August 2024

Installation and Operation Manual

Blackmagic

URSA Cine

Blackmagic URSA Cine

Welcome
Thank you for purchasing your Blackmagic URSA Cine!
After we released our first digital film camera in 2012 we have been privileged to have received
some of the best guidance and feedback for a new product! We all grew up admiring the workof the world’s leading cinematographers and it’s been an honor to spend hours in conversation
with these legendary experts on the features we need to add to our cameras. Of course, every
individual we speak with has good ideas too!
We have taken all your feedback on board, combined that with everything we have learned along
the way and now we introduce Blackmagic URSA Cine!
URSA Cine 12K LF features our second generation wide dynamic range 12K sensor and the camera
is packed with everything we’ve ever wanted to add for high end digital cinema acquisition! YourURSA Cine is compact and robust, with a light and sturdy metal chassis and ergonomic controls,
Blackmagic Cloud sync, advanced streaming, 10G Ethernet, high speed WiFi, multiple USB ports foraccessories, 12 and 24V power outputs and much more. With ultra fast storage using the included
Blackmagic Media Module, you can shoot up to full 12K by 8K open gate resolution at up 80 frames
per second, or even 8K 2.4:1 at up to 224 frames per second and never have to worry about
media speed!
We have also added the powerful assist station so camera assistants, focus pullers, soundrecordists and crew can use the camera for checking levels, monitoring exposure and the focus
scale, plus other helpful tools for easy and fast production.
There are so many tiny improvements and features on URSA Cine, including the types ofconnectors and their positions, a dovetail compatible baseplate with both lightweight 15mm and
19mm studio rod spacing included and so much more. We are really excited by URSA Cine andhope you use your camera to produce some of the world’s most dynamic and creative projects!
We are keen to see what creative work you produce and to get your feedback on new features
you would like to see us add to URSA Cine!

Grant Petty
CEO Blackmagic Design

Contents
What’s in the Kit?

5

Unloading Blackmagic Media Module

41Blackmagic URSA Cine 12K LF

5Loading Blackmagic Media Module

42Blackmagic URSA Cine 12K LF + EVF6

Preparing Media for Recording43

Getting Started7Blackmagic Media Dock

45

Attaching a Lens

7

Connecting Power

45

Attaching a PL Mount Lens

8

Connecting to your Network

45

Powering your Camera

9Turning on your Camera

10

Loading and Unloading BlackmagicMedia Modules

46

URSA Cine Overview12Blackmagic RAW48

Camera Front

12

Recording to Blackmagic RAW49

Camera Left

13

Blackmagic URSA Cine EVF52

Camera Right

14

Assembling and Attaching the EVF52

Rear Panel

16

Top Panel

18

Assembling the URSA Cine EVF
Mounting Mechanism

52

Underside

19

Recording20

Attaching the Eyepiece to URSA
Cine EVF Rotating Bracket

54

Choosing the Resolution, Aspect
Ratio and Codec

20

Choosing Frame Rates

21

Record Durations23

Data Rate Tables

24

Playback

26

Media Pool

27

Controls

28

Playback

28Group Select

30Media Filter

30

Storage

31

Uploading Clips to Blackmagic Cloud32

Logging into Blackmagic Cloud32

Blackmagic Cloud Projects Panel

34

Uploading Clips to a Blackmagic
Cloud Project

34

Selectively Uploading Clips to Projects

36

Upload OriginalConnecting URSA Cine EVF toyour Camera

54

Positioning URSA Cine EVF55

Adjusting Forwards and Backwards

55

Adjusting the Height

55

Adjusting the Eyepiece

56

Adjusting the Eye Cup and Glass Diopter 56
EVF Buttons and Features 

56

Attaching URSA Cine EVF Extension

58

Attaching an Eyepiece Leveller

61

Control Buttons

65

Forward Control Panel

65

Ergonomic Control Panel

68

Status LCD69

Status LCD Controls

71

Control and Playback Buttons

72Internal Control Panel

73

Assist Station

75

37

Using the 1st AC Page

77

Uploading to your Blackmagic
Cloud Storage

Touchscreen Controls

79

37

LCD Monitor Options

79

Clip Upload Status Indicators

38

ND Filter indicator

87

Closing the Media Pool39

LUT Indicator

88Blackmagic Media Module

39

Frames Per Second

88

Transferring Clips to Edit Storage

40

Shutter

90Blackmagic URSA Cine

3

Pinout Tables for URSA Cine
Connectors

189

Using DaVinci Resolve

191

Project Manager

192

Editing with the Cut Page

192

Adding Clips to the Timeline

195

Trimming Clips on the Timeline

196

Audio Trim View 197

Adding Titles

197

Working with Blackmagic RAW Files

198

Color Correcting your Clips with
the Color Page

202

Adding a Power Window

206

Using Plugins

208

Mixing Your Audio

208

Iris

92

Duration Display

93

ISO

94

White Balance 

95Power

97

Histogram

97

Record Button

98

Storage Indicators

98

Audio Meter

100

Focus Zoom

100

Full Screen Mode101

Playback Menu

102

Looping Playback

103

Settings

104

Record Settings

104

Monitor Settings

111

Adding VFX and Compositing on
the Fusion Page

214

Audio Settings

119

Mastering Your Edit

222

Setup Settings

122

Quick Export

223

Presets

152

The Deliver Page

224

Developer Information

225

Camera Control REST API225

Livestream Control API226

Event Control API230

System Control API

230

Transport Control API235

Timeline Control API238

Media Control API

239

Preset Control API241

Audio Control API243

Lens Control API

249

Video Control API251

Camera Control API

257

Color Correction Control API

258

Notification websocket - 1.0.0

263

Device Properties

265Blackmagic Bluetooth Camera Control

275

LUTS 154
Entering Metadata

158

Camera Video Outputs

166

12G-SDI Outputs

166

URSA Cine Baseplates

167

Attaching the Baseplate

167

Adjusting the Baseplate

168

Attaching the camera to thedovetail plate

168

Interchangeable Lens Mount

169

Removing the PL Mount 170Blackmagic URSA Cine Mount LPL170

Blackmagic URSA Cine Mount EF

171

Attaching an EF Lens

173

Shimming Lens Mounts

174Blackmagic Camera Setup

175

Setup Settings

177

Transferring Files over a Network 

182

Blackmagic SDI Camera Control
Protocol

277

Accessories 185

Example Protocol Packets

286Blackmagic Zoom and Focus Demands

185Blackmagic Tally Control Protocol

287

Attaching to Tripod Handles

185

Help

289

Connecting to Your Camera

186

Regulatory Notices

290

Using Blackmagic Focus Demand

187

Safety Information

292

Using Blackmagic Zoom Demand

188

Warranty

293Blackmagic URSA Cine

4

What’s in the Kit?
URSA Cine is available in two kits. Depending on which kit you have purchased, the contents
will include:

Blackmagic URSA Cine 12K LF
Your Blackmagic URSA Cine 12K LF is shipped in a strong and protective Pelican hard casewith moulded foam inlay. The camera has a B Mount battery plate and PL lens mount alreadyattached, together with a formatted Blackmagic Media Module 8TB loaded in the module bay
ready to record straight away.

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

URSA Cine 12K LF
The kit contents in custom foamed Pelican hard case include: Blackmagic URSA Cine 12K LF camera
with PL lens mount.

 Blackmagic URSA Cine Mount EF and Blackmagic Media Module 8TB.

 Blackmagic EF Body Cap.

 Blackmagic URSA Cine Handle and bolts.
 Blackmagic URSA Cine Top Rod Mount.
 Blackmagic URSA Cine Baseplate 19.
 Blackmagic URSA Cine Battery
Plate B Mount.

mount screws.
 Blackmagic PL Body Cap.
 24V 250W power supply.
 Plastic folding screen hood for 5” LCD.
 DaVinci Resolve Studio activation walletwith activation card.

 Blackmagic URSA Cine Rubber Caps forconnectors.

 Welcome card.

 Blackmagic URSA Cine WiFi antennas.

 Blackmagic Design sticker.

What’s in the Kit?

5

Blackmagic URSA Cine 12K LF + EVF
This kit contains everything listed in the URSA Cine 12K LF kit plus a case for the BlackmagicMedia Module and all items in the Blackmagic URSA Cine EVF kit in a slightly larger custom
foamed Pelican case. The added room also enables the URSA Cine Baseplate 19 to be packed
in the case already attached to your camera which will save you valuable time on set.
The small round cavity in the foam inlay is included for packing an optional short handled screw
driver if needed.

URSA Cine 12K LF + EVF
This kit includes all of the items contained in the URSA Cine 12K LF kit in a larger custom
foamed Pelican hard case plus the following additional items:
 Blackmagic URSA Cine EVF.
 Blackmagic URSA Cine EVF Rotating
Bracket with built in 19mm carbon
fibre rod.

 Long USB viewfinder cable.
Right angle to straight.
 Short USB viewfinder cable.
Right angle to straight.

 Blackmagic URSA Cine EVF Bracket
Rod Mount.

 Short USB viewfinder cable.
Right angle at both ends.

 Blackmagic URSA Cine EVF Extension.

 Rubber eyecup.

 2x Short carbon fibre 15mm rods.

 Fabric eye chamois.

 Blackmagic Media Module Case

What’s in the Kit?

6

Getting Started
Getting started with your Blackmagic URSA Cine is as simple as mounting a lens and powering
your camera. URSA Cine is shipped with a PL mount already attached and a separate EF mountis included if you want to use EF lenses. The EF mount has a locking mechanism to secure
EF lenses to the camera.
Blackmagic Media Module 8TB is loaded into the camera’s module bay, formatted and ready torecord clips straight away!

Attaching a Lens
The first step in getting started is to remove the protective dust cap from the PL lens mount.
Hold the cap and rotate the PL locking ring counterclockwise to release it, then gently remove
the cap from the mount.

OFF

–

ON

+

VIEW
FINDE
R

LOCK
2
CH1/
4
CH3/

EXT

E
H PHONRMONITOIS
IR

MENU

BACK

LOCK

STILL

T
RESE

IN
ISO / GAF1RSHUTTE
F2

BAL
WHITE

IRIS

HOLD

S
FOCU

HFR

MENU

Rotate the locking ring to release the dust cap from the PL mount

NOTE Blackmagic URSA Cine features an interchangeable lens mount capable ofaccepting EF, PL and LPL mount lenses. For more information on switching between
mount types on URSA Cine, refer to the ‘interchangeable lens mount’ section inthis manual.

Getting Started

7

TC

PGM

BRGT

Attaching a PL Mount Lens
PL lenses are easily mounted to your camera by placing the lens against the camera’s mountand securing it using the mount’s locking ring.

Attaching and removing a PL 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.

4

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 torotate the lens.

NOTE If attaching focus motors, you can power them from URSA Cine’s EXT port
or the RS port. These ports output 24V power for common lens motors and allows
the lens motors to send record run and stop trigger signals to the camera from theirrespective hand units.

Cooke /i Technology Interface
URSA Cine’s PL mount features four pins at the 12 o’clock position that are used to communicate
with lenses featuring Cooke’s /i Technology interface. The lenses that support this interface
include lenses from Angenieux, Arri, Canon, Cooke, Fujinon, Leitz, Sigma and Zeiss. This lets
you record lens information in your clips’ metadata such as the lens model, focal length,
aperture setting, focus distance and other lens specific information. In addition to recording
lens information viewable in the ‘lens data’ metadata slate, this connection is also importantfor your camera’s first AC page that displays live focus and iris scales. These scales arehelpful indicators you can place markers on to help with critical focus and exposure. For more
information, refer to the ‘using the 1st AC page’ section of this manual.

Getting Started

8

VIEWFINDER

EXT

RS

When mounting a PL lens with/i Technology, make sure thelens pins align with the mountpins at the 12 o'clock position

The information that is recorded as metadata via Cooke’s /i Technology interface can be very
helpful in post production and visual effects. Knowing the lenses used in production and theirprecise settings can be helpful in the event that the setup needs to be replicated at a later date.
AU
1

DIO

IN

AU

This detailed information can also be utilized by powerful applications such as DaVinci Resolve
and Blackmagic Fusion for a wide variety of advanced functions. For example, the recorded
metadata can be used to simulate the specific lens in 3D space, or to correct lens distortions.
2

DIO

IN

Powering your Camera
V
12 5A
1.

Now that you have attached a PL lens, you will need to supply power. The quickest way to
power your camera is to connect external power using the supplied power adapter.
To plug in external power:
1

CKFirst remove the rubber protective dust cap and store it somewhere safe. Connect the
AC to 24V DC adapter plug to your mains power socket using a standard IEC C13 mains
power cable.
AU
1

2

USB

DIO

LO

IN

AU

DIO

12G

Connect the adapter’s 8 pin connector to the 24V DC power connector on the camera’s
rear panel.
2

IN

UT

IO

SD

UT

IO

D
GS

2/4

V
12 5A
1.

12
If you have both external and battery power connected, the camera will draw from the external
power source. Removing external power while a charged battery is connected will switch yourcamera to battery power without interruption.
N
CI

1

CH
CH

USB

CK

LO

12G

12G

T
N/

FI

RE

3/4

1/2
CH

CH

UT

S
DI

IO

SD

UT

IO

SD

C
RE

1

CH

2/4

CH

10G

RM
ST
D
AU

/ TC
F IN

IN

RE

E
AT
SL

3/4

CH

1/2

CH

NS
LE
P
DIS

V

/24

12 V

10G

V

/24

12 V

To plug in power, align the red dots and gently push the connector in until you feel it lock into place. To remove,
hold the connector’s metal sleeve and gently pull away from the camera. This will pull the sleeve back, releasing
the connector from the camera.

Getting Started

9

The battery plate included on your camera is a B mount plate designed for 24 volt B mountbatteries. Operating in the 24 to 34 voltage range is ideal for use with URSA Cine as the higher
voltage reduces thermal losses allowing for high frame rate recording and powering multiple
accessories from your camera.

NOTE When running URSA Cine with 12 to 18 volt power supplies or batteries, frame
rates above 60 frames per second will not be available and powering accessories via
the RS and EXT outputs is not possible.

Turning on your Camera
To turn on your URSA Cine:
1

Move the switch at the top of your camera to the ‘on’ position.

2

To turn the camera off, move the switch to the ‘off’ position.

