1 source’ and ‘channel 2 source’ buttons to select your audio source for each audio channel. The options are: 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 Broadcast G2’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. Depending on which audio signal you’ve set on your URSA Broadcast G2’s internal control panel switches, your XLRinput may be listed as ‘mic,’ ‘line,’ or ‘AES.’ If phantom power is enabled and you have your XLR input set to ‘mic’ you’ll also see a ‘+48V’ indicator here. It it is important to ensure that the +48V switch gets turned ‘off’ when you disconnect your phantom powered microphone. XLR 1 or 2 - Mic Backup Use this setting to record audio from a microphone plugged into your URSA Broadcast G2 XLR 1 or 2 input at a lower level than the standard ‘mic’ recording. This can be used to avoid audio clipping in the event of an unexpected increase in loudness. This feature will only be available as a selectable item if the XLR 1 or 2 input switch is set to ‘mic’. None Use this setting to disable your audio channel. Channel 1/2 Level Use these sliders to adjust the recording levels of your chosen channel 1 and 2 sources. Audiometers are included with each slider to help you set the correct audio level. These levels will also update when you adjust the audio using the audio knobs on the ergonomic control panel. To achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is the maximum level that your camera can record, meaning that any audio that exceeds this level will be clipped, resulting in distortion. 96SettingsPad XLR -20dB The -20dB pad option gives you added control to further reduce the input gain levels on your URSA Broadcast G2’s XLR audio inputs when shooting in a loud environment even after your input levels are already turned down. Pad Cam Mic - 15 dB The -15dB pad option gives you added control to further reduce the microphone input gain levels on your URSA Broadcast G2’s internal microphone when shooting in a loud environment even after your input levels are already turned down. Cam Mic Low Cut Filter Tap this switch icon to enable the low cut filter for your camera’s internal microphones. This filter helps to reduce potential wind noise or low frequency rumbling that may occur in exterior shooting conditions. Note that the ‘pad cam mic -15 dB’ selector must be switched off for this function to work. Audio Settings 2 The second page of your URSA Broadcast G2’s ‘Audio’ tab contains the following settings. Audio Meters You can choose from two different audio meter display types. VU The VU meter, or ‘volume units’ meter, averages out short peaks and troughs in your audio signal. If you are using VU metering, adjust the input levels on you Blackmagic URSA Broadcast G2 so that the meter peaks at the 0db indicator on the audio meter. This maximizes the signal to noise ratio and ensures your audio is at the highest quality. If your audio peaks beyond the 0dB indicator there is a high risk of sound distortion. PPM PPM meters, or ‘peak program meters’ displays a ‘peak hold’ feature that momentarily holds the signal peaks and a slow fall back so you can easily see where your audio is peaking. 97SettingsBoth VU and PPM meters are available at reference levels of -18dBFS or -20dBFS so you can monitor your audio to suit different international broadcasting standards. Audio meter setting Standard PPM (-20 dBFS) SMPTE RP.0155 PPM (-18 dBFS) EBU R.68 Headphone Level This slider adjusts the output levels for headphones attached to URSA Broadcast G2’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. Speaker Level This slider adjusts the output levels for your URSA Broadcast G2’s built in speaker. Move the audio slider left or right to adjust levels. These levels will also update when you adjust the speaker volume using the settings wheel on the forward control panel. Setup Settings The ‘setup’ tab contains your URSA Broadcast G2’s identification settings, software version, function button settings and other camera settings not directly linked to recording or monitoring. This menu has twelve pages, which you can cycle through by tapping the arrows at the edge of the LCD touchscreen, or swiping left or right. Setup Settings Page 1 The first page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Setup menu on URSA Broadcast G2 Date and Time Tap the pencil icon to set your URSA Broadcast G2’s date and time. The date format is year, month, day and the time format is 24 hour. Your URSA Broadcast G2’s date and time are also used for time of day timecode if an external timecode source is not connected. 98SettingsLanguage URSA Broadcast G2 supports 13 popular languages including English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish and Ukrainian. The language page will also appear on initial start up. To select your language: 1 Tap the pencil icon and select your language from the list. 2 Select ‘update’ to return to the setup menu. Shutter Measurement Use this setting to select whether to display shutter information as ‘shutter angle’ or ‘shutter speed’. It’s important to note that both shutter measurements effect motion blur, but work in slightly different ways. See the ‘touchscreen controls’ section of this manual for a full explanation of shutter measurement. Flicker Free Shutter Based On Use this setting to change the mains power frequency your URSA Broadcast G2 uses to calculate flicker free shutter settings. When shooting under lights, your shutter speed can effect the visibility of flicker. Your URSABroadcast G2 will automatically calculate flicker free shutter speeds for your current frame rate and display suggestions in the ‘shutter speed’ menu. These speeds are effected by the frequency of the local mains power supply used to drive those lights. In most PAL countries, this frequency is 50Hz, while NTSC countries typically use 60Hz power. Simply tap ‘50Hz’ or ‘60Hz’ to set the right frequency for your region. 99SettingsCharacteristics of various light sources may still cause flicker even when using flicker free shutter values. We recommend performing a test shoot when not using continuous lights. Drop Frame Timecode Use the ‘drop frame timecode’ option to use drop frame timecode when using NTSC project frame rates of 29.97 and 59.94. Drop frame timecode drops a small number of frames from the timecode at set intervals. This keeps your project timecode accurate despite each second not containing a whole number of frames at NTSC frame rates. Display ND Filter As Use this setting to adjust how the ND filter indicator on your URSA Broadcast G2 displays your NDfilter setting. Each setting corresponds to a different camera convention. Cinematographers typically use ND.number notation, while those familiar with DSLRs or broadcast cameras may prefer this information in f-stop format, or as a fraction of available light. These options are available here as ‘number,’ ‘stop,’ and ‘fraction,’ respectively. Setup menu in URSA Broadcast G2 with the option to customize how the ND filter information is displayed Setup Settings Page 2 The second page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. ATEM Camera ID If you’re using URSA Broadcast G2 with an ATEM Switcher and want your camera to receive tally signals from the switcher, you’ll need to set the camera number on your camera. This ensures the switcher sends the tally signal to the correct camera. The camera number can be set to a value of 1-99 by tapping the left or right buttons. The default setting is 1. 100SettingsColor Bars Outputting color bars rather than a preview image can be useful when connecting your URSABroadcast G2 to a switcher or external monitor. The appearance of your URSA Broadcast G2’s color bars onyour switcher or monitor confirms the connection, and you can perform basic monitorcalibration based on the colors of the bars. To turn on color bars for all outputs on yourURSABroadcast G2, including the LCD touchscreen, simply tap the ‘color bars’ switch icon. Reference Source This setting is used to select the reference source. Your URSA Broadcast G2 can lock to an internal or external reference source, or to the reference signal in the program input from an ATEM switcher. Ifyou are using your URSA Broadcast G2 with an ATEM Switcher’s camera control function, you should always set your reference source to ‘program’ unless the switcher itself and all connected cameras are set to an external reference. NOTE When you are setting your reference source for URSA Broadcast G2, you may experience a small dropout on your camera’s outputs when switching between your reference sources. This is because the camera is adjusting its referencing timing to match that of the external source. For this reason it is important not to change this setting during a production and only while setting up. Reference Timing These settings allow you to manually adjust the reference timing on a line or pixel basis. Simply tap the arrow icons on either side of the “lines” and “pixels” settings to make adjustments. Setup Settings Page 3 The third page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Program Audio Source When connected to an ATEM switcher, setting ‘program audio source’ to ‘switcher’ prioritizes the program return audio as your input source to be mixed with talkback when monitoring using headphones or a headset. This is useful when you are not feeding the switcher audio from your camera but you still want to listen to the program feed from the switcher via the ‘SDI in’ port. Setting ‘program audio source’ to ‘AFV’ prioritizes audio from your camera’s internal mics or ‘audio in’ XLR ports, and is the default setting. Program Mix This setting changes the balance of camera sound to talkback sound. The headphones will output audio following what is displayed on the LCD. For instance, if you are in camera view, 101Settingscamera audio is heard. If you are in program view, program audio is heard. The default setting is 100%. Headset Mic Move this volume slider left or right to increase or decrease audio microphone input levels. Thedefault setting is 50%. Sidetone Level Adjust this slider to set the volume of your own voice mic in your headset. Setup Settings Page 4 The fourth page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Set Function Button On the outside of your URSA Broadcast G2’s LCD touchscreen, you’ll notice two function buttons, ‘F1’ and ‘F2.’ These are mappable to frequently used features and are quickly accessible whenusing your camera with the LCD touchscreen closed, such as when you are using URSAViewfinder. The default setting for the ‘HFR’ button is ‘off speed rec’, though you can assign other functions to it. Your URSA Broadcast G2’s ‘F1’, ‘F2’ and ‘HFR’ buttons are located on the forward control panel TIP If your URSA Broadcast G2 has a B4 lens with a lens connector, youcan configure the ‘vtr’ and ‘ret’ buttons as function buttons and assign preset or toggle functions in addition to the ‘F1’, ‘F2’ and ‘HFR’ buttons. 102SettingsTo set these buttons, use the arrows to select a function button and then its behavior, asetting, and aparameterfor that setting.

1 Button 2 Behavior 3 Setting 4 Parameter Function Button Behaves as Preset or Toggle Once you have selected the function button you want to map, you can select a behavior. Theavailable options are: Preset When set to this behavior, pressing a function button will recall a combination of a setting and a parameter. To set a preset, select the setting you want to use from the ‘setting’ menu, and adjust that setting by tapping the arrow icons on either side of the ‘parameter’ menu. For example, to set the F1 button to recall a preset white balance, use the ‘set function button’ arrows to select ‘F1’, select the ‘preset’ behavior, tap the ‘WB’ setting, and tap the arrows on either side of the ‘parameter’ menu until you get to WB ‘5600K’ and Tint ‘-20’. Toggle When set to this behavior, pressing a function button will toggle a particular setting on or off. The ‘setting’ menu is grayed out in this mode. Instead, tap the left or right arrows in the parameter menu to scroll through the available options. These are ‘clean feed’, ‘display LUT’, ‘frame guides’, ‘focus assist’, ‘false color’, ‘zebra’, ‘grid’, ‘safe area guide’, ‘off speed recording’, ‘record’, ‘program return’, ‘color bars’, ‘push to talk’, ‘focus zoom’ and ‘none’. When ‘focus zoom’ is enabled, you can use the menu wheel on the forward control panel to move the region of zoom and adjust the magnification level. Pressing the menu wheel toggles between zoom and magnification adjustment. For information on how to use ‘focus zoom’ when it is enabled on the LCD, see the ‘focus zoom’ section. Using the ‘toggle’ behavior also lets you select the output this setting applies to. Simply tap any combination of ‘LCD,’ ‘front SDI’ and ‘main SDI’ to select. Ifthe output for an option is not available, such as ‘color bars’ which always applies to all outputs, the ‘LCD,’ ‘front SDI’, and ‘main SDI’ settings are disabled. For example, you can configure URSA Broadcast G2 to use the ‘ret’ and ‘vtr’ buttons on a B4 lens as function buttons. If ISO recording is happening with a HyperDeck, a popular option is to set ‘vtr’ to act as a ‘push to talk’ button. 103SettingsConfiguring the ‘vtr’ button on a B4 lens to function as a ‘push to talk’ button Setup Settings Page 5 The fifth page of your URSA Broadcast G2’s ‘setup’ tab contains settings to configure the optional Blackmagic Zoom Demand. These settings are only active when you have Blackmagic Zoom Demand attached to your URSA Broadcast G2. For more information on attaching and using Blackmagic Zoom Demand with your URSA Broadcast G2, refer to the ‘Blackmagic Zoom and Focus Demand’ section later in this manual. Zoom Rocker Direction Normal The default zoom rocker direction. Push the zoom rocker to the right to zoom in and tothe left to zoom out. Reverse When the zoom rocker direction is set to ‘reverse’ push the zoom rocker to the left tozoom in and to the right to zoom out. 104SettingsBlackmagic Zoom Demand has four zoom function buttons and a speed dial that you can map to different functions.

1 Zoom F1 2 Zoom F2 3 Zoom F3 4 Zoom F4 5 Speed Dial To assign a different function to the speed dial or one of the zoom buttons choose ‘dial’ or a button number from the ‘set function button’ menu. Next, choose a function by tapping the arrow icons on either side of the ‘button parameter’ menu. Dial and function button parameter options: Speed Dial Zoom speed, headphone level, iris adjustment, focus adjustment. Zoom buttons 1 – 4 Record, push to talk, program return, focus zoom, frame guides, status text, auto focus, auto iris, auto white balance, playback. Setup Settings Page 6 The sixth page of your URSA Broadcast G2’s ‘setup’ tab contains settings to configure the optional Blackmagic Focus Demand. These settings are only active when you have Blackmagic Focus Demand attached to your URSA Broadcast G2. For more information on attaching and using Blackmagic Focus Demand with your URSA Broadcast G2, refer to the ‘Blackmagic Zoom and Focus Demand’ section later in this manual. 105SettingsFocus Demand Direction You can change the direction of the focus wheel on focus demand by selection either ‘normal’ or ‘reverse’. Normal Turn the focus wheel clockwise to focus on subjects closer to the lens and counterclockwise for subjects further away. Reverse Turn the focus wheel counterclockwise to focus on subjects closer to the lens and clockwise for subjects further away. Setup Settings Page 7 The seventh page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Status LED Your URSA Broadcast G2 has a small LED on the front panel that provides tally and status information. You can enable or disable it by tapping the ‘Status LED’ switch icon. The LED will provide the following status indicators: White The camera is powered on and in standby mode. Red The camera is recording. Slow flashing indicates that your card space is low, while rapid flashing indicates dropped frames. Green The camera is in playback mode. The LED alternates slowly between green and off while a clip is playing. When inserted media is recognized, the status LED blinks green and white three times. Orange If your camera’s battery is low, the LED will flash orange and your other current status color. For example, if currently recording, the LED indicator will slowly alternate between orange and red. If your camera is in standby mode, the LED will alternate between white and orange. The threshold for ‘low’ battery is 20 percent for batteries that support percentage accurate charge information, or 12.5 volts for batteries that don’t. 106SettingsStatus LED Brightness To set the brightness of your URSA Broadcast G2’s status LED, simply tap ‘low,’ ‘medium,’ or ‘high.’ TIP The status LED settings on your Blackmagic URSA Broadcast G2 also control the status LEDs on URSA Mini Recorder, Blackmagic Zoom Demand and Blackmagic Focus Demand. Hardware ID The ‘Hardware ID’ indicator displays an 8 character identifier for your URSA Broadcast G2. This is unique to each camera. A longer, 32 character version of this ID is also included in the metadata for Blackmagic RAW and ProRes video. This can be useful for identifying which footage came from a particular camera if filenames are changed as the camera hardware ID remains constant. Software Displays the current software version installed on your URSA Broadcast G2. See the ‘Blackmagic Camera Setup Utility’ section for more information on updating software. Playback This setting allows you to select whether to play back a ‘Single Clip’ or ‘All Clips’ during playback. ‘All Clips’ will play back through all matching media sequentially, and ‘Single Clip’ will play one clip at a time. This also applies for the loop function. Selecting loop on ‘All Clips’ will play through all of the clips on your media and then loop. Selecting ‘Single Clip’ will loop one clip at a time. Setup Settings Page 8 The eighth page of your URSA Broadcast G2’s ‘setup’ tab contains settings that allow you to set your camera’s streaming options. For more information on setting up steaming from your URSA Broadcast G2, refer to the ‘streaming video’ section later in this manual. Stream Use the stream switch to toggle your stream on or off. Data Rate Displays the data rate of the stream during streaming. Platform Select your desired streaming platform. Options include YouTube, Twitter and Twitch. 107SettingsServer Use the arrow buttons to choose a server, these options will change depending on your streaming platform. Key Tap the pencil icon to enter a stream key for your streaming platform. Quality Use the arrow buttons to select a streaming quality. Setup Settings Page 9 The ninth page of your URSA Broadcast G2’s ‘setup’ tab contains settings that relate to your camera’s streaming options. Stream Information Toggle the ‘stream information’ switch to ‘on’ to display information on your camera’s status display. This will be viewable on the LCD, front SDI or main SDI output. The information includes the connection being used for streaming, for example Ethernet or a smartphone, a duration counter that shows the duration of your stream and a data rate using megabits per second. 108SettingsDisplay 3D LUT Toggle this setting to ‘on’ if you want to apply a 3D LUT to your stream. TIP Switching the ‘display 3D LUT’ setting to ‘on’ will only apply a LUT to the direct stream output. If you are simultaneously recording to Blackmagic RAW or ProRes video codecs while streaming, you can use the LUT options in the record menu to add a LUT to your files, or the monitor settings to add a LUT on the LCD or SDI outputs. Refer to the ‘record settings’ section for more information. 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 amore stable stream if you have an Internet connection that may be subject to drop outs or poor connection. Import Stream Settings Tap the ‘import stream settings’ button to import an XML setup file that has been created so your camera can find an ATEM Streaming Bridge on the Internet. For more information on importing an XML setup file, refer to the ‘streaming video’ section later in this manual. Delete Stream Settings Press this button to delete your camera’s imported streaming settings. You will be asked to confirm your selection. Setup Settings Page 10 The tenth page of the ‘setup’ tab contains your camera’s network settings. These settings allow you to configure options such as choosing between connecting to a network using DHCP or a static IP address. You can connect to a network using a DHCP or a static IP address 109SettingsSetup Settings Page 11 The eleventh page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. The camera Bluetooth name will be the letter of your camera as selected in the slate, followed by the 8 character hardware ID for your URSA Broadcast G2 Bluetooth® Bluetooth control allows you to control your camera wirelessly from portable devices. Using the ‘Blackmagic Camera Control App’ you can power the camera on or off, change settings, adjust metadata and trigger record remotely from an iPad. You can enable or disable Bluetooth by tapping the ‘Bluetooth’ switch icon in the ‘setup’ menu. WhenBluetooth is enabled, the camera can be detected by Bluetooth devices up to 30feet away. Because URSA Broadcast G2 uses the same set of commands for Bluetooth control as it does for ‘Blackmagic SDI Camera Control Protocol’, you can write your own applications to control almost every setting in the camera remotely, from monitoring to audio settings, the camera’s inbuilt DaVinci Resolve color corrector or lens control. For more information see the ‘Blackmagic SDI Camera Control Protocol’ section in this manual. To pair your camera with an IPad for the first time: 1 Enable Bluetooth by tapping the ‘Bluetooth’ switch icon in the ‘setup’ menu on your URSA Broadcast G2. 2 Open the ‘Blackmagic Camera Control App’ and select the URSA Broadcast G2 you would like to pair with. Available cameras will be listed by their camera letter, followed by their unique hardware ID. For example A:3198FC00. Select the URSA Broadcast G2 you would like to pair with 110SettingsWhen you install the Blackmagic Camera Control App and run it for the first time, you will be asked if you want to ‘allow location access.’ If you select ‘while using the app,’ GPS readings from your iPad will be included in the metadata of the files you shoot, allowing you to geotag footage. This information can be viewed in Blackmagic DaVinci Resolve versions 14 or higher. If you do not want to using this information, select ‘never.’ To change settings, go to settings, privacy, location services, camera control on youriPad. 3 When you try to connect for the first time the Blackmagic Camera Control App will request a six digit code to pair with the camera. This code will be displayed on the camera’s LCD screen. Type this code into the iPad.

4 The information on the screen will confirm that your URSA Broadcast G2 is now paired withyour iPad. 111Settings5 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 Broadcast G2, it is a good idea to turn Bluetooth off for the purpose of security. Disconnect Current Device Use this setting to disconnect your URSA Broadcast G2 from the iPad it is currently paired with. Clear Paired Devices Use this setting to clear the list of devices that your URSA Broadcast G2 has been paired with. Controlling Your Camera with the Blackmagic Camera Control App Once you have successfully paired your URSA Broadcast G2 to your iPad, you can power the camera on or off, change settings, adjust metadata and trigger record remotely using the iPad app. Once paired, the Blackmagic Camera Control app will display this screen, allowing you to adjust your settings and start recording 112SettingsTap the slate icon in the lower right corner to access and update the slate URSA Broadcast G2 uses Bluetooth LE to communicate with devices for wireless control. Asthisisthe same type of protocol used in portable devices, it only uses a minimal amount ofbattery power. You can power off your URSA Broadcast G2 by tapping ‘power off’ in the top right corner. You will be prompted to confirm your selection before your camera is powered off When Bluetooth is enabled and URSA Broadcast G2 is powered off, the name of your camera will still show up on the list of available devices in the Blackmagic Camera Control App. Since you have already paired with your camera, you can now switch it on remotely by selecting your camera name and tapping ‘Connect’. Your camera will not show up in this list if Bluetooth is disabled. 113SettingsSetup Settings Page 12 The twelfth page of your URSA Broadcast G2’s ‘setup’ tab contains the following settings. Factory Reset To reset the camera to its default factory settings, tap the ‘reset camera’ button. You will be asked to confirm this action as it will erase any LUTs and presets currently stored on the camera. Tap ‘reset’ on the confirmation page to reset your camera settings. It’s important to note that a factory reset erases any presets and custom LUTs, and resets all settings. It is a good practice to export them to a memory card as a backup before performing a factory reset. After a factory reset, you can restore your presets and LUTs quickly by importing them from the memory card. When selecting ‘factory reset’ you will be prompted to confirm your action Motion Sensor Calibration To calibrate the horizon meter on URSA Broadcast G2, place your camera on a surface you know is level and tap the ‘calibrate motion sensor’ button. It is essential that you keep the camera stable during calibration. The process takes approximately five seconds to complete. Pixel Recalibration The CMOS sensor used in your URSA Broadcast G2 is made up of millions of pixels that respond to light. As a result, they become more visible and become what is known commonly as hot pixels. All camera sensors, regardless of manufacturer, will develop this variation in pixel brightness over time. 114SettingsTo solve this, URSA Broadcast G2 has a built in recalibration feature that you can run if you see any pixels that are brighter than others. To begin this process, simply put on the lens cap and run the pixel recalibration feature by tapping the ‘calibrate image sensor’ button, then tap ‘calibrate’ to confirm your choice. The process takes approximately one minute to complete. LCD White Balance Calibration To perform LCD white balance calibration, adjust the ‘LCD temperature’ and ‘LCD tint’ controls so that the two reference patches look neutral. After you change the settings, you can use the ‘reset’ button to return the controls to the factory calibration. The ‘restore’ button brings back your new settings, which helps you compare the appearance before and after calibration. Whenthe LCD shows an accurate white balance, save your settings. Presets The ‘presets’ tab lets you save and recall a complete collection of settings for your URSA Broadcast G2. This is very useful when one camera is used for multiple projects. For example, you may use your URSA Broadcast G2 for a variety of different shoots, from documentaries to music videos, with very different settings between types of projects. Your URSA Broadcast G2’s ‘presets’ function lets you save the setup for a particular project or type of shoot and come back to it quickly and easily when required. You can also import and export presets, which is very useful for setting up a multi camera shoot. Simply set up one URSA Broadcast G2 to suit your project, then export that preset for all the other URSA Broadcast G2s on set. 115SettingsYour URSA Broadcast G2’s Presets tab NOTE Your URSA Broadcast G2 can save up to sixty presets to its internal memory. Preset buttons The button icons along the bottom of your URSA Broadcast G2’s ‘preset’ menu correspond with the following functions. Add Load Update Manage Delete Saving and loading presets To create a new preset, tap the ‘add’ icon. This will bring up a touch keyboard on your LCDtouchscreen where you can name your preset. Once you’ve typed in the name, tap ‘update’ tosave all of your URSA Broadcast G2’s current settings to that preset. If your URSA Broadcast G2 already has a preset loaded with the same name, you will be prompted to overwrite the existing preset or keep both. Enter a name for your preset by tapping the ‘add’ icon in the preset tab and using the touch keyboard 116SettingsOnce you have a preset saved, tap its name in the preset menu to select it. To load it tap the ‘load’ icon. You can update a preset by tapping the ‘update’ icon. This will bring up a prompt asking you ifyou want to update the preset with your URSA Broadcast G2’s current setting. Tap ‘update’ to confirm. Select a preset and tap the ‘load’ icon to load it. Selected presets will appear solid blue,while currently loaded presets have a blue line on the left of their icon Importing presets To import a preset, tap the ‘manage’ icon at the bottom of the preset menu. Select either SD or CFast with the storage media selection switch, depending on where your presets are saved. You can also import presets from a USB-C flash disk or from an SSD if you are using URSA Mini Recorder. From the ‘import from’ options tap the card or drive that contains the preset you want to import and confirm your selection by tapping the ‘import’ button. This will bring up the import screen. You can use the buttons at the top left of this screen to display any available presets on other cards or drives connected to your camera. Your URSA Broadcast G2 will search the root directory and ‘presets’ folder on theselected storage media. It’s worth noting that presets saved elsewhere on your storage media will not be visible. Tap a preset to select it and tap ‘import’ to confirm. If the preset you want to import has the same name as a preset already saved to your camera, you will be prompted to overwrite the existing preset or keep both. At the top right of this screen, you’ll see the number of remaining empty preset slots available on your camera. NOTE If your URSA Broadcast G2’s preset slots are full, the import menu will not be available. You will need to delete an existing preset to make room. Exporting presets To export a preset to a CFast or SD card, select the preset you want to export by tapping it, andtap the ‘manage’ icon. From the ‘manage preset’ options choose ‘export selected preset’. Use the storage media selection switch to select either SD or CFast, depending on the location you would like to export the preset to. You can also export presets to a USB-C flash disk or to an SSD if you are using URSA Mini Recorder. From the ‘export to’ options tap the card or drive you would like to export your preset to. Confirm your choice by tapping ‘export’. If the storage media you’ve chosen already has a preset saved to it with the same name as the one you’re exporting, you will be prompted to overwrite the preset on the card, or keep both presets. 117SettingsDeleting presets Your URSA Broadcast G2 has space for sixty presets. To delete a preset, select it and tap the ‘delete’ icon. You will be prompted to confirm your choice. Tap ‘delete’ to confirm. LUTS The ‘LUTS’ menu lets you import, export and apply 3D LUTs to your camera’s outputs. Your URSA Broadcast G2’s LUT tab Introducing 3D LUTs Your URSA Broadcast G2 can apply 3D LUTs to images on its LCD touchscreen, front SDI and mainSDI. 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 legalcolors for your region will look like. This is also useful when shooting Blackmagic RAW footage or using ‘film’ dynamic range, both of which have an intentionally undersaturated, ‘flat’ appearance. Byapplying a LUT, you can get an idea of what your footage will look like after it has been graded. It is easy to create 3D LUTs using DaVinci Resolve or other color correction software, and LUTs are available online from a variety of sources. Your URSA Broadcast G2 can store up to thirty 17point or 33point 3D LUTs, of up to 1.5 megabytes each. Once loaded, you can choose to display agivenLUT on your camera’s LCD touchscreen, front SDI, main SDI or any combination of theseoutputs. Your URSA Broadcast G2 supports 33 point 3D LUTs in .cube format created in DaVinci Resolve and17point 3D LUTs converted to Resolve .cube format via LUT conversion programs. Yourcamera processes 3D LUTs using high quality tetrahedral interpolation. For more information on displaying LUTs, see the ‘monitor settings’ section in thismanual. NOTE Your Blackmagic URSA Broadcast G2 does not apply, or ‘bake in,’ LUTs by default to recorded footage, however you can choose to ‘bake in’ the LUT to your footage. This can be a useful option for situations where you do not have the time to grade your footage in post-production, or where you need to give the footage directly to a client or an editor. When you are using LUTs as a preview tool on set, the information on the LUT applied is saved as metadata with your recordings. DaVinci Resolve can display this information in the ‘LUT used’ field in the metadata tab, which can be helpful for colorists to verify the name of the LUT that was used on set. 118SettingsBuilt-in LUTs Your URSA Broadcast G2 provides a number of built-in LUTs, that allow you to preview different looks whilst shooting in ‘film’ dynamic range or when shooting Blackmagic RAW. Gen 5 Film to Extended Video Displays a wider dynamic range than the ‘film to video’ LUT, and applies a mild contrast change with a smooth roll off in the highlights. Gen 5 Film to Rec 2020 Hybrid Log Gamma Displays a gamma curve that is suitable for HDR screens and compatible with standard dynamic range screens. Gen 5 Film to Rec 2020 PQ Gamma Displays a gamma curve that is based on what we can perceive with our eyes, for efficient encoding of HDR images. Gen 5 Film to Video Similar to the REC 709 color standard for high definition video, and has a high level of contrast and saturation. You may find this setting useful when using Blackmagic URSA Broadcast G2 alongside other broadcast cameras using the REC 709 color space. LUTS buttons The button icons along the bottom of your URSA Broadcast G2’s ‘LUTS’ screen correspond to the following functions: Load Manage Delete Importing LUTs To import a 3D LUT, tap the ‘manage’ icon at the bottom of the LUT menu. Select either SD or CFast with the storage media selection switch, depending on where your LUTs are saved. You can also import LUTs from a USB-C flash disk or from an SSD if you are using URSAMini Recorder. Tap the card or drive that contains the LUT you want to import from the ‘import from’ menu and tap the ‘import’ button. From the import screen you can use the buttons on the top left to display any available LUTs on other cards or drives attached to your camera. Your URSA Broadcast G2 will search the root directory and ‘3DLUTS’ folder on your selected storage media. Any LUTs you have saved elsewhere will not be visible. Tap a LUT to select it and tap ‘import’ to confirm your selection. The LUT will be saved to your URSA Broadcast G2. NOTE If your URSA Broadcast G2’s thirty 3D LUT slots are full, you will not be able to import until you delete some existing LUTs to make space. If the LUT you want to import has the same name as a LUT already saved to your camera, youwill be prompted to overwrite the existing LUT or keep both. At the top right of this screen, you’ll see the number of remaining empty LUT slots available on your camera. You will only be able to import as many LUTs as you have free slots on your camera. 119SettingsNOTE If you are having trouble importing a LUT to your URSA Broadcast G2, it may be the wrong size. You can use a LUT editor like Lattice to check its size, or open it in any text editor on your computer. Next to the tag ‘LUT_3D_SIZE’ will be a number indicating the LUT’s size. If this value is not 17 or 33, you can use Lattice to resize your 3D LUT to 17points. Applying a LUT Once you have a LUT saved onto your camera, tap it in the LUT menu to select it, and tap the ‘load’ icon. This will enable that LUT to all outputs on your camera. However, you will still have to turn ‘display LUT’ on in the monitor menu for each output to apply it. See the ‘monitor settings’ section in this manual for more information. Exporting LUTs To export a LUT to a CFast or SD card, select the LUT you want to export and tap the ‘manage’ icon. From the ‘manage LUT’ options choose ‘export selected LUT’. Use the storage media selection switch to select either SD or CFast, depending on the location you would like to export the LUT to. You can also export LUTs to a USB-C flash disk or to an SSD if you are using URSA Mini Recorder. From the ‘export to’ options choose the card or drive you want save your LUT to. Tap ‘export’ to confirm your choice. If a duplicate LUT is found on the card or drive you are exporting to, you will be asked if you want to overwrite the LUT or keep both. Deleting LUTs Your URSA Broadcast G2 has space for thirty 17 point or 33 point 3D LUTs. To delete LUTs you are no longer using, or make room for more, select the LUTs you want to delete and tap the icon. Youwill be prompted to confirm your choice. Tap ‘delete’ to confirm. Embedded 3D LUTs When a 3D LUT is used whilst shooting Blackmagic RAW on URSA Broadcast G2, the selected LUT will be embedded into the Blackmagic RAW file that you are recording. The 3D LUT is actually saved with your recorded files in the header of the .braw file, and can easily be applied to footage in post production without needing to handle a separate file. So when Blackmagic RAW files are delivered to an editor or colorist, they will be able to easily access the LUT that was used whilst filming, which greatly reduces the possibility that the wrong 3D LUT could be applied to a clip. They can then choose whether to apply the 3D LUT whilst editing or color grading the footage, and can disable the 3D LUT at any time. When the ‘Apply LUT in file’ switch is set to ‘on’ in URSA Broadcast G2’s record menu, the recorded clip will open in Blackmagic RAW Player and DaVinci Resolve with the chosen 3D LUT already applied to it. The 3D LUT can then be easily toggled ‘on’ or ‘off’ but will always travel with the Blackmagic RAW file as it is written into the clip itself. DaVinci Resolve also has an ‘Apply LUT’ switch in the RAW settings palette for enabling or disabling the 3D LUT in the Blackmagic RAW file. The ‘Apply LUT’ setting in DaVinci Resolve is the same setting as in the camera. This means that when shooting you can direct the colorist to use the LUT by setting it in the camera, but they can switch it off easily in DaVinci Resolve by setting ‘Apply LUT’ to ‘off’. 120SettingsEntering Metadata Metadata is information saved inside your clip, such as shot numbers, camera settings and other identifying details. This is extremely useful when sorting and processing footage in postproduction. For example, take and shot and scene numbers are essential organizational tools, while lens information can be used to automatically remove distortion or better match VFXassets to plates. Your Blackmagic URSA Broadcast G2 automatically saves some metadata to each clip, such as camera settings, timecode, date and time. You can use your camera’s slate to add many additional details. The Slate Swiping left or right on your URSA Broadcast G2’s touchscreen will bring up the slate. The slate is divided into ‘clips’, ‘project’ and ‘lens data’ tabs. The ‘clips’ tab contains information that may vary clip by clip, while ‘project’ is where you enter details common between clips, such as the project name, director, and camera and operator ID. The ‘lens data’ tab displays information about the lens fitted to your camera. If the lens automatically sends information back to your camera it will be displayed here. You can also enter lens data manually. TIP Metadata entered into the slate is viewable on your URSA Broadcast G2’s front or main SDIoutputs when ‘display status text for’ is set to ‘director’ on the ‘monitor’ tab. See the ‘monitor settings’ section in this manualfor more information. ‘Clip’ metadata Changes made to clip metadata work slightly differently in standby mode, when your URSABroadcast G2 is ready to record, and 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 ‘goodtake last clip’ which refers to the most recently recorded clip. In playback mode clip metadata is always recorded to the current clip being viewed. Your URSA Broadcast G2’s slate is divided into ‘clip’, ‘project’ and ‘lens data’ tabs 121Entering MetadataSlate for This setting shows the clip which the metadata currently displayed in the ‘clip’ applies to. Instandby mode, this refers to the next clip that will be recorded. Lens Type This displays information about the lens attached to your camera. For more information about ‘lens type’ data, refer to the ‘lens data’ section below. Reel The ‘reel’ indicator shows the current reel. Your URSA Broadcast G2 automatically increments reel numbers, so there is usually no need to enter this manually. When you are moving to a new project and want to start from reel ‘1’ again go into the project tab of the slate and tap ‘reset project data’. Scene The ‘scene’ indicator shows the current scene number, and can also show the current shot number and type. The number on this indicator always refers to the current scene. You can adjust it with the left and right arrows on either side of the scene number, or tap the scene number to enter the scene number editor. Scene numbers range from 1 to 999. By adding a letter to the scene number in the scene number editor, you can also indicate the current shot. For example 23A indicates scene twenty three, shot one. If you have a shot letter added to your scene number, your camera suggests the next scene number and shot letter whenever you enter the scene number editor. For example, if your current scene number is 7B, the camera suggests ‘8’ and ‘7C’. The scene number indicator can also show information about the current shot type in the top right corner. You can select these in the scene number editor at the right hand side of the scene keyboard. The shot types available are: WS wide shot MS medium shot MCU medium close up CU close up BCU big close up ECU extreme close up 122Entering MetadataWhen entering ‘scene’ metadata, your URSA Broadcast G2 will prompt you with increment suggestions to the left of the touch keyboard, and shot types to the right Take The ‘take’ indicator shows the take number for the current shot. You can increment this up or down by tapping the left or right arrows on either side of the take number, or tapping the indicator to enter the take number editor. TIP When the shot number or scene letter are advanced, the take number will revertto‘1.’ You can add take descriptions in the take number editor. These are offered to the right of the take number keyboard, and correspond to the following scenarios:

‘Pick up.’ This refers to a reshoot of a previous take to add additional material after principal photography has wrapped. VFX ‘Visual effects.’ This refers to a take or shot for visual effect use. SER ‘Series.’ This refers to a situation in which multiple takes are shotwhile the camera is kept running. Tap ‘A’ to automatically increment the take number for each clip while in standby mode. Asmall ‘A’ appears next to the take number on the slate when enabled. When entering ‘take’ metadata, your URSA Broadcast G2 will offer prompts for additional shot types to the right of the touch keyboard 123Entering MetadataGood 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 Broadcast G2 is in standby mode, or the clip currently being viewed in playback mode. Interior/Exterior Tap ‘interior’ or ‘exterior’ to add a tag to the next clip in standby mode, or the current clip in playback mode. Day/Night Tap the ‘day’ or ‘night’ icons to add a ‘day’ or ‘night’ tag to the next clip in standby mode, or the current clip in playback mode. ‘Project’ Metadata Project metadata behaves the same way whether you are in standby or playback mode. Thismetadata always refers to your project as a whole and is independent of clip numbers. Your URSA Broadcast G2’s ‘project’ slate tab Project name Displays your current project name. Tap the pencil icon to change the project name. Camera Displays a letter camera index. Tap the pencil icon to change the camera index. Director Displays the director’s name for the current project. Tap the pencil icon to change the director name. NOTE Camera index is used in metadata and for file naming purposes and differs from your URSA Broadcast G2’s ATEM Camera ID, which is used when controlling your URSABroadcast G2 with an ATEM switcher. For more information on ATEM Camera ID, see the ‘Understanding Studio Camera Control’ section in this manual. 124Entering MetadataCamera Operator Displays the camera operator. Tap the pencil icon to change the camera operator name. Reset project data To clear project data tap the ‘reset data’ button and then confirm your choice. This will clear all the entered project data. Lens Data The ‘lens data’ page displays information about the lens fitted to your URSA Broadcast G2. Many electronic lenses automatically supply information such as the lens model, aperture and focal length. If you are using a lens that does not provide this information, or you want to enter additional data, you can tap the pencil icon in this setting to enter the information manually. This will bring up the ‘lens data’ menu, which contains the following information: The lens data page showing information automatically populated from a Fujinon lens Lens Type Shows the lens model. If your lens type is not automatically shown here, you can tap this setting to enter the data manually. Use the touch keyboard to enter lens data if it is not provided automatically 125Entering Metadata Iris Shows the iris aperture setting at the start of your clip. If this information is supplied automatically it can be displayed in f- or T-stops depending on your lens. If the iris information for your lens is not automatically shown here, you can tap this setting to enter the 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. If the focal length information for your lens is not automatically shown here, you can tap this setting to enter the data manually. Distance Shows the focus distance settings of the lens for the recorded clip. Some lenses can provide this data automatically and it will be provided in millimeters. If the focal distance information for your lens is not automatically shown here, you can tap this setting to enter the data manually. Filter Shows the current lens filters used. Tap this setting to enter data manually. You can make multiple entries separated by commas. Filter information needs to be entered manually Reset lens data You can clear lens data at any time by tapping the ‘reset data’ button. You will be prompted to confirm your choice. This will reinitialize communication with your lens and refresh the electronically populated data, any fields that have been manually added will also be cleared. 126Entering MetadataStreaming Video URSA Broadcast G2 has its own built in streaming engine that enables the camera to stream directly to platforms such as YouTube, Facebook Live and Twitch. You can also connect URSA Broadcast G2 to an ATEM switcher on the same Ethernet network, or via the Internet anywhere in the world using an optional ATEM Streaming Bridge. When streaming to an ATEM switcher, this setup also includes tally, talkback and camera control functionality. Below are two examples showing URSA Broadcast G2 connected to an ATEM switcher using an ATEM Streaming Bridge. The first shows connecting locally over a network and the second illustration shows transmitting video over the Internet using a smartphone. Connecting over a Network SDI In SDI Ref In SDI Out SDI Out EthernetEthernet Network USB

31 32 33 34 35 36 37 38 39 40 CUT AUTO LENS ATEM Streaming Bridge 127Streaming VideoSmartphone Setup Connect a smartphone to your camera’s USB-C expansion port using a USB-C cable. This connection lets you set up fast and be streaming to the world in any location where your smartphone has a 4G or 5G cellular connection. USB Settings The first step to setting up your smartphone for internet streaming is to make sure it has hotspot activated. 1 On your iOS device open settings>personal hotspot and make sure the ‘allow others to join’ option is on. 2 You will see a message appear asking whether to trust the connected computer. Select ‘trust’ and a green tethering icon will be visible on the screen. This is how you can verify the connection is working. The tethering icon will appear when enabled Your smartphone’s clock will always appear within a green background icon while tethering is enabled. For Android devices, swipe the screen to display the quick menu. Press and hold the hotspot icon and then turn on USB tethering. TIP Once you have finished streaming, we recommend turning off tethering on your phone to save your phone’s battery life. 128Smartphone SetupSetting the ATEM Camera ID The ATEM camera ID is a setting in your camera’s menu settings that determines which SDI input your URSA Broadcast G2 is connected to on the ATEM switcher. When the camera ID corresponds to the switcher’s input number, your camera will detect tally data for that input and tally and camera control will work correctly. For more information on setting your camera’s ATEM Camera ID, refer to the ‘Setup Settings’ section earlier in this manual. Creating the XML File To create an XML settings file connect ATEM Streaming Bridge to the internet by plugging a network cable from the ‘Ethernet’ port to an internet router or network switch. Connect ATEM Streaming Bridge to your computer using a USB-C cable and launch ATEM Setup. In the setup tab, confirm the network settings are correct and select ‘internet’ from the ‘stream service’ options. You should see a ‘visible worldwide’ message in the internet status box. This means everything is working correctly. A Note About Port Forwarding If you see a port forwarding or UPnP error in the ‘internet status’ box you will need to ask your internet provider or network administrator to set up port forwarding on your internet connection to ‘TCP port 1935’. Exporting the XML File Once you have confirmed your settings in the ATEM Setup tab and have successfully connected your ATEM Streaming Bridge to your network or the internet, you can export the XML setup file. 1 Click the ‘external ATEM Mini Pro’ tab in the top right of the window. 2 Click in the ‘platform’ box and type a new name. This name will be the name listed in the remote Blackmagic URSA Broadcast G2’s platform menu. 3 Select the quality you want to stream. This setting will set the quality setting in the remote URSA Broadcast G2. 4 Click the ‘Save ATEM Settings’ button, choose a location on your computer to save the XML file and click ‘save’. 5 You can now email the saved XML file to the remote operator. 129Smartphone SetupLoading the XML File To import an XML settings file in to your URSA Broadcast G2, copy the file to an SD card, CFastcard or USB-C flash disk. 1 On the ninth page of your camera’s setup menu, tap on the button labeled ‘import settings’. 2 At the top of the screen, tap the card or drive where the xml settings file is saved. Tap the file name and then tap ‘import’. After the setup file has been successfully imported, the ATEM Streaming Bridge will automatically be selected in your camera’s platform menu. All you need to do now is tap your camera’s live stream button to turn the stream ‘on’. You can test your setup is working by getting the switcher operator at the studio to switch to your camera. You will see the tally light illuminate on the camera including a red tally border around the camera’s LCD. When your camera is switched to the preview output, the tally will illuminate green. Try adjusting the iris and pedestal in ATEM Software Control’s camera page to test camera control 130Smartphone SetupURSA Mini Shoulder Kit Attaching the shoulder kit The URSA Mini Shoulder Kit lets you carry your Blackmagic URSA Broadcast G2 on the shoulder for ENG style shooting. Most of the items in the URSA Mini Shoulder kit are shipped with your Blackmagic URSA Broadcast G2, including the shoulder pad, baseplate, top handle and viewfinder adapter plate. The URSA Mini extension arm and long LANC cable are available as optional accessories. The quick release mount on the baseplate lets you lock your camera into an ENG style tripod plate or place it on your shoulder so you can follow the action. The URSA Mini Shoulder Kit works with any tripod plate modeled after the Sony VCT 14. Thesemounts are easily found at camera stores or online. It’s also worth mentioning that mounts modeled after the VCT U14 tripod plate are a different system and are not compatible. When attaching the Shoulder kit, you will need the following tools: 1 x flat head screwdriver for the 2 x ¼" shoulder mount base plate screws. 1 x 3/16" Hex key driver for the 2 x ¼" top handle screws. To attach the shoulder kit to your URSA Broadcast G2 you will need a large flat head screwdriver and a 3/16” Hex Key driver for the top handle To attach the shoulder pad and baseplate Insert screws via threaded hole in slot2 x ¼" baseplate screws 131URSA Mini Shoulder Kit1 Gently place your URSA Broadcast G2 upside down on a flat, stable surface so you can easily access the base of your camera. 2 Fasten the shoulder kit baseplate to URSA Broadcast G2 using the 2 x 1/4" flat head screws and driver. 3 Tighten the screws until the baseplate is firmly attached and the screws won’t loosen. Avoid over-tightening as it may damage the screw threads. To attach the top handle with URSA Viewfinder adapter plate The top handle is supplied with URSA Viewfinder adapter plate already fitted. For information on installing the optional Blackmagic URSA Viewfinder, refer to the next section of this manual.

Top handle URSA Viewfinder cap

Place your URSA Broadcast G2 on a flat, stable surface so you can access the top of your camera. Fasten the handle to any two of your URSABroadcast G2’s top 1/4" mounting points using the two supplied 1/4" screws with a 3/16" Hex key driver. URSA Broadcast G2’s rear two mounting points are recommended for most situations, but you can choose any pair for better weight balance when using large lenses.

Tighten the screws until the handle is firmly in place and the screws won’t easily loosen. Avoid over-tightening the screws as it may damage the screw threads. The URSA Mini Shoulder Kit extension arm and LANC cable are available as optional accessories. 132URSA Mini Shoulder KitAttaching the extension arm B4 lenses typically feature a handgrip on the lens body, so a side handle isn’t necessary when shooting with URSA Broadcast G2 on your shoulder. If you have a different lens mount fitted, however, you may find it useful to fit the optional URSAMini side handle on an extension arm for comfortable shoulder based shooting. URSA Mini Shoulder Kit comes with an extension handle and longer LANC cable to move the optional side handle to a more ergonomic position. To attach the side handle extension arm: 1 Place your URSA Broadcast G2 on a flat, stable surface allowing room next to the camera to lower the extension arm. Mounting URSA Broadcast G2 to a tripod is helpful for this purpose. 2 Attach the indented end of the extension arm to the baseplate rosette, lower the arm to suit, and fasten with the supplied rosette thumbscrew. 3 Attach the side handle to the extension arm’s front rosette. Fasten by tightening the side handle screw with the large flat head screwdriver, or by twisting the D ring with your thumb and forefinger. 4 Connect the side handle LANC output to the camera LANC input using the long LANC cable supplied with your URSA Mini Shoulder Kit. You can easily adjust the extension arm and side handle to suit your preference by loosening the rosette screws, making your adjustment, then retightening. With your URSA Mini Shoulder Kit now attached, you have additional speed for fast shooting on the run, plus the ability to quickly mount your camera on a tripod for tight, stable shots! Connect the side handle to the camera using thelongLANCcable supplied with the kit Side handleSide handle extension arm Extension arm attaches tobaseplate rosette Tighten via side handlescrew 133URSA Mini Shoulder KitBlackmagic URSA Viewfinder Blackmagic URSA Viewfinder is a powerful electronic viewfinder designed for your BlackmagicURSA Broadcast G2. The 1080HD color OLED display and precision glass optics provides abright, vivid, and lifelike image so you can quickly find focus and see the finest detail in your images. This viewfinder is perfect for handheld operation on the shoulder, or for environments where you need absolute precision with zero reflection and light glare, for example in extremely bright shooting conditions. The viewfinder is connected and powered by the camera and uses the embedded SDI data from the camera to generate the various display options. This means that your camera can output a clean SDI feed to the viewfinder but still allows you to toggle various display options within the viewfinder for quick access to camera status, plus accurate information. For example, if you select the ‘2.40:1’ frame guide option in URSA Broadcast G2’s menu, it will actually tellthe viewfinder which frame guide is selected in the camera so when you toggle the frame guide display on the viewfinder, the same ‘2.40:1’ frame guide is also displayed. Mounting and Connecting to Blackmagic URSA Broadcast G2 Before mounting Blackmagic URSA Viewfinder to your URSA Broadcast G2, you will need to install the URSA Mini Shoulder Kit top handle that is included with your camera. Refer to the ‘URSA Mini Shoulder Kit’ section for more information. Slide URSA Viewfinder mount into the URSA Viewfinder adapter plate and use the 1/4"thumbscrew included in URSA Mini Shoulder Kit to secure URSA Viewfinder to the top handle and adapter plate. There is no need to use any tools to secure the thumbscrew, finger pressure is sufficient and will prevent over tightening. To mount your Blackmagic URSAViewfinder to your URSABroadcastG2, slide the viewfinder mount along your camera’s handle ridges andtighten the thumbscrew to a¼" mounting point To connect your URSA Viewfinder to your URSA Broadcast G2, simply connect the viewfinder’s attached cables to your camera’s front 12V power and 3G-SDI outputs. The URSA Viewfinder will turn on automatically when your camera is powered. 134Blackmagic URSA ViewfinderPUSH Connect your viewfinder’s SDI and power cables to your URSA Broadcast G2’sHD-SDI monitoring output and +12 volt output Adjusting the Eyepiece The detachable rubber eyepiece can be adjusted to fit your left or right eye. Adjust the viewfinder arm by loosening the knob on the bottom of the arm and sliding it left or right to comfortably fit your eye. Button Features On the top of the viewfinder you’ll find the zoom, display and peak buttons. These buttons are used for zooming into your image, and turning overlays and focus peaking on or off. ZOOM

DISP PEAK The Zoom (F1), Display (F2) and Peak (F3) buttons are located on top of the URSA Viewfinder They are also used for additional features, such as opening the menu and navigating settings. Icons printed on the side of the buttons show you which buttons are used to control the viewfinder menu and navigation features. The buttons also have a customizable function feature so you can assign shortcuts to quickly enable common features you may use frequently. For example you may wish to assign the false color feature to the zoom button. Refer to the ‘shortcuts’ section for more information. 135Blackmagic URSA ViewfinderZOOM (F1) - ‘menu’ The ‘zoom’ feature helps you find sharp focus by zooming into your picture. Press the ‘zoom’ button to zoom in and press again to return to 100% view. When using the settings menu, the ‘zoom’ button also serves as the ‘menu’ button. Press and hold this button to open the settings menu. In the settings menu, press this button once to confirm setting changes. DISPLAY (F2) - ‘up’ Press the ‘display’ button to see the overlay view. When using the settings menu, this button also serves as the ‘up’ button. You can also quickly open the ‘shortcuts’ menu setting by pressing and holding this button. Refer to the ‘shortcuts’ section for information on how to set shortcuts. PEAK (F3) - ‘down’ The focus peaking feature creates a green edge around the sharpest parts of the image so you can easily confirm your focus. Press the ‘peak’ button to turn the peaking feature on. Press again to turn peaking off. When using the settings menu, this button also serves as the ‘down’ button. You can also quickly open the ‘setup’ menu by pressing and holding this button. Menu Settings The settings menu contains three primary menu headings for display, shortcuts, and setup. Toopen the settings menu, press and hold the ‘menu’ button. Press the ‘up’ and ‘down’ button to navigate between the settings and press the ‘menu’ button again to confirm yourselection. Display The ‘display’ menu provides the following features: B&W Switches between color and monochrome. The ‘display’ menu in URSA Viewfinder 136Blackmagic URSA ViewfinderMeters Switches between the types of meters to display in overlay view. The options are ‘histogram’, ‘audio’, ‘both’ or ‘none’. Peaking Switches peaking on and off. Zebra Switches zebra levels on and off. Set your desired zebra levels using the camera settings. For more information, refer to the ‘settings’ section in this manual. False Color Switches the false color feature on and off. False color overlays different colors onto your image that represent exposure values for different elements in your image. Forexample, pink represents optimum exposure for lighter skin tones, while green is agood match to darker skin tones. By monitoring the pink or green false color when recording people, you can maintain consistent exposure for their skin tones. Similarly, when elements in your image change from yellow to red, that means they are now over exposed. False Color Chart Overlay Switches overlays on and off. You can select which types of overlay to display in your viewfinder’s ‘setup’ menu. The style of these overlays, such as the safe area percentage, are set in your camera. Zoom Turns the zoom feature on and off. Film to Video Switches between film and video display mode. Refer to the ‘record settings’ section in this manual for information on film and video mode. This setting is only available when your camera is outputting ‘film’ images to your viewfinder. It is disabled when receiving ‘video’ images to prevent applying a LUT over a LUT. Shortcuts The shortcut function is useful when you need to quickly access a particular setting for a frequently used feature. To customize your shortcut buttons: 1 In the ‘shortcuts’ menu, press the ‘up’ or ‘down’ button to move up or down and select one of the 3 buttons to make it your shortcut button. Press the ‘menu’ button to confirm your selection. 2 Press the ‘up’ or ‘down’ button to toggle and select one of the features below to assign to the shortcut button. Press the ‘menu’ button to confirm your selection. B&W Peaking Zebra False Color Display Zoom Film to Video Meters Focus Chart 3 Scroll to ‘exit’ and press the ‘menu’ button to close the menu display view. 137Blackmagic URSA ViewfinderThe ‘shortcuts’ settings in URSA Viewfinder Setup The ‘setup’ menu provides the following features: Brightness Adjustment Allows adjustments for the brightness of the display with range -10 to +10. Tally Brightness Allows adjustments of tally LED brightness. Focus Chart Your Blackmagic URSA Viewfinder has a built in focus chart so you can focus the eye piece to suit your eyes. Simply turn the focus diopter on the eyepiece until the chart is in perfect focus. Pressing any button on your viewfinder will close the focus chart display. Frame Guides Toggles the appearance of frame guides. When ‘frame guides’ are turned ‘on’ in your URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting to toggle the appearance of these guides in your Blackmagic URSA Viewfinder. For more information, see the ‘Monitor Settings’ section in this manual. Safe Area Guide Toggles the appearance of a safe area guide. When ‘safe area guide’ is turned ‘on’ inyour URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting toggle its appearance in your Blackmagic URSA Viewfinder. For more information, see the ‘Monitor Settings’ section in this manual. Grid Toggles the appearance of a rule of thirds grid, crosshair or center dot. When ‘grids’ areturned ‘on’ in your URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting toggle their appearance in your Blackmagic URSA Viewfinder. For more information, see the ‘Monitor Settings’ section in this manual. NOTE Enabling ‘Grid’ in your URSA Viewfinder setup menu will also allow your viewfinder to display tally signals sent from an ATEM switcher. Overlays must also be set to ‘on’ in the display menu. 138Blackmagic URSA ViewfinderStatus Text Toggles the appearance of status text, such as white balance, frame rate and ISO. When ‘status text’ is turned ‘on’ in your URSA Broadcast G2’s ‘front SDI’ monitor settings, you can use this setting toggle its appearance in your Blackmagic URSA Viewfinder. For more information, see the ‘Monitor Settings’ section in this manual. TIP When using Blackmagic Viewfinder with URSA Broadcast G2, the appearance of status text can clash if both the viewfinder and camera are set to show status text. In this situation, we recommend turning status text to ‘on’ in your camera, and status text to ‘off’ in your viewfinder. IR Sensor The IR Sensor on your viewfinder automatically detects when you are near the eyepiece and turns on the OLED display. If you are away from the viewfinder for over twenty seconds in standby mode, display turns off to conserve power and to extend the life of the OLED display. While recording, the timeout sensor is extended to 5 minutes, at which point the OLED display will be slowly dimmed. Any movement in front of the eyepiece will reset this timer. The viewfinder will detect when you look into the viewfinder eyepiece, pressing any button on the viewfinder will also turn the display back on. Deliberately blocking or covering the IR sensor could cause the viewfinder’s display to remain powered for prolonged periods of time. This could decrease the lifespan of the display and cause image retention if high contrast images or frame guides are displayed on the viewfinder. The IR sensor is located at the bottom of the URSA Viewfinder Updating URSA Viewfinder’s Internal Software Update your viewfinder using the Blackmagic Camera Setup utility software. The viewfinder will need to be powered when updating, so we recommend keeping the viewfinder connected to your URSA Broadcast G2 during the update process. This also means your URSA Broadcast G2 will need to supply consistent power, so be sure to plug into external power. 139Blackmagic URSA ViewfinderConnect your computer to the small USB connection located at the front of your viewfinder, near the eyepiece. When Blackmagic Camera Utility is launched and your viewfinder is connected to your computer, you will be prompted to update if your computer detects that your viewfinder is using an older version. Follow the on screen prompts to update your viewfinder’s internal software. NOTE When using your Blackmagic URSA Viewfinder with URSA Broadcast G2, we recommend updating your viewfinder’s internal software to the latest version to ensure compatibility. The latest software can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support. Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for moreinformation. TIP We recommend updating all your Blackmagic URSA equipment at the same time for optimized performance. Blackmagic URSA Studio Viewfinder Blackmagic URSA Studio Viewfinder is a powerful viewfinder that allows you to turn your Blackmagic URSA Broadcast G2 into a professional live production camera. The studio viewfinder features a bright 7" screen and has a large easily viewable tally light, control knobs, large handles, sun hood and variable tension articulated mount. These features make it easy to stand behind the camera and comfortably follow the action for extended periods of time, especially when filming live concerts, sports, and other long events. The URSA Studio Viewfinder is perfect for professional live production in the studio or on location. 140Blackmagic URSA Studio ViewfinderMounting and Connecting to Blackmagic URSA Broadcast G2 When using the Blackmagic URSA Studio Viewfinder with Blackmagic URSA Broadcast G2, you have the option of mounting the unit to the camera in a number of ways. Using the supplied VLock mount plate you can mount the Blackmagic URSA Studio Viewfinder directly to the top of your URSA Broadcast G2 or to the top handle of the URSA Mini Shoulder Kit that is included with your camera. Attach the V-lock mount plate to the top of the camera with the supplied 1/4" screws. As this will make the center of gravity on the camera much higher. We recommend doing this while the camera is attached to atripod for stability. 141Blackmagic URSA Studio ViewfinderV-Lock mount plate being attached to 3rdparty camera The V-Lock mount plate can also be installed on any camera you want to use the URSA Studio Viewfinder with that has 1/4" mounting points, or by using a third party cheese plate. You can also mount the Blackmagic URSA Studio Viewfinder to a third party camera system that has an existing V-lock mount plate as many of them have this quick release plate on them already. 142Blackmagic URSA Studio ViewfinderTo connect your Blackmagic URSA Studio Viewfinder to your URSA Broadcast G2, simply connect the viewfinder’s attached cables to your camera’s front 12V power and 3G-SDI outputs. The power switch on the viewfinder will then allowyou to turn on the viewfinder instantly when your camera is powered. Note that there are cable clamps on the side of the URSAMini handle mount to keep you cables neat and hold the cables in place. TIP The URSA Studio Viewfinder uses open standard SDI and broadcast 4 pin XLR power connections so it can be used with any other camera or even as an adjustable portable location monitor. It also uses the open standard ATEM tally and device control protocol so any other camera system can add this information to their SDI stream to allow them to work with the tally and overlays on the URSA Studio Viewfinder. Adjusting the Blackmagic URSAStudio Viewfinder The Blackmagic URSA Studio Viewfinder features large handles and variable tension articulated mounting that allow you to adjust the position and angle of the viewfinder. The large handles allow you to quickly and easily take hold of the viewfinder and adjust the angle and direction of the unit. Combined with the sun hood the handles also help to protect the screen from damage, which means that you can store the fully assembled Blackmagic URSA Studio Viewfinder in a carry case without disassembly. The large handles also allow you easily to pick up and carry the unit between locations. SDI and 12v power connections on URSA Broadcast G2 143Blackmagic URSA Studio ViewfinderThe supplied mount features tension dials for pan and tilt, with additional tension dials on either side of the viewfinder for additional friction control. The left hand dial allows you to adjust the drag friction of the arm and the right hand dial allows you to lock the Viewfinder in place once you have found the angle you require. These tension dials have a very large range of tension adjustment, allowing you to select a specific amount of resistance. This allows you to easily pan and tilt the viewfinder to the precise position you require. Tension dials on either side of the viewfinder 1 Tilt Lock Dial Locks the angle of tilt on the viewfinder mechanism. 2 Pan Tension Dial Controls pan tension. 3 Tilt Tension Dial Controls tilt tension.

TIP The center tension dial on the supplied mount controls pan tension, and can be loosened to allow you to take hold of the viewfinder and move the camera independently. This means that you can film things like motorsport, where you need to pan the camera left and right to follow the action, whilst holding the viewfinder positioned towards your eyes. A visual guide on the mount helps to ensure that the viewfinder can easily be returned to the center. 144Blackmagic URSA Studio ViewfinderSun hood The sun hood helps you to see the screen in bright or sunny conditions. To attach the sun hood, slide it over the top of the Blackmagic URSA Studio Viewfinder and push it into place, securing it with the two captive screws on the base of the sun hood. The top section of the visor is adjustable, and can raise and lower to provide additional viewing angles. The sun hood provides additional protection for the 7” screen, and can be removed quickly and easily if desired or to access the USB-C connector for software updates. Sun hood and adjustable visor 145Blackmagic URSA Studio ViewfinderButton Features The dials down the right hand side let you change brightness, contrast, peaking quickly and easily. The dials are ergonomically designed so you can adjust the dials from the side with your thumb when using the sun hood, or with two fingers for finer more controlled adjustment.