OFF

ON

Move the power switch to ‘on’ to power your camera

URSA Cine also features a redundant power switch that allows the camera to be turned on
and off by briefly holding down the ‘rec’ and ‘forward skip’ buttons on the inside control panel
behind the fold out touchscreen. While you wouldn’t normally power your camera using thismethod, it will allow you to turn the camera on and off while the switch is in the off position
which is useful if the switch is obscured.

Getting Started

10

OFF

ON

H PHONE
MONITOR
IRIS

MIC
LINE
AES

XLR1

MENU

BACK

FOCUS
ISO / GAIN
F1

MENU

SHUTTER
F2

XLR2
OFF
48V

LOCK

WHITE BAL
HFR

PEAK

STILL

MENU

REC
POWER

REC

An alternative way to power your camera on and off is to briefly hold down the record and forward skip buttons
on the control panel behind the fold out touchscreen

That’s all there is to getting started with your URSA Cine! With the media module alreadyformatted in your camera, you can start recording straight away. Please keep reading thismanual for information on how to record clips, play them back and use all the features on yourURSA Cine!

Getting Started

11

URSA Cine Overview
This section of the manual describes all the features on your URSA Cine.

Camera Front
URSA Cine’s front panel features a stereo microphone, interchangeable lens mount, lockableviewfinder USB port, plus 7 pin and 3 pin connectors for plugging in lens motors andaccessories.
1

VIEWFINDER

3
EXT

4

2

RS

5

URSA Cine 12K LF

1Stereo Microphone
Built in high quality stereo microphone. Refer to the ‘settings’ section for information on
microphone audio settings.

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

3 Viewfinder USB-C
This USB-C port provides power and video for Blackmagic URSA Cine EVF. Control signals
are also carried so viewfinder function buttons can control features such as starting or
stopping recording.

4 EXT Connector
This 7 pin connector provides power, simple record run stop and serial control
communication for working with focus motors, motor drive units and other systems.

5 RS Connector
This 3 pin Fischer connector provides power and allows simple record run stop trigger
from focus motor systems, Blackmagic URSA Cine Grips and other standard record
trigger buttons.

NOTE The EXT and RS connectors provide 24 volt power output at up to 2 amps
shared between them.

URSA Cine Overview

12Camera LeftURSA Cine’s left side panel lets you access the control panels and features ergonomic controls
for easy access to all of your camera’s essential functions. These controls are shared between
the forward control panel, the ergonomic control panel located on the outside of the foldout
touchscreen monitor, plus an internal control panel on the left side of the camera when thefoldout monitor is open.
The Blackmagic Media Module bay is accessible with the foldout monitor open.
2

1
OFF

ON

H PHONE
MONITOR
IRIS

MENU

CH1/2
CH3/4

BACK

LOCK

4

LOCK

3
ISO / GAIN
F1

MENU

SHUTTERF2

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

URSA Cine with the foldout touchscreen closed

1Power Switch
Power switch for turning on the camera on and off.

2 ND Filters
Your URSA Cine has three internal neutral density filters to adjust the amount of lightreaching the sensor. Four settings are available, ranging from clear to six stops of light
reduction. Simply press the ‘+’ and ‘-’ buttons to move through the available settings.
The filters are electronically controlled and will click into place for each setting. For more
information see the section ‘control buttons’ in this manual.

3 Forward Control Panel
The forward control panel provides quick access to all of your URSA Cine’s essentialfunctions. These controls are located for easy access when shooting on a tripod or on theshoulder and you can use them to adjust settings such as ISO, shutter angle or shutter
speed, iris, white balance, frame rate, and more. See the section ‘control buttons’ for more
information.

4 Ergonomic Control PanelOn the outside of the 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 powerfulmonitoring functions. See the section ‘control buttons’ for more information.

URSA Cine Overview

13

OFF

ON

H PHONE
MONITOR
IRIS

MIC
LINE
AES

XLR1

MENU

ISO / GAIN
F1

BACK

SHUTTER
F2

XLR2
OFF
48V

LOCK

5

FOCUS

WHITE BAL

PEAK

STILL

7

MENU

REC

HFR

MENU

6

POWER

REC

URSA Cine with foldout touchscreen open

5 LCD Touchscreen
The 5” touchscreen can be rotated 360 degrees letting you face the LCD towards thetalent, or rotate and fold the screen back against the camera body for fast monitoringand setting changes.

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

7 Blackmagic Media Module Bay
Blackmagic Media Module allows you to change the media types you use with URSA Cine
cameras. The module bay is where these modules can be mounted as URSA Cine’s internal
media. Refer to the ‘Blackmagic Media Module’ section for information on how to load andunload M.2 and CFexpress media modules.

Camera Right
URSA Cine’s right side panel features a dedicated assist station with an LCD touchscreen,
audio control knobs, settings and record buttons, a focus tape measure pin and a safety lockswitch for preventing accidental settings changes.

USB

1

12G SDI OUT

VIEWFINDER
LOCK

12G SDI OUTEXTREF IN/TC IN

2

3

CH1/3
CH2/4

RS

10G
CH1/2

CH3/4

12V/24V

4

DISP

LENS

SLATE

AUD

STRM

…

REC

URSA Cine features a dedicated assist touchscreen and audio control knobs forfocusing, changing settings, monitoring and adjusting levels

URSA Cine Overview

14

1

Lock Switch
Move the switch down to lock the control panel and up to unlock it. Locking the panel lets
you prevent any unintended changes to settings or accidental streaming interruptions.

2 Audio Controls
Rotate the audio control knobs clockwise or counterclockwise to increase or decrease theaudio levels. Monitor the audio levels on the audio station LCD touchscreen.

3 LCD Assist Touchscreen
The side panel 5” LCD touchscreen lets you access all the settings for your camera,plus displays your slate or a focus page with indicators to help you gauge perfect focus.
This allows multiple people such as camera assistants, sound recordists and other crew
members to work quickly with the camera on set.

4 Assist Station Buttons
The buttons on the assist station let you turn the status display on or off, access the focus
page, open the slate and more.
Display
Press the display button to cycle through the meters heads up display, the codec andresolution heads up display, and clean feed.

TIP Holding down the display button for 3 seconds will dim the touchscreen. Pressany button on the assist station to turn it back on.
Lens
Press the lens button to cycle through the 1st AC display options, such as:
1

Maximized view with lens name and serial number metadata, exposure and focus
indicators.

2

Minimized view with focus indicator overlay.

3

Clean view with no overlays.
Press the display button to return the status display view.

Slate
Press to access the slate feature. Here you can enter clip metadata for shooting andproduction use. Press again to close the slate settings.
Audio
Not currently active.
StreamOnce streaming has been set in your camera’s streaming setup settings, press and hold thestream button on the assist station to start and stop streaming.
Menu
Press the ‘menu’ button labeled with the elipsis icon to open the menu settings. Press again
to close the menu.
RecordPress the record button to start recording a clip and press again to stop.

URSA Cine Overview

15

Rear Panel
The rear panel features two 12G-SDI connectors that let you plug separate SDI video outputs
into monitors and other SDI equipment with optional overlays. The BNC reference connector
provides the abiliity to lock the camera to external reference and timecode. The 10G Ethernet
port is used to connect to a computer or network for transferring files and streaming video.
Both 10G Ethernet and 1G Ethernet is supported.
Power is connected via the 8 pin connector with a locking plug to prevent accidental removal
and a 3.5mm headphones jack lets you plug in headphones or a smartphone headset for live
production talkback when streaming to an ATEM switcher.
The B mount battery plate arrives already attached to your camera, however you can remove
and replace with third party plates via rear panel mounting points and a Molex power connector.

1

Battery Mount Plate
Your Blackmagic URSA Cine has plate mounting points and a recessed Molex connector to
supply power to and from the camera as well as carrying some data information. When inuse, the Molex connector can accept a 12 to 34 Volt input although the 24 to 34 Volt range
is recommended. It can also output a regulated 12 Volts at up to 1.5 Amps.

2

3
1
4

5
6

2 12G-SDI Outputs
Connect the 12G-SDI outputs to SDI equipment such as Blackmagic SmartView monitors,
HyperDeck disk recorders and live grading suites. Each SDI output can be set to display
separate overlays using your camera’s ‘monitor’ page ‘SDI A’ and ‘SDI B’ menu settings.

URSA Cine Overview

16

3 Reference and Timecode In
This BNC input automatically recognizes and switches between timecode and reference
input signals. Synchronize Blackmagic URSA Cine to a common reference signal, such as
tri-level sync. It’s worth noting that to use a reference signal through this input, you must set
your reference source to ‘external’ in your URSA Cine’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 andpicture, 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 thecamera will lock to the incoming timecode automatically. The ‘EXT’ logo will appear next
to the timecode counter on URSA Cine’s LCDs when external timecode is locked. If you
unplug the cable, timecode will remain jammed and the ‘EXT’ logo will switch to ‘INT’ to let
you know it is now running from URSA Cine’s internal timecode clock.

TIP It’s worth mentioning that if external timecode is unplugged and the camera isturned off for more than a few minutes, the ‘INT’ icon will disappear and timecode willneed to be rejammed. When URSA Cine is constantly powered, the internal clock is
accurate to maintain sync to within a frame for up to 8 hours. If you are jamming allof your cameras, rather than keeping timecode clocks permanently connected, it’srecommended to rejam after break times to ensure you maintain constant sync.

4 10G Ethernet PortYou camera’s 10G Ethernet port is a very useful connector that can do lots of things.
Connect your URSA Cine to a network, or directly to your computer using a standard CAT6
network cable. Your camera is set to DHCP by default, which means your network willassign it an IP address automatically.
Once connected to a network you can access files from your camera’s media module using
SMB, FTP or via a web browser using web media manager. These three options can beeasily enabled in the ‘network access’ section of the Blackmagic Camera Setup’ utility while
your camera is connected to your computer via USB. For more information, refer to the‘Blackmagic Camera Setup’ section in this manual.

5 24 Volt Power Input
Use the 8 pin DC connector to plug in power from external sources such as the supplied
24v 250W power adapter or very large portable block batteries. While this connector
accepts an input range from 12-34 volts for optimal results power supplies in the 24-34 Volts
range is recommended.

6 Headphone
The 3.5mm jack output is used for headphone monitoring during recording and playback.
You can plug in any set of headphones that uses a 3.5mm TRRS connector, such as iPhone
and Android compatible headsets.

URSA Cine Overview

17Top Panel
The top panel features balanced XLR connectors for plugging in microphones and audio
equipment. WiFi antennas are attached to the antenna mounts towards the rear panel on eachside of the XLR connectors.
USB ports located towards the right side assist station let you connect accessories, or connect
to a computer to update the camera. 1/4” 20 and 3/8” 16 mounting points are provided for
attaching the top handle and accessories.
1

2

3

4

External analog audio can be plugged into the balanced
XLR connectors on the top panel

1

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

2 Top Panel Mounting Points
Your camera’s top panel contains seven strong mounting points for attaching the top
handle and accessories. The mounting points include three 1/4” 20 and four 3/8” 16 threads.
To ensure proper ventilation, take care not to obstruct your camera’s fan vents whenconnecting accessories.

3 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‘internal control panel’ section for more information on phantom power.

4 WiFi Antenna Points
These points are for attaching WiFi antennas to the camera. Please ensure that you use theantennas that were included with your URSA Cine camera.
To attach the antennas:
1

First unscrew the dust caps from each point and keep them somewhere safe.

2	Connect the included WiFi antennas by screwing them onto each point until they feelsecured to the camera. Avoid over tightening to prevent stripping their threads.

URSA Cine Overview

18Underside
The underside features additional mounting points for attaching the 19mm and 15mm
URSA Cine baseplates, or for attaching the camera to rigs and gripping equipment.

11

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

URSA Cine Overview

19

Recording
Start recording by pressing any of the red record buttons on your camera. Record buttons arelocated on the forward control panel, the internal control panel behind the fold out touchscreen,
the assist station control panel and both LCD touchscreens. A record button is also featured on
the URSA Cine EVF. Press the record button again to stop recording.

Choosing the Resolution, Aspect Ratio and CodecYour URSA Cine can record from 4K up to 12K open gate at high frame rates using BlackmagicRAW. You can choose from a range of aspect ratios to meet the delivery requirements of yourproject. For example, you could shoot 2.4:1 widescreen for cinema or 16:9 for episodic showsthat are likely to be viewed on a television. Squarer aspect ratios such as 3:2 open gate and 6:5
provide great options for shooting anamorphic and desqueezing to widescreen, or for providing
extra vertical recording that can be used for vertical reframing when shooting for 2:1 or 16:9
final delivery.

Recording20

Choosing Frame Rates
Your camera is able to shoot video using many different frame rates and you may be wondering
which is the best one to use. Your camera’s sensor frame rate can also have a big impact on
the ‘look’ 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 andtelevision. These have set frame rates that differ between countries, but all share the same
purpose; to display an efficient number of frames every second that portrays pleasing andconvincing 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 technicalbroadcast 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, and25 frames 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 theaudience’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 thesensor frame rate to a higher setting. The higher the sensor frame rate compared to the projectframe rate, the slower the playback speed. For example, URSA Cine allows you to shoot at very
high sensor frame rates for extreme slow motion.
For more information on using off speed sensor frame rates to achieve creative effects, refer tothe ‘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 thesensor 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 byadding some extra lighting to the scene that you are shooting.
When shooting at 120 frames per second you have 5 times less light so you may need to adjust
multiple things such as lens aperture, shutter angle and lighting to achieve the same levelof 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. Specifically, when shooting at frame rates
above 100 frames per second in a 50Hz environment or 120 frames per second in a 60Hz
environment, artificial tungsten, fluorescent and LED light sources may introduce some flicker toyour images. You may not see these flicker issues when previewing the scene on your LCD andRecording

21

SDI feed or while recording, so it’s important to perform a test shoot with the lights you plan touse and to play the clip back to check for flicker.
Your shutter setting can also affect the visibility of flicker when shooting under lights, so yourURSA Cine can automatically calculate and display flicker free shutter options for your current
frame rate. Note that the characteristics of individual light sources may still cause flicker evenwhen 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 Frame Rates
The tables in this section contain available codecs, resolutions and their maximum sensor
frame rates. Please note that when running your URSA Cine with power supplies or batteries
under 18 volts that you will be limited to 60 frames per second as your maximum rate.
Maximum Sensor Frame Rates
12K Large Format
Aspect Ratio

Pixel Count

Sensor Area

Maximum Frames per Second

3:2

12,288 x 8,040

Open Gate

80

16:9

12,288 x 6,912

Full Width

90

17:9

12,288 x 6,480

Full Width

100

2.4:1

12,288 x 5,112

Full Width

120

6:5

9,648 x 8,040

Full Height80

8K Large Format
Aspect Ratio

Pixel Count

Sensor Area

Maximum Frames per Second

3:2

8,192 x 5,360

Open Gate

144

16:9

8,192 x 4,608

Full Width

168

17:9

8,192 x 4,320

Full Width

180

2.4:1

8,192 x 3,408

Full Width

224

6:5

6,432 x 5,360

Full Height

144

4K Large Format
Aspect Ratio

Pixel Count

Sensor Area

Maximum Frames per Second

3:2

4,096 x 2,680

Open Gate

144

16:9

4,096 x 2,304

Full Width

168

17:9

4,096 x 2,160

Full Width

180

2.4:1

4,096 x 1,704

Full Width

224

6:5

3,216 x 2,680

Full Height144

Recording22

9K Super 35
Aspect Ratio

Pixel Count

Sensor Area

Maximum Frames per Second

3:2

9,408 x 6,264

4 perf Super 35

100

16:9

8,688 x 4,896

3 perf Super 35

130

17:9

9,312 x 4,896

3 perf Super 35

130

2.4:1

9,312 x 3,864

2 perf Super 35

160

6:5

7,680 x 6,408

4 perf Super 35

100

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

Project and Sensor 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.