1 Menu Dial The push button ‘menu’ dial allows you to enter the menu, and navigate through the viewfinder settings. 2 Back button Exits the menu system 3 F1, F2, F3 Assignable function buttons. You can assign functions to these buttons for easy access to your most commonly used functions. 4 ON/OFF switch Switches the Blackmagic URSA Studio Viewfinder on and off. 5 Bright Adjusts the brightness of the image on screen. Overlays on screen will show the brightness level on a scale of -100 to +100. 6 Contrast Adjusts the contrast of the image on screen. Overlays on screen will show the contrast level on a scale of -100 to +100. 7 Peaking Adjusts the focus peaking level for the image on screen. Overlays on screen will show the peaking level on a scale of -100 to +100. In the setup menu you can select between various styles of peaking to suit your environment. There is the option for the traditional style of focus peaking that many will be familiar with from other broadcast systems, as well as the option to use colored lines for focus. As with URSA Broadcast G2 you have the option of ‘red’, ‘green’, ‘blue’, ‘black’ and ‘white’ lines which gives you flexibility to make them easily viewable when shooting in environments that have a lot of a particular color. 8 Handles The built in handles are large and allow you to hold the Studio Viewfinder in place as you reposition the camera while shooting. They also provide protection for the screen when setting up and packing down. 146Blackmagic URSA Studio Viewfinder9 9 Tally Light The large tally light on the rear of the Blackmagic URSA Studio Viewfinder lets both the talent and operator know which camera is on the air, which camera is about to be on air, and if they are ISO recording. The tally illuminates red for on-air, green for preview and when used with URSA Broadcast G2 will illuminate orange for ISO record. As the director cuts between cameras on the ATEM switcher, tally information is sent back to the camera over SDI so the light is lit when the camera is being previewed to switch to, on the air or recording. In addition, the URSA Studio Viewfinder also includes clip-on transparent camera numbers that attach to the tally light, making it easy for talent to clearly see camera numbers from up to 20 feet away. We have included editable PDF’s in the software installer that allows you to edit and print out your own tally numbers to match the ones provided, and also to create your own custom tally number inserts. After installing the Blackmagic cameras software these can be found on a Mac in the Application > Blackmagic Cameras > Documents folder and on aPC in the Blackmagic Design > Documents folder. The tally light will illuminate according to the ATEM switching operations, and when the camera is not connected to a switcher the tally light will illuminate red as a simple record tally indicator. Refer to the ‘Understanding Studio Camera Control’ section in this manual for more information. TIP When using the Blackmagic URSA Studio Viewfinder with an ATEM switcher, it is important to select ‘clean feed’ on URSA Broadcast G2 to ensure that you don’t see overlays or the focus box on the SDI output to the ATEM switcher. Navigate to the ‘monitor’ menu on URSA and select ‘clean feed’ for ‘main SDI’. 147Blackmagic URSA Studio ViewfinderMenu Settings The push button ‘menu’ dial allows you to enter the menu by pressing it, whilst rotating the dial navigates up and down through the menu options. Pressing the ‘menu’ dial whilst a menu heading is highlighted, will allow you to switch between the display, shortcuts, setup and cursor sub menus. Rotating the dial will scroll through the settings in each menu. Pressing the dial when a setting is highlighted allows you to adjust that setting by rotating the ‘menu’ dial. Confirm your selection by pressing the ‘menu’ dial once more. You can exit out of the menu by hitting the ‘back’ button or by navigating to and selecting exit. Display Zebra Switches zebra levels on and off. The level of zebra will be determined by the setting on your URSA Broadcast G2, in the third page of the ‘Monitor’ settings menu. When the Studio Viewfinder is not connected with URSA Broadcast G2, the zebra level will represent 95% of the luminance levels of a Rec 709 signal. For more information, refer to the ‘settings’ section in this manual. False Color Switches the false color feature on and off. False color overlays different colors onto your image that represent exposure values for different elements in your image. For example, pink represents optimum exposure for skin tones. By monitoring the pink false color when recording people, you can maintain consistent exposure for skin tones. Similarly, when elements in your image change from yellow to red, that means they are now over exposed. False color is a good feature to assign to one of the function buttons, as it provides quick and easy access to a commonly used reference tool for exposure. False Color Chart Guides This setting gives you the option to show or hide your guides. The guides will match the style of guides that have been set in the URSA Broadcast G2, in the fourth page of the ‘Monitor’ settings menu. 148Blackmagic URSA Studio ViewfinderThe aspect ratio, frame guide opacity level, safe area percentage, and the type of grids shown will match what you have set in the camera. The ‘setup’ menu in the Studio Viewfinder then allows you to configure which type of guides you would like to see in the Studio Viewfinder when guides in the display menu are switched on. Guides then allows you to then switch these ‘on’ or ‘off’ with one command. Zoom Turns the ‘zoom’ feature on and off. The ‘zoom’ feature helps you find sharp focus by zoominginto your picture. When zoomed in, you can navigate to specific parts of the screen by rotating the menu dial left and right. The overlay will indicate which part of the picture you arezoomed into. Film to Video When sending a ‘film’ dynamic range SDI signal from your URSA Broadcast G2, the ‘film to video’ setting allows you to apply a more colorful and contrasty LUT to the image. This setting will only be available when ‘film’ dynamic range is detected and will otherwise be grayed out to prevent the wrong LUT being applied to the image. Audio Meters The audio meters display the audio level that is being input via SDI into the Blackmagic URSAStudio Viewfinder, therefore the meters will show you URSA Broadcast G2’s audio input levels. If you have program input selected, the audio meter will display these audio levels. Exposure Meters Switches the display of the histogram ‘on’ or ‘off’. Red Channel Allows you to switch on or off the red channel of your image. Green Channel Allows you to switch on or off the green channel of your image. Blue Channel Allows you to switch on or off the blue channel of your image. Black and White Switches between color and monochrome. Shortcuts The shortcut function allows you to map specific functions to the F1, F2 and F3 buttons. These shortcut buttons allow you to quickly toggle ‘on’ and ‘off’ any of the settings in the display menu, or your cursors. This is extremely useful when you need to quickly access a particular setting for a frequently used feature. To customize your shortcut buttons: In the ‘shortcuts’ menu, rotate the push button ‘menu’ dial to move up or down and select one of the 3 buttons. Press the ‘menu’ dial to confirm your selection and then rotate the ‘menu’ dial to scroll through the assignable features. You will have the option to select one of the following features: ‘zoom’, ‘cursor 1’, ‘cursor 2’, ‘cursor 3’, ‘zebra’, ‘false color’, ‘guides’, ‘film to video’, ‘audio meters’, ‘exposure meters’, ‘red channel’, ‘greenchannel’, ‘blue channel’, ‘black and white’. Once chosen click the menu button to confirm that selection, and assign that function to the chosen shortcut button. Pressing the shortcut button will now switch this feature ‘on’ and ‘off’. Once you have set up your shortcuts as required you can either scroll to ‘exit’ and press the ‘menu’ dial to close the menu display view, or hit the back button to exit out of the menu. 149Blackmagic URSA Studio ViewfinderThe ‘shortcuts’ submenu Setup The ‘setup’ menu is where you choose your preferences for how the viewfinder is setup. Front Tally Brightness Allows adjustments of tally LED brightness between ‘off’, ‘low’, ‘medium’ and ‘high’. Thetally light will illuminate whilst adjustments are being made so you can see what each brightness level represents. The ‘setup’ submenu Rear Tally Brightness Allows adjustments of tally LED brightness between ‘low’, ‘medium’ and ‘high’. The tally light willilluminate whilst adjustments are being made so you can see what each brightness levelrepresents. TIP A high LED brightness setting is recommended for bright conditions, as it will provide greater visibility for talent and operators in the conditions. A low LED brightness is recommended when filming in darker environments where it is easier to see when the light is on. 150Blackmagic URSA Studio ViewfinderFocus Assist The ‘focus assist’ setting toggles the appearance of peaking on the viewfinder. You have the choice of ‘red’, ‘green’, ‘blue’, ‘black’ and ‘white’ as well as traditional peaking. Frame Guide Gives you the option to show ‘frame guides’ as part of your Studio Viewfinder’s ‘Guides’. When connected to URSA Broadcast G2 they will match your camera’s ‘frame guides’ aspect ratio. When connected to other systems they will default to the 14:9 aspect ratio. Safe Area Guide Gives you the option to show the ‘safe area’ indicator as part of your Studio Viewfinder’s ‘Guides’. When connected to URSA Broadcast G2 these will match your camera’s ‘safe area guide’ percentage. When connected to other systems they will default to 90%. Grid Gives you the option to show grids as part of your Studio Viewfinder’s ‘Guides’. Whenconnected to URSA Broadcast G2 these will match your camera’s ‘grids’ settings. When not connected, this will switch your crosshairs on or off. LCD Brightness If you have the updated model of URSA Studio Viewfinder then the LCD Brightness setting will appear at the bottom of the setup menu. This adjusts your Studio Viewfinder LCD backlight brightness. Cursors The cursors allow you to mark an area on screen where graphics like a lower third, graphic, logo or ticker will be overlaid. To adjust these cursors go to ‘cursors’ and select ‘edit cursors’. This will bring up a page that shows you all three cursors and allows you to select each one individually and then dial in the width, height, x and y co-ordinates for positioning each oneindividually. The cursors submenu 151Blackmagic URSA Studio ViewfinderCursors displayed on screen Once you have set them up they can be switched on or off from the ‘cursors’ menu or assigned to your function keys for quick access. This is important for live production, as it allows the camera operator to take this into consideration and accurately compose and frame shots. You can create up to three black or white custom cursors that can have variable height, width and position, making it easy to match the size and location for all the graphics that will be added live or during later broadcast. You also have the option to reset the cursors to their default state. Using a headset with the Blackmagic URSA Studio Viewfinder When using the Blackmagic URSA Studio Viewfinder with URSA Broadcast G2, the headphone connection on the camera will now become a talkback headset connection, allowing for direct communication with the director. For more advanced talkback functionality, you can also use Blackmagic Camera Fiber Converter and Blackmagic Studio Converter to allow you to use standard broadcast headsets with 5 pin XLR connectors. For more information, refer to the ‘Blackmagic Fiber Converters’ section in this manual. TIP Because URSA Broadcast G2’s headphone socket is iPhone headset compatible, you can use your iPhone headset to communicate with the director. Pushing the button on the built-in remote will allow you to talk back to the director. Updating URSA Studio Viewfinder’s Internal Software Update your viewfinder using the Blackmagic Camera Setup utility software. The viewfinder will need to be powered when updating, so we recommend keeping the viewfinder connected to your URSA Broadcast G2 during the update process. This also means your camera will need to supply consistent power, so be sure to plug into external power. Remove the sun hood to provide access to the small USB-C connection located on the bottom of the Blackmagic URSA Studio Viewfinder, and connect your computer to the USB-C port. When Blackmagic Camera Utility is launched and your viewfinder is connected to your computer, you will be prompted to update if your computer detects that your viewfinder is using an older version. Follow the on screen prompts to update your viewfinder’s internal software. Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for more information. We recommend updating all your Blackmagic URSA equipment at the same time for optimized performance. 152Blackmagic URSA Studio ViewfinderNOTE When using your Blackmagic URSA Studio Viewfinder with URSA Broadcast G2, we recommend updating your viewfinder’s internal software to the latest version to ensure compatibility. The latest software can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support. Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for more information. Blackmagic Zoom and Focus Demands Blackmagic Zoom Demand and Blackmagic Focus Demand are optional accessories for controlling focus and zoom when using compatible servo driven B4, EF and PL lenses. Each unit attaches to a tripod handle on your tripod or camera pedestal. This lets you control focus and zoom while simultaneously panning and tilting the camera using both hands. Additional buttons and controls let you refine the speed and sensitivity of the zoom control, engage talkback, monitor program return and more. Connecting and Attaching to your Camera Attaching to Tripod Handles Each unit attaches to a tripod handle via their mounting brackets. Attach each unit to the brackets via their rosette mounts: To attach the demand units to their brackets, simply connect them together via their rosette mounts and secure them by tightening the fastening knob. 1 Place the zoom demand or focus demand against their bracket’s rosette mount. 2 Tighten their fastening knob so the demand units are firmly attached to their brackets. 153Blackmagic Zoom and Focus DemandsNow that the units are attached to the brackets, you can attach the brackets to the tripod arms. One end of each bracket contains a ‘T’ shaped latch that hinges into a slot and is then tightened. 1 Loosen the latch by unscrewing the latch knob in a counterclockwise motion. This will release the ’T’ shaped latch. 2 With the latch open, place the bracket onto the tripod arm and clamp the bracket shut by closing the latch into its fastening slot. Rotate the bracket to your preferred position on the tripod arm. 3 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 Broadcast G2’s rear USB-C port to the demand unit’s ‘cam’ port. If you are using both demand units, daisy chain them together by connecting the first unit to thesecond unit via USB-C. Blackmagic Focus Demand Blackmagic Zoom Demand Blackmagic URSA Broadcast G2 Rear USB-C port USB-C CAM USB-C LOOP USB-C CAM USB-C CAM LOOP ON OFF Daisy chaining allows for both units to be controlled using the rear USB-C port on your URSABroadcast G2. For example, connect a USB-C cable into your camera’s rear USB-C port and connect the other end of the cable into the focus demand’s ‘cam’ port. With a second cable, plug the focus demand’s ‘loop’ port into the zoom demand’s ‘cam’ port. 154Blackmagic Zoom and Focus DemandsThe USB-C cable has locking screws on each end to secure the connectors to each unit, preventing accidental disconnection. You don’t have to use the locking screws, but they are helpful for studio setups where the units are always connected to your URSA Broadcast G2. The Blackmagic Focus and Zoom Demands let you control focus and zoom without moving your hands away from the handles Using Blackmagic Focus Demand

1 Control Knob Rotate the focus wheel clockwise to focus on subjects closer to the lens, or counterclockwise to focus on subjects further away. You can change the focus direction in the menu by setting it to either ‘normal’ or ‘reverse’. 155Blackmagic Zoom and Focus DemandsTIP 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. 2 Control Prongs These three prongs expand the diameter of the control surface to let you make finer focus adjustments with the tip of a finger. 3 USB ports Allows for connecting the focus demand to the camera and daisy chaining to the zoom demand. The ‘cam’ port is also used for updating the internal software via the Blackmagic Camera Setup utility. Using Blackmagic Zoom Demand The controls on the Zoom Demand are mappable through the Camera settings. To change the button functions, refer to the ‘setup settings’ chapter in the ‘settings’ section. The following commands are set as default:

1 Zoom F1 This is the zoom function button 1. By default, it is mapped as a ‘record’ button. 2 Zoom F2 This is the zoom function button 2. On the other side of the controller is an identical button that performs the same function, allowing for left and right handed control. Bydefault, it is set as a quick zoom function which instantaneously punches into the live image. NOTE The quick zoom feature is only visible on the Blackmagic URSA Broadcast G2’s LCD and will not be visible on the output video connected toaswitcher or recorder. 3 Zoom F3 This is the zoom function button 3. The default action for this button is set to program return. This would normally be a switcher’s program return feed, but can be any SDI signal connected to your camera’s SDI input. 4 Zoom F4 This is the zoom function button 4. The default action for this button is set to push to talk. When connected to an ATEM switcher via SDI, press andhold the button to communicate with the switcher operator. 156Blackmagic Zoom and Focus Demands5 Thumb Rocker The zoom demand handle provides a thumb rocker control. Push the thumb rocker left to zoom out, and right to zoom in. The direction of the zoom can be reversed using the camera’s menu settings. 6 Speed Dial Finely adjust the speed of the zoom by adjusting the speed dial at the top of the unit. You can map this dial to also control the headphone level, iris adjustment and even focus adjustment! 7 USB-C Ports Allows for connecting the zoom demand to the camera and daisy chaining to the focus demand. The ‘cam’ port is also used for updating the internal software via the Blackmagic Camera Setup utility. Mounting Batteries Mounting V-mount or GoldMount Batteries Your Blackmagic URSA Broadcast G2 comes fitted with a URSA VLock Battery Plate for attaching industry standard VLock batteries to your camera. Other battery types can also be mounted by attaching an optional Blackmagic URSA Gold Battery Plate, or a third party battery plate. 157Mounting BatteriesTIP Blackmagic URSA VLock Battery Plate and URSA Gold Battery Plate support displaying percentage information with compatible batteries. Blackmagic battery plates have a ‘+12V out’ connector referred to as a ‘D-tap’ or ‘P-tap’ to power accessories such as an external monitor. It is worth noting that because this output is regulated from the camera, it will power down safely when the camera switches off. This regulated output supplies 12 Volts at up to 1.5 Amps. Some third party URSA battery plates, and even some batteries, offer an unregulated D-tap output. These supply continuous power when the camera is rebooting or power cycled, but the voltage varies depending on the charge level of the battery and accessories plugged in will drain the battery continuously. You can purchase Blackmagic URSA VLock Battery Plates and URSA Gold Battery Plates from Blackmagic Design resellers, or third party battery plates from suppliers of professional digital cinema and video equipment. If you want to modify your own battery plate to use with your Blackmagic URSA Broadcast G2, then you can use the supplied adapter cable and connector. Refer to the ‘using your own battery plate’ section for information about how any battery plate can be modified to use with URSA Broadcast G2. To replace the battery plate on your Blackmagic URSA Broadcast G2: 1 Unscrew the 4 x M3 screws from each corner of the URSA VLock Battery Plate. 2 Disconnect the battery plate’s molex connector from your camera’s molex powerconnector. 3 Connect the new battery plate’s molex connector to your camera’s molex powerconnector. 4 Screw the battery plate onto your Blackmagic URSA Broadcast G2’s plate mounting points using 4 x M3 screws. Make sure the connector cable is tucked safely into the cable slot and not crushed between the plates when tightening. 5 With the new battery plate connected to your camera, you can now mount a battery and power up your camera. 158Mounting BatteriesUsing your own Battery Plate Adapter Cable and Connector If you want to modify a third party battery plate for use with your URSA Broadcast G2, you can use the supplied adapter cable and connector, which is also available at your local Blackmagic Design support office. To wire the adapter cable and connector to your battery plate: 1 Strip approximately half an inch of insulation from the end of each red and black wire. 2 Solder all 4 x red ‘Batt’ wires to the corresponding ‘positive’ wire from your battery plate. 3 Solder all 4 x black ‘GND’ wires to the corresponding ‘negative’ wire from your battery plate. Ensure the joins are well insulated. If you need to modify any battery plate to plug into URSA Broadcast G2, use the supplied adapter cable and connector, which is also available from your local Blackmagic Design support office This enables battery power to your camera. You can also connect additional wires for features such as 12 V output and battery status. Refer to your battery plate information, plus the diagram and tables on this page for help connecting the wires. If you require further assistance visit the Blackmagic Design support center at www.blackmagicdesign.com/support. The rear view of the adapter’s connector housing. Refer to thewireconfiguration table for a description of each pin 159Mounting BatteriesWire Configuration Table Pins Signal Color Direction Description 1, 2, 3, 4 Batt Red To URSA 12 V to 20 V 5, 6, 9, 10 GND Black – – 7 Monitor0 Blue To URSA Analog battery level or open drain data line (20 V max) 8 Monitor1 Green To URSA Open drain clock line (3.4 V max) 12 +12 V out Orange From URSA 12 V regulated output 1.5 A max (18 W) 11 EnableN White To URSA Connect to GND to enable +12 V out. Leave floating if +12 V out is not required. Each Batt and GND pin supports 3 amps. Make sure all Batt and GND pins are connected. Tomonitor the battery status using Anton Bauer, IDX, or Blueshape plates, follow the connection table below: Anton Bauer Connect the blue/white striped wire to the housing blue wire at pin 7. IDX Connect the green wire to the housing green wire at pin 8, and the gray wire to the housing blue wire at pin 7. Blueshape Connect the blue wire labelled “SMBC” to the housing green wire at pin 8. Connect the brown wire labelled “SMBD” to the housing blue wire at pin 7. Secure any unused wires by cutting them as close as possible to the rear of the adapterconnector. 160Mounting BatteriesBlackmagic Fiber Converters Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter are optional accessories that provide a SMPTE fiber connection between your URSA Broadcast G2 or URSAMini camera and an ATEM switcher. SMPTE fiber lets you connect all video, power, talkback, tally and camera control signals between an ATEM switcher and your camera using one single industry standard SMPTE hybridfiber optic cable. Using a SMPTE fiber connection greatly reduces the amount of cables required, which helps makes the production setup more efficient and simpler to run. Thestandard connectors on Blackmagic Studio Fiber Converter allow you to easily add the fiber converters into an existing broadcast truck infrastructure. Blackmagic Camera Fiber Converter Mounts to the back of your URSA Mini or URSABroadcast G2 and connects to the Blackmagic Studio Fiber Converter via astandard SMPTE hybrid 304 connector. Blackmagic Studio Fiber Converter This converter converts the optical fiber SDI signal from the camera unit to SDI via BNC, which is then connected to an ATEMswitcher. The converter also takes all return feed sources, including program return from the ATEM switcher, and sends them back to the camera unit. The Blackmagic camera and studio fiber converters connect via optical fiber to provide efficient SDI video, power, talkback, tally and control signals via a single SMPTE fiber optic cable. 161Blackmagic Fiber ConvertersGetting Started with BlackmagicFiberConverters Getting started is fast and efficient. It won’t take long before you are producing video content and enjoying the benefits of SMPTE fiber. About SMPTE Fiber SMPTE fiber cables provide you with a simplified way to carry multiple signals as well as power, over long distances. This is useful in broadcast scenarios, as you don’t need to connect several cables for each camera that is connected to your switcher. With a SMPTE 311 hybrid fiber optic cable, you can use one single industry standard optical fiber cable to connect each camera to your ATEM switcher, and provide all video, power, talkback, tally and control signals along one cable. With optical fiber you can also carry these signals and power over longer distances up to 2 kilometers. NOTE  The male and female ends of a SMPTE 311 hybrid fiber optic cable can be identified by looking for the male and female pins inside the tip of the SMPTE 304 connector. The gender of the connectors is not determined by their outward appearance. SMPTE 311 hybrid fiber optic cable with male and female SMPTE 304 connectors 162Getting Started with BlackmagicFiberConvertersTIP Connect the rubber cap from each end of the SMPTE fiber cable into the rubber cap on each converter to prevent any dust or debris from entering the caps. One of the main benefits of using a SMPTE fiber connection is to connect to the control room or broadcast truck in a traditional live broadcast environment. Most modern sporting stadiums already have optic fiber cables installed between camera positions and the control room or broadcast truck, so this means you can plug directly into these systems. The optic fiber cable used to connect to an existing fiber system, or to connect the two Blackmagic fiber converters together, is a SMPTE 311 hybrid fiber optic cable with SMPTE304connectors. Protecting SMPTE Connectors It is very important that the SMPTE fiber cable’s connectors are always protected by their rubber caps. This is because minute dust particles can collect very quickly on the polished ends of the glass fiber tubes which can interrupt signal flow. The best practice is to immediately replace the rubber cap as soon as a connector is exposed. For example, immediately prior to connection, and immediately after disconnection. It’s also a good idea to connect the rubber cap from each end of the SMPTE fiber cable into the rubber cap on the converters whilst in use, to prevent any dust or debris from entering the caps. Plugging in Power Power from the studio unit is sent through the fiber cable to the camera unit, therefore the first step to connecting power is to power the studio unit. Powering the Studio Fiber Converter Plug a standard IEC power cable into the power connector on the studio unit’s rear panel. Connect power to your studio fiber converter via a standard IEC power cable To turn the unit on, set the power switch on the front control panel to the ‘on’ position. 163Getting Started with BlackmagicFiberConvertersConnecting SMPTE Fiber The next step in getting started is to connect the SMPTE fiber cable between the studio fiber unit and the camera unit. This provides power from the studio unit to the camera unit, and fiber for all video feeds. NOTE  Extensive safety checks are initiated whenever a powered hybrid fiber optic cable is plugged into the converter and the power safety of the unit is continually monitored during use. Connecting the Fiber Cable to the Studio Unit The male end of the SMPTE fiber cable’s locks securely onto the female fiber connector on the front panel of the Blackmagic Studio Fiber Converter. This is a secure lock ensuring that the cable is not accidentally disconnected during broadcast. To connect the cable: Align the red indicator on the cable connector with the red dot on the unit’s fiber connector, and plug the connector in until it securely clicks into place. Plug the male end of the SMPTE fiber cable into the female connectoronthe front of Blackmagic Studio Fiber Converter To disconnect the cable: Push the metal base of the studio unit’s fiber connector towards the front panel and remove the cable connector. Push the metal base of the studio unit’s fiber connector towards the front panel to disengage the cable connector allowing you to pull the cable away from the unit. 164Getting Started with BlackmagicFiberConvertersOnce plugged in, it is a good idea to connect the rubber cap from the end of the SMPTE fiber cable into the rubber cap from the Blackmagic Studio Fiber Converter. This will prevent any dust or debris from entering the caps, and ensure that the caps remain clean. Connecting the Fiber Cable to the Camera Unit The female end of the SMPTE fiber cable locks into the male connector on the side of Blackmagic Camera Fiber Converter, ensuring that the cable is not accidentally disconnected during broadcast. To connect the cable: 1 Align the red indicators on each connector, and plug the cable connector into the camera unit’s connector until it securely clicks into place. 2 Once plugged in, it is a good idea to connect the rubber cap from the end of the SMPTE fiber cable into the rubber cap from the Blackmagic Camera Fiber Converter. This will prevent any dust or debris from entering the caps, and ensure that the caps remain clean. Align the red indicators to connect the SMPTE Hybrid Fiber Optic cable tothe large connector on the Blackmagic Camera Fiber Converter NOTE  The SMPTE 304 connectors on the SMPTE 311 cable are very durable and lock firmly to the camera. If you need to disconnect the cable, please ensure that you have the camera firmly attached to a tripod head or are bracing the camera with your spare hand while trying to disconnect the cable. To disconnect the cable: 1 Pinch the top section of the female end of the cable, and compress the rubber sheath around the cable, pulling it gently away from the tip of the cable until you can see the red ring under the sheath. This will detach the teeth from the locking mechanism. 2 Put one hand on the camera to brace it gently, and pull the cable away from the connector on the Blackmagic Camera Fiber Converter. The cable should disconnect easily without the need for excessive force. 165Getting Started with BlackmagicFiberConvertersPinch the rubber around the tip of the cable to reveal the red ring below, then pull the cable to disconnect NOTE  The SMPTE hybrid fiber cable is the heart of the broadcast ecosystem, so it iscrucial that great care is taken. For example, avoid kinks in the cable, always preventthe cable from being pressed under heavy items, and avoid bending at 90degree angles. Avoid dropping the connectors and take care when connecting and disconnecting. Always cap the connectors as soon as they are exposed. Confirming Power and Fiber The two units will now establish a handshake process to determine that power is being supplied safely and fiber is securely connected. This process involves the following: 1 The studio unit establishes a low power state with the camera unit. This is shown by the camera unit’s red power status indicator. 2 Once power is determined as safely connected, a high power state is established and the camera unit’s power indicator will illuminate green. 3 The fiber connection is confirmed and the fiber status indicator will illuminate green. This is usually very fast and the indicators can turn green almost immediately. If you are using acable over greater distances, the handshake process can take a moment longer before indicators illuminate green. If the power light remains red for an extended period of time and does not turn green, or flickers between red and green, check that both ends of the fiber cable are securely connected. If the interruption persists, check the condition of your fiber cable. 166Getting Started with BlackmagicFiberConvertersPower Safety Considerations The SMPTE hybrid fiber optic cable is capable of carrying high voltage over long distances so that you can power a camera and accessories that are located up to 2kmaway. To ensure safe operation, your Blackmagic Studio Fiber Converter has safety mechanisms built in to ensure accurate monitoring and automatic management of the voltage being carried. A dedicated micro controller along with internal handshaking and communication between the Blackmagic fiber converters ensure that a hybrid fiber optic cable remainsoff until it is plugged into the Camera Fiber Converter. It then goes into a low power state and completes safety checks before going into high power mode. High voltages are not enabled until the converters ensure that an optical signal is present, there is a 5mA signal core current loop, and there is less than 30mA of imbalance between the power cores. Connecting to an ATEM Switcher How to connect Blackmagic Studio Fiber Converter to your switcher: 1 Connect a BNC cable from Blackmagic Studio Fiber Converter’s rear 12G-SDI output to one of the SDI inputs on your switcher. Ensure your camera is set to use the same format and frame rate as your switcher. 2 Connect a BNC cable from your program return feed output on your switcher to the ‘return in’ 1 input on the studio unit’s rear panel. TIP When using multiple cameras in a live production, you may need to run the program return feed from the switcher through a Teranex Mini SDI Distribution 12G or a Smart Videohub. That is because there are a set number of program outputs on the switcher and you will likely need access to more. 3 If you require any other return feeds to be sent to your camera such as a clean program return feed, a teleprompter feed, an ISO feed from another camera, graphics or any other signal then plug these into ‘return in’ 2 or 3. Plug the program return feed from the switcher and other return sourcesinto the ‘return’ inputs on the studio unit’s rear panel 167Getting Started with BlackmagicFiberConvertersConfirming Video You can now check that video is working and all return feeds are present. 1 Ensure the ATEM switcher’s program output is connected to the studio unit’s SDI return input 1. 2 If you want to check all return feeds, plug video sources into SDI return inputs 2 and 3. 3 Now plug an SDI monitor, such as a Blackmagic SmartView 4K, into the ‘SDI out’ on the side panel of the camera unit. With a monitor connected to the SDI output, rotate the corresponding selection knob next to the return button to switch between all three return feeds. You can set the two return buttons to monitor two different return feeds if you want to. Switch between the return feeds on the camera unit and press the corresponding return button to view the selected feed on a monitor To confirm video, plug video sources into the return feed inputs on the studiounit,then view them on a monitor connected to the camera unit Why Connections on the Front? The fiber connection is located on the front of the studio unit so it can become the optical patch connection in the rear of a rack. Typically, the studio converter will be installed facing the rear of a rack so the SMPTE cables can be plugged direct into the unit. This means there is no need for extra rack patch panels and the cost of an extra short cable to the fiber unit. The large LCD next to the SMPTE fiber connector lets you quickly verify a good connection to the camera. 168Getting Started with BlackmagicFiberConvertersPlugging in Camera SDI Connecting video signals between your Blackmagic Camera Fiber Converter and URSA Broadcast G2 or URSA Mini, is as simple as connecting two of the three included SDI cables from theside of your converter to the rear of your camera. How to connect your Camera Fiber Converter to your camera 1 Connect one of the included BNC cables from Blackmagic URSA Broadcast G2 or URSAMini’s rear 12G-SDI output to the SDI input on Blackmagic Camera Fiber Converter. 2 Connect one of the included BNC cables from the SDI output on Blackmagic Camera Fiber Converter to the 12G-SDI input on Blackmagic URSA Broadcast G2 or URSA Mini’s rear panel. Plugging in Return SDI Outputs The three SDI outputs marked ‘SDI Out’ on the front of the camera unit are loop outputs of the return feeds coming from the switcher. These let you connect the return feeds to other SDI equipment near the camera, for example a teleprompter or talent monitor. The three return feed loop outputs can be connected to SDI equipment near the camera, for example a teleprompter or monitor NOTE  The return feed SDI loop outputs support 3G-SDI to provide enough bandwith for three separate feeds. This means Ultra HD return feeds from the switcher up to 2160p60 are down converted to 1080p at the equivalent frame rate. Mounting BlackmagicCamera Fiber Converter Blackmagic Camera Fiber Converter mounts to the back of URSA Broadcast G2 and URSA Mini directly behind the camera body, and connects to your camera’s rear SDI in and SDI out BNCconnectors. If you have installed a battery plate to the rear of your camera, you will need to remove it before connecting the Blackmagic Camera Fiber Converter. 169Getting Started with BlackmagicFiberConvertersNOTE  Before installing Blackmagic Camera Fiber Converter you should check that URSA Mini’s internal software is version 4.4 or above and URSA Broadcast G2 is 4.6 or above. You can check your software version on page 4 of the camera’s ‘setup’ menu. For more information on updating your camera firmware see the section ‘Blackmagic Camera Setup Utility’ in this manual. When attaching Blackmagic Camera Fiber Converter, you will need the following tools: 1 x phillips head screwdriver 1 x 2.5mm Hex driver To attach the Blackmagic Camera Fiber Converter to your URSA Broadcast G2 or URSAMini, you will need a large phillips head screwdriver and a 2.5mm Hex driver To mount and connect Blackmagic Camera Fiber Converter:

Ensure your camera is powered off. If using URSA Broadcast G2 or URSA Mini Pro, power it off by moving the power switch to ‘off’. Remove the battery plate or molex power cover plate, if attached, using a phillips head screwdriver.