Record Durations
Maximum record durations will differ based on the video standard, project frame rate and media
capacity. For example, the storage rate for 8K Blackmagic RAW open gate using 8:1 constant
bitrate compression is approximately 200 MBs per second. At 24 frames per second you canrecord approximately 11.1 hours on Blackmagic Media Module 8TB. At the same settings you canrecord approximately 42 Minutes of video on a 512 GB CFexpress card.
It should be noted that record duration on CFexpress 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 X Extended. For a close approximation of maximum record
durations we recommend using the record durations calculator at the Blackmagic Design
support center at https://www.blackmagicdesign.com/products/blackmagicursacine#data-ratecalculator

Recording23

Data Rate Tables
URSA Cine can record at extremely high data rates. When recording on Blackmagic Media
Module 8TB, the module is fast enough to record the highest frame rates at the highest
resolution.
Maximum Data Rates at 24p with Blackmagic RAW Constant Bitrate
12K Large Format
Aspect
Ratio

Pixel
Dimensions

Sensor
Area

Frame
Rate

Blackmagic
RAW 3:1

Blackmagic
RAW 8:1

Blackmagic
RAW 12:1

Blackmagic
RAW 18:1

3:2

12,288 x 8,040

Open Gate

24

1.2 GB/s

448 MB/s

299 MB/s

199 MB/s

16:9

12,288 x 6,912

Full Width

24

1.0 GB/s

385 MB/s

257 MB/s

171 MB/s

17:9

12,288 x 6,480

Full Width24

963 MB/s

361 MB/s

241 MB/s

161 MB/s

2.4:1

12,288 x 5,112

Full Width24

761 MB/s

285 MB/s

190 MB/s

127 MB/s

6:5

9,648 x 8,040

Full Height24

939 MB/s

352 MB/s

235 MB/s

157 MB/s

8K Large Format
Aspect
Ratio

Pixel
Dimensions

Sensor
Area

Frame
Rate

Blackmagic
RAW 3:1

Blackmagic
RAW 5:1

Blackmagic
RAW 8:1

Blackmagic
RAW 12:1

3:2

8,192 x 5,360

Open Gate

24

533 MB/s

320 MB/s

200 MB/s

133 MB/s

16:9

8,192 x 4,608

Full Width24

458 MB/s

275 MB/s

172 MB/s

115 MB/s

17:9

8,192 x 4,320

Full Width24

430 MB/s

258 MB/s

161 MB/s

108 MB/s

2.4:1

8,192 x 3,408

Full Width24

340 MB/s

204 MB/s

128 MB/s

86 MB/s

6:5

6,432 x 5,360

Full Height24

419 MB/s

252 MB/s

157 MB/s

105 MB/s

4K Large Format
Aspect
Ratio

Pixel
Dimensions

Sensor
Area

Frame
Rate

Blackmagic
RAW 3:1

Blackmagic
RAW 4:1

Blackmagic
RAW 5:1

Blackmagic
RAW 6:1

3:2

4,096 x 2,680

Open Gate

24

135 MB/s

101 MB/s

81 MB/s

68 MB/s

16:9

4,096 x 2,304

Full Width24

116 MB/s

88 MB/s

70 MB/s

59 MB/s

17:9

4,096 x 2,160

Full Width24

109 MB/s

82 MB/s

66 MB/s

55 MB/s

2.4:1

4,096 x 1,704

Full Width

24

86 MB/s

65 MB/s

52 MB/s

44 MB/s

6:5

3,216 x 2,680

Full Height24

106 MB/s

80 MB/s

64 MB/s

54 MB/s

Recording24

9K Super 35
Aspect
Ratio

Pixel
Dimensions

Sensor
Area

Frame
Rate

Blackmagic
RAW 3:1

Blackmagic
RAW 8:1

Blackmagic
RAW 12:1

Blackmagic
RAW 18:1

3:2

9,408 x 6,264

4 perf Super 35

24

714 MB/s

268 MB/s

179 MB/s

119 MB/s

16:9

8,688 x 4,896

3 perf Super 35

24

516 MB/s

194 MB/s

129 MB/s

87 MB/s

17:9

9,312 x 4,896

3 perf Super 35

24

553 MB/s

208 MB/s

139 MB/s

92.5 MB/s

2.4:1

9,312 x 3,864

2 perf Super 35

24

437 MB/s

164 MB/s

110 MB/s

72 MB/s

6:5

7,680 x 6,408

4 perf Super 35

24

597 MB/s

224 MB/s

149 MB/s

100 MB/s

A data rate calculator is provided on our website if you want to estimate the variables forBlackmagic RAW compression and storage sizes. The calculator is located here:
https://www.blackmagicdesign.com/products/blackmagicursacine#data-rate-calculator

Recording25

PlaybackOnce you have recorded your clips, you can use the transport control buttons to playthem back.
Press the ‘play’ button once for instant playback and you’ll see your recorded video on
URSA Cine’s LCD touchscreen. Your clips can also be viewed on any display connected to yourcamera’s SDI outputs, plus the URSA Cine EVF.

OFF

ON

H PHONE
MONITOR
IRIS

MIC
LINE
AES

XLR1

MENU

BACK

FOCUS
ISO / GAIN
F1

MENU

SHUTTER
F2

XLR2
OFF
48V

LOCK

WHITE BAL
HFR

PEAK

STILL

MENU

REC
POWER

REC

URSA Cine playback controls

NOTE Blackmagic URSA Cine will play back clips of different quality settings as longas they are in the same frame rate and resolution.
Press the forward and reverse buttons to skip to the start or end of clips. Press the ‘reverse skip’
button once to go to the start of the current clip or press twice to skip back to the start of theprevious 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, yourclip’s playback speed will also differ. For example, imagine you have set your camera’s projectframe 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 aboutframe rates.

Playback

26

Media PoolYour Blackmagic URSA Cine features a media pool that lets you play back, search and sort yourrecorded clips using a browser interface. You can also delete clips and sync clips to Blackmagic
Cloud via the Internet. For example, uploading clips to DaVinci Resolve projects or directly toyour own private Blackmagic Cloud storage.
To open the media pool, tap one of the storage indicators at the bottom of your camera’s
touchscreen display.

Tap a storage indicator to open the media pool

The browser is the main page of the media pool

The main page browser displays thumbnails of all the recorded clips on all media connected toyour camera. There are three rows of thumbnails and as more clips are added, you can swipe tothe next page of thumbnails using the touchscreen. Page indicators at the bottom of the display
show how many pages of clips are available.

Media Pool27

Sidebar
The sidebar icon at the top left corner opens or closes the media pool side bar. Here, you
can select which Blackmagic Cloud projects you want to upload clips to, or to upload clips
directly to your personal Blackmagic Cloud storage. More information about uploading clips toBlackmagic Cloud projects and storage is provided later in this section.

Tap the sidebar icon to open or close the media pool sidebar

Controls

The control menu icons in the browser page of the media pool

The control menu icons at the top of the media pool browser page feature playback, group
selection, media filter, media storage and Blackmagic Cloud log in status. When you select asingle clip, multiple clips or a filtered clip list the control menu icons will change to display therelevant control options.
The next section describes how to use each control.

Playback
The playback control lets you play back clips recorded on your camera’s media
storage. You can play back a single clip, a sequence of selected clips, a list of clips
filtered by a particular parameter or even play back all the clips on your connected
media in one complete sequence.

Media Pool28

Playing a Single Clip
Tap on a clip’s thumbnail to enter the clip viewer. This displays the clip thumbnail larger on
the LCD, lists the clip’s file name and provides playback, upload, priority tagging, clip info
and deletion controls. Swiping left and right on your camera’s touchscreen lets you select a
different clip.

If you want to view the clip’s metadata, tap on the information icon. This opens
metadata that you can scroll through by dragging up and down. The heart icon lets
you add a ‘good take’ tag to the clip’s metadata, similar to marking a good take using
your camera’s slate feature.

Tap the ‘play’ icon to play your chosen clip.

Media Pool29

When your clip begins playing, you can then use the transport touch controls to scroll the playhead backwards and forwards, skip to a different clip, or press ‘stop’ to return the LCD to thelive recording view.

Above the clip name, the clip indicator lets you know the current clip number from the total
clips that are cued. For example, clip number one from a total of fourteen clips recorded. If you
have any media filters set, the total number of clips will reflect that. The bracketed number
represents the total number of clips recorded on all media cards and external disks connected
to your camera.
To return to the browser, tap on the ‘back’ arrow ahead of the clip name.

Playing All Clips
Tapping the play icon in the controls menu when in the browser will construct a timeline ofall playable clips. The last clip recorded will be cued first so you can check it, or you can playthrough the entire timeline. If all of the clips in the browser were recorded using the sameformat and frame rate then everything recorded will play.

Playing a Sequence of Clips
To play back a sequence of clips, tap on the group select icon in the browser. With this icon
enabled, tap on a clip. A small ‘play’ icon will appear in the top right hand corner of all the clips
that share the same format and are available to play back together. You can now selectively tap
on the clips you want to play back in a sequence.
Tap the ‘play’ icon, your camera will now play the sequence of clips and stop when thesequence ends.

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

Media Filter
Tap on the media filter icon in the media library to open the filter editor. Here, you
can tell your camera how to arrange the clips by preference. For example, you canchoose to display clips from a specific media card, or select ‘upload status’ as aquick way of checking which clips have been uploaded to Blackmagic Cloud. Use the filter
touchscreen menu to scroll up and down and select the filter options you want. When you havemade your selection, tap the clip filter icon again to close the menu.

Media Pool30

NOTE If you only ever want to play back or review one clip at a time then you cango to the eighth page of your camera’s ‘setup’ menu and select ‘single clip’ for yourplayback preference.

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

Media Pool

31

Uploading Clips to Blackmagic CloudBlackmagic Cloud is a collaboration platform that lets you work together as a teamand share DaVinci Resolve projects worldwide.
When you sign into Blackmagic Cloud on your URSA Cine you can choose to upload
clips directly to a DaVinci Resolve Cloud project or to manually select the clips you want to
upload from your camera’s media pool. Alternatively clips can also be uploaded straight to yourown private Blackmagic Cloud storage directly without syncing to a Resolve Cloud project.
You can choose to upload proxy files or both proxy and original files in your camera’s setup
settings on page 2 of the setup menu. Refer to the ‘setup settings’ section for more information.

Logging into Blackmagic Cloud
Before logging into Blackmagic Cloud on your URSA Cine, you will need to connect yourcamera to the Internet.
Plug into a network with Internet access via Ethernet, or connect your smartphone to yourURSA Cine’s USB-C port. When connecting using your smartphone, enable your phone’s
tethering or hotspot feature. Once connected to the Internet, the Blackmagic Cloud icon at the
top of your camera’s touchscreen will turn blue.
To log into your Blackmagic Cloud account:1

Tap the Blackmagic Cloud icon in the controls menu.

2

Use your smartphone’s camera to scan the QR code on your URSA Cine’s touchscreen andfollow the prompts on your phone to sign your camera into your Blackmagic Cloud account.
Alternatively, you can visit the web address displayed on your camera’s touchscreen display
and enter the eight digit code.
To enter your login details manually, tap ‘manual login’ and use the touchscreen keyboard
to enter your email address and password.

Uploading Clips to Blackmagic Cloud32

Once logged in, your Blackmagic Cloud avatar will be displayed in the controls menu. You cantap your avatar to view your account details or to log out of your account.

Your account avatar is displayed in the controls menu

Allowing Remote Camera Access in DaVinci Resolve
You can upload clips to both new and existing Blackmagic Cloud projects fromyour URSA Cine by allowing remote camera access in DaVinci Resolve’s settings.
Once remote access has been enabled for a project, it will appear in your camera’s
Blackmagic Cloud projects panel.
Allowing access to a new project:
1

Open DaVinci Resolve. In the ‘project manager’ window, select the ‘cloud’ tab andenter your Blackmagic Cloud login details.

2

Select a Blackmagic Cloud project library from the project library list and click‘new project’.

3With the new project window open, enter the project details. Enable ‘allow remotecamera access’ in the new cloud project window.

If you want to upload clips to an existing DaVinci Resolve Cloud project, open the
project settings and select ‘Blackmagic Cloud’. Enable the ‘allow remote cameras
to see this project to load media directly into the media pool’ option in the ‘remotecameras’ settings.

The Blackmagic Cloud project will appear in your Blackmagic URSA Cine’s media
pool sidebar when your camera is connected to the internet and signed into yourBlackmagic Cloud account.
For more information about DaVinci Resolve Cloud projects, refer to the DaVinci Resolve
user manual. You can download the manual at www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion

Uploading Clips to Blackmagic Cloud33

Blackmagic Cloud Projects PanelTap the sidebar icon at the top left of the touchscreen to open the Blackmagic Cloud
projects panel.