Attach Blackmagic Camera Fiber Converter’s mounting bracket using 6 x 2.5mm Hex screws. Plug the molex connector on Blackmagic Camera Fiber Converter into the molex power socket on your camera’s rear panel. 170Getting Started with BlackmagicFiberConverters5

Slide the Blackmagic Camera Fiber Converter onto the mounting bracket, and attach it using 2x2.5mm Hex screws on each side of the bracket. Use the included BNC cables to connect the SDIoutput on the back of your camera to the SDIinput on Blackmagic Camera Fiber Converter, and the SDI output from the fiber converter to the SDIinput on the rear of your camera. NOTE  When setting up your production and using URSA Broadcast G2 or URSA Mini with the fiber unit attached, it’s important to maintain some clearance underneath the fiber unit to allow adequate ventilation. As your camera will often be used on a tripod, or shoulder mounted, clearance will already be provided. However, if you are operating the unit sitting flat on a surface it is a good idea to attach the URSA Mini shoulder pad, or third party baseplate or bridge plate as this will maintain the cooling fan’s air flow in the underside of the FiberConverter. 171Getting Started with BlackmagicFiberConvertersAttaching the URSA Studio Viewfinder The attached V-lock plate on the top of the unit lets you connect a Blackmagic Studio Viewfinder. This positions the studio viewfinder directly at the eye level when the camera ismounted on a pedestal or tripod. The V-Lock mount on the top of the camera unit lets you mount the Blackmagic URSA Studio Viewfinder Plugging in a Talkback Headset Plug a broadcast headset into one of the two 5 pin XLR connectors on the front of the cameraunit. Having two headset connectors allows two people to communicate with crewsimultaneously. That’s all there is to getting started! With the fiber converters powered and video connected viaSMPTE fiber, you can start using the converters to create your live production with greater flexibility and efficiency. Please continue reading the manual for more information on how to use all the features on your Blackmagic fiber converters. 172Getting Started with BlackmagicFiberConvertersOperating the Camera Fiber Converter Selecting a Return Feed The two return buttons on the front panel can be used in the same way as the PGM button onthe camera, to switch the feed on the LCD, Blackmagic URSA Studio Viewfinder and HDmonitoring outputs between the camera view and program return view. The two return buttons marked ‘ret 1’ and ‘ret 2’ switch between two chosen return feeds. Thethree way rotary switches next to the ‘ret 1’ and ‘ret 2’ buttons assign which return feed you would like to view when you press the corresponding button to the left of the switch. Thesepositions on the rotary switch relate to the ‘return in’ 1, 2 and 3 SDI connectors that are on the back of the Studio Fiber Converter. The return buttons and three way rotary switches allow you to select which return feed to view when the return buttons are pressed Press and hold one of the return buttons to see the selected program feed. The program feed will continue to display whilst the return button is being held. Double press the return button to lock the display to the return feed. Pressing the return button again will exit the return feed and return to the camera view. This means you can quickly and easily adjust which of the three return feeds being sent from Blackmagic Studio Fiber Converter you would like to have fast access to on the two return buttons. For example the three return feeds might be the switcher’s program output feed complete with graphics, a teleprompter feed and a feed direct from another camera. By using these switches you could assign ‘ret 1’ to be your program feed permanently and then use the second ‘ret 2’ button to check what is being sent to the teleprompter, and to occasionally switch it to check framing on another camera when you need to match its framing or angle. There are also return buttons on the left side of the unit, marked ‘ret 1’ and ‘ret 2’ that provide additional access to view the return feeds when operating your camera from the side. They perform the same function as the return buttons on the front of the unit. 173Operating the Camera Fiber ConverterUsing the Call Button Next to the return buttons is a ‘call’ button, that when pressed, flashes the red tally indicator onyour Blackmagic Studio Fiber Converter’s LCD screen. The ‘call’ button also makes a numbered ‘press to talk’ button on the panel of ATEM Talkback Converter 4K flash red. Thesevisual indicators are to alert people in the control room that you need assistance. Using Talkback The two female 5 pin XLR connectors allow you to plug in two headsets, so that you and another crew member can have communication with the rest of the crew simultaneously. The intercom controls for each headset are grouped into two sets for two independent intercoms, and are effectively three way audio mixers for each headset XLR connector that is directly below. The intercom controls for each headset are located directly above each headset connection You will hear the audio from the feeds that you have selected for ‘ret 1’ and ‘ret 2’ through a connected headset. The ‘pgm 1’ and ‘pgm 2’ dials adjust the audio levels of those feeds, and the ‘incom’ dial adjusts the overall volume. The ‘mic’ switch allows the operator to turn their headset microphone ‘on’ or ‘off’. Each intercom also has 2 selectable channels, a production channel and an engineering channel. This means that for broadcast setups with a large crew, you can split your crew communications 174Operating the Camera Fiber Converterbetween the two channels. The production channel lets you communicate with the director, producer and other crew members in the control room or broadcast truck, whilst the engineering channel lets you communicate with the lighting crew, technical operators and other camera operators. You can use the ‘talkback’ page in the menu of your Blackmagic Studio Fiber Converter to select the source for each channel as ‘SDI + DB25’ or ‘intercom tally DB25’ on your Studio Fiber Converter. For more information refer to the ‘operating the studio fiber converter’ section. The Blackmagic Camera Fiber Converter also includes a standard 10 pin connection for tracker talkback, which is perfect when both headset connections are in use and you need to feed an additional talkback connection for your crane operator. TIP Effective two-way communication between camera operators and the production and engineering crew is essential for busy broadcast and studio productions. Blackmagic Camera Fiber Converter has a ‘call’ button so camera operators can alert production and engineering crew and talk via their intercom headsets. Pressing this button flashes a numbered ‘press to talk’ button on ATEM Talkback Converter 4K, and makes the tally indicator on the LCD of Blackmagic Studio Fiber Converter flash. Likewise, if crew in a control room or broadcast truck have an urgent need to talk with a camera operator, they can press the ‘call’ button for that camera on the ATEM Camera Control panel. This makes the tally light on the Camera Fiber Converterflash and the tally light on the camera’s URSA Viewfinder or URSA StudioViewfinder flash. Using Tally The tally indicator on the front of the panel, provides a traditional tally indicator with red for program and green for preview, so that you know when the camera you are operating is on air. Status Indicators The ‘power’, ‘tally’ and ‘fiber’ status LEDs at the top of the converter will illuminate different colors depending on the status of the unit. When the fiber cable is unplugged, no lights areilluminated. The status LEDs will illuminate different colors to let you know the status of the unit 175Operating the Camera Fiber ConverterBelow is a description of each LED color, LED action, and the status represented: Power Constant Red When the SMPTE hybrid fiber optic cable is connected to a powered Blackmagic Studio Fiber Converter, and the other end of the cable is connected to Blackmagic Camera Fiber Converter, the power LED on the converter turns red to indicate that it is receiving power, and is in a low power state. In this low power state, intercom functionality is enabled but the full power required to operate the unit has not yet been enabled. If the power LED remains red for an extended period of time and does not turn green, check that both ends of your SMPTE hybrid fiber optic cable are securely connected. If the connection remains unstable, check the condition of your fiber cable. Constant Green After a successful fiber connection has been established and Blackmagic Studio Fiber Converter has determined that the cable connection is safe, the power LED will turn green and the camera converter will enter high power mode. Flickering between Red and Green If the power LED flickers between red and green, check that both ends of your SMPTE hybrid fiber optic cable are securely connected. Ifthe connection remains unstable, check the condition of your fiber cable. Tally Constant Red The tally LED illuminates red to indicate that the camera you are operating is currently on air. Constant Green The tally LED illuminates green to indicate that the camera you are operating is currently in preview mode. Fiber Constant Red When the SMPTE hybrid fiber optic cable is plugged into the camera fiber converter, the fiber LED will turn red to indicate that the handshake process has begun, and the converter is in a low power state. In this state, intercom functionality is enabled for use while setting up or for troubleshooting the camera chain in case the fiber link is down. Constant Green Once a successful SMPTE hybrid fiber optic cable connection is established, the fiber LED will turn green. Once both the power and fiber lights are green, this indicates that the safety checks have been completed, and the converters have entered high power mode. Audio Inputs Your Blackmagic Camera Fiber Converter has two XLR inputs labelled ‘1’ and ‘2’ that allow you to plug in external analog audio from professional equipment such as audio mixers, PA systems or external microphones. Use the he XLR input assign switch to select the audio input type you have connected, and enable phantom power if required 176Operating the Camera Fiber ConverterThe camera audio is embedded into channels 1 and 2 of the camera feed, and the 2 audio inputs on the back of the camera fiber converter are embedded as channels 3 and 4. All 4 audio channels are also deembedded at the other end on the studio fiber converter as analog audio outputs. The ‘audio’ page in the menu of your Blackmagic Studio Fiber Converter lets you adjust the input levels for audio sources connected to the XLR inputs on your Blackmagic Camera Fiber Converter. For more information refer to the ‘operating the studio fiber converter’ section. Onceconnected, you can use the XLR input assign switch to set how the XLR inputs behave when selected as an input source. The options available are mic audio, line level audio and AESdigital audio. If you would like to connect microphones that aren’t self powered, you can enable 48V phantom power. Move the phantom power switch to ‘+48V’ to enable phantom power for any microphone connected to the XLR below, or ‘off’ to disable phantom power. IP Video A connected SMPTE Fiber cable provides for a 10-Gbit IP link between your Camera Fiber Converter and the Studio Fiber Converter. This allows all of your video and return feeds to be IPvideo based using high end, visually lossless broadcast quality 10-bit video encoding and decoding. All other connections such as talkback, tally, camera control and lens control are alsoconverted to low-latency IP so you get incredibly reliable performance. Power Specifications The Blackmagic Studio Fiber Converter provides power for Blackmagic Camera Fiber Converter, your camera and it’s accessories. A molex connector plugs into the molex socket on your camera’s rear panel to send power to your camera from the Camera Fiber Converter. If you need to position your camera at a distance of more than 2.1 km from the broadcast truck, and your camera and converter are not receiving enough power over the long cable run, you can power the camera and converter locally by having the 4 pin XLR from the camera’s power supply plugged into the +12V input on your URSA Broadcast G2 or URSA Mini. The power will be sent through the molex connector to the Camera Fiber Converter. The ‘+12V out’ connector, sometimes referred to as a ‘D-tap’ or ‘P-tap’ allows you to power accessories like an external monitor or a large box lens, with 12V DC nominal at up to 500 mA. The ‘DC out’ connector provides an additional option for powering accessories likean external monitor. 177Operating the Camera Fiber ConverterA pinout table for the DC out connector is provided below. DC out connector Pinout Diagram External view Pins Signal I/O Specifications ‘DC out’ connector 1 Unregulated GND – GND for Unregulated Out 2 NC – No connection 3 NC – No connection 4 Unregulated Out Out 12V DC nominal at up to 500 mA. Additional Camera Controls When URSA Broadcast G2 or URSA Mini is being used as a studio camera, we have added camera controls on the fiber converter including iris and focus control, so you can control compatible lenses from behind the camera. This is helpful if you don’t have a camera control operator controlling the lens remotely. As a studio camera, URSA Broadcast G2 and URSA Mini still have the ability to record internally, so the record button lets you trigger internal recording on the camera. Light Turns on the backlight to illuminate the operation panel, so that all your controls can be seen easily when operating in a dark environment. Focus Pressing the button marked ‘focus’ will trigger the autofocus if you are using a lens that supports autofocus. Record Pressing the button marked ‘rec’ will trigger the recording when pressed, and will stop recording when pressed again. 178Operating the Camera Fiber ConverterIris If you are using a compatible active lens that allows control from the camera, you can open or close the iris using the ‘iris’ wheel. Rotate the wheel up or down to open or close the lens aperture. Operating the Studio Fiber Converter Selecting the LCD Source When powered on, your Blackmagic Studio Fiber Converter’s large LCD will display the feed from your camera. As the central base unit, the Studio Fiber Converter takes the program feed from your switcher plus all return sources, and feeds them to the Blackmagic Camera Fiber Converter via the SMPTE fiber cable. The built in LCD lets you monitor the camera feed and each source connected to the return feed inputs. It provides a heads-up type display with status information and audio meters. The overlays allow you to confirm the name and format of the source you are monitoring when switching between feeds On Air The red ‘on air’ icon will be displayed when the connected camera is being used in the program feed, and will remain blank when not on air. Format Displays the resolution and frame rate of the current source. Source Displays the current source name. Power Displays the current power status. ‘Low’ will be displayed with a red status light during connection to indicate a low power state and ‘high’ will be displayed with a green status light after the unit has entered high power mode. For more information, refer to the ‘status indicators’ section in the ‘operating the camera fiber converter’. Fiber Displays the current fiber status. ‘Connecting’ will be displayed with a red status light during the initial connection process and ‘connected’ will be displayed with a green status light once a successful SMPTE hybrid fiber optic cable connection is established. For more information, refer to the ‘status indicators’ section in the ‘operating the camera fiber converter’. 179Operating the Studio Fiber ConverterAudio Meters The peak audio meters display audio levels when using camera audio embedded into channels 1 and 2 of the camera feed. Channels 3 and 4 correspond with audio sources connected to the two XLR inputs on the back of your Blackmagic Camera Fiber Converter. The display is calibrated to dBFS units and features peak hold indicators which stay visible for a short time so you can clearly see the maximum levels reached. Using the Menu Pressing the up and down arrow buttons will scroll through the four possible sources ‘camera’, ‘return 1’, ‘return 2’ and ‘return 3’. Press the ‘menu’ button to enter the menu system and adjust your settings. The arrow buttons can then be used to navigate through the various menu screens and the options within each screen, whilst the ‘set’ button will confirm your selection. The settings in the menu are divided between ‘audio’, ‘talkback’ and ‘setup’ pages. Press the up and down arrow buttons to scroll through the four possiblesources and to navigate through the menu Audio The ‘audio’ page lets you adjust the input levels for audio sources connected tothe XLR inputs on your Blackmagic Camera Fiber Converter. 180Operating the Studio Fiber ConverterUse the arrow buttons to adjust the input level for eachXLR input and the ‘set’ button to set the level You can configure which audio channels from the Camera Fiber Converter get mapped to the embedded SDI and XLR outputs. The embedded audio channels from URSA Mini or URSA Broadcast G2 are on channels 1 and 2 by default. Line or Mic level XLR inputs that are plugged into the Camera Fiber Converter are mapped to channels 3 and 4 by default. You can adjust the output channel settings to change these mappings from their default settings. If either of the XLR inputs on the Camera Fiber Converter are set to AES, this expands your channel mapping options to include channel 5 and 6, which are sent on your embedded SDI output. Mapping the embedded XLR channels from the camera to output channel 1 and 2 Talkback Use the ‘talkback’ menu to select your program audio source and talkback source for the production and engineering channel. Set the talkback source to ‘SDI + DB25’ or ‘intercom tally DB25’ on your Studio Fiber Converter. You can also adjust the ‘headphone gain’ and ‘headset microphone gain’ for each intercom headset to account for the impedance levels of the headsets. The ‘phantom power’ settings let you switch on the phantom power being sent to the respective headset. Adjust the ‘sidetone level’ settings to let camera operators hear their own voice in their headset at a clear and comfortable level. 181Operating the Studio Fiber ConverterThe intercom section will be grayed out when nothing is connected totheXLR inputs and will display ‘connecting’ during connection Setup The ‘setup’ menu lets you configure the PTZ source, select the language for the menus, and select the type of SDI level return. Select the source of PTZ commands using the PTZ source setting. You can select from ‘SDI’ or ‘9-pin’, which correspond with the ‘return in’ SDI inputs and the DE-9 connector for PTZ on the rear of your Blackmagic Studio Fiber Converter. This means that you can control a PTZ camera’s pan, tilt and zoom on an ATEM switcher and send these PTZ commands to your Blackmagic Studio Fiber Converter via SDI. These commands will be sent along the SMPTE fiber cable to your Blackmagic Camera Fiber Converter, where they will be de-embedded and output via the DE-9 serial connector, for connection to a PTZ motorized head. You can also connect a PTZ controller to your Blackmagic Studio Fiber Converter via the DE-9 connector, to control a remote head at the camera end. 182Operating the Studio Fiber ConverterThe settings menu page provides the option to select ‘SDI’ or ‘9-pin’ as the source of PTZ commands The ‘language’ setting sets the language for the menus. Studio Fiber Converter supports 11 popular languages: English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. The language page will also appear on initial start up and after you update the internal software. The ‘12G SDI return’ option sets whether to down convert 12G program return signals to 3G Level A or 3G Level B. All 12G signals sent into return inputs on Studio Fiber Converter get down converted on their way to the Camera Fiber Converter. Rack Mounting the Studio Unit If you’re running multiple Blackmagic Studio Fiber Converters, you can use Blackmagic Studio Fiber Rack Kit to install your converters into a broadcast rack or road case. Using the rack kit, you can mount two studio units in a rack side by side, or fitted to either side. A blanking panel is supplied with the Studio Fiber Rack Kit to cover the empty side of the rack if you only want to mount a single unit. 183Operating the Studio Fiber ConverterYour Studio Fiber Converter is two rack units high, and is half the width of a standard rack shelf, so two Studio Fiber Converters can fit neatly side by side in a 2RU rack space. Blackmagic Studio Fiber Converters mounted side by side The supplied blanking plate can be used to cover an empty rack space if needed The Blackmagic Studio Fiber Rack Kit contains the following items: 2x Rack ears Attach rack ‘ears’ to the outside edge of Blackmagic StudioFiber Converter for mountingina rack. 1x Half rack width blanking panel The blanking panel has a mounting ear on one side so you can cover the empty rack space if you are installing a single unit. The illustration shows the ear on the right side. Simply rotate thepanel 180° to mount it to the other side. 2x Support brackets The T-shaped support brackets attach underneath the two Studio Fiber units where thetwo units meet at the front and the rear toprovide support. Screws 8 x M4 10mm Rack ear screws 4 x M4 8mm Blanking panel screws 5 x M3 5mm Support bracket screws 184Operating the Studio Fiber ConverterPreparing the Blackmagic Studio Fiber Converter for installation into a rack: 1 Position the blanking panel on one of the sides of your Studio Fiber Converter, depending on whether you would like the unit to sit on the left or right side of the rack shelf. The front face of the blanking panel should be parallel with the front panel of the unit. 2 Attach the blanking panel to the side of your Studio Fiber Converter near the front using three of the supplied blanking panel screws. 3 Use three of the supplied rack ear screws to attach a rack ear to the other side of your Studio Fiber Converter. With the rack ear and blanking panel attached, you can now install your converter into astandard two rack unit space using the mounting holes on both sides and standard rack screws. Preparing two Blackmagic Studio Fiber Converters for side by side installation into a rack: If you are mounting two converters side by side, you can attach them to each other using support brackets which secures them together so you can mount them more easily. To secure the two units: 1 Turn the two converters over so that they are upside down and placed side by side. Remove two rubber feet from the edges of each converter where they meet. 2 Attach the two supplied T-shaped support brackets to the base of the two Studio Fiber units at the front and the back where the two units meet, using the screw holes provided and the supplied support bracket screws. 185Operating the Studio Fiber Converter3 Turn the attached units back over and attach the rack ears to the outer edges near the front of both converters, using the supplied rack ear screws. Your converters are now ready to be installed into a rack using the mounting holes on both sides and standard rack screws. 186Operating the Studio Fiber ConverterCamera Unit Connections Connections are located on Blackmagic Camera Fiber Converter’s rear and side panels. When the connections are not in use, the rubber caps should be replaced to ensure weather sealing in rain and other outside environments. This is especially true for the SMPTE fiber connection, as dust particles can very quickly collect on the polished edge of the glass fibers which can disrupt signal flow. It’s always a wise choice to remove the caps on both the cable and unit connector immediately before connection, and then replace the caps immediately after disconnection. Camera Power Connection Power is primarily supplied to the camera unit and your camera from the studio converter via a SMPTE hybrid fiber cable. This also powers all accessories that may be attached to the camera, for example Blackmagic URSA Studio Viewfinder. However, you can also power the Blackmagic Camera Fiber Converter via the camera if your camera has its 12V XLR connector plugged into a power supply. This is not normally required, but is an option if you have your camera positioned further than 2 kilometers away from the studio unit where power may not be as reliable over the SMPTE fiber cable. PTZ Interface The DE-9 serial connector allows you to connect to a PTZ motorized head. For example, if your Blackmagic URSA Broadcast G2 or URSA Mini is attached to a camera crane using a pan, tilt, zoom head that is controlled remotely. You can select the source of PTZ commands being sent to your camera in the menu of your Blackmagic Studio Fiber Converter. The source of the commands can be set to the DE-9 connector on your Studio Fiber Converter or an SDI feed coming from an ATEM switcher. For more information refer to the ‘operating the studio fiber converter’ section. PTZ Interface 187Camera Unit ConnectionsTalkback Connection The two female 5 pin XLR connectors let you plug in two headsets, which allows two people to communicate via talkback simultaneously. For example, the camera operator’s headset can be plugged into the first XLR connector, and a crane operator or fellow crew member, such as a sound operator, could plug into the second XLR headset connector. A pinout diagram for the headset XLR connector is included below. Headset XLR Pinout Diagram External views Pins Signal I/O Description 5 pin XLR ‘headset’ connector 1 Intercom MIC (Y) GND The intercom mic input supports electret condenser mics and dynamic mics, which can be balanced or unbalanced. Pin 1 is the mic signal common, and pin 2 is the mic signal input for both types. With electret mics, a DC bias supply is also output via the same mic signal input pin. 2 Intercom MIC (X) In

4 Intercom left Out 5 Intercom right Out The corresponding intercom controls are located above each headset connection. For more information on how to use the intercom controls, refer to the ‘Operating the Camera Fiber Converter’ section. The intercom controls are used to mix Tracker Interface connector talkback audio levels 188Camera Unit ConnectionsTracker Interface The 10 pin ‘tracker’ connector provides a multiplexed output for talkback and tally signals, plusdata such as teleprompter information. This output is commonly used by support crew operating production equipment such as a camera crane. A pinout diagram is provided in this section if you want to build your own cable. Tracker Output Pinout Diagram External view Pins Signal I/O Specifications 10 pin ‘tracker’ connector 1 Tracker left Out Tracker output, -20 dBu unbalanced 2 GND (Talk) – GND for tracker talk 3 GND (Receive/PGM/tally) – GND for receive/PGM/tally 4 Tracker right Out Tracker output, -20 dBu unbalanced 5 Unregulated Out 12V DC (nom), 500mA (max) 6 GND (Unregulated) – GND for unregulated 7 Tracker talk (X) In Tracker talk 0 dBu /-20 dBu, high impedance balanced 8 Tracker talk (Y) In 9 G Tally Out On: 12V Off: high impedance (open) 10 R Tally Out On: 12V Off: high impedance (open) DC Connection You can power additional accessories, for example an external monitor, via the DC out connector. The DC out connector lets you power D-Tap Output additional accessories, such as a monitor or external recording equipment 189Camera Unit ConnectionsD-Tap Output The +12V output on the left side panel is often referred to as a ‘D-tap’ or ‘P-tap’ and lets you power accessories like a monitor or a large box lens. The output supports box lenses that require +12 Volts DC nominal at 2 amps. Reference Output and Operation The reference output can be used to connect a reference signal to your camera via a BNC cable. To connect a reference signal to your camera: 1 Connect the reference output from the Blackmagic Camera Fiber Converter, marked ‘REF OUT’, to the reference input on your camera marked ‘REF IN’ using one of the small SDI cables supplied with your camera fiber converter. 2 Set your camera’s reference setting to the reference input. A sync reference signal lets you genlock video equipment to a common reference, so all equipment shares the exact same timing. This means all video sources are synced and will switch smoothly. ATEM switchers have built in re-synchronizers, so if you are using Blackmagic cameras with an ATEM Switcher then you don’t need to worry about connecting a sync reference. The camera will lock to the incoming SDI program feed from the ATEM switcher, so all you need to do is make sure the ‘program’ input is selected in your URSA Broadcast G2 or URSA Mini’s reference setting on page two of the ‘setup’ menu. The re-synchronizing process will add a frame delay. If you want to reduce the latency of the re-synchronizing process within the ATEM, firstly apply a reference signal to the URSA Broadcast G2 or URSA Mini, then adjust the back timing so the line input is before the switch timing of the ATEM. To adjust the reference sync on the URSA Broadcast G2 or URSA Mini, enter the ‘setup’ menu and change the line number under ‘reference’. If you’re using an external reference signal, connect the reference output from thecamera fiber unit to URSA Broadcast G2 or URSA Mini’s reference input. 190Camera Unit ConnectionsStudio Unit Connections The rear panel of the Blackmagic Studio Fiber Converter provide SDI return feed and reference BNC connectors, intercom and tally DB-25 connector, PTZ 9 pin serial port, audio outputs, andEthernet. All SDI inputs support 12G-SDI for video formats up to Ultra HD 2160p60. 12G-SDI Output The two 12G-SDI outputs are for connecting the camera signal from the studio unit to any of your switcher’s camera SDI inputs. The second connector can be used to output the same signal to other video equipment, for example a Blackmagic Videohub router, SmartView monitor or a HyperDeck Disk Recorder. The 12G-SDI outputs allow for signals from 720p50 up to 2160p60 Return SDI Inputs The 12G-SDI return feed BNC connectors give you the option to plug in up to three return SDIfeeds. For example, the program feed from a switcher should be connected to return 1 and have a matched frame rate to that of your camera. Other sources like a second camera output, HyperDeck playback, or even a teleprompter can be connected to return feeds 2 and 3. If you are using an ATEM switcher, the program return connected to return 1 will also include tally, talkback, reference and camera control signals. 191Studio Unit ConnectionsThe return SDI inputs allow you to connect up to three return feeds from your switcher. These feeds will be fed to your camera so that they can be viewed by the camera operator, or fed out via SDI to other equipment. NOTE  If you connect Ultra HD to the return inputs, the Ultra HD video will be down converted to 1080p at the same frame rate, so the output from the camera unit will be HD. Down converting the Ultra HD return signals to HD allows for greater bandwidth so you can send multiple return sources. Reference Input and Output If you are not using an ATEM switcher and need to lock equipment to a common external reference signal, plug the externally generated signal into the reference BNC input. This sends the reference to the camera unit via the SMPTE fiber cable. The reference BNC output from the studio unit can be used to loop the reference source to other equipment. Use the ‘ref in’ connection to send traditional reference timing from other broadcast equipment to your camera Talkback Interface The DB-25 intercom and tally connector lets you connect to third party intercom and tally systems. A pin out diagram is provided below if you need to build a custom cable. Once you have wired up to the pins for engineering, production, tally or program audio input, you will need to set the menu accordingly on your Blackmagic Studio Fiber Converter. The external view of the 25 pin ‘intercom/tally’ connector 192Studio Unit ConnectionsTalkback Pinout Diagram Pins Signal Specifications

Engineering channel output 0dBu balanced

19 N/C – 20 N/C – 21 N/C – 22 N/C – 23 N/C – 24 Green Tally IN On = 5-24Vdc, Off= 0Vdc 25 Green Tally GND – PTZ Interface Both the studio unit and camera unit has a DE-9 connector so you can connect a PTZ controller at the studio end, and the remote head at the camera end. The PTZ commands are embedded in the SDI signal connected between the units via the SMPTE fiber cable. The settings menu on Blackmagic Studio Fiber Converter lets you select the source of PTZ commands that are sent to your Blackmagic Camera Fiber Converter. You have the option to select from the PTZ connector on the back of the Studio Fiber Converter or a program SDI feed coming from an ATEM Switcher instead. For more information, refer to the ‘operating the studio fiber converter’ section. 193Studio Unit ConnectionsPTZ Interface Pinout Diagram External view Pins Signal 9 pin ‘PTZ’ connector 1 GND 2 RS422 Tx- 3 RS422 Rx+ 4 GND 5 N/C 6 GND 7 RS422 Tx+ 8 RS422 Rx- 9 GND Audio Outputs The four XLR audio outputs on the studio unit give you the option to output the audio plugged into inputs 1 and 2 from your URSA Broadcast G2 or URSA Mini camera, and the two XLR audio inputs on the Camera Fiber Converter. Outputs 1 and 2 on the studio unit correspond to embedded XLR input channels 1 and 2 on URSA Broadcast G2 or URSA Mini by default. Outputs 3 and 4 on the studio unit correspond to XLR inputs 1 and 2 on the Blackmagic Camera Fiber Converter by default. You can use the menu to change these settings for mapping. For more information, see the ‘using the menu’ section. 194Studio Unit ConnectionsUpdating Internal Software From time to time Blackmagic Design releases updates that can enhance and enable features on your Blackmagic Fiber Converters. We recommend checking the Blackmagic Design website regularly to ensure your fiber converters are using the latest internal software. Update your Fiber Converters using the Blackmagic Camera Setup Utility software. The USB-C ports on the Blackmagic Fiber converters let you update their internal software. Updating Blackmagic Camera Fiber Converter Your Camera Fiber Converter will need to be powered when updating, so we recommend keeping the converter connected to URSA Broadcast G2 or URSA Mini during the update process. It’s important that you unplug the SMPTE Fiber cable from your Camera Fiber Converter, and power your camera via the supplied URSA camera Power Supply instead for consistent power. Blackmagic Camera Fiber Converter has a USB-C connector on the right side of the unit for updating its internal software. Connect your computer to this USB connector and launch Blackmagic Camera Setup Utility. You will be prompted to update if your computer detects that your Camera Fiber Converter is using an outdated version. Follow the on screen prompts to update your converter’s internal software. Updating Blackmagic Studio Fiber Converter Your Studio Fiber Converter will need to be powered when updating, so we recommend keeping the IEC power cable plugged into the power connector on the studio unit’s rear panel during the update process. Blackmagic Studio Fiber Converter has a USB-C connector on the front of the unit for updating its internal software. Connect your computer to this USB connector and launch Blackmagic Camera Setup Utility. You will be prompted to update if your computer detects that your Studio Fiber Converter is using an outdated version. Follow the on screen prompts to update your converter’s internal software. 195Updating Internal SoftwareInterchangeable Lens Mount Blackmagic URSA Broadcast G2 is shipped with its own custom B4 mount attached, as well as an additional EF mount. The interchangeable lens mount means you can also attach Blackmagic URSA Mini Pro PL or URSA Mini Pro F Mount kits to your camera. Lens mount kits are available from Blackmagic Design Resellers. NOTE A B4 mount is available for Blackmagic URSA Mini Pro but this is not the same as the B4 mount on URSA Broadcast G2 camera and is designed for a different sensor. Use only the B4 mount that originally came with your URSA Broadcast G2 camera. PL mount Broadcast B4 mount EF mount F mount With the ability to interchange four separate mounts, you have the freedom to use different lenses based on the type of assignments you’re working on. For example, the EF mount lets you use high quality stills lenses, the B4 mount is perfect if you want to use par-focal zoom lenses for electronic news gathering or wedding shoots, while the PL mount lets you use high end, robust cinema lenses designed for absolute precision and repeatable control. The F mount gives you access to a huge range of Nikon lenses manufactured from 1959 to today. Attaching each mount is as simple as unscrewing the original B4 mount and replacing it with the new mount. 196Interchangeable Lens MountRemoving the B4 Mount To remove the B4 mount, simply unscrew the five M3 Hex screws using a 2mm Hex driver. The B4 mount is removed by unscrewing the five M3 Hex screws and lifting the mount from the camera body. NOTE When removing the original B4 mount, make sure the shim underneath the mount always stays attached to your camera. Keep reading this section for details about the PL, B4, and EF lens mount kits and how to install each mount to your URSA Broadcast G2. Blackmagic URSA Mini Pro EF Mount The EF mount lets you attach EF stills lenses to your URSA Broadcast G2. The EF mount kit includes: 1x EF mount The EF mount lets you attach common EF stills lenses. 1 x Shim set The shim set includes the following thicknesses: 0.50mm 0.30mm 0.20mm 0.18mm 0.15mm 0.12mm 0.10mm 0.05mm 0.025mm 1x Baffle tool The baffle in the EF mount is not removable, however we have included a baffle tool in the EFkit as a spare item you can use if you also have the PL mount. 4 x 2mm Hex M3 x 18mm mount screws The four M3 x 18mm Hex screws are exclusive to the EF mount so you can keep the screws together with the respective mount. 197Interchangeable Lens MountTools Required When attaching the EF mount, you will need a 2mm Hex driver. While it’s not absolutely required, we recommend using a torque wrench able to accurately set a maximum torque of 0.45Nm to reduce the potential of over tightening the screws. 2mm Hex driver Attaching the EF Mount

Place Blackmagic URSA Broadcast G2 vertically ona solid, clean bench top toensure that the mount can be inserted vertically. If changing from the PL to the EFmount, ensure that you have removed thePL baffle before inserting the EF mount. Carefully place the Blackmagic URSA MiniPro EFmount onto the camerabody ensuring the reddot is at the 12o’clock position.

Loosely turn the four mounting screws until initial contact is made with the shoulder of the lensmount. Using the 2mm Hex driver, or torque wrench with 2mm Hex key, apply one full turn of pressure to mounting screw 1, followed by one full turn to screw 2, and repeat for screw 3 and then 4. Continue to apply one full turn to each screw in the sequence above until all screws have reached the maximum torque of 0.45Nm. NOTE When removing the EF mount, simply follow the instructions in reverse order from step 4 to step 1. 198Interchangeable Lens MountTo attach an EF mount lens: 1 Align the dot on your lens with the dot on the camera mount. Many lenses have a visual indicator, for example a blue, red or white dot. 2 Insert the lens into the mount and twist clockwise until it locks into place. 3 To remove the lens, hold down the locking button, rotate the lens counterclockwise until its dot or indicator reaches the 12 o’clock position, and gently remove. Attaching and removing an EF mount lens Blackmagic URSA Mini Pro F Mount With the Blackmagic URSA Mini Pro F Mount attached to your URSA Broadcast G2, you can use Fmount lenses. Nikon’s Fmount system stretches back to 1959, and F mount lenses are still made today. This means that with the Blackmagic URSA Mini Pro F mount, you have access to ahuge range of vintage and contemporary lenses. Use URSA Mini Pro F mount’s iris adjustment ring to smoothly change the aperture of F mount lenses. 199Interchangeable Lens MountIt’s worth noting that the F mount is a mechanical mount. This means it does not offer electronic focus or iris control. Instead, the F mount features a mechanical iris adjuster. This moves the iris pin present in most Nikon lenses to achieve smooth cine style iris adjustment. With an F mount mounted, simply move the iris adjuster on Blackmagic URSA Mini Pro F mount to achieve your preferred exposure. The red dot on the F mount and the markings on the iris adjuster let you mark iris settings to easily return to particular exposure or depth of field settings. NOTE When removing the F mount, simply follow the instructions in reverse order from step 4 to step 1. Nikon AF-D lenses When using Nikon AF-D series lenses, it is necessary to lock your lens aperture to its smallestsetting, such as f/22, to use the full range of Blackmagic URSA Mini Pro Fmount’s irisadjustment ring. Setting and locking AF-D lenses to their smallest aperture is easiest before mounting to your camera. The F mount kit includes: 1x F mount The F mount lets you attach commonFstills lenses. 1 x Shim set The shim set includes the following thicknesses: 0.50mm 0.30mm 0.20mm 0.18mm 0.15mm 0.12mm 0.10mm 0.05mm 0.025mm 4 x 2mm Hex M3 x 18mm mount screws The four M3 x 18mm Hex screws are used in the EFand F mount so it is best to keep the screws together with the respective mount. The F mount kit also comes with a full spare sets ofscrews in case the originals are misplaced. 200Interchangeable Lens MountTools Required When attaching the F mount, you will need a 2mm Hex driver. While it’s not absolutely required, we recommend using a torque wrench able to accurately set a maximum torque of 0.45Nm to reduce the potential of over tightening the screws. 2mm Hex driver Attaching the F Mount

Place Blackmagic URSA Broadcast G2 vertically on a solid, clean bench top to ensure the mount can be attached vertically. If changing from the PL to the F mount, ensure that you have removed the PL baffle before inserting the F mount. Carefully place the Blackmagic URSAMiniPro Fmount onto the camera bodyensuring the whitedot is atthe2o’clock position.

Loosely turn the four mounting screws until initial contact is made with the shoulder of the lens mount. Using the 2mm Hex driver, or torque wrench with 2mm Hex key, apply one full turn of pressure to mounting screw 1, followed by one full turn to screw 2, and repeat for screw 3 and then 4. Continue to apply one full turn to each screw in the sequence above until all screws have reached the maximum torque of 0.45Nm. 201Interchangeable Lens MountNOTE Because of the way URSA Mini Pro F mount works, a small number of F mount lenses are not compatible. These are Nikkor AF-S E series lenses, which do not offer mechanical iris control, andNikon PC-E tilt-shift lenses like the 24mm f/3.5D PC-E and 85mm PC-E. To attach a F mount lens: Attaching and removing a F mount lens on Blackmagic URSABroadcast G2 with the optional F mount fitted 1 Align the dot on your lens with the dot on the camera mount. Many lenses have a visual indicator, for example a blue, red or white dot. 2 Insert the lens into the mount and twist counterclockwise until it locks into place. 3 To remove the lens, hold down the locking button, rotate the lens clockwise until its dot or indicator reaches the 2 o’clock position, and gently remove. NOTE Blackmagic URSA Mini Pro F mount features a mechanical iris adjuster. To use older style F mount lenses with built in focus rings with this mount, your lenses aperture will need to be set and locked to its smallest setting, such as f/22. 202Interchangeable Lens MountBlackmagic URSA Mini Pro PL Mount Attaching the PL mount to your URSA Broadcast G2 lets you use high end precision cinema lenses and Super 16mm PL lenses for feature film and television production. The PL mount kit includes: 1x PL mount The PL mount is shipped with a protective dust cap. 1 x Shim set The shim set includes the following thicknesses: 0.50mm 0.30mm 0.20mm 0.18mm 0.15mm 0.12mm 0.10mm 0.05mm 0.025mm 1x PL baffle The PL mount baffle helps to control and direct the light entering the sensor. 1x Baffle tool Use the PL baffle tool to tighten the baffle in your camera. 5 x 2mm Hex M2.5 x 22mm mount screws The five M2.5 x 22mm Hexscrews are exclusive to the PLmount so you can keep the screws together with the respective mount. Tools Required When attaching the PL mount, you will need a 2mm Hex driver. While it’s not absolutely required, we recommend using a torque wrench able to accurately set a maximum torque of0.45Nm to reduce the potential of over tightening the screws. 2mm Hex driver 203Interchangeable Lens MountAttaching the PL Mount

Gently insert the PL baffle into the center of the lens mount and turn until it is finger tight. Use the wide end of the baffle tool to tighten the baffle slightly. You need just enough pressure to keep it in place.Ensurethe pins on the PL mount for Cooke/iTechnology are located at the 12o’clockposition.

Loosely turn the five mounting screws until initial contact is made with the shoulder of the lens mount. To access all five screws, you will need to rotate the PL locking ring, as some holes are obscured when the ring is either open or closed. Using the 2mm Hex driver, or torque wrench with 2mm Hex key, apply one full turn of pressure to mounting screw 1, followed by one full turn to screw2. Repeat for screws 3and 4, then 5. Continue to apply one full turn to each screw in the sequence above until all screws have reached the maximum torque of 0.45Nm. NOTE When removing the PL mount, simply follow the instructions in reverse order from step 4 to step 1. Don’t forget to remove the PL baffle and store it securely with the PL mount. To attach a PL mount lens: 1 Open your camera’s PL locking ring by rotating it counterclockwise until it stops. 2 Align one of the lens’ four flange notches with the locating pin on the camera mount. Be sure to align the lens for easy viewing of the lens marks. 3 Tighten the PL locking ring by rotating it clockwise. If attaching a PL lens with a servo unit to URSA Broadcast G2, you can also connect the 12 pin broadcast connector for servo control. 204Interchangeable Lens Mount4 To remove the lens, rotate the locking ring counterclockwise until it stops, then gently remove the lens by pulling it directly out from the camera body. There is no need to rotate the lens. Attaching and removing a PL lens Cooke Lenses /i Technology Support The optional Blackmagic URSA Mini Pro PL Mount available for URSA Broadcast G2 features four pins at the 12 o’clock position that are used to communicate with lenses featuring Cooke’s /iTechnology interface. The lenses that support this interface include lenses from Canon, Cooke, Fujinon, Leica and Zeiss. Thislets you record lens information in your clips’ metadata such as the lens model, focal length, aperture setting, focus distance and other lens specific information. When mounting a PLlens with Cooke /iTechnology to URSA Broadcast G2, make sure the lens pins align withthe mount pins at the 12o’clock position The information that is recorded as metadata via Cooke’s /i Technology interface canbe very helpful in post production and VFX. Knowing the lenses used in productionand their precise settings can be helpful in the event that the setup needsto be replicated at a later date. This detailed information can also be utilized by powerful applications such as DaVinciResolve and Blackmagic Fusion for a wide variety of advanced functions. Forexample, the recorded metadata can be used to simulate the specific lens in 3Dspace, or correct lensdistortions. PL Mount Servo Lenses URSA Broadcast G2 supports control of PL 35mm lenses with servo handgrips. When the lens is plugged in to the lens connector on the camera, URSA Broadcast G2 will provide power and control signals to your lens in the same way it does with B4 lenses. For more information refer to the ‘Using Servo Zoom Lenses’ section in this manual. 205Interchangeable Lens MountBlackmagic URSA Broadcast G2 B4 Mount The Broadcast B4 mount is the mount that your URSA Broadcast G2 camera originally ships with. Ifyou have removed the mount to fit the included Blackmagic URSA EF mount or optional URSA PL or F mount, follow these instructions to reattach your B4 mount. Tools Required When attaching the B4 mount, you will need a 2mm Hex driver. While it’s not absolutely required, we recommend using a torque wrench able to accurately set a maximum torque of 0.45Nm to reduce the potential of over tightening the screws. 2mm Hex driver Attaching the B4 Lens Mount

Place Blackmagic URSA Broadcast G2 vertically on a solid, clean bench top to ensure that the mount can be inserted vertically. Keeping the original .50mm shim in place, gently put the Blackmagic URSA Broadcast G2 B4 mount onto the camera body ensuring the red dot is at the 12o’clock position.

Loosely turn the five mounting screws until initial contact is made with the shoulder of the lens mount. Using the 2mm Hex driver, or torque wrench with 2mm Hex key, apply one full turn of pressure to mounting screw 1, followed by one full turn to screw2. Repeat for screws 3and 4, then 5. Continue to apply one full turn to each screw in the sequence above until all screws have reached the maximum torque of 0.45Nm. NOTE When removing the B4 mount, simply follow the instructions in reverse order from step 4 to step 1. 206Interchangeable Lens MountShimming Lens Mounts What is a Shim? Shims are thin disks of varying thickness that let you make fine adjustments to the distance between your lens and URSA Broadcast G2’s sensor. This distance is commonly known as the flange focal distance, and can change slightly due to variables such as lens age and the environmental conditions of your shoot. URSA Broadcast G2 Shim Shims are placed between the lens mount and the camera body so the distance from your subject to the sensor matches the focus marks on your lens. These are most commonly used forPL lenses. These cine lenses are manually focused and have very accurate focal distance markings on their barrels. Shims are also used for URSA Broadcast G2’s interchangeable lens mount. The Blackmagic URSA Mini Pro Shim Kit contains additional shim sets of various thicknesses, and can be purchased from your local Blackmagic Design reseller. A set of shims is also included with all mount kits and are compatible with URSA Broadcast G2. Use shim thicknesses depending on your back focus requirements. Blackmagic URSA Mini Pro Shim Kit Your URSA Broadcast G2 camera ships with two shims, a 0.10mm plastic shim and a 0.50mm metal shim. These shims set the proper focal distance for your URSA Broadcast G2 camera’s B4, EF, and F mount lenses. Very occasionally, you will need to use additional shims to suit PLlenses that require very specific clearances to maintain accurate focus marks. Blackmagic URSAMini Pro Shim Kit includes the following additional tools. Other thicknesses are included in the kit in case you need to re-shim your camera to suit PL lenses that may require slightly different clearances to maintain accurate focus marks. The shim kit includes: 1x Baffle toolUse the baffle tool to loosen or tighten the PL baffle when removing or attaching the PL mount to your URSA Broadcast G2. 1 x Shim setThe shim set includes the following thicknesses:0.50mm0.30mm0.20mm0.18mm0.15mm0.12mm0.10mm0.05mm0.025mm 207Shimming Lens MountsShimming mounts To shim your camera’s mounts you’ll need a torque wrench able to accurately set a maximum torque of 0.45Nm, with a 2.0mm Hex key and driver. Torque wrench

Place URSA Broadcast G2 vertically on a solid, clean bench top and remove your lens or dust cap. Thefilter covering the sensor will be exposed for the duration of the shimming process, so it’s important to keep the filter as clean as possible. Be careful not to touch the filter while shimming mounts. Remove the screws holding your mount in place using a 2.0mm Hex driver. For more information on removing particular mounts, see the ‘interchangeable lens mount’ section in this manual.

Carefully lift the lens mount away from the camera body. Keep the screws safely located close to the lens mount. Note the alignment of the existing shim with the alignment pin at the 11 o’clock position. 208Shimming Lens Mounts5 6 Add or remove shims to slightly change the depth of your mount. It is a good idea to start with a small shim thickness such as a 0.10mm. Place your lens mount onto the camera body, tighten screws and remount your lens and check if your lens focus marks are now in alignment with the focal distance. If not then continue steps 1 to 6, adjusting shimming a small amount at a time until your lens is hitting hits marks. URSA Mini Recorder Blackmagic URSA Mini Recorder is an optional module which attaches to the rear of URSA Broadcast G2. This recorder allows you to record footage, including 6K Blackmagic RAW files, tohigh capacity and inexpensive solid state drives, or ‘SSDs’. 209URSA Mini RecorderWhen attaching URSA Mini Recorder, you will need the following tools: 1 x phillips head screwdriver 1 x T10 torx screwdriver 1 x 2mm hex key driver To attach the URSA Mini Recorder to your URSA Mini you will need a large phillips head screwdriver, a T10 torx driver, and a 2mm hex key driver Mounting and connecting URSAMini Recorder URSA Mini Recorder mounts to the back of URSA Broadcast G2 directly behind the camera body, using your camera’s rear USB-C data port to pass data to and from URSA Mini Recorder. TIP URSA Mini Recorder features a passthrough cable for your camera’s battery power supply, so you can attach V-mount or gold mount batteries to the rear of the camera behind the recorder. 210URSA Mini RecorderTo mount and connect URSA Mini Recorder:

Power off URSA Broadcast G2 by moving the ‘power’ switch to ‘off’. Unmount any battery plates currently fittedto your camera. For more information on mounting and unmounting battery plates, see the section ‘mountingbatteries’ in this manual.

Attach URSA Mini Recorder’s mounting bracket using 6 x T10 torx screws. Plug the molex connector on URSA Mini Recorder into the molex socket on your camera’s rear panel.

Attach URSA Mini Recorder to the mounting bracket using 2 x T10 torx screws onthe left and right side of the brackets. Connect the Mini Recorder’s USB-C cable to the USB-C data port on the rear of URSA Broadcast G2. Tighten the locking connectors with your fingers, or use a 2mm hex key driver. 211URSA Mini Recorder7 If you want to use a battery plate with URSAMini Recorder, use a 2mm hex key driver to remove the four M3 screws holding the molex socket cover panel in place. Once the molex socket is uncovered, attach a battery plate using the steps outlined in the section ‘mounting batteries’ in this manual. Using URSA Mini Recorder When URSA Mini Recorder is connected and an SSD is loaded, the recorder occupies slot 3 in URSA Broadcast G2’s operating system. You’ll see an ‘SSD’ indicator over slot 3 on your camera’s storage manager when URSA Mini Recorder is in use. This means that recording, playback and storage management is exactly the same for SSDs as it is for CFast or SD cards. For general information on storage management, as well as specific instructions for choosing SSDs, see the ‘storage media’ section of this manual. Status LEDs URSA Mini Recorder has one status light on the left side for ‘SSD.’ The brightness of this indicator can be set to ‘low,’ ‘medium,’ ‘high’ or ‘off’ in your camera’s ‘setup’ menu. 212URSA Mini RecorderSSD The ‘SSD’ indicator shows the status of the SSD currently inserted. This LED provides the following status indicators: White Your URSA Mini Recorder will show a solid white light when powered on and communicating with your URSA Broadcast G2. Red Your URSA Mini Recorder will show a red light while it is recording to SSD. When the space on your SSD is running low the red light will begin to flash slowly. A fast flashing red light indicates that SSD is dropping frames. If this happens please check that you are using a disk from our recommended list of SSDs and that you are recording at a data rate that is compatible with your media. Orange If a problem has occurred while mounting the SSD the status light will go Orange. This may be the result of an improperly formatted or incompatible SSD. See the ‘storage media’ section in this manual for a list of compatible SSDs and formatting instructions. TIP If the ‘SSD’ LED indicates a drive mounting error it may need to be ‘initialized’ on a mac or PC using disk utility or disk management. Updating URSA Mini Recorder’s internal software Update your URSA Mini Recorder using the Blackmagic Camera Setup Utility software. The MiniRecorder will need to be powered when updating, so we recommend keeping the MiniRecorder connected to URSA Broadcast G2 during the update process. This also means your camera will need to supply consistent power, so be sure to plug into external power or battery pack. Connect your computer to the Mini Recorder with a USB-C cable and launch Blackmagic Camera Setup Utility. You will be prompted to update if your computer detects that your URSAMini Recorder is using outdated version. Follow the on screen prompts to update your URSA Mini Recorder’s internal software. Refer to the ‘Blackmagic Camera Setup Utility’ section in this manual for more information. TIP We recommend updating all your Blackmagic URSA equipment at the sametime foroptimized performance. 213URSA Mini RecorderUnderstanding Studio Camera Control Blackmagic URSA Broadcast G2 can be used as a studio camera and controlled from an ATEM switcher using the Camera Control feature in ATEM Software Control. This lets you add a camera with large sensor picture quality and amazing dynamic range to your broadcast studio and control it just as you would any studio camera. Clicking on the ‘camera’ button opens the camera control feature. Settings such as iris, gain, focus and zoom control are easily adjusted using compatible lenses, plus you can color balance cameras and create unique looks using the DaVinci Resolve primary color corrector. The ATEM switcher control works by broadcasting camera control packets via all the non down converted SDI outputs of an ATEM switcher. So this means you can connect an SDI output of an ATEM switcher to URSA Broadcast G2’s 12G SDI input, your camera will detect the control packets in the SDI link and allow you to control features in the camera itself. ATEM Camera Control NOTE When using Blackmagic URSA Broadcast G2 with your ATEM switcher, we recommend updating the internal software to the latest version on both units to ensure compatibility. The latest software can be found at the Blackmagic Design support center at www.blackmagicdesign.com/support. Connecting your URSA Broadcast G2 1 Connect your Blackmagic URSA Broadcast G2’s 12G-SDI Out to any SDI In on the ATEM switcher. 2 Connect any one of the ATEM switcher’s SDI outputs, except down converted or multi view outputs, to your URSA Broadcast G2’s 12G-SDI input. Camera control signals are not sent via the multi view and down converted SDI outputs. 3 On your URSA Broadcast G2, navigate to ‘ATEM Camera ID’ in the ‘setup’ menu and set your camera’s ATEM ID to match the switcher input. For example, if URSA Broadcast G2 1 is connected to Cam 1 on the ATEM switcher, the camera number must also be set to 1. This ensures tally is sent to the correct camera. 214Understanding Studio Camera Control4 In the ‘setup’ menu select your ‘reference source’. Unless you have a genlock signal being sent to all of your cameras and your switcher, we recommend setting ‘reference source’ to ‘program’ when attached to ATEM. 5 Navigate to the ‘monitor’ menu and ensure that you have selected ‘clean feed’ for ‘mainSDI’ to ensure that you don’t see overlays or the focus box on the SDI output to the ATEM switcher. Connect your URSA Broadcast G2 to any of the ATEM switcher’s SDI inputs Using Camera Control Launch ATEM Software Control and click on the ‘camera’ button located at the bottom of the software window. You’ll see a row of labeled camera controllers containing tools to adjust and refine each camera’s image. The controllers are easy to use. Simply click the buttons using your mouse, or click and drag to adjust. Camera Control Selection The button row at the top of the camera control page lets you select the camera number you would like to control. If you have more cameras that fit onto the window size, or you are running the color corrector window, then you can use these buttons to select between which camera you would like to control. If you are using an Aux output for monitoring your camera control, pushing these buttons to change the camera to control will also send that camera’s video output to the Aux output setup in the switcher preferences. Click on the settings icon to select theAuxoutput for camera control Channel Status The channel status at the top of each camera controller displays the camera label, On Air indicator and lock button. Press the lock button to lock all the controls for a specific camera. When on air, the channel status illuminates red and displays the On Air alert. 215Understanding Studio Camera ControlEach camera controller displays the channel status so you know which camera is on air. Use the color wheels to adjust each YRGB channel’s lift, gamma and gain settings Color Wheel The color wheel is a powerful feature of the DaVinci Resolve color corrector and used to make color adjustments to each YRGB channel’s lift, gamma and gain settings. You can select which setting to adjust by clicking on the three selection buttons above the color wheel. Master Wheel Use the master wheel below the color wheel to make contrast adjustments to all YRGB channels at once, or luminance only for each lift, gamma or gain setting. Reset Buttons The reset button near the top right of each camera controller lets you easily choose color correction settings to reset, copy or paste. Each color wheel also has its own reset button. Press to restore a setting to its default state, or copy/paste a setting. Locked controllers are not affected by the Paste feature. The master reset button on the top right corner of the color corrector panel lets you reset lift, gamma and gain color wheels plus Contrast, Hue, Saturation and Lum Mix settings. You can paste color correction settings to camera controllers individually, or all cameras at once for a unified look. Iris, focus, coarse and pedestal settings are not affected by the Paste feature. When applying Paste to all, a warning message will appear asking you to confirm your action. This is so you don’t accidentally paste new settings to any unlocked cameras that are currently on air. When applying Paste to all, a warning message will appear asking you to confirm your action. This is so you don’t accidentally paste new settings to any unlocked cameras that are currently on air 216Understanding Studio Camera ControlIris/Pedestal Control The iris/pedestal control is located within the cross hairs of each camera controller. The control illuminates red when its camera is on air. To open or close the iris, drag the control up or down. Holding the shift key allows only iris adjustments. NOTE When connected to ATEM ensure that you have Auto Exposure switched off. Ifyou require Iris, zoom or focus control ensure that you have a lens that can be controlled electronically by the camera. If you’re using a B4 or PL lens connected via the broadcast 12 pin connector on URSABroadcast G2, make sure the lens iris switch on the handgrip is set to ‘A’ or ‘auto’. To darken or lift the pedestal, drag the control left or right. Holding the command key on a Mac, or the Control key on Windows, allows only pedestal adjustments. The iris/pedestal control illuminates red when its respective camera is on air Zoom Control When using compatible lenses with an electronic zoom feature, you can zoom your lens in and out using the zoom control. The controller works just like the zoom rocker on a lens, with telephoto on one end, and wide angle on the other. Click on the zoom control, located above the coarse slider, and drag up to zoom in, or drag down to zoom out. If your lens does not have active lens control or your camera does not support zoom control via the SDI camera control protocol then these settings will have no effect. For example, EF lenses do not have built in servos that can zoom the lens electronically so will not be zoomable with ATEM camera control. NOTE Analogue B4 lenses do not support ATEM zoom control. For more information on analogue B4 lenses refer to the ‘using servo zoom lenses’ section 217Understanding Studio Camera ControlCoarse Setting The coarse setting is located to the left of the iris/pedestal control and is used to limit the iris range. This feature helps you prevent over exposed images from going to air. To set your coarse threshold, completely open the iris using the iris control, then drag the coarse setting up or down to set optimum exposure. Now when you adjust the iris, the coarse threshold will prevent it from going above optimum exposure. Iris Indicator The iris indicator is located to the left of the iris/pedestal control and displays a visual reference so you can easily see how open or closed the lens aperture is. The iris indicator is affected by the coarse setting. Auto Focus Button The auto focus button is located at the bottom left corner of each camera controller. Press to automatically set the focus when you have an active lens that supports electronic focus adjustments. It’s important to know that while most lenses support electronic focus, some lenses can be set to manual or auto focus modes, and so you need to ensure your lens is set to auto focus mode. Sometimes this is set by sliding the focus ring on the lens forward or backward. On B4 lenses with servo zoom control, you will need to set the switch at the bottom of the handgrip to ‘servo’. Click on the auto focus button or drag the manual focus adjustment left or right to focus a compatible lens Manual Focus Adjustment When you want to manually focus your lens using ATEM Camera Control, you can use the focus adjustment located at the bottom of each camera controller. Drag the wheel control left or right to manually adjust focus while viewing the video feed from the camera to ensure your image is nice and sharp. Manual focus control is only available from your switcher when using B4 and PL lenses with servo focus controls. As EF lenses do not have servo focus this option is not available when using EF lenses. Camera Gain When operating in varying light conditions, you might want to increase or decrease your camera’s gain to avoid under exposing your images. To do this click the left arrow to decrease gain and the right arrow to increase gain. 218Understanding Studio Camera ControlYour ATEM switcher will display gain in dB. This corresponds to the gain settings on your camera in the following way: Gain

+12 +18 The gain settings are displayed using dB indicators Shutter Speed Control Shutter speed control is used to change your URSA Broadcast G2’s shutter speed. The shutter speed control is located between the color wheel and the iris/pedestal control. Decrease or increase the shutter speed by hovering your mouse pointer over the shutter speed indicator and clicking the left or right arrow. Hovering your mouse pointer over the gain, shutter speed and white balance indicators reveal arrows youcan click on to adjust their respective settings NOTE As ATEM shutter speed control takes priority over the shutter speed selected on your URSA Broadcast G2, your camera’s shutter speed controls are disabled when connected to an ATEM switcher. The table below shows the available shutter speeds in shutter speed control and their equivalent shutter angles. It’s worth noting that some shutter speeds fall outside of URSA Broadcast G2’s minimum and maximum shutter angles of 11.25 and 360 degrees, respectively. Ifthis happens, the closest available shutter angle is used. When your URSA Broadcast G2 is connected to an ATEM switcher, the shutter speed setting is alsobe visible in your camera’s touchscreen status display. It is visible in an URSA Viewfinder ifattached. 219Understanding Studio Camera ControlShutter Speed Shutter Angle