When you are signed into your Blackmagic Cloud account, projects that you can upload clips toare listed in the ‘Blackmagic Cloud’ section of the viewer.

Uploading Clips to a Blackmagic Cloud Project
Selecting a Blackmagic Cloud project lets you upload proxy files, or both proxies and originals,
as you record clips to your camera’s media. When a project is selected in the projects panel,a clip will be immediately uploaded as soon as you stop recording on your camera. This will
happen in the background as you continue recording clips for as long as your camera isconnected to the Internet and logged into your Blackmagic Cloud account.
To upload to a Blackmagic Cloud project:1

Tap on a Blackmagic Cloud Project to select it.

Uploading Clips to Blackmagic Cloud34

2

Tap the ‘x’ at the top right of your camera’s touchscreen or press the camera’s ‘record’button to close the media pool and return to the HUD.

3

The name of the selected Blackmagic Cloud project will appear above the timecode display
on your camera’s HUD. The next time you record a clip, your camera will automatically start
uploading media to the selected cloud project.
If your camera’s internet connection is interrupted, the name of the cloud project will begrayed out and uploads paused. Your camera will automatically restart the uploading
process when the internet connection is restored.

When you have finished recording, tap on your camera’s storage indicator to open the media
pool and view the upload status of your clips.
Your Blackmagic Cloud avatar will remain visible in the controls menu and you will stay loggedin even if you have disconnected your phone or removed the Ethernet connection. This ensuresthat any recordings you have in your project upload queue will resume as soon as possible
after plugging in your phone or network again. Your camera will immediately try to reestablish
your internet connection and resume any uploads it has in its queue.
This also means when you choose to record directly into a project, you can operate in areas
with patchy cellular coverage and not worry about reconnecting to upload as the process
happens automatically. For example, you could record clips in locations where there is no
Internet connection or cellular signal at all and then simply plug in when you are in range orhave a wired Internet connection and quickly upload your proxies then.

TIP For information on how to set your camera to upload proxy files or both proxy andoriginal files, refer to the ‘settings’ section.

Uploading Clips to Blackmagic Cloud

35

Selectively Uploading Clips to Projects
If you prefer, you can choose not to upload to a project until after your shoot and then upload asingle clip to a project, more than one project, or even your private storage all at once. You canalso use the group select tool to select multiple clips to upload at once to one or many locations.
To upload recorded clips to a Blackmagic Cloud project:
1

Log in to your Blackmagic Cloud account.

2

Tap the sidebar icon and select ‘all clips’.

3

Tap the ‘group select’ icon in the controls menu and select the clips that you want to upload.

4

Tap the ‘cloud upload’ icon. Select the Blackmagic Cloud projects that you want to upload
your clips to by tapping the project names.

5

Tap ‘upload’.

Uploading Clips to Blackmagic Cloud36

Upload Original
When uploading clips to Blackmagic Cloud projects with ‘proxies only’ selected in yourcamera’s ‘setup’ settings, you can still choose to upload an original clip using the clip’s
metadata viewer. For example, this can be helpful when you are shooting at high resolutions
using Blackmagic RAW with low compression as the files can get very large. To save cellular
upload data you may choose to upload proxies only and then upload specific original clips later
as required.
To upload an original clip:
1

Select the Blackmagic Cloud project from the projects panel and tap the clip to open it in
the playback viewer.

2

Tap the ‘information’ icon in the controls menu to display the clip’s metadata.

3

In the metadata window, scroll to the section that displays metadata information for yourclip’s original file. Tap the ‘upload original’ button.

Uploading to your Blackmagic Cloud Storage
You can also choose to upload clips directly to your own private Blackmagic Cloud storage.
This can be useful if you want to upload and back up clips but not into a specific DaVinci
Resolve project. Access your cloud storage by logging into your Blackmagic Cloud account on
your computer and selecting ‘cloud storage’ from the menu.
To upload clips to your Blackmagic Cloud storage:
1

Tap the sidebar icon at the top left of the Blackmagic Cloud project panel.

2

Scroll to the bottom of the project list and select your cloud storage, this will be named withyour Blackmagic Cloud user name, followed by ‘storage’.

Uploading Clips to Blackmagic Cloud37

3

Tap your private Blackmagic Cloud storage to select it.

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

Next to the cloud project name the overall upload status is displayed including number of clips,
completed percentage, upload speed and estimated time remaining.

Uploading Clips to Blackmagic Cloud

38

The upload status for each clip is displayed on the clip thumbnail:

Displayed when the clip’s proxy file has been successfully uploaded.

Displayed when both the proxy and original files have been uploaded.

Closing the Media Pool
When you have finished using the medial pool and want to return to the live recording view on
your camera’s LCD, tap the ‘X’ icon at the top right corner of the menu controls.

Blackmagic Media Module
Blackmagic Media Module 8TB and 16TB are self contained modular storage units with 8 and
16 Terabytes of storage space. The module is similar to a Blackmagic Cloud Store and is a fast,easy to use removable storage solution that enables recording at the highest resolutions andhigh frame rates. Blackmagic Media Module 8TB is supplied already loaded in your camera’s
module bay and formatted so you can start recording straight away.

Blackmagic Media Module 8TB

Blackmagic Media Module CFexpress

Blackmagic Media Module

39

The forthcoming Blackmagic Media Module CFexpress is an optional module without internal
memory and instead has CFexpress card slots built in. This lets you shoot using the the same
CFexpress cards you use in your Blackmagic Cinema Camera 6K or Blackmagic Pyxis 6K.
Blackmagic Media Modules are designed to be easily loaded and unloaded if you want toswap to an empty module or load the module into an optional Blackmagic Media Dock for postproduction.
Recording duration times based on media capacity, frame rates and codec settings can be
estimated using the data rate calculator at https://www.blackmagicdesign.com/products/
blackmagicursacine#data-rate-calculator

Transferring Clips to Edit Storage
There are a number of ways you can transfer clips from your camera’s storage to edit storage.
For example, you can plug your camera directly into your computer via USB. You can also plug
URSA Cine into your computer or a network via Ethernet and copy clips from your camera’s
storage over Ethernet. You can even unload the media module and load it into a BlackmagicMedia Dock connected to your network or computer, which lets you work with up to 3 media
modules simultaneously. When connecting to your computer over Ethernet, your computer
will recognize the Blackmagic Media Module just like it would when plugging in a Blackmagic
Cloud Store.
Your camera is set to use DHCP by default, so your computer or network will see the camera
and assign an IP address automatically.

Enabling File Sharing
When you are setting your camera up for the first time and have connected to your computeror network via Ethernet, SMB file sharing will be disabled by default. This is because unlike a
Blackmagic Cloud Store where you will likely want to share files with other users on the network
straight away, you may not want to immediately allow the same level of access to the mastercamera files after an important day’s shoot. For this reason, we decided to let you enable SMB
file sharing yourself.
To enable file sharing, you will need to download and install Blackmagic Camera Setup on yourcomputer. This setup utility is an administration software application that lets you update yourcamera and change admin settings. You can download Blackmagic Camera Setup from our
website at: https://www.blackmagicdesign.com/support/family/professional-cameras
After downloading and installing the setup utility, connect your camera to the computer via USB
and launch Blackmagic Camera Setup. Connect via the top panel USB port towards to the rearof your camera.
To open the settings, click on the image of your URSA Cine or its settings icon.
1

Scroll down to the ‘network access’ settings and enable ‘file sharing (SMB)’.

2

Now go to the URL setting underneath and click on the URL icon to automatically populate
the address. The URL address will display your camera’s name as a local network location.

3

Click save.

To go straight to your clips, click on your camera’s URL name. A window will open asking you tofor a password or connect as a guest. Click on the ‘guest’ radio button and click ‘connect’.

Blackmagic Media Module

40

Your computer will now automatically navigate to your media module in Finder on a Mac andWindows Explorer in Windows. The utility will remember your Ethernet setup so you only needto do this once when setting up for the first time and then the next time you plug in your camera
via Ethernet, you will be able to access the media module straight away without touching any ofthese settings.
For information on Blackmagic Camera Setup and what all the settings are for, go to the‘Blackmagic Camera Setup’ section in this manual.

Unloading Blackmagic Media Module
The Blackmagic Media Module is designed to be quickly loaded and unloaded when you needto transfer clips to external storage or to swap to an empty module so you can keep recording.
To unload the Blackmagic Media Module:

1

First make sure your camera has stopped recording. Slide the module release latch marked with an arrow
towards the rear of the camera. The spring loaded media module will eject a small distance, allowing you
to access the module’s handle.

2

Gently swing open the media module’s handle.

Blackmagic Media Module41

3With the handle completely open, the module will be released from the camera’s terminal and you can
now remove the module from the module bay.

NOTE When unloading a media module, it’s important to always check the camera is
not recording.

Loading Blackmagic Media Module
1

Align the Blackmagic Media Module with the camera’s module bay.

2

Slide the module into the bay until it touches the inner terminal.

Blackmagic Media Module42

3

Swing the module’s handle towards the camera then press the handle firmly into the camera body tomount it in place. You will hear the latch click when the module is fully mounted.

Preparing Media for Recording
Format your Media Module using Blackmagic URSA Cine’s storage manager.
To format:
1

Tap the storage indicator at the bottom of the LCD touchscreen to open the media pool,then tap the media storage icon at the top of the touchscreen to enter the storage manager.

Tap the media storage icon to open the storage manager

2

Tap the ‘format’ button at the bottom of the touchscreen.

Use your URSA Cine’s storage manager to format the media module

Blackmagic Media Module43

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’.

NOTE For CFexpress cards, choose OS X Extended or exFAT format.
4

You will be asked to confirm your selection. Tap the format button again to continueor ‘cancel’ to cancel the format.

A warning will appear to make sure you have copied all needed clips before formatting

5

You will be prompted to press and hold the ‘format’ button for 3 seconds. The camera will
notify you once formatting is complete.

When formatting is complete your media module is ready to use

6

Tap ‘ok’ to return to the storage manager and ‘exit’ to return to the media pool.

Blackmagic Media Module

44

When formatting recording media using the storage manager, your URSA cine will use theCamera ID from the slate and reel number to name the card or media module. Your camera
automatically increments reel numbers each time you format. If you need to manually entera specific reel number, tap the ‘pencil icon’ and enter the number you want to format themodule 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.

Blackmagic Media Dock
After shooting clips, your media module can be unloaded from your URSA Cine and loaded
into an optional Blackmagic Media Dock for editing, grading, file back up, and cloud sync. The
module is loaded into a module bay in exactly the same way as loading and unloading to andfrom your camera.
Blackmagic Media Dock lets you share the data stored on Blackmagic Media Modules over yourlocal or global network so editors can start editing straight away. You can transfer files to cloudstorage or even use the modules themselves as removable edit storage.
Just like Blackmagic Cloud Store, the media dock handles many simultaneous users. With live
sync, files can be distributed between multiple users locally or globally for very fast file access,even on lower cost Internet connections. Blackmagic Media Dock includes four 10G Ethernet
connections that can be used as an Ethernet switch, which means the media dock can serve as
your network backbone.

Connecting Power
Connect power to any of Blackmagic Media Dock’s power inputs using a standard IEC power
cable. A second power input is provided for redundancy.

Connecting to your Network
After plugging in power, connect to your network or computer via Ethernet. We recommend
using CAT 6A Class E or F network cables for longer cable runs. If you have a 1G Ethernet
switch, a standard network cable is sufficient. Blackmagic Media Dock is set to use DHCP bydefault. This means the unit will be seen on your network and will be assigned an IP address
automatically.

TIP If your computer does not have a 10G Ethernet port but has a Thunderbolt 3 port,
you can connect your Blackmagic Media Dock using a Thunderbolt 3 to 10G Ethernet
adapter. This means you will get faster transfer speeds than you would via a 1G
Ethernet port.

Blackmagic Media Dock

45

NOTE To set a static IP address and configure your Blackmagic Media Dock, it’s
important to update your media dock to Blackmagic Cloud Store 1.3.1 or later.

Loading and Unloading Blackmagic Media Modules
Blackmagic Media Dock features three media module bays for reading and writing files on threemodules simultaneously.
To load a module into a module bay:

1

Align the media module with the module bay
and gently push into the bay until you feel it rest
against the terminal.

2

Swing the module’s handle up to seat themodule into the terminal.

3

Press the top of the handle until the module releasebutton clicks into place. This secures the module tothe module bay.

Blackmagic Media Dock46

To remove a module:

1

2

Press the module release button above themodule bay.

The module’s handle will open slightly.

3

4

Swing the handle down to eject the module fromthe terminal.

With the module released from the terminal, you
can now remove the module from the module bay.

NOTE Before removing a module it is important to make sure the modules are notwriting files. When your media dock is writing files on a module, the status LED
surrounding the module bay will illuminate red. When reading files the LED illuminates
green. Before removing a module, first check the media module status LED is notilluminated red.
After loading a Blackmagic Media Module, the module will appear in your computer’s
network locations and you can start editing straight away or copy files to other media
locations. If you have already created syncs and back up locations using Blackmagic CloudStore Setup, your media dock will automatically upload any new files to them. You canlearn more about creating syncs and back ups in the Blackmagic Cloud Store manual athttps://documents.blackmagicdesign.com/UserManuals/CloudStoreManual.pdf

Accessing Storage
To access Blackmagic Media Modules on a Mac computer:
1

Open Finder and click on ‘network’ in the sidebar menu.

2

Double click on your Blackmagic Media Dock in the list.

3

Now double click on a media module.

Blackmagic Media Dock

47

All loaded media modules are now accessible and the Blackmagic Media Dock is visible in thelocations sidebar.
To access storage on a Windows computer:1

Click on the ‘network’ menu item in File Explorer sidebar. You will see your BlackmagicMedia Dock listed.

2

Double click on your media dock and a Windows security dialog box will appear asking for
network credentials.

3

Set the username and password to ‘guest’.

NOTE If your computer fails to connect, your media dock may belong to a Windows
workgroup. Use ‘workgroup\guest’ as your username and ‘guest’ as your password tolog into your storage.
4

Click ‘OK’.

You will now see your media modules in the File Explorer window and can access them like anyother network drive.
Alternatively, you can access your storage from the setup utility. On a Mac computer click the‘show in Finder’ button. On a Windows computer this button is named ‘show in File Explorer’.

Blackmagic RAW
Your URSA Cine can record using Blackmagic RAW with constant quality or constant bitratesettings. Clips recorded using Blackmagic RAW are compatible with DaVinci Resolve,
Blackmagic RAW Player and other applications that support the 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 ourcamera update and Blackmagic RAW installer.
Blackmagic RAW offers superior image quality, wide dynamic range and a broad selection ofcompression ratios. Blackmagic RAW keeps all the benefits of RAW recording, but the files arevery fast because part of the demosaic is performed in the camera where it can be hardware
accelerated.
The Blackmagic RAW format is also intelligent because it understands the image sensor in
the camera. This means you get much better quality for a smaller file format. Smaller files
that are higher quality means Blackmagic RAW is a good alternative to other video and RAW
file formats.
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 turnaround edits quickly and you don’t have time for color correction, then this metadata featuremeans 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
all that film dynamic range preserved in the file. You don’t have your images hard clipped in thewhites or the blacks, so you retain detail and you can color grade to make all your images lookcinematic. 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 notlocked in on the shoot and you can change your mind later during post production.

Blackmagic Media Dock

48

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 mostcomputers, 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 overthe 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 thequality 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 constantquality. This codec is technically called a variable bitrate codec, but what it’s really doing isallowing 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!
It is also worth noting that the quality settings for Blackmagic RAW are not obscure names,
but are more meaningful as they are derived from what’s happening technically. So for example
when you have selected the constant bitrate codec, you will see quality settings such as 3:1, 4:1
and more. 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 18:1
is the smallest file size with the lowest quality. Many users of Blackmagic RAW find that 12:1 or
18:1 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 or Q5.
These are the compression parameters passed to the codec and they are setting how muchcompression 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
are shooting. So in this case the setting is different and the file will become the size needed
to store your media.

Blackmagic Media Dock

49

Constant Bitrate Settings
The names such as 3:1 and 18:1 represent the compression ratio. For example, 12:1 compression
produces a file size roughly 12 times smaller than uncompressed RAW. Depending on which
sensor aspect ratio you choose to shoot with, the Blackmagic RAW constant bitrate will beavailable from 3:1 to 18:1.

Constant Quality Settings
Q0, Q1, Q3 and Q5 refer to different levels of quantization. Q5 has a greater level ofquantization 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 thatyou can instantly see if this happens on a shoot and then investigate your settings vs quality.
Blackmagic RAW constant quality is available at Q0, Q1, Q3 and Q5.

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 toopen 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 oniris, 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 lensdata 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 bymoving the sidecar file into the same folder as the corresponding RAW file. If you movethe 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 theBlackmagic RAW SDK can access these settings. Changes made are saved in the sidecar fileand can then be seen by Blackmagic RAW Player or any other software capable of reading
Blackmagic RAW files.
When shooting video gamma, the file stays in film gamma, and the metadata tells theBlackmagic 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 topull up the black parts of the image, or pull down the white areas, all the detail is retained.
You never clip the video and all the detail is still there if you want to access it at any time.

Blackmagic RAW in DaVinci Resolve
Settings can be adjusted for each Blackmagic RAW file, and then saved as a new sidecar filefrom 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 yourmodified gamma settings automatically on import. In addition to the other metadata yourcamera files contain, DaVinci Resolve can read your selected dynamic range, so your clips willautomatically display in DaVinci Resolve with ‘film’, ‘extended video’ or ‘video’ dynamic range.

Blackmagic Media Dock

50

You can then customize these settings by adjusting the saturation, contrast and midpoint,
as well as the highlight and shadow rolloff. Any adjustments can then be saved as a sidecar
file, so the 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 toshare 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 Software Development 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 thegeneration 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 atwww.blackmagicdesign.com/developer
The following diagram illustrates the components of the Blackmagic RAW API:Blackmagic RAW API

Decoder
SSE

AVX

AVX2

METAL

CUDA

OPENCL.Braw
Reader.Sidecar
ReaderBlackmagic Media Dock

51

Blackmagic URSA Cine EVF
Blackmagic URSA Cine EVF is a powerful electronic viewfinder designed for your URSA Cine.
The color OLED display and precision glass optics provides a bright, vivid, and lifelike image so
you can quickly find focus and see the finest detail in your images.
This EVF is perfect for handheld operation on the shoulder, or for environments where youneed absolute precision with zero reflection and light glare, for example in extremely brightshooting conditions.
The viewfinder is connected and powered via USB. Your camera’s ‘monitor’ page ‘EVF’
settings let you customise the overlays on the EVF output or remove them entirely by selecting‘clean feed’.
Blackmagic URSA Cine EVF’s modular design lets you easily reposition, or even remove andattach to accessories, for example the URSA Cine EVF Extension Arm.

Assembling and Attaching the EVF
If you have purchased the URSA Cine 12K plus EVF kit, URSA Cine EVF is packed inside
your camera case in two parts. The EVF eyepiece is stored towards the front left of the caseand the factory assembled EVF arm with 15mm carbon fibre rods are stored behind it. Whenpurchasing URSA Cine EVF separately, the EVF arm requires some assembly prior to attaching
to the camera.
This section of the manual includes:
 Assembling the URSA Cine EVF mounting mechanism.
 Attaching the eyepiece to URSA Cine EVF Rotating Bracket.
 Connecting URSA Cine EVF to your camera.
 Positioning URSA Cine EVF.
 Attaching URSA Cine EVF Extension.

Assembling the URSA Cine EVF Mounting Mechanism
The URSA Cine EVF arm consists of:1Blackmagic URSA Cine EVF Rotating Bracket

2Blackmagic URSA Cine EVF Bracket Rod Mount

3

Two short 15mm carbon fibre rods.

NOTE If you have purchased the URSA Cine 12K LF + EVF kit, you can skip this section
and move to the ‘attaching the eyepiece to the EVF arm’ section.
The first step to assembling the URSA Cine EVF Rotating Bracket is to attach the two 15mmrods to URSA Cine EVF Bracket Rod Mount.

Blackmagic URSA Cine EVF

52

1

2

Unscrew the metal plugs from one end of eachrod and keep them somewhere safe as you willneed to screw them back on shortly.

Rotate URSA Cine EVF Bracket Rod Mount’s
thumbscrews counter clockwise to allow
enough room for the rods to slide through theirrespective holes.

3

4

Tighten the thumbscrews to secure the rods.

You will notice there is an adjustable top rod
mount attached to the front of URSA Cine’s top
handle. Loosen the rod clamps on each side andinsert the rods of the assembled EVF arm.

You can now screw the plugs back onto each rod and tighten the clamps. Avoid over tightening.

Blackmagic URSA Cine EVF

53

Attaching the Eyepiece to URSA Cine EVF Rotating Bracket
To attach the eyepiece:

1

2

ZOOM
VF1

EXP
VF2

REC
VF3

2

1

0

3

20

19
ZOOM

18

VF1

EXP
VF2

17

REC
VF3
16

2
15

3

1

0
20

19

18
17
16
15

Slide the eyepiece into URSA Cine EVF
Rotating Bracket’s mini dovetail slot.

Once firmly seated, push the eyepiece’s
locking lever forward to secure
URSA Cine EVF.
1

URSA Cine EVF is now fully assembled! The next step is to connect the eyepiece to yourcamera via USB.
2

1

Connecting URSA Cine EVF to your Camera
2

Connect your URSA Cine EVF to the ‘viewfinder’ USB port on the camera’s front panel using
the supplied short USB cable. Your URSA Cine EVF will turn on automatically when your camera
is powered.

VF3

REC
VF3

REC

VF2

EXP

VF1

ZOOM

EXP
ZOOM

VF2
VF1

VIEWFINDER

VIEWFINDER

EXT

EXT

RS

RS

Connect the EVF to your URSA Cine via the front panel ‘viewfinder’ USB-C port

Blackmagic URSA Cine EVF

54

1

Positioning URSA Cine EVF
020

URSA Cine EVF’s rod mount design gives you total flexibility when positioning the viewfinderplus the ability to attach accessories, for example lens focus and iris motors. By loosening theclamps and sliding the arm forwards or backwards, rotating the arm and eyepiece, or using a
combination of all three, you can position the eyepiece exactly where you need it. This section
describes how.
REC

19

EXP

ZOOM

VF3

VF2

18

VF1

17

16
15

Adjusting Forwards and Backwards
14

13

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

Adjusting the Height
1

0

20

19

18

3

17

4
REC

VF3
VF2

EXP

VF1

ZOOM

Blackmagic URSA Cine EVF

2When positioning the height of the eyepiece, one method is to loosen the top rod mount andslide its dovetail bracket up and down the handle’s vertical mini dovetail slot. This is also helpfulwhen adjusting the position to fit lens accessories.

55

Another method is to loosen the URSA Cine EVF Bracket Rod Mount’s clamp plus the EVF andswivel them both to achieve a precise position.

2

1

0

20

19
18

3

17

4
VF3

REC

VF2

EXP

VF1

ZOOM

Adjusting the Eyepiece
To rotate the eyepiece, turn the URSA Cine EVF Rotating Bracket’s adjustment knob
counter clockwise to loosen. Rotate the eyepiece and secure in position by tightening theadjustment knob.

TIP Using a combination of all adjustment options is helpful when positioning theeyepiece for shooting with the camera on your shoulder.

Adjusting the Eye Cup and Glass Diopter
Rotating the EVF adjustment ring clockwise or counter clockwise lets you focus the glass
diopter to suit your own vision and the detachable rubber eye cup can be rotated to fit your leftor right eye.
URSA Cine EVF and the URSA Cine 12K LF + EVF kit both contain a fabric eyepiece chamois
as an alternative to the rubber eye cup. This provides a more comfortable option for pressing
your eye against and can work quite well for dissipating heat in very cold or hot situations.
If you have purchased it as part of the camera kit you will locate the fabric chamois in the cavity
underneath the URSA EVF Extension. The fabric eye chamois has an elastic sleeve that fits
around the EVF eyecup mount to secure it in place.

EVF Buttons and Features
On the top of the viewfinder you’ll find a group of buttons. These buttons include 3 function
buttons, plus a separate record, exposure and zoom button.

Function Buttons
Three programmable backlit viewfinder function buttons are labeled VF1, VF2 and VF3. Thesebuttons can be set to a range of functions, however the default settings for each button are:Blackmagic URSA Cine EVF

56

Viewfinder Function 1 Focus Assist.
Press to turn the focus assist on or off.
Viewfinder Function 2 Display LUT.
Press to turn the currently set display LUT on or off.
Viewfinder Function 3 Status text.
Press to hide or reveal the status head up display.

Record Button
The record button lets you start and stop recording. You can also customise the record button
to perform any of the available functions, similar to the viewfinder function buttons, or evendisable the button to avoid the potential of recording accidentally.

Exposure Button
This button lets you turn exposure assist features on or off. For example false color, zebras, oreven a combination of both. Set the function using the camera’s menu settings.

Zoom Button
This is a dedicated button for zooming into the image to check critical focus. Press to zoom in.
The zoom feature can also be set to display on the camera’s outputs, for example EVF + LCD1,
EVF + LCD2 or all outputs.

4

3

2

ZOOM

VF1

EXP

VF2

REC

VF3

1

0

20

19

18

ZOOM

VF1

EXP

VF2

REC

VF3

17

4

3

2

1

0

20

19

18

17

All the buttons on Blackmagic URSA Cine EVF can becustomized using your camera’s ‘setup’ page ‘EVF’ settings

Motion Sensor
The motion sensor on your viewfinder automatically detects when you are near the eyepieceand turns on the OLED display. If you are away from the viewfinder for over twenty seconds
in standby mode, the 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 motion sensor could cause the viewfinder’s
display to remain powered for prolonged periods of time. This could decrease thelifespan of the display and cause image retention if high contrast images or frame
guides are displayed on the viewfinder.

Blackmagic URSA Cine EVF

57

The motion sensor is located at the bottom of the
URSA Cine EVF

Attaching URSA Cine EVF Extension
Blackmagic URSA Cine EVF Extension is an EVF accessory that is packed inside the URSA Cine
12K LF + EVF kit and the URSA Cine EVF accessory box when purchasing the EVF separately.
The extension arm lets you extend the EVF eyepiece when you’re positioned further away fromthe camera. For example, when operating the camera in a seated position on equipment like acamera dolly or when using a geared head. A hinged bracket is attached to the bottom of thearm so you can fix an eyepiece leveller.

Removing the URSA Cine EVF from URSA Cine EVF Rotating Bracket

1

2
ZOOM
VF1

EXP
VF2

REC
VF3

2
3

ZOOM

1

0
20

19

VF1

EXP

18

VF2

REC
VF3

17

1

0
16

2
3

20

15

19

18
17
16
15

With the eyepiece glass facing you, pull the EVF’s
locking lever towards you to release the URSA
Cine EVF from URSA Cine EVF Rotating Bracket’s
mini dovetail slot.

Gently lift the EVF from the slot.

1

2

1

2

Blackmagic URSA Cine EVF

58

Attaching URSA Cine EVF Extension

1

2

0
1
2
3
4
5
6
7
0

8
1

9
2

10
3
4
5
6
7
8

Align URSA Cine EVF Extension’s dovetail bracket
with URSA Cine EVF Rotating Bracket’s mini
dovetail slot.

9

Lower URSA Cine EVF Extension’s dovetailbracket into URSA Cine EVF Rotating Bracket’s
mini dovetail slot and push the eyepiece’s
locking lever forward to secure.

100Attaching the EVF to URSA Cine EVF Extension
1

2

2

2

4
5

ZOOM

1

3

1

VF1

6

EXP
VF2

7

REC
VF3

8

0

1

20

ZOOM
VF1

EXP

19

10

2

2

3

9

0

1

2

1

3

VF2

REC

4

18

VF3

5

17

6

2

1

0

7

16

20

3

19

8

15

18

9
10

17
16
15

1

2

1

2

Align URSA Cine EVF’s dovetail bracket withURSA Cine EVF Extension’s mini dovetail slot.

Lower the URSA Cine EVF into URSA Cine EVF
Extension’s mini dovetail slot.
0
1

3

2
3
4
5
6
7
8
9

ZOOM

10

VF1

EXP
VF2

REC
VF3

2
3

1

0
20

19

18
17
16
15

1

2

Once firmly seated, push the eyepiece’s
locking lever forward to secure the EVF.