• Shutter speeds outside URSA Broadcast G2’s shutter angle range use its closest available minimum or maximum shutter angle. TIP Decreasing shutter speed is a good way to brighten your images without using camera gain because you are increasing the exposure time of the image sensor. Thiscan also reduce or eliminate light flicker when shooting under fluorescent lights. Increasing shutter speed reduces motion blur and is best used for action shots when you want your images to be clean and sharp. White Balance The white balance setting next to the shutter speed control can be adjusted by clicking on the left or right arrows on each side of the color temperature indicator. Different light sources emit warm or cool colors, so you can compensate by adjusting the white balance. This ensures the whites in your image stay white. DaVinci Resolve Primary ColorCorrector If you have a color correction background, then you can change the camera control from a switcher style CCU interface to a user interface that’s more like a primary color corrector on apost production color grading system. 220Understanding Studio Camera ControlYour Blackmagic URSA Broadcast G2 features a DaVinci Resolve primary color corrector built in. Ifyou have used DaVinci Resolve, then creatively, grading in your URSA Broadcast G2 will be identical so you can use your color grading experience for live production. The color corrector panel can be expanded out of any camera controller and provides expanded color correction control with extra settings and a full primary color corrector interface. You have color wheels and settings such as saturation available and you can see shadows, midtones and highlight settings all at the same time. Simply switch between cameras using the camera selection controls at the top of the window as you need. TIP DaVinci Resolve color correction is applied to your URSA Broadcast G2’s SDI output and ProRes video recorded on camera. As RAW video is intended for extensive post processing, color correction is not applied to RAW video. When recording RAW video, however, color correction can still be applied to URSA Broadcast G2’s SDI output. Click on the DaVinci Resolve primary color corrector button to expand the color correction window and adjust settings Color Wheels The Lift/Gamma/Gain controls allow tonally specific yet overlapping regions of adjustment. Inphotographic terms lift, gamma and gain corresponds to shadows, mid tones and highlights. Use the color wheels in the following ways to make fine or aggressive adjustments: Click and drag anywhere within the color ring: Note that you don’t need to drag the color balance indicator itself. As the color balance indicator moves, the RGB parameters underneath change to reflect the adjustments being made to each channel. Shift-Click and drag within the color ring: Jumps the color balance indicator to the absolute position of the pointer, letting you make faster and more extreme adjustments. Double-click within the color ring: Resets the color adjustment without resetting the master wheel adjustment for that control. Click the reset control at the upper-right of a color ring: Resets both the color balance control and its corresponding master wheel. 221Understanding Studio Camera ControlLift, gamma and gain color wheels in the color corrector panel Master Wheels Use the master wheels below the color wheels to adjust each YRGB channels’ lift, gamma and gain controls. To make adjustments using the master wheel: Drag the master wheel left or right: Dragging to the left darkens the selected parameter of the image, dragging to the right lightens that parameter. As you make an adjustment, the YRGB parameters underneath change to reflect the adjustment you’re making. To make a Y-only adjustment, hold down the ALT or Command key and drag left or right. Because the color corrector uses YRGB processing, you can get quite creative and create unique affects by adjusting the Y channel only. Ychannel adjustments work best when the Lum Mix setting is set to the right side to use YRGB processing vs the left side to use regular RGB processing. Normally, most DaVinci Resolve colorists use the YRGB color corrector as you get a lot more control of color balance without affecting overall gain, so you spend less time getting the look you want. Adjust the master wheels by dragging the wheel control left or right Contrast Setting The Contrast setting gives you control over the distance between the darkest and lightest values of an image. The effect is similar to making opposing adjustments using the lift and gain master wheels. The default setting is 50%. Drag the sliders left or right to adjust Contrast, Saturation, Hue and Lum Mix settings 222Understanding Studio Camera ControlSaturation Setting The Saturation setting increases or decreases the amount of color in the image. The default setting is 50%. Hue Setting The Hue setting rotates all hues of the image around the full perimeter of the color wheel. The default setting of 180 degrees shows the original distribution of hues. Raising or lowering this value rotates all hues forward or backward along the hue distribution as seen on a color wheel. Lum Mix Setting The color corrector built into your Blackmagic URSA Broadcast G2 is based on the DaVinci Resolve primary color corrector. DaVinci has been building color correctors since the early 1980’s and more Hollywood films are color graded on DaVinci Resolve than any other method. This means the color corrector built into your URSA Broadcast G2 has some unique and creatively powerful features. The YRGB processing is one of those features. When color grading, you can choose to use RGB processing, or YRGB processing. High end colorists use YRGB processing because you have more precise control over color and you can independently adjust the channels with better separation and more creative options. When the Lum Mix control is set to the right side, you have the 100% output of the YRGB color corrector. When you have the Lum Mix control set to the left side, you get 100% output of the RGB corrector. You can set the Lum Mix to any position between the left and right to get a blend of output from both the RGB and YRGB correctors. Which is the correct setting to use? That’s up to you, as color correction is a pure creative process and there is no right and wrong, and the best setting is what you like the most and what you think looks good! Synchronizing Settings When connected, camera control signals are sent from the ATEM switcher to your Blackmagic URSA Broadcast G2. If a setting is accidentally adjusted from your URSA Broadcast G2, camera control will automatically reset that setting to maintain synchronization. TIP Even if you disconnect its 12G-SDI input, your URSA Broadcast G2 will keep using any image adjustments made with DaVinci Resolve color correction. This lets you change camera angles without needing to dial in your image settings again. To return your URSA Broadcast G2 to its default color settings, simply power cycle your URSABroadcast G2 after disconnecting its 12G-SDI input. 223Understanding Studio Camera ControlUsing DaVinci Resolve Shooting with your Blackmagic URSA Broadcast G2 is only part of the process of creating film and television content, and just as important is the process of media backup and management as well as editing, color correction and encoding final master files. Your Blackmagic URSA Broadcast G2 includes a version of DaVinci Resolve for Mac and Windows so you have a complete solution for shooting and post production! NOTE We recommend using the latest version of DaVinci Resolve for accurate color treatment of clips shot using URSA Broadcast G2. Version 17.3 or later will provide accurate color for URSA Broadcast G2 and the latest Blackmagic RAW features. After connecting your CFast, SD card or SSD to your computer, you can use DaVinci Resolve’s ‘clone’ tool, in the ‘media’ page, to create running backups as you shoot. This is recommended as any type of media is susceptible to becoming damaged or developing a fault so creating backups means your shots will be immune to loss. Once you have used DaVinci Resolve to backup your media, you can then add your clips to the DaVinci media pool, then edit, color correct, and finish your production without ever having to leave DaVinci Resolve. DaVinci Resolve is the same tool used on most major blockbuster movies, so it’s much more than a simple NLE software tool, as it has extremely advanced technology built in for high end digital film. You get the advantage of this technology when you use DaVinci Resolve to edit and color correct your work. Included here is information on how to get started using DaVinci Resolve with your camera files. Of course, DaVinci Resolve is extremely advanced and includes a lot more features than you immediately see when first looking at its user interface. To learn more about how to use DaVinci Resolve, please check for the DaVinci Resolve instruction manual on the Blackmagic website, where you can also find many training courses and tutorial videos. Project Manager Before you import your clips and start editing, you will need to set up your project using the project manager. The project manager is the first screen you will see when launching DaVinci Resolve, but you can open the manager at any time by clicking on the ‘home’ icon at the bottom right of the user interface. This is helpful when you want to open previous projects and create new ones. 224Using DaVinci ResolveTo create a new project, click on ‘new project’ at the bottom of the window and give your project a name. Click ‘create’. Using the ‘cut’ page, you can start working on your edit immediately. The project manager shows all projects belonging to the current user For more information about the Project Manager, refer to the DaVinci Resolve manual which is available to download on the Blackmagic Design website support page. Editing with the Cut Page The ‘cut’ page gives you a fast, dynamic editing workflow that lets you quickly assemble, trim and edit clips efficiently. Two active timelines let you work with your entire edit plus a detailed area simultaneously. This means you can drop clips anywhere on a large timeline, then refine your edit in a detailed timeline within the same workspace. Using this workflow, you can edit on a laptop without needing to zoom in and out and scroll as you work, which can be an enormous time saver. The Cut Page Layout When you open the cut page, you will see the media pool, viewer window and timeline. These three primary windows give you complete control over your edit. The Cut page default workspace, with the Media Pool in icon view 225Using DaVinci ResolveFor more information on the Cut page, see the ‘The Cut Page’ chapter in the DaVinci Resolve manual. Media Tabs At the top left corner of the user interface you will see five tabs. Click on these tabs to open the media toolsets you will use when creating your edit. For example, the first tab is the media pool and you can see it is already selected. The other tabs are for the sync bin, media transitions, titles and effects. Media Pool: The media pool contains all your clips, folders and files you imported using the media page. You can also import files directly from the cut page, so you don’t have to go back to the media page if you want to import a new clip. Sync Bin: This powerful feature automatically syncs all your clips via timecode, date and time so you can choose angles from all cameras on a multi camera project. Transitions: If you click on the neighboring transitions tab, you will see all the video and audio transitions you can use in your edit. These include common transitions such as cross dissolves and motion wipes. Titles: Next to transitions is the ‘titles’ tab. Here you can select the title type you want to use. For example a scroll, standard text or lower thirds title. There are also a list of Fusion templates you can use for more animated dynamic titles which can be customized in DaVinci Resolve’s ‘Fusion’ page. Effects: The fifth tab is the ‘effects’ tab. This provides all the different filters and effects you can use to bring more life to your edit, for example customizable blurs, glows and lens effects. There are many powerful effects to choose from and you can find them quickly using the search tool. 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. Viewer Tabs In the top left corner of the viewer window you will see the viewer mode buttons. The viewer mode buttons These buttons control which viewer is currently being used, including ‘source clip’, ‘source tape’, and ‘timeline’. These viewer modes give you an enormous amount of control when selecting clips for your edit and it’s worth spending a moment to look at how they work. 226Using DaVinci ResolveSource Clip The source clip viewer displays a single clip from the media pool and you can set in and out points along the entire length of the viewer timeline. This gives you greater control. Select a source clip to view by double clicking on a clip in the media pool, or dragging it into the viewer. Source Tape Source tape lets you view all the source clips in the media pool. This powerful feature is helpful if you want to quickly search through all your clips to find a specific event. As you scrub the playhead over the clips, you will see their thumbnails selected in the media pool. This means once you have found the clip you want to edit, you can click on the source clip tab and its corresponding source clip will appear in the viewer automatically. The source tape viewer really lets you take advantage of non- linear editing, giving you the freedom to work on your edit, find shots quickly, try new ideas and stay in the moment. Timeline The timeline viewer lets you view the edit timeline so you can play back your project and refine your edits. Importing Clips to the Media Pool Now you can start importing media into your project. You can do this in the media pool window of the cut page using the import tools at the top. Select one of the import options toadd media to your project 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. To import media: 1 Click on the ‘import media’ or ‘import media folder’ icon. 2 Navigate to your media storage for the media you want to import. 3 Select the file or folder and click ‘open’. Once you’ve added media to your project, it is a good time to save your changes. DaVinci Resolve features a fast, on the go autosave called ‘live save’. Once you save you project once, ‘live save’ will save further changes as you make them, removing the risk of losing your work. For more information on ‘live save’ and other auto save functions, refer to the DaVinci Resolve Manual. 227Using DaVinci ResolveAdding Clips to the Timeline Now that you are familiar with the media tabs and viewer mode buttons, you can open the media pool and quickly start adding clips to your timeline. The timeline of the cut page, comprising the upper timeline and the zoomed in timeline below The timeline is where you will build your edit and is like a board with tracks you can attach clips to, move them around and trim their edits. Tracks let you layer clips over others which gives you more flexibility to try different edits and build transitions and effects. For example, you can try an edit with a clip on one track without affecting other clips on tracks below it. There are different ways to add clips to the timeline, such as smart insert, append, place on top and more. Appending Clips When selecting takes and assembling an edit, you will likely want to add these shots to your timeline one after the other. The append tool is perfect for this task and will get you editing very fast. Click on the append icon to quickly add clips to the end of the last clip To append a clip: 1 Double click on a clip in the media pool to open it in the viewer. 2 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. 3 Now click the ‘append’ icon underneath the media pool. Your first clip will be placed at the head of the timeline. 228Using DaVinci ResolveRepeat steps 1 to 3 to keep adding more clips and they will automatically append, ensuring there are no gaps in the timeline. Appending clips ensures there are no gaps between them on the timeline TIP You can speed up the process further by assigning a keyboard shortcut to the ‘append’ icon. For example, if you assign the ‘P’ key, you can set your in and out points using ‘I’ and ‘O’ then press ‘P’ to append the clip. Refer to the DaVinci Resolve manual for information on how to assign shortcut keys. Trimming Clips on the Timeline With clips added to the timeline, you have complete control to move them around and trim edits. To trim an edit, hover the mouse over the start or end of a clip, then click and drag it left or right. For example, drag the end of the clip left or right to decrease or increase its duration. You might notice that all clips after that edit will shift on the timeline to accommodate the new adjustment. This is one way the ‘cut’ page helps to save you time. You can even pick the clip up and drop it on a new video track in the large timeline without having to zoom in or out. This speeds up the edit process because it minimizes time navigating a long timeline. 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: 1 Click the audio trim icon between the snapping and marker tools to the left of the timeline. The Audio Trim view button 2 Now when you trim an edit you will see an expanded waveform in the timeline. When you finish trimming, the clips in the timeline will return to their normal size. 229Using DaVinci ResolveAudio trim view expands the audio waveform in the timeline. After you have finished editing clips using the ‘cut’ page, you might want to add a title. The next section will show you how. Adding Titles Placing a title on your timeline is easy and you have many options. To see the different types of titles you can use, click on the ‘titles’ media tab at the top left corner of the user interface. In the selection window you will see all the different title generators you can use displayed as thumbnails, from lower thirds, scrolls, to a standard text title. You can even add any of the Fusion titles which are animated titles that you can customize. Previewing Titles Before you add a title to your timeline you can preview it from the ‘titles’ selection window. This lets you quickly scan through all the available options before making a choice. To preview a title: 1 Click the option menu to the top right-hand side of the titles panel and check ‘hover scrub preview’. Enable Hover Scrub Preview from the option menu. 2 In the ‘titles’ selection window, hover your mouse pointer over a thumbnail to preview a title in the viewer. If you are previewing an animated or Fusion title move the pointer across the title’s thumbnail from left to right to see the animation. Hover over a title’s thumbnail to preview it in the viewer. Once you’ve chosen a title you can add it to your timeline. 230Using DaVinci ResolveTo add a standard title: 1 Click on the title and drag it onto the timeline. It doesn’t matter which timeline, but for greater accuracy we recommend using the detailed timeline. The title will automatically create a new video track for the title and will snap to the playhead. 2 Release the mouse and the title will appear on the new track. You can now move it or change its duration like you would another video clip. 3 To edit the title, click on the new title clip and then click the tools icon underneath the clip viewer. You will now see a row of tools you can use to modify the title clip. For example transform, crop, dynamic zoom and more. 4 Now click the inspector tab. This will open the inspector window where you can type in the title you want and edit the text settings, for example tracking, line spacing, font type, color and more. You have a lot of options to customize the title exactly how you want it. We recommend playing with all the different settings to see how they can change the appearance and shape of your title. TIP You can also use the hover scrub function to preview effects, transitions, generators and filters on the ‘cut’ and ‘edit’ pages. Working with Blackmagic RAW Files Blackmagic RAW clips give you maximum flexibility in post production. This lets you make adjustments to clips, such as white balance and ISO settings, as if you were changing the original camera settings. Working with Blackmagic RAW also retains more tonal information within shadows and highlights, which is useful for recovering details, for example in blown out skies and dark areas of the picture. 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. The speed and small file size of Blackmagic RAW means you don’t need to make proxy files and playback is just like a standard video clip. This section of the manual describes the features of Blackmagic RAW and how to use Blackmagic RAW files in your DaVinci Resolve workflow. TIP It is a good practice to adjust the Blackmagic RAW settings for your clips on the ‘color’ page before you start color grading. Clip Settings for Blackmagic RAW When you first import Blackmagic RAW files, DaVinci Resolve will decode the camera data contained in the files using the ISO, white balance and tint settings used at the time of shooting. If you’re happy with the look of these settings, you can start editing right away. 231Using DaVinci ResolveThe great thing about shooting Blackmagic RAW is that you’re not tied to these settings at all! The breadth of available post processing options when working with Blackmagic RAW files mean that you’ll develop your own workflow over time. Experimenting with the ‘clip’ settings for each clip in the ‘camera raw’ tab will show you just how powerful and flexible working with Blackmagic RAW can be. Color Science Lets you choose whether to interpret your footage with generation 4 or 5 color science. URSABroadcast G2 uses Blackmagic Design generation 5 color science. Files made on different cameras with generation 4 color science can be reinterpreted with generation 5colorscience to match your shots from URSA Broadcast G2. Alternatively, if you are shooting mainly with cameras that create Blackmagic RAW files with generation 4 color science, you can mix in clips shot on URSA Broadcast G2 with generation 5color science by reverting them to generation 4. This makes it easy to match shots filmed on cameras using different generations of Blackmagic color science. In the ‘camera raw’ tab, select ‘clip’ from the ‘decode using’ menu to make adjustments to your clip’s Blackmagic RAW settings Changing Blackmagic RAW Settings Once you have set DaVinci Resolve to enable clip settings for Blackmagic RAW, the clip settings and gamma controls are now adjustable. Adjusting these settings to optimize your clips can bring them close to a full primaries grade. This is especially powerful when using DaVinci Resolve’s scopes which can help you neutralize and balance the clips ready for applying a look. The following information contains descriptions for the clip and gamma controls. ISO The ISO value can be changed by increasing or decreasing this setting. This setting is helpful if you need to set the clip to a brighter or darker starting point for optimization. Highlight Recovery Check the box to reconstruct highlight information in clipped channels using information from non-clipped channels. Gamut Compression Check the box to automatically maintain safe Gamut levels. Color Temp Adjust the color temperature to warm or cool the image. This can be used to help neutralize the color balance in each image. Tint Adjusting this setting will add green or magenta into the image to help balance the color. 232Using DaVinci ResolveExposure Use this setting to refine the overall brightness of the image. Saturation Saturation controls default at 1 and range from 0 for the minimum saturation to 4 for maximum saturation. Contrast Defaulting at 1.0, drag the slider to the left for the least amount of contrast at 0 or to the right to increase the contrast up to 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. Highlight Rolloff Adjust the highlights by dragging the slider to the left to lower the value to 0, or to the right to increase the highlights to 2. The default value is 1. Shadow Rolloff Drag the slider to the left to lower your shadows to 0 or to the right to raise your shadows to 2. White Level Adjust the white point of the gamma curve by dragging the slider from the highest value of 2 to the lowest value of 0. The default value is 1. Black Level Raise the black point of the custom gamma curve by dragging the slider to the right from the lowest value of -1 to a maximum of 1. The default value is 0. Use Video Black Level Check the box to set your black levels to video. Export Frame Clicking the ‘export frame’ button lets you export a single frame from your Blackmagic RAW clip. Update Sidecar Click this button to update the Blackmagic RAW sidecar file for the current clip. Any changes you have made to your Blackmagic RAW clips will be identified by the gamma setting changing to Blackmagic Design Custom. Adjusting Exposure using Blackmagic URSA Broadcast’s Gain Setting If you’re familiar with the DaVinci Resolve workflow for other Blackmagic cameras, it’s worth noting that URSA Broadcast G2’s ‘gain’ setting is treated a bit differently to the ‘ISO’ setting on Blackmagic cinema cameras. The ‘gain’ settings for URSA Broadcast G2 are applied at your camera sensor, rather than later in software. This is a similar method to how traditional broadcast cameras work, and can slightly reduce noise at some sensitivity settings. It also limits how far you can adjust the ‘gain’ of an URSA Broadcast G2 clip after filming. You’ll notice that the ‘ISO’ box in DaVinci Resolve’s Camera RAW settings will display the equivalent ISO to your camera’s ‘gain’ setting for the clip. 233Using DaVinci ResolveYou can increase the ISO by up to three steps from the ISO equivalent to your URSA Broadcast G2’s ‘gain’ setting when you filmed the clip. Due to the wide dynamic range of Blackmagic RAW footage, you can make further changes that are functionally equivalent to changing camera gain by adjusting your clip exposure. Simply adjust the ‘exposure’ value to add or subtract up to five stops of exposure. Each ‘stop’ is equivalent to one sensitivity step, for example 1 additional stop of exposure is the equivalent of going from -6 to 0 db of gain, or 200 to 400 ISO, however you have much finer adjustment here and can go to 0.01 of a stop. Any changes you have made to your Blackmagic RAW clips will be identified by the gamma setting changing to Blackmagic Design Custom. If you want to revert your clip to one of the default gamma options available, simply select it from the gamma dropdown menu. TIP Gamma controls are disabled for footage shot with the ‘video’ dynamic range, butyou have not lost your Blackmagic RAW data. Simply select Blackmagic Design Film or Blackmagic Design Extended Video from the dropdown gamma menu and make your adjustments. Saving your Blackmagic RAW changes 1 Adjust the gamma controls for your Blackmagic RAW clip. 2 Click the ‘update sidecar’ button. 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. TIP To remove your sidecar file, you can simply delete it from its location on your media drive. 234Using DaVinci ResolveProject Settings for Blackmagic RAW If you need to make a setting change that is common to all the clips, for example a global change to the white balance or ISO setting, you can set the clips to use the project ‘camera raw’ settings and make global changes from there. To set project settings for Blackmagic RAW: 1 Enter the project settings menu by clicking ‘file,’ and selecting ‘project settings.’ 2 In the ‘Camera RAW’ tab, you’ll see a menu next to RAW profile. Click on the arrow to select Blackmagic RAW from the list. 3 Select ‘project’ in the ‘Decode Using’ menu. 4 Select a Color Science option from the menu. 5 Set the white balance to ‘custom’. 6 Select ‘Blackmagic Design Custom’ from the gamma menu. Set the color space to ‘Blackmagic Design’. 7 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’. Color Correcting your Clips with the Color Page Now with your clips on the timeline and titles added, you can start color correcting using the ‘color’ page. The color page is extremely powerful and will define the overall look of your film, but for this example a good place to start is to neutralize all your clips so they are consistent. You can also return to the ‘cut’ or ‘edit’ page at any time if you want to make changes to your edit. The color page lets you adjust the look of your edit and in many ways color correction is an art form in itself. You are really adding emotion to your work when you add color correction. It’s an incredibly creative part of the workflow and very satisfying when you learn these skills and can see your work come alive! This is usually the first step and is referred to as primary color correction, or adjusting the primaries. After primary color correction is done, you can then make secondary color correction adjustments which is where you can make extremely precise color adjustments of specific objects in your images. That is a lot of fun, but is normally done after primaries because it helps make the process more efficient and you will get a better result! First click on the ‘color’ tab to open the color page. You’ll see the camera raw settings, color wheels, curves palettes and general color correction tools as well as the preview and nodes window. Don’t feel overwhelmed by the vast array of features in front of you, they are all there to help you get the most amazing looking pictures. This getting started section will show the basics, but for more detailed information refer to the relevant sections in the manual. They will show you exactly what all the tools are for and how to use them in easy to follow steps. You’ll learn the same techniques the professionals use in high end color correction facilities. Generally, the first step for primary color correction is to optimize the levels for shadows, mid tones and highlights in your clips. In other words adjust the ‘lift’, ‘gamma’ and ‘gain’ settings. This will help get your pictures looking their brightest and best with a clean, balanced starting point from where you can begin grading the ‘look’ of your film. To optimize the levels, it’s helpful to use the scopes. 235Using DaVinci ResolveUsing Scopes Most colorists make creative color choices by focusing on the emotion and the look they want their program to have and then simply work using the monitor to achieve that look. You can look at everyday objects and how different types of light interact with them to generate ideas on what you can do with your images and a little practice. 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. You can choose to display a waveform, parade, vectorscope, histogram or CIE chromaticity scope. Using these scopes you can monitor your tonal balance, check the levels of your video to avoid crushing your blacks and clipping the highlights, plus monitor any color cast in your clips. The ‘color wheels’ palette contains the ‘lift’, ‘gamma’ and ‘gain’ controls which will generally constitute your first adjustment. If you’ve previously had experience with color correction, these should resemble controls you’ve seen in other applications for doing color and contrast adjustments. The ‘lift, ‘gamma’, ‘gain’ and ‘offset’ color wheels give you total control over the color and tonal balance of your clips. To make a uniform adjustment to all colors for each tonal region, drag the dial underneath the color wheels back and forth The primaries bars make color adjustments easier when using a mouse. 236Using DaVinci ResolveFor more accurate control of each color using a mouse, you can change the color wheels to ‘primaries bars’ which let you adjust each color and luminance channel for the lift, gamma and gain controls separately. Simply select ‘primaries bars’ from the dropdown menu near the top right of the color wheels. Adjusting the ‘lift’: With your clip selected on the color timeline, click on the ‘lift’ dial underneath the first color wheel. Slide it back and forth and watch how it affects your image. You’ll see the brightness of the dark regions of your picture increase and decrease. Set it to where you want the dark areas to look their best. If you decrease the lift too much, you’ll lose details in the blacks and you can use the parade scope to help avoid this. The optimal position for blacks on the waveform is just above the bottom line of the parade scope. Adjusting the ‘gain’: Click on the ‘gain’ dial and slide it back and forth. This adjusts the highlights which are the brightest areas of your clip. The highlights are shown on the top section of the waveform on the parade scope. For a brightly lit shot, these are best positioned just below the top line of the waveform scope. If the highlights rise above the top line of the waveform scope, they will clip and you will lose details in the brightest regions of your image. Adjusting the ‘gamma’: Click on the ‘gamma’ dial underneath the color wheel and slide it back and forth. Asyou increase the gamma you’ll see the brightness of the image increase. Notice the middle section of the waveform will also move as you adjust the gamma. This represents the mid tones of your clip. The optimal position for mid tones generally falls between 50 to 70% on the waveform scope. However, this can be subjective based on the look you are creating and the lighting conditions in the clip. You can also use the curves palette to make primary color corrections. Simply click to create control points on the diagonal line inside the curve graph, and drag them up or down to adjust the master RGB contrast at different areas of image tonality. The optimum points to adjust are the bottom third, mid, and top third of the curve line. There are many more ways of doing primary color correction in DaVinci Resolve. 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 andgain adjustments affect the whole image at the same time and so they are called primary color corrections. 237Using DaVinci ResolveHowever, if you need to adjust specific parts of your image, say for example you wanted to improve the color in the grass in a scene, or you wanted to deepen the blue in a sky, then you can use secondary corrections. Secondary color corrections are where you select a part of the image and then adjust only that part. With nodes, you can stack multiple secondary corrections so you can keep working parts of your image until everything is just right! You can even use windows and tracking to allow the selections to follow movement in your images. Qualifying a Color Often you’ll find a specific color in your clip can be enhanced, for example grass by the side ofa road, or the blue in a sky, or you may need to adjust color on a specific object to focus the audience’s attention on it. You can easily do this by using the HSL qualifier tool. Using the HSL qualifier to select colors in your image is helpful when you want to make areas of your image ‘pop’, to add contrast, or to help draw the audience’s attention to certain areas of your shot To qualify a color: 1 Add a new serial node. 2 Open the ‘qualifier’ palette and make sure the ‘selection range’ picker tool is selected. 3 Click on the color in your clip you want to affect. 4 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 yourselection. 5 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. Now you can make corrections to your selected color using the color wheels or custom curves. Sometimes your selection can spill into areas of the shot you don’t want to affect. You can easily mask out the unwanted areas using a power window. Simply create a new window and shape it to select only the area of color you want. If your selected color moves in the shot, you can use the tracking feature to track your power window. Adding a Power Window Power windows are an extremely effective secondary color correction tool that can be used to isolate specific regions of your clips. These regions don’t have to be static, but can be tracked to move with a camera pan, tilt or rotation, plus the movement of the region itself. 238Using DaVinci ResolveUse power windows to mask out areas you don’t want to be affected by the HSL qualifier secondary adjustments For example, you can track a window on a person in order to make color and contrast changes just to that person without affecting his or her surroundings. By making corrections like this you can influence the audience’s attention on areas you want them to notice. To add a power window to your clip: 1 Add a new serial node. 2 Open the ‘window’ palette and select a window shape by clicking on a shape icon. Your selected window shape will appear on the node. 3 Resize the shape by clicking and dragging the blue points around the shape. The red points adjust the edge softness. You can position the shape by clicking the center point and moving it to the area you want to isolate. Rotate the window using the point connected to the center. Now you can make color corrections to your image in just the area you want. Power windows let you make secondary corrections to specific parts of your image 239Using DaVinci ResolveTracking 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. If this isn’t done, your correction can move off the selected target and call attention to itself, which you probably don’t want. You can track objects or areas in your clip using the tracker feature so power windows can follow the action To track a window to a moving object: 1 Create a new serial node and add a power window. 2 Go to the start of your clip and position and size the window to highlight just the object or area you want. 3 Open the ‘tracker’ palette. Select the pan, tilt, zoom, rotate, and perspective 3D settings appropriate for the movement in your clip by checking or unchecking the relevant ‘analyze’ checkboxes. 4 Click on the ‘forward’ arrow to the left of the checkboxes. DaVinci Resolve will now apply a cluster of tracking points on your clip and then step through the frames to analyze the movement. When the tracking is done, your power window will follow the path of the movement in your clip. Most of the time automatic tracking is successful, but scenes can be complex and sometimes an object can pass in front of your selected area, interrupting or affecting your track. This can be solved manually using the keyframe editor. Refer to the DaVinci Resolve manual to find out more. 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. After installing a set of OFX plugins, you can access them or Resolve FX plugins on the color page by opening the Open FX inspector to the right of the ‘node editor’. Once you create a new serial node, simply click the ‘Open FX’ button to open the FX library and drag and drop a plugin onto the new node. If the plugin has editable settings, you can adjust these in the adjoining ‘settings’ panel. 240Using DaVinci ResolveOFX plugins are a quick and easy way to create an imaginative and interesting look In the ‘edit’ page you can add plugin filters, generators and transitions to clips by opening the ‘Open FX’ panel in the ‘effects library’ and dragging your selected plugin onto the video clip or track above your clip on the timeline depending on the plugin requirements. Mixing Your Audio Mixing Audio in the Edit Page Once you have edited and color corrected your project, you can begin to mix your audio. DaVinciResolve has a helpful set of features for editing, mixing and mastering audio for your project directly in the ‘edit’ page. For projects requiring more advanced audio tools, the Fairlight page provides you with a full audio post production environment. If you are already familiar with the edit page and want to move straight to Fairlight, skip this section and move onto the next. Adding Audio Tracks If you are working in the edit page and want to mix a basic sound edit with lots of sound effects and music, you can easily add more audio tracks when you need them. This can be helpful when building your sound, and separating your audio elements into individual tracks, for example, dialogue, sound effects and music. To Add an Audio Track to the Edit Page Right click next to the name of any audio track on your timeline and select ‘add track’ and choose from the options, including ‘mono’, ‘stereo’, and ‘5.1’. This will add the track to the bottom of the track list. Alternatively select ‘add tracks’ and select the position you would like the new track or multiple tracks placed. Your new audio track will appear on the timeline. 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. This overlay corresponds to the Volume parameter in the Inspector. 241Using DaVinci ResolveDragging a volume overlay to adjust the clip level For projects requiring more advanced audio tools, the Fairlight page provides you with a full audio post production environment. The Fairlight Page The ‘Fairlight’ page in DaVinci Resolve is where you adjust your project audio. In single monitormode, this page gives you an optimized look at the audio tracks of your project, with anexpanded mixer and custom monitoring controls that make it easy to evaluate and adjust levels in order to create a smooth and harmonious mix. Don’t feel overwhelmed by the vast array of features in front of you, they are all there to help you deliver the best audio quality foryour project. 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. 242Using DaVinci ResolveThe Audio Timeline Track Header: At the left of each track is a header area that displays the track number, track name, track color, audio channels, fader value and audio meters. The track header also contains different controls for locking and unlocking tracks, plus solo and muting controls. These controls can help to keep your tracks organized, and let you preview individual tracks one at a time. Tracks: Each track on the Fairlight page is divided into lanes, which show each individual channel of clip audio for editing and mixing. The edit page hides these individual audio channels, displaying only a single clip in the timeline to make it easier to edit multi channel sources without needing to manage a huge number of tracks. The track header on track A1 indicates a mono track with a single lane for mono audio, and the A2 track header indicates a stereo track with two lanes to accommodate stereo audio What is a Bus? A bus is essentially a destination channel made up of audio sources grouped together into a single signal that can be controlled via a single channel strip. Fairlight automatically creates a bus for you and all the audio tracks in your timeline are sent to this bus by default, this means you can adjust the overall level of your audio mix once you have adjusted the level of each individual track. If your edit is a bit more complex you can create more buses and combine multiple tracks of audio that belong to the same category such as dialogue, music or effects so that everything in that category can be mixed as a single audio signal. For example, if you have five dialogue tracks, you can route the output of all five dialogue tracks to a separate bus, and the level of all dialogue can then be mixed with a single set of controls. The Fairlight Flexbus structure gives you complete flexibility over bus types and signal routing including the option for bus-to-bus, track-to-bus and bus-to-track routing. For more information on audio bus settings in Fairlight, refer to the DaVinci Resolve manual. The Mixer Each audio track in your timeline corresponds to an individual channel strip in the Mixer, and by default there’s a single strip on the right for the default bus labeled ‘Bus 1’. Additional channel strips will appear on the right hand side with a set of controls for each additional bus you create. A set of graphical controls allows you to assign track channels to output channels, adjust EQ and dynamics, set levels and record automation, pan stereo and surround audio, and mute and solo tracks. 243Using DaVinci ResolveThe 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. This is where using EQ can help, as it allows you to specify the parts of the audio spectrum that each track occupies. You can also use an equalizer to help remove unwanted elements from your audio by isolating and reducing the level on particular frequencies that contain low rumbles, hums, wind noise and hiss, or simply to improve the overall quality of your sound so it is more pleasing to listen to. DaVinci Resolve provides EQ filters that can be applied at a clip level to each individual clip or at the track level to affect entire tracks. Each audio clip in the timeline has a four band equalizer in the inspector panel, and each track has a 6 band parametric equalizer in the mixer panel. The graphical and numeric controls for boosting or attenuating different ranges of frequencies, and different filter types allow you to define the shape of the EQ curve. 244Using DaVinci ResolveThe 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. For example, a high pass filter will allowthe high frequencies to pass through the filter while cutting the low frequencies. Anyfrequencies outside the cutoff frequency are cut gradually in a downward sloping curve. A shelf filter is less aggressive, and is useful when you want to shape the overall top end or low end of the signal without completely removing those frequencies. The shelf filter boosts or cuts the target frequency and every frequency either above or below it evenly, depending on whether you use a high shelf or low shelf. The middle sets of band controls let you make a wide variety of equalization adjustments, and can be switched between lo-shelf, bell, notch, and hi-shelf filtering options. Bell: Bell filters boost or cut frequencies around a given center point of the bell curve, and as the name suggests the shape of the curve is like a bell. Notch: Notch filters allow you to specifically target a very narrow range of frequencies. For example, removing a mains hum at 50 or 60Hz. Lo-Shelf: Low shelf filters boost or cut the target frequency at the low end, and every frequency below it Hi-Shelf: High shelf filters boost or cut the target frequency at the high end, and every frequency above it To add EQ to an individual clip: 1 Select the clip in the timeline that you want to add the EQ filter to. 2 Click on the inspector and then click the ‘equalizer’ enable button. To add EQ to a track: 1 Double click in the EQ section for one of your tracks in the mixer to open the equalizer for that track. 2 Select the band filter type from the dropdown menu for the band you want to adjust. 245Using DaVinci ResolveThe EQ section in the mixer panel indicating anEQcurve has been applied to track one The 6 Band parametric equalizer that can be applied to every track Once you have added EQ to your clip or track, you can adjust the EQ for each band. Note that controls may vary depending on which band filter type is selected. To adjust the EQ for a band filter: 1 Select the band filter type from the dropdown menu for the band you want to adjust. 2 Adjust the ‘frequency’ value to select the center frequency of the EQ adjustment. 3 Adjust the ‘gain’ value to boost or attenuate the frequencies governed by that band. 4 Use the ‘Q factor’ value to adjust the width of affected frequencies. Use the reset button to reset all controls in the EQ window to their defaults. Fairlight has many controls you can use to improve the quality of each audio track. You can add more tracks and arrange buses to organize them, plus add effects like delay or reverb, and generally perfect your audio mix. 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. The nodes window clearly shows every tool used along the way. Ifyou have experienced the node workflow in the color page, this will feel familiar to you. 246Using DaVinci ResolveThe Fusion Page The Fusion page features 2 viewer windows across the top with transport controls to view your media, an inspector window to the right to access tool settings, and a nodes window at the bottom where you build your composition. While the viewers and transport controls are always visible, clicking on the icons on the interface toolbar at the very top of the display will let you show or hide the nodes and inspector windows, or reveal or hide additional windows including the effects library and editors for spline and keyframes. Media Pool: The media pool functions the same way as it appears in the edit page. Simply drag additional media from your bins directly to your composition. Effects Library: The effects library is where you will find your Fusion tools and templates sorted into categories including particle, tracking, filters and generators. You can either click on the tool or drag it to the nodes area to add it to your composition. The media pool and effects library take up the same screen area, so you can swap between the two to keep your viewers as large as possible. Clips: Clicking the clips tab will reveal or hide thumbnails representing clips on your timeline. The thumbnails are located underneath the nodes editor, letting you instantly navigate to other clips. Create a new version of your composition by right clicking on a thumbnail and selecting ‘create new composition’. 247Using DaVinci Resolve 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, oryour final render output. These viewers also let you see how your changes are affecting aspecific element. You can choose which nodes to view by clicking on a node and typing ‘1’ for the left viewer or ‘2’ for the right viewer. White button icons appear beneath the node to let you know which viewer itis assigned to. If you’re using external video monitoring, there will be a third button available to route your media to your external video monitor. TIP You can also assign a node to a viewer by dragging the node into the viewer itself. The transport controls underneath the viewers let you skip to the start or end of the clip, play forward or reverse, or stop playback. The time ruler displays the entire range of a clip, with yellow marks indicating the in and out points. The yellow marks on the time ruler indicate your clip’s in and out points on your timeline. If you are using a Fusion clip or compound clip, the time ruler will only show you the duration of the clip as it appears on the timeline, without handles. Nodes: The nodes window is the heart of the Fusion page where you build your node tree byconnecting tools together from one node’s output to another node’s input. Thisarea will change size depending on which editors are open, for example the spline or keyframes editor. A toolbar atthe top of the nodes area features the most commonly used tools for fast access. 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 keyframes editor. This also appears to the right of the nodes viewer. Metadata: The metadata window will show you metadata available for the active clip, including the codec, frame rate and timecode. Inspector: The inspector in the top right corner displays all settings and modifiers available for one or more selected nodes. Additional tab options will appear to provide quick access to other settings for nodes sorted by category. 248Using DaVinci ResolveThe text inspector contains additional tabs for text, layout, transform, shading, image and settings. Getting Started with Fusion To get started with Fusion, simply position your playhead over any clip on your timeline and click on the ‘Fusion’ tab to open the Fusion page. On the Fusion page, your clip is immediately available in a media input node labelled ‘MediaIn’. Every composition will begin with a ‘mediain’ and a ‘mediaout’ node. This mediain node represents the top most clip of your timeline at the playhead, and ignores any clips underneath. Any adjustments you’ve applied to the clip on the edit page, such as transform tools and cropping changes, are also included. The media output node, named ‘MediaOut’, is the node that sends the output back to your timeline on DaVinci Resolve’s edit page. TIP ResolveFX or OFX plug-ins applied to clips in the cut or edit pages are not applied in the Fusion page. This is because Fusion effects occur prior to color correction and OFX/ResolveFX processing. If you want OFX applied before Fusion effects, right click the clip in the edit page and select ‘new fusion clip’ before clicking on the Fusion page. Understanding Nodes It can be helpful to think of each node as a visual icon representing a single tool or effect. Nodes are connected to other nodes to build the overall composition, much like ingredients inacake. It’s important to understand the inputs and outputs of each node as this will help you navigate the flow of your composition while building detailed visual effects. 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 249Using DaVinci ResolveMultiple outputs on nodes means a single node can connect to many different nodes in your composition, so you don’t have to duplicate clips as you would in layer based software. Arrows on the line between connected nodes are a great visual indicator to show you which direction the image data is flowing. Adding Nodes to the Node Editor Adding effects is as simple as placing nodes on the line between the ‘mediain’ and ‘mediaout’ nodes. There are a few ways you can do this. You can hold down the shift button and drop a node between two nodes, or click on the node you want to attach an effect to and select the tool you want to add. The new node will automatically connect to the tool selected. You can also add a node anywhere on the node window and manually connect nodes by dragging the output of one to the input on another. The most commonly used tool is the 2D or 3D merge node. This node is like a central hub that combines tools on the node editor into a single output. The merge node has controls for how the inputs are managed, including settings for size, position, and blend. These settings are all accessible in the inspector panel when the merge node is selected. The toolbar above the node panel contains the most commonly used tools as icons that you can either click on to add the node, or drag the tool to the node panel. If you want to see all the complete tools available, click on the ‘effects library’ in the top left corner and expand the ‘tools’ option. Here you’ll find all the tools sorted by category, as well as a set of pre-built ‘templates’ you can use, for example lens flares, shaders and backgrounds. TIP Once you’re familiar with the tool names, you can hold down ‘shift’ and press ‘spacebar’ on your keyboard and a ‘select tools’ menu will appear. As you type the tool name, the menu will suggest the relevant tool. This is a very fast way to select the tool you want. 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. For example, you can modify the size and center position of a ‘text+’ node while the merge node is in the viewer, letting you view the text relative to the background. 250Using DaVinci ResolveSelected nodes appear with a red border. Here the inspector panel is displaying the layout tab controls for the text node. There are different parameters and settings you can adjust for every node depending on its task, from sizing and center positions to changing the number of particles in an emitter node. Setting keyframes and changing the settings over time will animate the effect. Working with Keyframes In the inspector window, set a keyframe by right clicking on a setting and choosing ‘animate’ from the contextual menu. The keyframe icon to the right of the setting will turn red. This means keyframes are now active and any changes you make will be applied to the current frame only. When two or more keyframes are created by changing the setting parameters on a different frame, a transition is interpolated between them. Arrows on each side of the keyframe icon let you move the playhead to those exact positions on the timeline. Here, the ‘size’ keyframe animation has been smoothed into a bezier curve. You can click the bezier handles to shorten or lengthen the curve, or the keyframe square icons to move the keyframe location. 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’. 251Using DaVinci ResolveUsing the Motion Tracker and Adding Text To get a better idea of how to use Fusion, we have included the following examples to show how to use the tracker tool to track an element in a clip, plus add text and attach it to the element using the tracking data. The ‘tracker’ tool tracks pixels over time on the x & y axis, and generates data you can use to attach other elements. This is great for when you want to match the position of text to a moving object, such as a car driving along the road, or a bird as it flies across frame. 1 In the ‘effects library’, select the ‘tracker’ tool and drag it to the line between the ‘mediain’ and the ‘mediaout’ nodes. Now click the tracker node to reveal its properties in the inspector. 2 Type ‘1’ on your keyboard to see the ‘tracker’ node on the left viewer. The clip will appear in the viewer together with the tracker at its default position. Hover your mouse pointer over the tracker to reveal the tracker handle. Click on the tracker handle at the top left corner and drag the tracker to an area of interest on your clip. High contrast areas work well, for example the badge on the hood of a car. The tracker will magnify the image area for extra precision. 3 In the inspector window, click on the ‘track forward’ button to start tracking. A notification window will appear when the tracking is done. Click OK. Tracking options in the inspector panel include track reverse from last frame or current frame, stop track or track forward from current frame or first frame. TIP Track reverse or forward from current frame is great for situations where your area of interest disappears during the render range, such as a car or bird moving out of frame. This lets you track only the relevant footage. Now you can take that tracking data and apply the motion path to a text tool. 4 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’. 252Using DaVinci Resolve5 Click on the ‘tracker’ node and type ‘1’ so you can see the merged results on your left hand viewer. In the ‘tracker’ inspector panel, click on the ‘operations’ tab. Click the menu next to operation and select ‘match move’. 6 Click the ‘text’ node to reveal the properties in the inspector. Type your text into the text box and change the font, color and size to suit your composition. This will apply the tracking position data from your tracker to your text. If you want to change the text offset, click on the ‘trackers’ tab back in the inspector panel and use the x and y offset scroll wheels to modify the position. Scroll wheels at the bottom of the tracker inspector panelletyou adjust the offset position for the text. Now you can play back your composition and see your text attached to the object you have tracked! 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. The keyframe editor makes this a very simple process. 253Using DaVinci Resolve7 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. This will zoom into that area so you can see the keyframes easier. 8 Move the playhead to the location of the last keyframe you want. Now select the keyframes you wish to remove by drawing a box around them with your mouse. The keyframes will highlight yellow. Right click and choose delete from the menu. TIP If your effects are particularly system intensive, right clicking on the transport controls area will give you viewer options, including proxy playback, helping you get the most out of your system while you build your composition. Refer to the DaVinci Resolve manual for further detail on all the playback options. You have now completed your first composition animating text to match a movement in your footage! If you want to track an area of the image that contains a flat surface you want to enhance or replace, you can use the planar tracker. Tracking 2D planes can be helpful for changing labels and signs in a moving image, or even adding an image to a monitor or TV in your shot. For more information about the planar tracker and the many powerful tools in the DaVinci Resolve Fusion page, see the DaVinci Resolve manual. TIP As you build visual effects in the Fusion page, it’s worth noting if the effect you are building is a 2D effect, or a 3D effect, as this will determine which merge tool is used. You may discover yourself frequently combining 2D and 3D effects in the one composite. In this scenario, it’s helpful to remember that any visual effect using the 3D space needs to be rendered as a 2D image before it can be merged into a 2D composite. We believe you will have lots of fun with Fusion and exploring Fusion’s visual effects with the power of DaVinci Resolve’s edit, color, and Fairlight pages. With all these tools at your finger tips, DaVinci Resolve is incredibly powerful and there is really no limit to what you can create! 254Using DaVinci ResolveMastering Your Edit Now you’ve edited, graded, added vfx and mixed your audio, you’ll want to share it with others. You can use the Quick Export button, or menu selection, to output the contents of the Timeline as a self contained file in one of a variety of different formats, or use the additional features of the ‘deliver’ page. 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. You can even use quick export to export and upload your program to one of the supported video sharing services, including YouTube, Vimeo, Twitter and Frame.io. To use Quick Export: 1 In the ‘cut’, ‘edit’, fusion’ or ‘color’ page, optionally set in and out points in the timeline to choose a range of the current program to export. If no timeline in or out points have been set, the entire timeline will be exported. Choose File > Quick Export. 2 Select a preset to use from the top row of icons in the quick export dialog, and click ‘export’. 3 Choose a directory location and enter a file name using the export dialog, then click ‘save’. A progress bar dialog appears to let you know how long the export will take. The quick export dialog 255Using DaVinci ResolveThe 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. To export a single clip of your edit: 1 Click on the ‘deliver’ tab to open the deliver page. 2 Go to the ‘render settings’ window on the top left of the page. Choose from a number of export presets, for example YouTube, Vimeo and audio presets, or you can set your own export settings manually by leaving it set to the default ‘custom’ preset and entering your own parameters. Forthis example, select YouTube, then click on the arrow next to the preset and select the 1080p video format. The frame rate will be locked to your project frame rate setting. 3 Underneath the presets you will see the timeline filename and the target location for your exported video. Click the ‘browse’ button and choose the location where you want to save your exported file and then select ‘single clip’ from the render option. 4 Immediately above the timeline, you’ll see an options box with ‘entire timeline’ selected. This will export the entire timeline, however you can select a range of the timeline if you want to. Simply choose ‘in/out range’ and then use the ‘i’ and ‘o’ hot key shortcuts to choose the in and out points in your timeline. 5 Go to the bottom of the ‘render settings’ and click on the ‘add to render queue’ button. Your render settings will be added to the render queue on the right side of the page. Now all you have to do is click ‘start render’ and monitor the progress of your render in the render queue. When your render is complete you can open the folder location, double click on your new rendered clip and watch your finished edit. Now that you have a basic knowledge of how to edit, color, mix audio and add visual effects, we recommend experimenting with DaVinci Resolve. Refer to the DaVinci Resolve manual for more details on how each feature can help you make the most of your project! 256Using DaVinci ResolveBlackmagic Camera Setup Utility Updating Camera Software – Mac After downloading the Blackmagic Camera Setup utility software and unzipping the downloaded file, open the resulting disk image to reveal the Blackmagic Camera SetupInstaller. Launch the installer and follow the on screen instructions. After the installation has finished, goto your applications folder and open the Blackmagic Cameras folder, where you’ll find this manual, the Blackmagic Camera setup utility, plus a documents folder containing readme files and information. You’ll also find an uninstaller for when updating to later versions of BlackmagicCamera Setup. Updating Camera Software – Windows After downloading the Blackmagic Camera Setup utility software and unzipping the downloaded file, you should see a Blackmagic Camera Setup folder containing this PDF manual and the Blackmagic Camera Setup Installer. Double-click the installer and follow the on screen prompts to complete the installation. In Windows 10, click the start button and select ‘all apps’. Scroll down to the Blackmagic design folder. From here you can launch Blackmagic Camera Setup. 257Blackmagic Camera Setup UtilityHow to Update the Camera Software After installing the latest Blackmagic Camera Setup utility on your computer, connect a USB cable between the computer and your Blackmagic URSA Broadcast G2. The USB port is located on the left side panel above the memory card slots. Launch the Blackmagic Camera Setup utility and follow any on screen prompt to update the camera software. It’s important to note that updating your camera software erases any presets and custom LUTs, and resets all settings. It is a good practice to export them to a memory card as a backup before performing a software update. After a software update, you can restore your presets and LUTs quickly by importing them from the memory card. The USB-C port is used to update the camera software and can be found above the memory card slots, next to the media selection switch on Blackmagic URSA Broadcast G2 Working with Third Party Software To edit your clips using your favorite editing software, you can copy your clips to an internal or external drive or RAID and then import your clips into the software. Or import your clips directly from your storage media using a dock or adapter for your CFast or SD card or SSD. NOTE Blackmagic RAW is supported on URSA Broadcast G2 with DaVinci Resolve