Blackmagic URSA Cine EVF

59

Extending the Arm

1
0
1
2
3
4
5
6
2

7
8
9
1

10

VF1
VF2

OM

ZO

VF3

P

EX

REC

21

7

6

5

4

3

2

1

0

20

While attaching URSA Cine EVF Extension, you can add support by swinging open the support brace andresting it on URSA Cine’s top panel.

2
0
1
2
3
4
5
6
2

7
8
9
1

10

VF1
VF2

OM

ZO

VF3

P

EX

REC

21

7

6

5

4

3

2

1

0

20

Rotate URSA Cine EVF Extension’s thumbscrew counter clockwise to loosen the arm and then extend thearm outwards.

Blackmagic URSA Cine EVF

60

3
0
1
2
3
4
5
6
2

7
8
10

1

9
VF1
VF2

OM

ZO

VF3

P

EX

C

RE

21

7

6

5

4

3

2

1

0

20

Tighten the thumbscrew to secure the arm in place.

Depending on how far the eyepiece is extended, you may need to swap the short USB cablewith the long cable also supplied with your camera.

Attaching an Eyepiece Leveller
When using tripod heads designed for larger camera systems, for example OConnor andRonford Baker heads, they typically have an eyepiece leveller accessory that is supplied withthe head. URSA Cine’s EVF Extension has a small bracket underneath the arm that is designed
for this accessory.
To attach an eyepiece leveller:
1

Make sure the levelling rod’s head mount is attached to the tripod head.

Attaching an Eyepiece Leveller

61

2

Attach the levelling rod bracket to the head mount and tighten the thumbscrews.

3

Fix the leveller base to the levelling rod bracket and tighten the screws.

Attaching an Eyepiece Leveller

62

4

Attach the telescopic levelling rod to the mount base.

5

Now swing the levelling rod up and extend to meet URSA Cine EVF Extension’s leveller
bracket. You may need to adjust the rod’s length to suit.

Attaching an Eyepiece Leveller

636Connect the levelling rod to the leveller bracket slot. The bracket slot will click when the rod
is locked into place. To release the rod, press the release button on the side of the URSA
Cine EVF Extension bracket and remove the rod from the slot.

The eyepiece leveller is now fully assembled.

Attaching an Eyepiece Leveller

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

Forward Control PanelYour URSA Cine’s forward control panel groups together all of the controls you might needto adjust when setting up a shot and recording. These are all designed for easy access whileshooting with the foldout monitor closed, such as when operating the camera on the shoulder.

1

H PHONE
MONITOR
IRIS

ON

3
4

MENU

2
OFF

BACK

CH1/2
CH3/4

OFF

H PHONE
MONITOR
IRIS

5
LOCK

MENU

6

ISO / GAIN
F1

CH1/2
CH3/4

BACK

SHUTTERF2

SHUTTERF1F2

WHITE BAL

WHITE BAL

8

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

7
MENU

LOCK

LOCK

MENU

ISO / GAIN

LOCK

ON

REC

9

Forward control panel

1

ND Filters
Your URSA Cine has three internal neutral density filters. Together with a clear filter, theavailable settings are ‘2,’ ‘4’ and ‘6’ stops. These filters allow you to reduce the amount oflight reaching your camera’s sensor by a preset number of exposure ‘stops’. By reducing
the exposure, you can continue shooting at wide apertures in bright conditions such as
outdoors on sunny days.
To adjust your neutral density setting, press the ‘-’ and ‘+’ buttons to move through eachfilter. The ‘clear’ setting means there is no ND filter being used. From settings 0.6 to 1.8, theND filters 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 measurementof 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.

Control Buttons

65

Neutral Density Filter Settings
ND Number

Stops

Fraction

clear

0

1

0.6

2

1/4

1.2

4

1/16

1.8

6

1/64

2 Power Switch
Power your URSA Cine by moving this switch to the ‘on’ position. Power off by moving theswitch to the ‘off’ position.

3 Settings Wheel
Set this wheel’s function by adjusting the switch located next to the wheel. The three switch
options are ‘headphone,’ ‘monitor’ and ‘iris’.
Headphone
When set to ‘headphone’, the settings wheel will adjust headphone audio levels. Rotate thewheel upwards to increase volume, and downwards to decrease.
Monitor
When set to ‘monitor’, the settings wheel adjusts audio levels on your URSA Cine’s built inmonitor speaker. The speaker is located on the outside of the LCD monitor door and can beused to monitor audio without headphones. Rotate the wheel upwards to increase volume, anddownwards 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.
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.

4 Menu Wheel
When ‘status text’ is turned on for your URSA Cine’s EVF output, you can use the menu
wheel to navigate many of the head up display features usually accessed via the LCD
touchscreen.
Simply press the menu wheel as you would a button to access your URSA Cine’s headup display on URSA Cine EVF. While the menu wheel is active, turn the wheel to selectfeatures such as LCD monitor options, frame rate, ISO, white balance and tint. Press thewheel to confirm selections and make additional changes. 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 LockToggle this switch to lock all of the controls on the forward control panel to prevent themfrom being accidentally adjusted while shooting. Move this switch to the lower position tolock, and the upper position to unlock.

Control Buttons

66

6 ISO, Shutter and White Balance Switches
These small switches are used to adjust your ISO, 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. The switches are springloaded so they always return to a neutral position.
ISO
Push this switch up or down to adjust your camera’s ISO setting. Pushing up will increase
the setting one interval, and pushing down will decrease one interval. The available
settings are 200, 400, 800, 1600 and 3200.
Shutter
Use this switch to adjust the camera’s shutter angle or shutter speed, depending on what
you have selected in the setup menu. Pushing up will increase the shutter angle or shutter
speed to the next available preset, and pushing down will decrease the shutter angle or
shutter speed to the next available preset. Holding the switch up or down will move more
quickly through available values. There are twenty shutter angle presets between 11.2 and360 degrees.

TIP Your URSA Cine can also suggest flicker free shutter angles or shutter speeds
based on the power frequency in your region. These must be selected through the
LCD touchscreen menu. For more information see the ‘touchscreen controls’ section inthis manual.
White BalanceThis 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 Function 1, Function 2 and High Frame Rate
The F1 and F2 keys are ‘function’ keys that can be programmed to a variety of commonlyused functions using your URSA Cine’s ‘setup’ menu. By default, F1 is set to ‘focus zoom’
while F2 is set to ‘display LUT’.
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 Cine’s ‘frame rate’ menu.
Pressing this button will toggle between your chosen off speed frame rate and projectframe rate. It’s worth mentioning that this setting can only be adjusted when the recording
is stopped. The HFR button also operates as a ‘function key’ that you can program to avariety 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.

8 MenuPress this button to open the menu settings on the LCD touchscreen when the LCD door
has been flipped and folded against the side of the camera.

9 RecordThe ‘record’ button is marked REC on your Blackmagic URSA Cine’s forward control panel.
Press the record button to start and stop recording. Refer to the ‘recording’ section for more
information.

Control Buttons

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

ON

1

2

H PHONE
MONITORIRIS

MENU

O / GAIN
F1

MENU

3

CH1/2
CH3/4

BACK

SHUTTER
F2

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

BRGT

IRIS

FOCUS

PGM

STILL

HFR

REC

OFF

ON

H PHONE
MONITORIRIS

MENU

ISO / GAIN
F1

CH1/2
CH3/4

BACK

SHUTTER
F2

MENU

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

URSA Cine ergonomic control panel

1

Monitor Speaker
The small speaker built into the outside control panel lets you monitor audio whenin 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 earlier inthe ‘forward control panel’ chapter of this section.

2 Monitor Channel SelectYour URSA Cine supports two channels of audio.

3 LockUse this switch to lock all of the settings on your URSA Cine’s ergonomic control panel.
The only controls that will remain active while the lock switch is ‘on’ are the monitor channel
select switches.

Control Buttons

68Status LCD
This display shows you your URSA Cine’s essential settings at a glance without needing toopen the internal touchscreen. The following information is visible:

Timecode

Frames per second
Project frame rate
Off speed frame rate

ISO Indicator

Shutter indicator

White balance
indicator

Iris indicator

Tint indicator
Power, sensor area, streaming and WiFi indicators

Reference, resolution, 3D LUT, off speed frame rateand external timecode indicators

Record and storage indicators

Control Buttons

69

Timecode
Your URSA Cine’s timecode indicator displays your current timecode as either
clip duration or timecode. You can switch between these two display modes bypressing the ‘timecode’ button underneath the status LCD.

Record Indicator
While recording, the circular indicator will illuminate red.

Battery indicator
If your Blackmagic URSA Cine is running on battery power, this indicator displays
remaining battery life as a percentage.

Power Indicator
This indicator displays the current amount of charge in voltage when using abattery, or displays percentage of charge remaining. If the mains power connector
is plugged into your camera, the battery indicator shows as full.

Dropped Frame IndicatorThe ‘record’ indicator will flash a warning symbol 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.

Frames Per Second
This indicator displays the currently set frames per second for the project frame
rate and sensor off speed frame rate.

Shutter
URSA Cine’s shutter angle will be displayed here.

Iris
Displays your current lens aperture. Depending on your lens type, this will be
displayed as an ‘f’ or ’T’ stop.

ISO
Displays your camera’s currently set ISO.

White Balance
The white balance setting will be displayed here in degrees kelvin.

Tint
Displays URSA Cine’s tint setting value. Negative values show green tint andpositive values show increased magenta.

Storage Indicator
Displays a storage bar that shows how much storage space has been used onyour camera’s media module and the remaining available record time.
The storage indicator will illuminate red while recording a clip. If you don’t have amedia module inserted, ‘no module’ will be displayed under the storage bar.

Control Buttons

70

NOTE You can set your URSA Cine to stop recording if dropped frames are detected.
See the ‘record settings’ section in this manual for more information. This feature isuser 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.

Status LCD Controls
The control buttons underneath the status LCD let you capture a still frame, set timecode,adjust the brightness of the status LCD and backlit button LEDs.

OFF

ON

H PHONE
MONITORIRIS

MENU

ISO / GAIN
F1

MENU

CH1/2
CH3/4

BACK

SHUTTER
F2

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

RESET

HOLD

TC

BRGT

STILL

1

2

3

4

5

HFR

REC

URSA Cine status LCD controls

1

Reset
The reset button allows you to reset the timecode to 00:00:00:00 when you are setting
your preset timecode.

2 HoldUse this button to temporarily hold the main status LCD timecode when the timecode isin free running time of day code. The timecode will continue to run in the background andreturn to its actual position when you release the ‘hold’ button. While holding you can takenote of the timecode for a particular event. This can be useful in electronic news gatheringor documentary situations for noting key timecode points.

3 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 thisis 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 first two digits of the timecodecounter will flash. 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
the menu wheel to set the desired value starting with hours, minutes, seconds and thenframes. 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 isrecording giving you continuous ascending timecode values. To switch your timecode backto free running time of day code, press the ‘timecode’ and ‘hold’ buttons simultaneously forthree seconds and release.

Control Buttons

71

4 Bright
Press the ‘bright’ button to cycle through four brightness settings for your URSA Cine’s LCD
status display and backlit buttons. The settings are ‘off,’ ‘low,’ ‘medium’ and ‘high.’

5 StillPress this button to capture a single Blackmagic RAW still 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 havesuccessfully saved a still, an image of a camera will show in the top right corner of thetouchscreen and the record indicator on the status LCD will flash three times.

Control and Playback Buttons
The control and playback buttons underneath the status LCD let you set auto iris and focus,
use the custom program button, plus view clips via playback controls.

OFF

ON

H PHONE
MONITORIRIS

MENU

ISO / GAIN
F1

MENU

CH1/2
CH3/4

BACK

SHUTTER
F2

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

IRIS

FOCUS

PGM

1

2

3

4

URSA Cine’s control and playback buttons

1

Iris
The ‘iris’ button activates the automatic aperture setting on compatible lenses. Whenusing 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 PL lenses connected with a compatible
broadcast lens controller.
To set your aperture manually, press the forward and reverse skip transport buttons.

2 Focus
When using an 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 camera’s video outputs. Anything within the square will be correctly focused.
When the lens is focused, the square will disappear.

NOTE Some lenses have both manual and auto focus modes. In order for URSA Cine
to be able to auto focus with your lens, you need to ensure that your lens is set to auto
focus mode.

Control Buttons

72

3 Program
Similar to the F1 and F2 buttons, the program button can be set to use any function
available in the setup menu settings.

4 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.

Internal Control PanelWith your URSA Cine’s foldout monitor open, you can access the internal control panel. Use thecontrols here to set your audio inputs as well as phantom power settings, iris, focus, menu,
playback controls and more.
OFF

OFF

H PHONE
MONITOR
IRIS

ON

MIC
LINE
AES

XLR1

BACK

F1

MENU

SHUTTER
F2

XLR2
OFF
48V

LOCK

FOCUS
ISO / GAIN

MIC
LINE
AES

1
XLR1

H PHONE
MONITOR
IRIS

MENU

ON

WHITE BAL

PEAK

STILL

MENU

BACK

LOCK

XLR2

2

MENU

OFF
48V

FOCUS

PEAK

STILL

MENU

REC

HFR

POWER

ISO / GAINSHUTTER

WHITE BAL

3

REC

REC

F1

MENU

F2

HFR

POWER

REC

URSA Cine’s internal control panel

1

XLR1 / XLR2
Use these switches to set how your URSA Cine’s XLR inputs behave when selected as an
input source. The options available are mic audio, line level audio and AES digital audio.

2 Phantom PowerYour URSA Cine’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.

NOTE It is standard practice to plug in your XLR cable before switching phantom
power on. It is also important to switch phantom power to ‘off’ when you no longer
have a phantom powered microphone connected. Connecting devices that don’t havephantom power protection built into their AES XLR outputs whilst still sending phantom
power from the camera’s XLR audio inputs may damage your equipment. Always
ensure that the 48V switch is turned ‘off’ when you disconnect your microphone.

3 Control and Playback Buttons
In addition to playback controls, these buttons also include:

Control Buttons

73

FocusWhen using an EF mount with an EF lens that supports electronic focus adjustments, pressthe ‘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, thesquare will disappear.
It’s worth noting that some lenses have both manual and auto focus modes. In order for
URSA Cine to be able to auto focus with your lens, you need to ensure that your lens is set
to auto focus mode.
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 arein 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. Focus peaking is not recorded to storage media, but can be displayed on all
outputs by activating overlays using the touchscreen menu.
It’s worth mentioning if you are recording your video output to a Blackmagic Video Assist orHyperDeck disk recorder, you may want to ensure that you don’t have peaking switched on
for that output. This can be achieved using the ‘clean feed’ feature in the monitor settings.
For more information on outputting a ‘clean feed’ see the ‘monitor settings’ section inthis manual.
Still
Press this button to capture a single Blackmagic RAW frame.
Menu
Press the ‘menu’ button to open the main LCD menu. Refer to the ‘settings’ section for more
information and how to adjust settings.
RecordPress 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.

NOTE You can power your URSA Cine 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 thecontrol panel. Toggle the power switch to return it to normal operation.

FOCUS

PEAK

STILL

MENU

REC
POWER

Control Buttons

74

Assist Station
The right side assist station provides a touchscreen LCD for picture and audio monitoring andchanging settings, plus you can use the focus page to set custom focus and iris marks formaintaining perfect focus and exposure.
1

LOCK

USB

12G SDI OUT

VIEWFINDER
LOCK

12G SDI OUT
EXT

2

CH1/3

CH1/3

REF IN/TC IN

CH2/4

CH2/4
RS

10G
CH1/2

CH3/4

12V/24V

CH1/2

1

DISP

CH3/4

LENS

SLATE

AUD

STRM

DISP

LENS

SLATE

AUD

STRM

3

4

5

6

7

…

REC

…
8

REC

9

Lock
Set the ‘lock’ switch to disable the assist station. This prevents any accidental changes
during your shoot.

2 Audio Knobs
Rotate the audio knobs clockwise to increase the levels or counter clockwise to decrease.
When adjusting the knobs, the LCD will automatically display levels so you can see thechanges. After 10 seconds of inactivity, the LCD will return to the main display.

3 Display Button
Press the ‘display’ button to toggle the LCD touchscreen between meters, codec andresolution or clean feed display options.
Press and hold the ‘display’ button for 3 seconds to turn the assist station LCD off anddisable the touchscreen. This can be useful when working in a dark environment, or if
you are moving position and want to avoid making accidental changes to your camera’s
settings. Pressing any of the assist station buttons will switch the LCD display back on andre-enable the touchscreen
If you are handling the camera a lot and do not wish the buttons to re-activate the screen
you can use the ‘lock’ switch when the screen is dimmed for further protection.

4 LensPress the ‘lens’ button to cycle through different views on the 1st AC screen. Options
include maximized, minimal and clean. The maximized view includes both exposure andfocus scale, minimal view displays only the focus scale.

Control Buttons

75

5 Slate
Press to toggle the slate feature on or off. The slate lets you enter metadata for postproduction use. For more information, refer to the ‘entering metadata’ section.

6 Audio
The audio page is not currently active, to adjust the audio gain levels simply use the knobs
to the left of the assist station, or tap the audio meters on the heads up display.

7 Stream
The streaming page is not currently active. Once you have set up your streaming platformin the setup menu and connected your camera to a network, you can press and hold the‘stream’ button to begin streaming locally or via the Internet. Press and hold again to stop
the stream.

8 MenuPress the ‘menu’ button marked with the ellipsis icon to open the menu settings. Pressagain to close the menu. You can also tap on the menu icon in the LCD touchscreen to turnthe menu settings on and off.
If you find you don’t need a physical menu button on the side of your camera, you canremap the menu button to another feature using your camera’s setup menu. For example,
it can be set to trigger playback or toggle ND filters. For more information, refer to the‘settings’ section.

9 Record
Press the ‘record’ button to start recording a clip, the button will illuminate red. Press again
to stop recording.
The ‘record’ button on this side of the camera can be remapped to a different function
in your camera’s ‘setup’ menu. If you are concerned about triggering record accidentally,
you can disable the record button by setting it to ‘none’. For more information, refer to the‘settings’ section.

Control Buttons

76

Using the 1st AC Page
When shooting with PL or LPL lenses that have built in Cooke /i technology, and also some EF
cine primes and zooms your URSA Cine will be able to read the movement of the focus, iris andzoom position through the lens mount. This means you can set marks on the focus distancescale on the right of the screen that you can use for precisely and repeatedly hitting any
specific exposure and focus points you choose.
USB

SDI OUTLOCKDI OUT

CH1/3

C IN

CH2/4

The 1st AC page lets you set multiple focus marks on a line scale to make sure you achieve perfect focus
and exposure
CH3/4 marks:
ToCH1/2
set the focus

1

Press the ‘lens’ button to open the 1st AC page on the assist station touchscreen.

24V

DISP

LENS

SLATE

AUD

STRM

…

2

Adjust focus on the lens and find your desired focus point. Once set, tap the plus icon on
the touchscreen. A focus mark is set on the focus scale.

3

Adjust the lens focus again to find the second focus point and repeat the same procedure.

REC

Now when you adjust focus, you can repeatedly find those exact points by monitoring the focus
marks on the focus scale.
The color of the focus marks can be changed so they are easier to identify in a sequence.
Simply tap and hold the focus mark to reveal the color editor. Select the color you want and tap
outside of the editor to close.
To delete a focus mark, open the color editor and tap the trash icon. Tap the ‘reset’ icon toremove all focus points.

Control Buttons

77Lens Scales
Some lenses such as those from Cooke Optics, Zeiss Supreme, Supreme Radiance and CP.3
XD lenses running 1.90 firmware will provide not only their name, serial number, focus, iris andzoom position to the camera but also their minimum focus distance and iris range extremes
as well as all of the specific focus distance marking points that are present on the barrel ofthe lens. This means they will be displayed exactly the same way on the focus scale instantly
without needing to program them in at all.

TIP The focus markers overlay can also be sent to any output so you can see themon the EVF, LCDs and any SDI monitor connected to your camera’s SDI outputs. To dothis, open your camera’s menu and go to page 2 of the setup settings. Here, choose
which output you want to view markers on and set the display to ‘focus markers’. Make
sure status text is also set to ‘on’.

Self Calibration
For other i/Data lenses that provide positional information electronically, but not information liketheir focus and iris range, the camera is able to self calibrate for each lens, learn this informationand save it to its internal database. To do so after mounting the lens, simply move the lensto each end point of its focus and iris adjustment range by moving the focus or iris ring. This
information will then be added to the scale and saved to the camera for next time this lens ismounted. If you are on the 1st AC page when a lens like this is first mounted you will be able
to see this happening and see the scale expanding in front of you as you move the lens barrel
towards each end of its range.
It’s important to note that focus scales are only able to be shown for lenses that provide
accurate focus distance information to URSA Cine through the lens mount. This means regular
EF stills lenses that don’t supply this information will not show focus scales on the 1st AC Page.

Control Buttons

78

Touchscreen ControlsYour Blackmagic URSA Cine’s fold out LCD touchscreen pivots for shooting high and low
angles. You can face the display towards the talent, or even fold the LCD back against thecamera with the touchscreen facing out. Buttons on the outside of the LCD panel let you control
your URSA Cine when shooting on the shoulder using the URSA Cine EVF and the LCD closed.
The touchscreens feature a touch and gesture based interface that is specifically designed forfast and intuitive user operation. By touching and swiping on different areas of URSA Cine’s
LCD touchscreens, you can quickly access the camera’s functions while shooting.

Your URSA Cine’s LCD touchscreens have a comprehensive head up and status display and gives you easy
access to your camera’s most used settings

LCD Monitor Options
Tap the ‘monitor’ icon at the top left of your URSA Cine’s LCD touchscreen to access the
LCD monitor settings. These settings let you toggle and adjust the appearance of yourURSA Cine’s monitoring features, including zebra, focus assist, frame guide, and grids. When
accessing LCD monitor options, the controls for these features appear in a tabbed menu along
the bottom edge of the touchscreen.

Tap the icon at the top left of your URSA Cine’s touchscreen to access LCD monitor options

Touchscreen Controls

79ZebraThe ‘zebra’ setting toggles the appearance of zebra on the touchscreen, as well as setting thezebra level for all video outputs.
Zebra displays diagonal lines over areas of your image that exceed a set exposure level.
For example, setting zebra to 100% shows which areas are completely overexposed. This isuseful for achieving optimum exposure in fixed lighting conditions.

Tap the ‘zebra’ icon to access your URSA Cine’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. Tap the left and right arrows to decrease or increase the zebra
percentage value. The second zebra setting lets you turn mid gray zebra zones on or off, or midgray plus 1 stop.
For information on enabling zebra on your camera’s video outputs, 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,
as well as setting the level of focus assistance for all outputs on your URSA Cine.

Tap the ‘focus assist’ icon to access your URSA Cine’s focus assist settings

 o toggle focus assistance for the LCD touchscreen, tap the switch icon in the bottom left ofT
the screen while in the ‘focus assist’ tab. To set the level of focus assistance for all outputs on
your URSA Cine, drag the slider left to decrease the sensitivity and right to increase.
The optimum level of focus assistance varies shot by shot. When focusing on actors, forexample, 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
at higher settings.
For information on enabling focus assist on your camera’s video outputs, see the ‘monitor
settings’ section in this manual.

TIP Your URSA Cine has two focus assist modes. You can switch between ‘peaking’and ‘colored lines’ focus assistance in the ‘monitor’ settings menu. For more
information, see the ‘monitor settings’ section in this manual.

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80

Touch to Focus
Focus compatible lenses in any region of the image by pressing the LCD screen for a moment
where you want to focus. The camera will focus your lens in the chosen location. If the headup display is obscuring the area you wish to focus, simply swipe up or down to move it outof the way.
After you have set the location for auto focus, pressing the focus button on the camera will
trigger auto focus in that specified region. Double pressing the ‘focus’ button will reset thefocus point to the center of the screen.

URSA Cine touchscreen with touch to focus

Frame Guides
The ‘frame guide’ setting toggles the appearance of frame guides on the LCD touchscreen.
You can also choose from a range of frame guide options for all outputs on your URSA Cine.
Frame guides include aspect ratios for various cinema, television and online standards. These
guides can also be used as safe area guides to assist with framing your shot where you know
the shot will be stabilized in post production, which can crop the edges of the image. They canalso be used to indicate a specific crop.

Tap the ‘frame guides’ icon to access your URSA Cine’s frame guide settings

To enable or disable frame guides on your URSA Cine’s LCD touchscreen, tap the switch icon at
the bottom left of the frame guides settings.
Choose the frame guide you want to use by dragging the slider left and right, or tapping thearrow buttons on either side of the currently selected aspect ratio.

Touchscreen Controls

81The available guides are:
2.35:1, 2.39:1 and 2.4:1
Displays the broad widescreen aspect ratio compatible with anamorphic or flat widescreen
cinema presentation. The three widescreen settings differ slightly based on the changing
cinema standards over time. 2.39:1 is one of the most prominent standards in use today.

The LCD touchscreen with 2.40:1 frame guides enabled

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
HD 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. Thisratio is most commonly used for HD broadcasting and online videos. The same aspect ratio has
also been adopted for Ultra HD broadcasting.
14:9
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 bebroadcast by a television station that uses 14:9 cropping.
4:3
Displays the 4:3 aspect ratio compatible with SD television screens, or to help with framingwhen using 2x anamorphic adapters.
1:1
Displays a 1:1 ratio slightly narrower than 4:3. This square ratio is growing in popularity onsocial media.

Touchscreen Controls

82

4:5
This vertical aspect ratio is ideal for portraits and viewing on smartphones.
9:16
This vertical aspect ratio is useful for framing social media content.
Custom Frame Guide Ratio
To create your own frame guide ratio for a unique appearance, tap on the ratio displayed
between the arrow buttons. 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. The opacity of frame guide
overlays can be set using the ‘monitor’ menu settings in the camera’s dashboard.

Use the numeric keypad on the ‘custom frame guide’ screen to enter a new frame guide ratio

NOTE For information on enabling frame guides on your camera’s USB and SDI
outputs, see the ‘monitor settings’ section in this manual.

Grids
The ‘grids’ setting toggles the appearance of a rule of thirds grid, horizon meter, crosshair orcenter dot on the LCD touchscreen, as well as setting the overlay that will be visible on all URSA
Cine’s outputs.

Tap the ‘grids’ icon to access your URSA Cine’s grid settings

Touchscreen Controls

83

Grids and crosshairs are overlays that can help with image composition. When ‘grids’ areenabled, your URSA Cine can show a rule of thirds grid, horizon meter, and crosshair or dot.
To toggle the appearance of grids on your URSA Cine touchscreen, tap the switch icon in thebottom left of the screen while in the ‘frame guides’ tab.
To set which overlay you want to display on all URSA Cine outputs, tap the options at thebottom of the display for ‘thirds’, ‘horizon’, ‘crosshairs’ or ‘center dot’.

The rule of thirds grid automatically scales to any on screen frame guides

ThirdsThe ‘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 yourframing. Thirds are also useful to maintain framing consistency between shots.
HorizonThe 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 direction the light gray vertical line moves away from the dark gray crosshair in the
middle indicates the direction your camera is rolled. When the camera is tilted down the lightgray horizontal line moves up and when the camera is tilted up the light gray horizontal line
moves down.
The distance the lines move away from the central crosshair is proportional to the amount of rollor tilt. After you calibrate the camera’s motion sensor, the horizontal and vertical lines appear
blue to indicate they are aligned to the roll and tilt axes.
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.

Touchscreen Controls

84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 highshot, you can calibrate the horizon meter at an incline. For information on how to calibrate thehorizon meter, see the ‘motion sensor calibration’ section.
CrosshairThe ‘crosshair’ setting places a crosshair in the center of the frame. Like thirds, the crosshair isa very useful compositional tool, making it easy to frame the subject of a shot in the very centerof 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 easierto 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 less intrusive.
You can enable a combination of ‘thirds’ and ‘crosshairs’ or ‘thirds’ and ‘center dot’ by tapping
both options in the ‘grids’ menu. ‘Crosshairs’ and ‘center dot’ cannot be selected together.