16.1.2 and later and has also been adopted by a wide range of third party post-

production editing programs. Plugins for editing Blackmagic RAW in Avid Media Composer and Adobe Premiere Pro are available with Blackmagic RAW software, which you can download from www.blackmagicdesign.com/support. 258Working with Third Party SoftwareWorking with Files from CFast2.0 and SD cards Edit directly from your CFast card by removing it from your camera and mounting it on your computer using a CFast 2.0 reader/writer or CFast drive To import your clips from a CFast 2.0 or SD card: 1 Remove the CFast card or SD card your Blackmagic URSA Broadcast G2. Mount the card to your Mac or Windows computer using a card reader. 2 Navigate to the card on your operating system to open it and you will see your list of Blackmagic RAW or QuickTime movie files. 3 Now you can simply drag the files you want from the card onto your desktop or another hard drive, or you can access the files straight from the card using your editing software. 4 Before you unplug the CFast or SD card from your computer, it is important to always eject your CFast or SD card from either Mac OS or Windows. Removing your card without ejecting can corrupt footage in some cases. Working with Files from SSDs To import your clips from a SSD: 1 Remove the SSD from URSA Mini Recorder. 2 You can mount the SSD to your Mac or Windows computer using either an eSATA or Thunderbolt dock, for example Blackmagic MultiDock. You can also use an eSATA to USB adapter cable to plug the SSD straight into a USB port on your computer. USB 3.0 is preferable as USB 2.0 is not fast enough to edit video in real time. 3 Double click on the SSD to open it and you should see a list of QuickTime movie files or Blackmagic RAW files. Depending on the format you chose to record in, you might have a mixture of files, but they will all use the same naming convention. 4 Now you can simply drag the files you want from the SSD onto your desktop or another hard drive, or you can access the files straight from the SSD using your NLE software. 5 Before you unplug the SSD from your computer, it is important to eject the SSD safely from your computer first. 259Working with Third Party SoftwareEdit directly from the SSD by removing it from your camera and mounting it on your computer using an eSATA Thunderbolt dock or USB 3.0 docking cable. Using Final Cut Pro X To edit your clips using Final Cut Pro X, create a new project and set a suitable video format andframe rate. This example uses ProRes 422 HQ 1080p24. Final Cut Pro X project settings 1 Launch Final Cut Pro X, go to the ‘menu’ bar and select ‘file/new project’. A window will open containing project settings. 2 Name your project and select the ‘custom’ checkbox. 3 Set the ‘video properties’ settings to 1080p HD, 1920x1080 and 24p. 4 Set your ‘audio’ and ‘render properties’ settings to ‘stereo, 48kHz, and Apple ProRes 422 HQ’ 5 Click OK. To import your clips into your project, go to the ‘menu’ bar and select ‘file/import/media’. Choose your clips from your CFast card. You can now drag your clips onto the timeline for editing. 260Working with Third Party SoftwareUsing Avid Media Composer 2018 To edit your clips using Avid Media Composer 2018, create a new project and set a suitable video format and frame rate. For this example, clips are set using 1080p24. Setting the project name and project options in Avid Media Composer 2018 1 Launch Avid Media Composer 2018 and the ‘select project’ window will appear. 2 Click the ‘new project’ button and name your project in the ‘new project’ window. 3 In the ‘format’ drop down menu select HD 1080 > 1080p/24 and click ‘ok’ to create the project. 4 Double click the project in the ‘select project’ window to open it. 5 Select file > input > source browser and navigate to the files you wish to import. 6 Select your ‘target bin’ from the drop down menu and click ‘import’. When the clips appear within the media bin you can drag your clips onto the timeline and begin editing. Using Adobe Premiere Pro CC To edit your Apple ProRes 422 HQ clips using Adobe Premiere Pro CC, create a new project and set a suitable video format and frame rate. For this example, clips are set using ProRes 422 HQ 1080p25. Setting the project name and project options in Adobe Premiere Pro CC 261Working with Third Party Software1 Launch Adobe Premiere Pro CC. In the ‘welcome’ window select ‘new project’. Awindow will open containing project settings. 2 Name your project. Choose the location for your project by clicking ‘browse’ and selecting your desired folder. Once you’ve selected your location folder click OK in the ‘new project’ window. 3 Go to the Adobe Premiere Pro CC ‘menu’ bar, select ‘file/import’ and choose the clips you want to edit. Your clips will appear in the project window. 4 Drag the first clip you wish to edit onto the ‘new item’ icon at the bottom right of the project window. A new sequence will be created matching your clip settings. You can now drag your clips onto the sequence timeline for editing. 262Working with Third Party SoftwareDeveloper Information 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. Service: Device Information Service UUID: 180A Characteristics Camera Manufacturer UUID: 2A29 Read the name of the manufacturer (always “Blackmagic Design”). Camera Model UUID: 2A24 Read the name of the camera model (“URSA Broadcast G2”). Service: Blackmagic Camera Service UUID: 291D567A-6D75-11E6-8B77-86F30CA893D3 Characteristics Outgoing Camera Control (encrypted) UUID: 5DD3465F-1AEE-4299-8493-D2ECA2F8E1BB Send Camera Control messages These messages are identical to those described in the Blackmagic SDI Camera Control Protocol section below. Please read that section for a list of supported messages and required formatting information. For an example of how packets are structured, please see the ‘example protocol packets’ section in this document. Incoming Camera Control (encrypted) UUID: B864E140-76A0-416A-BF30-5876504537D9 Request notifications for this characteristic to receive Camera Control messages from the camera. These messages are identical to those described in the Blackmagic SDI Camera Control Protocol section below. Please read that section for a list of supported messages and required formatting information. 263Developer InformationTimecode (encrypted) UUID: 6D8F2110-86F1-41BF-9AFB-451D87E976C8 Request notifications for this characteristic to receive timecode updates. Timecode (HH:MM:SS:mm) is represented by a 32-bit BCD number: (eg. 09:12:53:10 = 0x09125310) Camera Status (encrypted) UUID: 7FE8691D-95DC-4FC5-8ABD-CA74339B51B9 Request notifications for this characteristic to receive camera status updates. The camera status is represented by flags contained in an 8-bit integer: None = 0x00 Camera Power On = 0x01 Connected = 0x02 Paired = 0x04 Versions Verified = 0x08 Initial Payload Received = 0x10 Camera Ready = 0x20 Send a value of 0x00 to power a connected camera off. Send a value of 0x01 to power a connected camera on. Device Name UUID: FFAC0C52-C9FB-41A0-B063-CC76282EB89C Send a device name to the camera (max. 32 characters). The camera will display this name in the Bluetooth Setup Menu. Protocol Version UUID: 8F1FD018-B508-456F-8F82-3D392BEE2706 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. For example, writing a ‘Camera Power On’ (0x01) message to the Camera Status characteristic. Once bonding is initiated, the camera will display a 6-digit pin in the Bluetooth Setup Menu. Enter this pin on your device to establish an encrypted connection. The device will now be able to read, write and receive notifications from encrypted characteristics. 264Developer InformationBlackmagic SDI and Bluetooth Camera Control Protocol Version 1.6 If you are a software developer you can use the Blackmagic SDI and Bluetooth Camera Control Protocol to construct devices that integrate with our products. Here at Blackmagic Design, our approach is to open up our protocols and we eagerly look forward to seeing what you come up with! Overview This document describes an extensible protocol for sending a unidirectional stream of small control messages embedded in the non-active picture region of a digital video stream. The video stream containing the protocol stream may be broadcast to a number of devices. Device addressing is used to allow the sender to specify which device each message is directed to. Assumptions Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed from LSB first. Message groups, individual messages and command headers are defined as, and can be assumed to be, 32 bit aligned. Blanking Encoding A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of VANC line 16. Message Grouping Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of 255 bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum of one frame latency. If the transmitting device queues more bytes of message packets than can be sent in a single frame, it should use heuristics to determine which packets to prioritize and send immediately. Lower priority messages can be delayed to later frames, or dropped entirely as appropriate. Abstract Message Packet Format Every message packet consists of a three byte header followed by an optional variable length data block. The maximum packet size is 64 bytes. Destination device (uint8) Device addresses are represented as an 8 bit unsigned integer. Individual devices are numbered 0 through 254 with the value 255reserved to indicate a broadcast message to all devices. Command length (uint8) The command length is an 8 bit unsigned integer which specifies the length of the included command data. The length does NOT include the length of the header or any trailing padding bytes. Command id (uint8) The command id is an 8 bit unsigned integer which indicates themessage type being sent. Receiving devices should ignore any commands that they do not understand. Commands 0 through 127 are reserved for commands that apply to multiple types of devices. Commands 128 through 255 are device specific. Reserved (uint8) This byte is reserved for alignment and expansion purposes. It should be set tozero. Command data (uint8[]) The command data may contain between 0 and 60 bytes of data. The format of the data section is defined by the command itself. 265Developer InformationPadding (uint8[]) Messages must be padded up to a 32 bit boundary with 0x0bytes. Anypadding bytes are NOT included in the command length. Receiving devices should use the destination device address and or the command identifier to determine which messages to process. The receiver should use the command length to skip irrelevant or unknown commands and should be careful to skip the implicit padding as well. Defined Commands Command 0 : change configuration Category (uint8) The category number specifies one of up to 256 configuration categories available on the device. Parameter (uint8) The parameter number specifies one of 256 potential configuration parameters available on the device. Parameters 0 through 127 are device specific parameters. Parameters 128 though 255 are reserved for parameters that apply to multiple types of devices. Data type (uint8) The data type specifies the type of the remaining data. Thepacket length is used to determine the number of elements in the message. Each message must contain an integral number of data elements. Currently defined values are: 0: void/boolean A void value is represented as a boolean array of length zero. The data field is a 8 bit value with 0 meaning false and all other values meaning true. 1: signed byte Data elements are signed bytes 2: signed 16bit integer Data elements are signed 16 bit values 3: signed 32bit integer Data elements are signed 32 bit values 4: signed 64bit integer Data elements are signed 64 bit values 5: UTF-8 string Data elements represent a UTF-8 string with no terminating character. Data types 6 through 127 are reserved. 128: signed 5.11fixed point Data elements are signed 16 bit integers representing a real number with 5bits for the integer component and 11 bits for the fractional component. Thefixed point representation is equal to the real value multiplied by 2^11. The representable range is from -16.0 to 15.9995 (15 + 2047/2048). 266Developer InformationData types 129 through 255 are available for device specific purposes. Operation type (uint8) The operation type specifies what action to perform on the specified parameter. Currently defined values are: 0: assign value The supplied values are assigned to the specified parameter. Each element will be clamped according to its valid range. A void parameter may only be ‘assigned’ an empty list of boolean type. This operation will trigger the action associated with that parameter. A boolean value may be assigned the value zero for false, and any other value for true. 1: offset/toggle value Each value specifies signed offsets of the same type to be added to the current parameter values. The resulting parameter value will be clamped according to their valid range. It is not valid to apply an offset to a void value. Applying any offset other than zero to a boolean value will invert that value. Operation types 2 through 127 are reserved. Operation types 128through 255 are available for device specific purposes. Data (void) The data field is 0 or more bytes as determined by the data type and number of elements. The category, parameter, data type and operation type partition a 24 bit operation space. Group ID Parameter Type Index Minimum Maximum Interpretation Lens

0.0 Focus fixed16 – 0.0 1.0 0.0 = near, 1.0 = far

0.1 Instantaneous autofocus void – – – trigger instantaneous autofocus

0.2 Aperture (f-stop) fixed16 – -1.0 16.0

Aperture Value (where fnumber = sqrt(2^AV))

0.3 Aperture (normalised) fixed16 – 0.0 1.0 0.0 = smallest, 1.0 = largest

Move to specified focal length in mm, from minimum (0) to maximum (max)

0.0 = wide, 1.0 = tele

Set continuous zoom (speed) fixed16 – -1.0 +1.0 Start/stop zooming at specified rate: -1.0 = zoom wider fast, 0.0 = stop, +1 = zoom tele fast 267Developer InformationGroup ID Parameter Type Index Minimum Maximum Interpretation Video

[0] = frame rate – – fps as integer (eg 24, 25, 30, 50, 60) [1] = M-rate – – 0 = regular, 1 = M-rate [2] = dimensions – – 0 = NTSC, 1 = PAL, 2 = 720, 3 = 1080, 4 = 2kDCI, 5 = 2k16:9, 6 = UHD, 7 = 3k Anamorphic, 8 = 4k DCI, 9 = 4k 16:9, 10 = 4.6k 2.4:1, 11 = 4.6k [3] = interlaced – – 0 = progressive, 1 = interlaced [4] = Color space – – 0 = YUV

1.1 Gain (up to Camera 4.9) int8

Calculate and set autowhite balance

– 0 2 0 = film, 1 = video, 2 = extended video

1.8 Video sharpening level int8 enum

– 0 3 0 = off, 1 = low, 2= medium, 3 = high

1.9 Recording format int16

[0] = file frame rate – – fps as integer (eg 24, 25, 30, 50, 60, 120) [1] = sensor frame rate

fps as integer, valid when sensor-off-speed set (eg 24, 25, 30, 33, 48, 50, 60, 120), no change will beperformed if this value is set to 0 [2] = frame width – – in pixels [3] = frame height – – in pixels [4] = flags – – [0] = file-M-rate

[1] = sensor-M-rate, valid whensensor-off-speed-set – – [2] = sensor-off-speed – – [3] = interlaced – – [4] = windowed mode

1.10 Set auto exposure mode int8

– 0 4 0 = Manual Trigger, 1 = Iris, 2 = Shutter, 3 = Iris + Shutter, 4 = Shutter + Iris

1.11 Shutter angle int32

– 100 36000 Shutter angle in degrees, multiplied by 100

Current sensor frame rate

Shutter speed value as a fraction of 1, so 50 for 1/50th of a second

[0] = selected LUT – – 0 = None, 1 = Custom, 2 = film to video, 3 = film to extended video [1] = enabled or not – – 0 = Not enabled, 1 = Enabled 268Developer InformationGroup ID Parameter Type Index Minimum Maximum Interpretation Audio

2.0 Mic level fixed16 – 0.0 1.0 0.0 = minimum, 1.0 = maximum

2.1 Headphone level fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

2.2 Headphone program mix fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

0 = internal mic, 1 = line level input, 2 = low mic level input, 3 = high mic level input

2.5 Input levels fixed16

[0] ch0 0.0 1.0 0.0 = minimum, 1.0 = maximum [1] ch1 0.0 1.0 0.0 = minimum, 1.0 = maximum

2.6 Phantom power boolean – – –

true = powered, false = not powered Output

bit flags: [0] = display status, [1] = display frame guides Some cameras don’t allow separate control of frame guides and status overlays.

Overlays (replaces .1 and .2 abovefrom Cameras 4.0) int8 [0] = frame guides style

0 = off, 1 = 2.4:1, 2 = 2.39:1, 3 = 2.35:1, 4 = 1.85:1, 5 = 16:9, 6 = 14:9, 7 = 4:3, 8 = 2:1, 9 = 4:5, 10 = 1:1 [1] = frame guide opacity 0 100 0 = transparent, 100 = opaque [2] = safe area percentage

percentage of full frame used by safe area guide (0 means off) [3] = grid style – – bit flags: [0] = display thirds, [1] = display cross hairs, [2] = display center dot, [3] = display horizon Display

4.0 Brightness fixed16 – 0.0 1.0 0.0 = minimum, 1.0 = maximum

4.1 Exposure and focus tools

int16 bit field 0x1 = zebra, 0x2 = focus assist, 0x4 = false color – – 0 = disable, 1 = enable

0 = disable bars, 1-30 = enable bars with timeout (seconds)

4.5 Focus Assist int8

[0] = focus assist method

0 = Peak, 1 = Colored lines [1] = focus line color – – 0 = Red, 1 = Green, 2 = Blue, 3 = White, 4 = Black

5.0 Tally brightness fixed16 – 0.0 1.0

Sets the tally front and tally rear brightness to the same level.

Sets the tally front brightness.

5.2 Rear tally brightness fixed16 – 0.0 1.0

Sets the tally rear brightness.

Tally rear brightness cannot be turned off Reference

6.1 Offset int32 – – – +/- offset in pixels

ISO-639-1 two character language code

[0] = basic codec – – 0 = CinemaDNG, 1 = DNxHD, 2 = ProRes, 3 = Blackmagic RAW [1] = code variant

CinemaDNG: 0 = uncompressed, 1 = lossy 3:1, 2 = lossy 4:1

ProRes: 0 = HQ, 1 = 422, 2 = LT, 3 = Proxy, 4 = 444, 5 = 444XQ

[0] = mode – – 0 = Preview, 1 = Play, 2 = Record [1] = speed – – -ve = multiple speeds backwards, 0 = pause, +ve = multiple speeds forwards [2] = flags – – 1<<0 = loop, 1<<1 = play all, 1<<5 = disk1 active, 1<<6 = disk2 active, 1<<7 = time-lapse recording [3] = slot 1 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder [4] = slot 2 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder

10.2 Playback Control int8 enum [0] = clip – –

0 = Previous, 1 = Next

[0] = pan velocity -1.0 1.0 -1.0 = full speed left,

1.0 = full speed right

[1] = tilt velocity -1.0 1.0 -1.0 = full speed down,

0 = reset, 1 = store location, 2 = recall location int8 [1] = preset slot 0 5 – 271Developer InformationExample Protocol Packets Operation Packet Length Byte

8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0 272Developer InformationBlackmagic TallyControl Protocol Version 1.0 (30/04/14) This section is for third party developers or anybody who may wish to add support for the Blackmagic Tally Control Protocol to their products or system. It describes the protocol for sending tally information embedded in the non-active picture region of a digital video stream. Data Flow A master device such as a broadcast switcher embeds tally information into its program feed which is broadcast to a number of slave devices such as cameras or camera controllers. The output from the slave devices is typically fed back to the master device, but may also be sent to a video monitor. The primary flow of tally information is from the master device to the slaves. Each slave device may use its device id to extract and display the relevant tally information. Slave devices pass through the tally packet on their output and update the monitor tally status, so that monitor devices connected to that individual output may display tally status without knowledge of the device id they are monitoring. Assumptions Any data alignment/padding is explicit in the protocol. Bit fields are packed from LSB first. Blanking Encoding One tally control packet may be sent per video frame. Packets are encoded as a SMPTE 291M packet with DID/SDID x51/x52 in the active region of VANC line 15. A tally control packet may contain up to 256 bytes of tally information. Packet Format Each tally status consists of 4 bits of information: uint4 bit 0: program tally status (0=off, 1=on) bit 1: preview tally status (0=off, 1=on) bit 2-3: reserved (0x0) The first byte of the tally packet contains the monitor device tally status and a version number. Subsequent bytes of the tally packet contain tally status for pairs of slave devices. The master device sends tally status for the number of devices configured/supported, up to a maximum of 510. struct tally uint8 bit 0: monitor device program tally status (0=off, 1=on) bit 1: monitor device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4-7: protocol version (0b0000) uint8[0] bit 0: slave device 1 program tally status (0=off, 1=on) bit 1: slave device 1 device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4: slave device 2 program tally status (0=off, 1=on) bit 5: slave device 2 preview tally status (0=off, 1=on) bit 6-7: reserved (0b00) 273Developer Informationuint8[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)

Version (0b0) Version (0b0) Version (0b0) Version (0b0) Reserved (0b0) Reserved (0b0) Monitor Preview Monitor Program

Reserved (0b0) Reserved (0b0) Slave 1 Preview Slave 1 Program Reserved (0b0) Reserved (0b0) Slave 0 Preview Slave 0 Program

Reserved (0b0) Reserved (0b0) Slave 3 Preview Slave 3 Program Reserved (0b0) Reserved (0b0) Slave 2 Preview Slave 2 Program

274Developer InformationHelp 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. Contacting Blackmagic Design Support If you can’t find the help you need in our support material, please use the “Send us an email” button on the support page to email a support request. Alternatively, click on the “Find your local support team” button on the support page and call your nearest Blackmagic Design support office. Checking the Software Version Currently Installed To check which version of Blackmagic Camera Utility software is installed on your computer, open the About Blackmagic Camera Utility window. On Mac, open Blackmagic Camera Utility from the Applications folder. Select About Blackmagic Camera Utility from the application menu to reveal the version number. On Windows, open Blackmagic Camera Utility from your Start menu or Start Screen. Click on the Help menu and select About Blackmagic Camera Utility to reveal the version number. How to Get the Latest Software Updates After checking the version of Blackmagic Camera Utility software installed on your computer, please visit the Blackmagic Design support center at www.blackmagicdesign.com/support to check for the latest updates. While it is usually a good idea to run the latest updates, it is wise to avoid updating any software if you are in the middle of an important project. 275HelpRegulatory 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. The separate collection and recycling of your waste equipment at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. Formore information about where you can drop off your waste equipment for recycling, please contact your local city recycling office or the dealer from whom you purchased the product. This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated inacommercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, maycause harmful interference to radio communications. Operation of this product in aresidential area is likely to cause harmful interference, in which case the user will be required to correct the interference at personal expense. Operation is subject to the following two conditions: 1 This device may not cause harmful interference. 2 This device must accept any interference received, including interference that may cause undesired operation. R-R-BMD-20210915001 R-R-BMD-20200421002 R-R-BMD-20200916001 R-R-BMD-20200916002 R-REM-BMD-201803004 R-REM-BMD-201803003 MSIP-REM-BMD-201612001 ISED Canada Statement This device complies with Canadian standards for Class A digital apparatus. Any modifications or use of this product outside its intended use could void compliance to these standards. This equipment has been tested for compliance with the intended use in a commercial environment. Bluetooth® The URSA Broadcast G2 is a Bluetooth wireless technology enabled product. Contains Transmitter Module FCC ID: QOQBGM113 This equipment complies with FCC radiation exposure limits set forth for an uncontrolledenvironment. Contains Transmitter Module IC: 5123A-BGM113 This device complies with Industry Canada’s license-exempt RSS standards and exception fromroutine SAR evaluation limits given in RSS-102 Issue 5. Certified for Japan, certificate number: 209-J00204. This equipment contains specified radio equipment that has been certified to the Technical Regulation Conformity Certification under theRadio law. 276Regulatory NoticesThis module has certification in South Korea, KC certification number: MSIP-CRM-BGT-BGM113 Hereby, Blackmagic Design declares that the URSA Broadcast G2 using wideband transmission systems in 2.4 GHz ISM band is in compliance with Directive 2014/53/EU The full text of the EU declaration of conformity is available from [e-mail] Safety Information The supplied AC to 12V DC power supply for Blackmagic URSA Broadcast G2 and the IEC power cable for Blackmagic Studio Fiber Converter, must be connected to a mains socket outlet with a protective earth connection. Blackmagic URSA Broadcast G2 and Camera Fiber Converter are suitable for use in tropical locations with an ambient temperature of up to 40°C. Blackmagic Studio Fiber Converter is suitable for use in tropical locations with an ambient temperature of up to 50°C Ensure that adequate ventilation is provided around the Blackmagic Studio Fiber Converter and Camera Fiber Converter so that ventilation is not restricted. When rack mounting the Studio Fiber Converter, ensure that the ventilation is not restricted by adjacent equipment. No operator serviceable parts inside Blackmagic URSA Broadcast G2, Camera Fiber Converter or Studio Fiber Converter. Refer servicing to your local Blackmagic Design service center. State of California statement This product can expose you to chemicals such as trace amounts of polybrominated biphenyls within plastic parts, which is known to the state of California to cause cancer and birth defects or other reproductive harm. For more information go to www.P65Warnings.ca.gov. Blackmagic URSA Broadcast G2 During sunny conditions, consider shading of the camera to prevent exposure of the camera or Lithium battery to extended periods of sunlight. Keep Lithium batteries away from all sources of heat. The 12V DC output connector is suitable to provide power to the Blackmagic URSA Viewfinder or Blackmagic URSA Studio Viewfinder. When connecting other accessories to this connector, ensure that the power consumption is less than 18W. Blackmagic Studio Fiber Converter To reduce the risk of electric shock, do not expose this equipment to dripping or splashing. Useonly at altitudes not more than 2000m above sea level. Blackmagic Camera Fiber Converter Only use the converter when connected to the Blackmagic Studio Fiber Converter. Under normal use, the converter is designed to receive hazardous voltages from the Blackmagic Studio Fiber Converter. 277Safety InformationWarranty Limited Warranty Blackmagic Design warrants that this product will be free from defects in materials and workmanship for a period of 12 months from the date of purchase. If a product proves to be defective during this warranty period, Blackmagic Design, at its option, either will repair the defective product without charge for parts and labor, or will provide a replacement in exchange for the defective product. In order to obtain service under this warranty, you the Customer, must notify Blackmagic Design of the defect before the expiration of the warranty period and make suitable arrangements for the performance of service. The Customer shall be responsible for packaging and shipping the defective product to a designated service center nominated by Blackmagic Design, with shipping charges pre paid. Customer shall be responsible for paying all shipping charges, insurance, duties, taxes, and any other charges for products returned to us for any reason. This warranty shall not apply to any defect, failure or damage caused by improper use or improper or inadequate maintenance and care. Blackmagic Design shall not be obliged under this warranty: a) to repair damage resulting from attempts by personnel other than Blackmagic Design representatives to install, repair or service the product, b) to repair damage resulting from improper use or connection to incompatible equipment, c) to repair any damage or malfunction caused by the use of non 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. Exposing URSA Viewfinder to direct sunlight could damage the viewfinder display as the viewfinder optics act as a magnifying glass. Image retention or burn-in could happen on OLED panels when static or high contrast images, such as frame guides, are displayed on the panels for extended periods. To avoid this, ensure the IR sensor for face detection is not covered deliberately and disconnect the viewfinder when not in use for prolonged periods. Image retention is not covered by this product warranty. THIS WARRANTY IS GIVEN BY BLACKMAGIC DESIGN IN LIEU OF ANY OTHER WARRANTIES, EXPRESS OR IMPLIED. BLACKMAGIC DESIGN AND ITS VENDORS DISCLAIM ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. BLACKMAGIC DESIGN’S RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUCTS DURING THE WARRANTY PERIOD IS THE WHOLE AND EXCLUSIVE REMEDY PROVIDED TO THE CUSTOMER. BLACKMAGIC DESIGN WILL NOT BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER BLACKMAGIC DESIGN OR THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. BLACKMAGIC DESIGN IS NOT LIABLE FOR ANY ILLEGAL USE OF EQUIPMENT BY CUSTOMER. BLACKMAGIC IS NOT LIABLE FOR ANY DAMAGES RESULTING FROM USE OF THIS PRODUCT. USER OPERATES THIS PRODUCT AT OWN RISK. © Copyright 2022 Blackmagic Design. All rights reserved. ‘Blackmagic Design’, ‘URSA’, ‘DeckLink’, ‘HDLink’, ‘Workgroup Videohub’, ‘Multibridge Pro’, ‘Multibridge Extreme’, ‘Intensity’ and ‘Leading the creative video revolution’ are registered trademarks in the US and other countries. All other company and product names may be trademarks of the respective companies with which they are associated. 278WarrantyBlackmagic URSA Broadcast G2 2022年4月 インストール/オペレーションマニュアル Blackmagic URSA Broadcast G2ようこそ

Rear Tally Brightness

GND for tracker talk 3 GND Receive

dBu unbalanced 5 Unregulated Out 12V

GND for unregulated7 Tracker talk

high impedance balanced8 Tracker talk

24 Green Tally IN On

サードパ ー ティ製ソフトウェアの 使 用Developer Information 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. Service: Device Information Service UUID: 180A Characteristics Camera ManufacturerUUID: 2A29Read the name of the manufacturer (always “Blackmagic Design”).Camera ModelUUID: 2A24Read the name of the camera model (“URSA Broadcast G2”). Service: Blackmagic Camera Service UUID: 291D567A-6D75-11E6-8B77-86F30CA893D3 Characteristics Outgoing Camera Control (encrypted)UUID: 5DD3465F-1AEE-4299-8493-D2ECA2F8E1BBSend Camera Control messagesThese messages are identical to those described in the Blackmagic SDI Camera Control Protocol section below. Please read that section for a list of supported messages and required formatting information.For an example of how packets are structured, please see the ‘example protocol packets’ section in this document.Incoming Camera Control (encrypted)UUID: B864E140-76A0-416A-BF30-5876504537D9Request notifications for this characteristic to receive Camera Control messages from the camera.These messages are identical to those described in the Blackmagic SDI Camera Control Protocol section below. Please read that section for a list of supported messages and required formatting information. DeveloperInformationTimecode (encrypted) UUID: 6D8F2110-86F1-41BF-9AFB-451D87E976C8 Request notifications for this characteristic to receive timecode updates. Timecode (HH:MM:SS:mm) is represented by a 32-bit BCD number: (eg. 09:12:53:10 = 0x09125310) Camera Status (encrypted) UUID: 7FE8691D-95DC-4FC5-8ABD-CA74339B51B9 Request notifications for this characteristic to receive camera status updates. The camera status is represented by flags contained in an 8-bit integer: None = 0x00 Camera Power On = 0x01 Connected = 0x02 Paired = 0x04 Versions Verified = 0x08 Initial Payload Received = 0x10 Camera Ready = 0x20 Send a value of 0x00 to power a connected camera off. Send a value of 0x01 to power a connected camera on. Device Name UUID: FFAC0C52-C9FB-41A0-B063-CC76282EB89C Send a device name to the camera (max. 32 characters). The camera will display this name in the Bluetooth Setup Menu. Protocol Version UUID: 8F1FD018-B508-456F-8F82-3D392BEE2706 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. For example, writing a ‘Camera Power On’ (0x01) message to the Camera Status characteristic. Once bonding is initiated, the camera will display a 6-digit pin in the Bluetooth Setup Menu. Enter this pin on your device to establish an encrypted connection. The device will now be able to read, write and receive notifications from encrypted characteristics.

DeveloperInformationBlackmagic SDI and Bluetooth Camera Control Protocol Version 1.4 If you are a software developer you can use the Blackmagic SDI and Bluetooth Camera Control Protocol to construct devices that integrate with our products. Here at Blackmagic Design, our approach is to open up our protocols and we eagerly look forward to seeing what you come up with! Overview This document describes an extensible protocol for sending a unidirectional stream of small control messages embedded in the non-active picture region of a digital video stream. The video stream containing the protocol stream may be broadcast to a number of devices. Device addressing is used to allow the sender to specify which device each message is directed to. Assumptions Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed from LSB first. Message groups, individual messages and command headers are defined as, and can be assumed to be, 32 bit aligned. Blanking Encoding A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of VANC line 16. Message Grouping Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of 255 bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum of one frame latency. If the transmitting device queues more bytes of message packets than can be sent in a single frame, it should use heuristics to determine which packets to prioritize and send immediately. Lower priority messages can be delayed to later frames, or dropped entirely as appropriate. Abstract Message Packet Format Every message packet consists of a three byte header followed by an optional variable length data block. The maximum packet size is 64 bytes. Destination device (uint8)Device addresses are represented as an 8 bit unsigned integer. Individual devices are numbered 0 through 254 with the value 255reserved to indicate a broadcast message to all devices.Command length (uint8) The command length is an 8 bit unsigned integer which specifies the length of the included command data. The length does NOT include the length of the header or any trailing padding bytes.Command id (uint8)The command id is an 8 bit unsigned integer which indicates themessage type being sent. Receiving devices should ignore any commands that they do not understand. Commands 0 through 127 are reserved for commands that apply to multiple types of devices. Commands 128 through 255 are device specific.Reserved (uint8)This byte is reserved for alignment and expansion purposes. It should be set tozero.Command data (uint8[])The command data may contain between 0 and 60 bytes of data. The format of the data section is defined by the command itself. DeveloperInformationPadding (uint8[]) Messages must be padded up to a 32 bit boundary with 0x0bytes. Anypadding bytes are NOT included in the command length. Receiving devices should use the destination device address and or the command identifier to determine which messages to process. The receiver should use the command length to skip irrelevant or unknown commands and should be careful to skip the implicit padding as well. Defined Commands Command 0 : change configuration Category (uint8) The category number specifies one of up to 256 configuration categories available on the device. Parameter (uint8) The parameter number specifies one of 256 potential configuration parameters available on the device. Parameters 0 through 127 are device specific parameters. Parameters 128 though 255 are reserved for parameters that apply to multiple types of devices. Data type (uint8) The data type specifies the type of the remaining data. Thepacket length is used to determine the number of elements in the message. Each message must contain an integral number of data elements. Currently defined values are: 0: void / boolean A void value is represented as a boolean array of length zero. The data field is a 8 bit value with 0 meaning false and all other values meaning true. 1: signed byte Data elements are signed bytes 2: signed 16bit integer Data elements are signed 16 bit values 3: signed 32bit integer Data elements are signed 32 bit values 4: signed 64bit integer Data elements are signed 64 bit values 5: UTF-8 string Data elements represent a UTF-8 string with no terminating character. Data types 6 through 127 are reserved. 128: signed 5.11fixed point Data elements are signed 16 bit integers representing a real number with 5bits for the integer component and 11 bits for the fractional component. Thefixed point representation is equal to the real value multiplied by 2^11. The representable range is from -16.0 to 15.9995 (15 + 2047/2048).

DeveloperInformationData types 129 through 255 are available for device specific purposes. Operation type (uint8) The operation type specifies what action to perform on the specified parameter. Currently defined values are: 0: assign value The supplied values are assigned to the specified parameter. Each element will be clamped according to its valid range. A void parameter may only be ‘assigned’ an empty list of boolean type. This operation will trigger the action associated with that parameter. A boolean value may be assigned the value zero for false, and any other value for true. 1: offset / toggle value Each value specifies signed offsets of the same type to be added to the current parameter values. The resulting parameter value will be clamped according to their valid range. It is not valid to apply an offset to a void value. Applying any offset other than zero to a boolean value will invert that value. Operation types 2 through 127 are reserved. Operation types 128through 255 are available for device specific purposes. Data (void) The data field is 0 or more bytes as determined by the data type and number of elements. The category, parameter, data type and operation type partition a 24 bit operation space. Group ID Parameter Type Index Minimum Maximum Interpretation Lens

0.0 Focus fixed16 – 0.0 1.0 0.0 = near, 1.0 = far

0.1 Instantaneous autofocus void – – – trigger instantaneous autofocus

0.2 Aperture (f-stop) fixed16 – -1.0 16.0

Aperture Value (where fnumber = sqrt(2^AV))

0.3 Aperture (normalised) fixed16 – 0.0 1.0 0.0 = smallest, 1.0 = largest

Move to specified focal length in mm, from minimum (0) to maximum (max)

0.0 = wide, 1.0 = tele

Set continuous zoom (speed) fixed16 – -1.0 +1.0 Start/stop zooming at specified rate: -1.0 = zoom wider fast, 0.0 = stop, +1 = zoom tele fast

[0] = frame rate – – fps as integer (eg 24, 25, 30, 50, 60) [1] = M-rate – – 0 = regular, 1 = M-rate [2] = dimensions – – 0 = NTSC, 1 = PAL, 2 = 720, 3 = 1080, 4 = 2kDCI, 5 = 2k16:9, 6 = UHD, 7 = 3k Anamorphic, 8 = 4k DCI, 9 = 4k 16:9, 10 = 4.6k 2.4:1, 11 = 4.6k [3] = interlaced – – 0 = progressive, 1 = interlaced [4] = Color space – – 0 = YUV

1.1 Gain (up to Camera 4.9) int8

Calculate and set autowhite balance

– 0 2 0 = film, 1 = video, 2 = extended video

1.8 Video sharpening level int8 enum

– 0 3 0 = off, 1 = low, 2= medium, 3 = high

1.9 Recording format int16

[0] = file frame rate – – fps as integer (eg 24, 25, 30, 50, 60, 120) [1] = sensor frame rate

fps as integer, valid when sensor-off-speed set (eg 24, 25, 30, 33, 48, 50, 60, 120), no change will beperformed if this value is set to 0 [2] = frame width – – in pixels [3] = frame height – – in pixels [4] = flags – – [0] = file-M-rate

[1] = sensor-M-rate, valid whensensor-off-speed-set – – [2] = sensor-off-speed – – [3] = interlaced – – [4] = windowed mode

1.10 Set auto exposure mode int8

– 0 4 0 = Manual Trigger, 1 = Iris, 2 = Shutter, 3 = Iris + Shutter, 4 = Shutter + Iris

1.11 Shutter angle int32

– 100 36000 Shutter angle in degrees, multiplied by 100

Current sensor frame rate

Shutter speed value as a fraction of 1, so 50 for 1/50th of a second

[0] = selected LUT – – 0 = None, 1 = Custom, 2 = film to video, 3 = film to extended video [1] = enabled or not – – 0 = Not enabled, 1 = Enabled

2.1 Headphone level fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

2.2 Headphone program mix fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

0 = internal mic, 1 = line level input, 2 = low mic level input, 3 = high mic level input

2.5 Input levels fixed16

[0] ch0 0.0 1.0 0.0 = minimum, 1.0 = maximum [1] ch1 0.0 1.0 0.0 = minimum, 1.0 = maximum

2.6 Phantom power boolean – – –

true = powered, false = not powered Output

bit flags: [0] = display status, [1] = display frame guides Some cameras don’t allow separate control of frame guides and status overlays.

Overlays (replaces .1 and .2 abovefrom Cameras 4.0) int8 [0] = frame guides style

0 = off, 1 = 2.4:1, 2 = 2.39:1, 3 = 2.35:1, 4 = 1.85:1, 5 = 16:9, 6 = 14:9, 7 = 4:3, 8 = 2:1, 9 = 4:5, 10 = 1:1 [1] = frame guide opacity 0 100 0 = transparent, 100 = opaque [2] = safe area percentage

percentage of full frame used by safe area guide (0 means off) [3] = grid style – – bit flags: [0] = display thirds, [1] = display cross hairs, [2] = display center dot, [3] = display horizon Display

4.0 Brightness fixed16 – 0.0 1.0 0.0 = minimum, 1.0 = maximum

4.1 Exposure and focus tools

int16 bit field 0x1 = zebra, 0x2 = focus assist, 0x4 = false color – – 0 = disable, 1 = enable

0 = disable bars, 1-30 = enable bars with timeout (seconds)

4.5 Focus Assist int8

[0] = focus assist method

0 = Peak, 1 = Colored lines [1] = focus line color – – 0 = Red, 1 = Green, 2 = Blue, 3 = White, 4 = Black

4.6 Program return feed enable int8 – 0 30

0 = disable, 1-30 = enable with timeout (seconds)

5.0 Tally brightness fixed16 – 0.0 1.0

Sets the tally front and tally rear brightness to the same level.

Sets the tally front brightness.

5.2 Rear tally brightness fixed16 – 0.0 1.0

Sets the tally rear brightness.

Tally rear brightness cannot be turned off Reference

6.1 Offset int32 – – – +/- offset in pixels

ISO-639-1 two character language code

[0] = basic codec – – 0 = CinemaDNG, 1 = DNxHD, 2 = ProRes, 3 = Blackmagic RAW [1] = code variant

CinemaDNG: 0 = uncompressed, 1 = lossy 3:1, 2 = lossy 4:1

ProRes: 0 = HQ, 1 = 422, 2 = LT, 3 = Proxy, 4 = 444, 5 = 444XQ

[0] = mode – – 0 = Preview, 1 = Play, 2 = Record [1] = speed – – -ve = multiple speeds backwards, 0 = pause, +ve = multiple speeds forwards [2] = flags – – 1<<0 = loop, 1<<1 = play all, 1<<5 = disk1 active, 1<<6 = disk2 active, 1<<7 = time-lapse recording [3] = slot 1 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder [4] = slot 2 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder

10.2 Playback Control int8 enum [0] = clip – –

0 = Previous, 1 = Next PTZ Control

11.0 Pan/Tilt Velocity fixed 16

[0] = pan velocity -1.0 1.0 -1.0 = full speed left,

1.0 = full speed right

[1] = tilt velocity -1.0 1.0 -1.0 = full speed down,

0 = reset, 1 = store location, 2 = recall location int8 [1] = preset slot 0 5 –

DeveloperInformationBlackmagic Tally Control Protocol Version 1.0 (30/04/14) This section is for third party developers or anybody who may wish to add support for the Blackmagic Tally Control Protocol to their products or system. It describes the protocol for sending tally information embedded in the non-active picture region of a digital video stream. Data Flow A master device such as a broadcast switcher embeds tally information into its program feed which is broadcast to a number of slave devices such as cameras or camera controllers. The output from the slave devices is typically fed back to the master device, but may also be sent to a video monitor. The primary flow of tally information is from the master device to the slaves. Each slave device may use its device id to extract and display the relevant tally information. Slave devices pass through the tally packet on their output and update the monitor tally status, so that monitor devices connected to that individual output may display tally status without knowledge of the device id they are monitoring. Assumptions Any data alignment / padding is explicit in the protocol. Bit fields are packed from LSB first. Blanking Encoding One tally control packet may be sent per video frame. Packets are encoded as a SMPTE 291M packet with DID/SDID x51/x52 in the active region of VANC line 15. A tally control packet may contain up to 256 bytes of tally information. Packet Format Each tally status consists of 4 bits of information: uint4 bit 0: program tally status (0=off, 1=on) bit 1: preview tally status (0=off, 1=on) bit 2-3: reserved (0x0) The first byte of the tally packet contains the monitor device tally status and a version number. Subsequent bytes of the tally packet contain tally status for pairs of slave devices. The master device sends tally status for the number of devices configured/supported, up to a maximum of 510. struct tally uint8 bit 0: monitor device program tally status (0=off, 1=on) bit 1: monitor device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4-7: protocol version (0b0000) uint8[0] bit 0: slave device 1 program tally status (0=off, 1=on) bit 1: slave device 1 device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4: slave device 2 program tally status (0=off, 1=on) bit 5: slave device 2 preview tally status (0=off, 1=on) bit 6-7: reserved (0b00) DeveloperInformationuint8[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)

Version (0b0) Version (0b0) Version (0b0) Version (0b0) Reserved (0b0) Reserved (0b0) Monitor Preview Monitor Program

Reserved (0b0) Reserved (0b0) Slave 1 Preview Slave 1 Program Reserved (0b0) Reserved (0b0) Slave 0 Preview Slave 0 Program

Reserved (0b0) Reserved (0b0) Slave 3 Preview Slave 3 Program Reserved (0b0) Reserved (0b0) Slave 2 Preview Slave 2 Program

Production channel output0dBu balanced

0.0 Focus fixed16 – 0.0 1.0 0.0 = near, 1.0 = far

0.1 Instantaneous autofocus void – – – trigger instantaneous autofocus

0.2 Aperture (f-stop) fixed16 – -1.0 16.0

Aperture Value (where fnumber = sqrt(2^AV))

0.3 Aperture (normalised) fixed16 – 0.0 1.0 0.0 = smallest, 1.0 = largest

Move to specified focal length in mm, from minimum (0) to maximum (max)

0.0 = wide, 1.0 = tele

Set continuous zoom (speed) fixed16 – -1.0 +1.0 Start/stop zooming at specified rate: -1.0 = zoom wider fast, 0.0 = stop, +1 = zoom tele fast 821Developer InformationGroup ID Parameter Type Index Minimum Maximum Interpretation Video

[0] = frame rate – – fps as integer (eg 24, 25, 30, 50, 60) [1] = M-rate – – 0 = regular, 1 = M-rate [2] = dimensions – – 0 = NTSC, 1 = PAL, 2 = 720, 3 = 1080, 4 = 2kDCI, 5 = 2k16:9, 6 = UHD, 7 = 3k Anamorphic, 8 = 4k DCI, 9 = 4k 16:9, 10 = 4.6k 2.4:1, 11 = 4.6k [3] = interlaced – – 0 = progressive, 1 = interlaced [4] = Color space – – 0 = YUV

1.1 Gain (up to Camera 4.9) int8

Calculate and set autowhite balance

– 0 2 0 = film, 1 = video, 2 = extended video

1.8 Video sharpening level int8 enum

– 0 3 0 = off, 1 = low, 2= medium, 3 = high

1.9 Recording format int16

[0] = file frame rate – – fps as integer (eg 24, 25, 30, 50, 60, 120) [1] = sensor frame rate

fps as integer, valid when sensor-off-speed set (eg 24, 25, 30, 33, 48, 50, 60, 120), no change will beperformed if this value is set to 0 [2] = frame width – – in pixels [3] = frame height – – in pixels [4] = flags – – [0] = file-M-rate

[1] = sensor-M-rate, valid whensensor-off-speed-set – – [2] = sensor-off-speed – – [3] = interlaced – – [4] = windowed mode

1.10 Set auto exposure mode int8

– 0 4 0 = Manual Trigger, 1 = Iris, 2 = Shutter, 3 = Iris + Shutter, 4 = Shutter + Iris

1.11 Shutter angle int32

– 100 36000 Shutter angle in degrees, multiplied by 100

Current sensor frame rate

Shutter speed value as a fraction of 1, so 50 for 1/50th of a second

[0] = selected LUT – – 0 = None, 1 = Custom, 2 = film to video, 3 = film to extended video [1] = enabled or not – – 0 = Not enabled, 1 = Enabled 822Developer InformationGroup ID Parameter Type Index Minimum Maximum Interpretation Audio

2.0 Mic level fixed16 – 0.0 1.0 0.0 = minimum, 1.0 = maximum

2.1 Headphone level fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

2.2 Headphone program mix fixed16 – 0.1 1.0 0.0 = minimum, 1.0 = maximum

0 = internal mic, 1 = line level input, 2 = low mic level input, 3 = high mic level input

2.5 Input levels fixed16

[0] ch0 0.0 1.0 0.0 = minimum, 1.0 = maximum [1] ch1 0.0 1.0 0.0 = minimum, 1.0 = maximum

2.6 Phantom power boolean – – –

true = powered, false = not powered Output

bit flags: [0] = display status, [1] = display frame guides Some cameras don’t allow separate control of frame guides and status overlays.

Overlays (replaces .1 and .2 abovefrom Cameras 4.0) int8 [0] = frame guides style

0 = off, 1 = 2.4:1, 2 = 2.39:1, 3 = 2.35:1, 4 = 1.85:1, 5 = 16:9, 6 = 14:9, 7 = 4:3, 8 = 2:1, 9 = 4:5, 10 = 1:1 [1] = frame guide opacity 0 100 0 = transparent, 100 = opaque [2] = safe area percentage

percentage of full frame used by safe area guide (0 means off) [3] = grid style – – bit flags: [0] = display thirds, [1] = display cross hairs, [2] = display center dot, [3] = display horizon Display

4.0 Brightness fixed16 – 0.0 1.0 0.0 = minimum, 1.0 = maximum

4.1 Exposure and focus tools

int16 bit field 0x1 = zebra, 0x2 = focus assist, 0x4 = false color – – 0 = disable, 1 = enable

0 = disable bars, 1-30 = enable bars with timeout (seconds)

4.5 Focus Assist int8

[0] = focus assist method

0 = Peak, 1 = Colored lines [1] = focus line color – – 0 = Red, 1 = Green, 2 = Blue, 3 = White, 4 = Black

5.0 Tally brightness fixed16 – 0.0 1.0

Sets the tally front and tally rear brightness to the same level.

Sets the tally front brightness.

5.2 Rear tally brightness fixed16 – 0.0 1.0

Sets the tally rear brightness.

Tally rear brightness cannot be turned off Reference

6.1 Offset int32 – – – +/- offset in pixels

ISO-639-1 two character language code

[0] = basic codec – – 0 = CinemaDNG, 1 = DNxHD, 2 = ProRes, 3 = Blackmagic RAW [1] = code variant

CinemaDNG: 0 = uncompressed, 1 = lossy 3:1, 2 = lossy 4:1

ProRes: 0 = HQ, 1 = 422, 2 = LT, 3 = Proxy, 4 = 444, 5 = 444XQ

[0] = mode – – 0 = Preview, 1 = Play, 2 = Record [1] = speed – – -ve = multiple speeds backwards, 0 = pause, +ve = multiple speeds forwards [2] = flags – – 1<<0 = loop, 1<<1 = play all, 1<<5 = disk1 active, 1<<6 = disk2 active, 1<<7 = time-lapse recording [3] = slot 1 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder [4] = slot 2 storage medium

0 = CFast card, 1 = SD, 2 = SSD Recorder

10.2 Playback Control int8 enum [0] = clip – –

0 = Previous, 1 = Next

[0] = pan velocity -1.0 1.0 -1.0 = full speed left,

1.0 = full speed right

[1] = tilt velocity -1.0 1.0 -1.0 = full speed down,

0 = reset, 1 = store location, 2 = recall location int8 [1] = preset slot 0 5 – 825Developer InformationExample Protocol Packets Operation Packet Length Byte

8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0 826Developer InformationBlackmagic TallyControl Protocol Version 1.0 (30/04/14) This section is for third party developers or anybody who may wish to add support for the Blackmagic Tally Control Protocol to their products or system. It describes the protocol for sending tally information embedded in the non-active picture region of a digital video stream. Data Flow A master device such as a broadcast switcher embeds tally information into its program feed which is broadcast to a number of slave devices such as cameras or camera controllers. The output from the slave devices is typically fed back to the master device, but may also be sent to a video monitor. The primary flow of tally information is from the master device to the slaves. Each slave device may use its device id to extract and display the relevant tally information. Slave devices pass through the tally packet on their output and update the monitor tally status, so that monitor devices connected to that individual output may display tally status without knowledge of the device id they are monitoring. Assumptions Any data alignment / padding is explicit in the protocol. Bit fields are packed from LSB first. Blanking Encoding One tally control packet may be sent per video frame. Packets are encoded as a SMPTE 291M packet with DID/SDID x51/x52 in the active region of VANC line 15. A tally control packet may contain up to 256 bytes of tally information. Packet Format Each tally status consists of 4 bits of information: uint4 bit 0: program tally status (0=off, 1=on) bit 1: preview tally status (0=off, 1=on) bit 2-3: reserved (0x0) The first byte of the tally packet contains the monitor device tally status and a version number. Subsequent bytes of the tally packet contain tally status for pairs of slave devices. The master device sends tally status for the number of devices configured/supported, up to a maximum of 510. struct tally uint8 bit 0: monitor device program tally status (0=off, 1=on) bit 1: monitor device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4-7: protocol version (0b0000) uint8[0] bit 0: slave device 1 program tally status (0=off, 1=on) bit 1: slave device 1 device preview tally status (0=off, 1=on) bit 2-3: reserved (0b00) bit 4: slave device 2 program tally status (0=off, 1=on) bit 5: slave device 2 preview tally status (0=off, 1=on) bit 6-7: reserved (0b00) 827Developer Informationuint8[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)

Version (0b0) Version (0b0) Version (0b0) Version (0b0) Reserved (0b0) Reserved (0b0) Monitor Preview Monitor Program

Reserved (0b0) Reserved (0b0) Slave 1 Preview Slave 1 Program Reserved (0b0) Reserved (0b0) Slave 0 Preview Slave 0 Program

Reserved (0b0) Reserved (0b0) Slave 3 Preview Slave 3 Program Reserved (0b0) Reserved (0b0) Slave 2 Preview Slave 2 Program