TIP For information on enabling grids on your URSA Cine’s outputs, 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 LCD touchscreen,
as well as setting the size of safe area guides for all outputs on your URSA Cine.
Safe areas can be used in broadcast production to ensure that the most important parts ofa shot can be seen by viewers. By keeping the most important parts of your shot within acentral ‘safe area,’ you can avoid cropping on some televisions, as well as leaving space fora broadcaster to add bugs, news tickers and other overlays along the edges of the screen.
Many broadcasters require footage to be submitted within a 90% safe area.

Touchscreen Controls

85

The ‘safe area’ indicator set to 85%

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. The safe area guides also scale to your frame guides, sothey will adjust to indicate the chosen percentage of your target frame.
To toggle safe area guides for the LCD touchscreen, tap the switch icon in the bottom left of thescreen while in the ‘safe area guides’ tab. To set the level of safe area guides for all outputs on
your URSA Cine, tap the left or right arrows on either side of the current numerical value at thebottom of your touchscreen. Alternatively, you can drag the slider left or right.

False Color
The ‘false color’ setting toggles the appearance of false color exposure assistance on the
LCD touchscreen.
False color overlays different colors onto your image that represent exposure values fordifferent 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.

False Color Chart

Touchscreen Controls

86

To toggle false color for the LCD touchscreen, tap the switch icon in the bottom left of thescreen while in the ‘false color’ tab.

The ‘false color’ exposure assistance tab

Touchscreen Brightness
Adjust the brightness of the touchscreen by dragging the percentage slider right to increase
the brightness and left to decrease.

Tap the screen brightness icon to access the touchscreen brightness setting

ND Filter indicator
When adjusting your URSA Cine’s ND filter, it will be displayed via the indicator in the top leftof the LCD touchscreen and any outputs set to show status text. This indicator will remain on
in your ‘status text’ when you have an ND filter engaged. When you have it set to the position
where there is no ND filter, the ‘clear’ text will disappear after four seconds.

Adjusting your URSA Cine’s ND filter setting will reveal the ND filter indicator

NOTE You can adjust the terminology used by the ND filter indicator to reflect theconventions you’re used to. The options are ND number, stops and fractions. You can
set your preferred format in your URSA Cine’s ‘setup’ menu.

Touchscreen Controls

87LUT Indicator
The LUT icon will be visible on the LCD, plus video outputs when ‘status text’ is switched on
and you have a LUT applied to that output.

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.

Tap your URSA Cine’s frames per second indicator to access frame rate settings

Tapping the ‘FPS’ indicator lets you change your camera’s sensor and project frame rates via
a menu at the bottom of your LCD touchscreen.

Project Frame Rate
The project frame rate is URSA Cine’s recording format frame rate and provides a selection ofcommon frame rates used in the film and television industry. This frame rate is normally set tomatch your playback speed used in your post production workflow.
Your Blackmagic URSA Cine 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 camera’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 dragthe slider left or right.

Tap the arrows on either side of the project frame rate or move the slider to make adjustments

TIP The project frame rate also sets the frame rate of the video outputs.

Touchscreen Controls

88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 projectframe rate.

With ‘off speed frame rate’ enabled, tap the arrows on either side of the sensor frame rate, move the slider or tap
one of the presets to make adjustments

By default, your URSA Cine’s project and sensor frame rates are matched for a natural playback
speed. However, by tapping the ‘off speed frame rate’ switch icon in the bottom right hand sideof your camera’s ‘FPS’ menu, you can independently set your sensor frame rate.
To change your sensor frame rate, tap the arrows next to the sensor frame rate indicator in thelower 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. Abovethe slider, you can select a recommended off speed frame rate that is based on your current
project frame rate.
You 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 will create slow motion
during playback. 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 enhanceemotion. 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 Cine’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 toguarantee audio syncing.

Touchscreen Controls

89

ShutterThe ‘Shutter’ indicator displays your shutter angle or shutter speed. By tapping this indicator,
you can manually change your URSA Cine’s shutter values or configure shutter priority auto
exposure modes. The shutter measurement setting can be used to select whether to display
shutter information as ‘shutter angle’ or ‘shutter speed’. See the ‘setup settings’ section in thismanual for more information.

Tap your URSA Cine’s shutter indicator to access shutter settings

Shutter angle or shutter speed defines the level of motion blur in your video, and can beused to compensate for varying light conditions. 180 degrees is the optimum shutter angle for
capturing satisfying motion blur in most conditions, with the equivalent being a shutter speed of
1/50th of a second. However as lighting conditions change, or the amount of movement in yourscene increases, you may decide to adjust accordingly.
For example, 360 degrees is considered ‘wide open’ and allows maximum light onto thesensor. This is useful for low light conditions with subtle movement in your scene. Alternatively,
if shooting subjects with a lot of movement, a narrow shutter angle like 90 degrees will provide
minimal motion blur for sharper, crisper images. The equivalent shutter speeds compared to
shutter angle depends on the frame rate you are using. For example, if you are shooting at
25 frames per second, then 360 degrees will equate to 1/25th, and 90 degrees will equate to
1/100th of a second.

NOTE When shooting under lights, your shutter can affect the visibility of flicker. YourURSA Cine will automatically calculate a flicker free shutter value for your current frame
rate. It will display up to three suggested flicker free shutter options at the bottom of
the heads up display when adjusting your shutter. These shutter values are affectedby mains power frequency in your region. You can set your local power frequency to
50Hz or 60Hz in your URSA Cine’s setup menu. See the ‘setup settings’ section inthis manual for more information.
Tapping the ‘shutter’ indicator brings up the suggested shutter values along the bottom ofyour URSA Cine’s touch screen. If you have auto exposure set to ‘off,’ this screen will show
you your currently selected shutter value, as well as the available flicker free shutter values,
based on the mains power frequency you have selected in your URSA Cine’s ‘setup’ menu.
For more information, see the ‘setup settings’ section in this manual. It’s worth mentioning thecharacteristics of individual light sources may still cause flicker even when using flicker freevalues. We recommend always performing a test shoot when not using continuous lights.
To select one of the flicker free shutter values, simply tap on one of the displayed shutter
values. Tap the arrows on either side of the current shutter value indicator to cycle throughsome of the most commonly used values.

Touchscreen Controls

90

Your URSA Cine will suggest flicker free shutter values based on the mains power frequency you choose in the‘setup’ menu

If you would like to choose a specific shutter value, you can do so by double tapping the current
shutter indicator at the bottom left of your screen. This opens a keypad that allows you to typein any shutter value with up to two decimal places.
If you type in a shutter speed that is incompatible with your current frame rate, the nearest
achievable shutter speed will be used.

The manual shutter keypad allows you to type in any shutter value you wish

Your URSA Cine has three shutter based auto exposure modes. To select one of these, tap the‘auto exposure’ button in the far right of the shutter menu.

ShutterThis setting automatically adjusts shutter value 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 effecton motion blur. It’s also worth keeping an eye out for any flicker that may be introduced fromvarious light fixtures on indoor shoots. URSA Cine’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 value is reached and exposure still cannot be
maintained, URSA Cine will begin adjusting the aperture to keep exposure constant.

Touchscreen Controls

91

Iris + Shutter
Maintains the correct exposure levels by adjusting the aperture, then the shutter value. If the
maximum or minimum available aperture is reached and exposure still cannot be maintained,
URSA Cine will begin adjusting the shutter value to keep exposure constant.

While in the shutter menu, tap ‘auto exposure’ to access shutter based auto exposure modes

TIP When an auto exposure mode that effects the shutter is enabled, a small ‘A’ willappear next to the shutter angle indicator at the top of your URSA Cine touchscreen.

Iris he ‘Iris’ indicator displays your current lens aperture. By tapping this indicator, you can changeTthe aperture of compatible lenses and configure iris based auto exposure modes.

Tap your URSA Cine’s iris indicator to access iris settings

NOTE To adjust the iris from the LCD touchscreen, your URSA Cine must be fitted witha lens that supports changing aperture via the camera. If you are using an EF or PLlens that supports lens control through the pins in the mount, 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 URSA Cine
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, ormoving the slider left or right.
Tapping 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 the arrows on either side of the iris indicator or use the slider to adjust iris settings

This gives you the following auto exposure options.

Iris
This setting automatically adjusts the aperture to maintain a constant exposure, while keeping
shutter angle constant. This will keep motion blur constant, but may affect your depth of field.

Touchscreen Controls

92

Iris + Shutter
Maintains the correct exposure levels by adjusting the aperture, then the shutter value. If the
maximum or minimum available aperture is reached and exposure still cannot be maintained,
URSA Cine will begin adjusting the shutter value 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 value is reached and exposure still cannot be
maintained, URSA Cine will begin adjusting the aperture to keep exposure constant.

While in the iris menu, tap ‘auto exposure’ to access iris based auto exposure modes

When an auto exposure mode that effects the iris is enabled, a small ‘A’ will appear next to theiris indicator at the top of your URSA Cine touchscreen.

TIP Automatic exposure works smoothly with compatible PL lenses that are designed
for video or film production. EF lenses may produce noticeable ‘steps’ in exposure
when changing aperture. For this reason, we recommend using only ‘shutter’ auto
exposure mode if shooting with EF lenses.

Duration Display
At the top of your URSA Cine’s LCD touchscreen, you’ll see your camera’s duration display.

The duration display will turn red while recording

The duration display provides a timecode counter for checking the duration of your clips andmonitoring timecode during recording and playback. The counter displays a time sequenceshowing Hours:Minutes:Seconds:Frames and will progress through the sequence as you recordor 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 durationof the current, or last recorded, clip is displayed on the touchscreen. Time of day timecode isembedded into clips for easier post production.
To see the timecode, simply tap the duration display. Tap the duration display again to returnto clip duration.

Touchscreen Controls

93Additional status indicators that may appear around the duration display include:
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’ and disconnected.
Appears to the right of the duration display when you are viewing'preset record run' timecode.
Appears when a valid reference source is connected and locked,
based on the reference input settings.

ISO he ‘ISO’ indicator displays your camera’s current ISO setting, or light sensitivity. TappingTthis indicator lets you adjust your ISO to suit varying lighting conditions. The ISO range on
URSA Cine is from ISO 200 to 3200. The optimum ISO is 800.

Tap your URSA Cine’s ISO indicator to access ISO settings

While in the ‘ISO’ menu, your URSA Cine’s ISO settings appear along the bottom of the LCD touchscreen, with aslider below the presets for adjusting your ISO in 1/3 stop increments

Numerical presets provide the option to select an ISO setting in full stop increments by tappingon the number. The slider below the presets allows you to fine tune your ISO setting in between
these presets in 1/3 stop increments.
Depending on your situation, you may choose a lower or higher ISO setting. For example,
in low light conditions ISO 1600 can be suitable but may introduce some visible noise. In brightconditions ISO 200 can provide richer colors.

Touchscreen Controls

94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 your URSA Cine’s white balance and tint indicators to access white balance and tint settings

Every 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, whenshooting under tungsten lamps that emit a warm, orange light, selecting 3200K adds some blue
to the image. This balances the color so white is accurately recorded.
Your URSA Cine 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 andright 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 theseincrements for faster changes. Alternatively, you can move the temperature slider.
To further dial in your image, you can adjust the ‘tint.’ This adjusts the mix of green and magenta
in your image. For example, adding some magenta can compensate for the green cast of many
fluorescent lights. Many of your URSA Cine’s white balance presets include some tint.

Tapping the white balance and tint indicator on your URSA Cine gives you access to white balance and tint
presets plus manual adjustment controls

Touchscreen Controls

95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,’ orcustom white balance. Custom white balances are persistent; your CWB settings will
stay configured between power cycles, and when switching to a preset and back to
CWB. This makes it easy to compare a custom white balance to the last preset used.

Auto White BalanceYour URSA Cine can set white balance automatically. Tapping ‘AWB’ will bring up the whitebalance screen.
When setting white balance automatically, a square will be overlaid on the center of yourimage. Fill this square with a neutral surface such as a white or gray card and tap ‘update.’ YourURSA Cine will automatically adjust its white balance and tint values to ensure that the averageof 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.

Use the auto white balance feature with a white or neutral gray surface to automatically set a neutral
white balance

Touchscreen Controls

96Power our URSA Cine’s power status is displayed in the top right of the LCD screen. There are fiveYpossible indicators:

While using battery power, tapping the power indicator toggles between ‘voltage’ and ‘percentage’ displays

AC

Displayed when your URSA Cine is plugged into mains power.

Percentage

If you are using a percentage accurate battery and plate combinationand have your battery display set to ‘percentage,’ the indicator will
display your battery level as a percentage. At 20% 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 URSA Cine will display a battery 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. For 12V batteries, when your battery
drops below 12.5 volts, this indicator will turn red. Your URSA Cine willautomatically shut down once the battery reaches 11.9 volts.

When using battery power, you can switch between ‘voltage’ and ‘percentage’ or ‘battery bars’
power indicators by tapping the power indicator.

Histogram t the bottom left of your URSA Cine touchscreen, you’ll see the histogram. The histogramA
shows the contrast between whites and blacks along a horizontal scale.

The histogram gives you an indication of the tonal range between
shadows and highlights in your clip. It is also a helpful tool forchecking the balance of your exposure and to prevent yourhighlights 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 thehistogram moves to the left or right accordingly. You can use this to check ‘clipping’ in yourimage shadows and highlights. 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.

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97

NOTE If you don’t see a histogram in the bottom left of your touchscreen, yourLCD monitor 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 Cine’s touchscreen, you’ll see a round graybutton. This is the ‘record’ button. Tap this once to begin recording, and tap it again to stop.
While recording, the button and the timecode at the top of your URSA Cine touchscreen will
glow red.

Your URSA Cine’s ‘record’ button, next to the storage indicators at the bottomof the LCD touchscreen

The ‘record’ button glows red when recording

Apply LUT in FileIf 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

Storage Indicators
At the bottom of your URSA Cine’s touchscreen next to the ‘record’ button, you’ll see thestorage indicators.

Record Time Remaining
The storage indicators show how much recording time is left. The time is displayed inhours:minutes:seconds based on your chosen frame rate and codec and is automaticallyrecalculated if you change either of these settings.
When there is approximately 5 minutes remaining in storage, the indicator text will turn red,then blink slowly when there is 3 minutes remaining. When there is less than 30 seconds ofrecording time remaining, the indicator will blink rapidly.

Touchscreen Controls98When storage reaches maximum capacity the indicator will display ‘full’.

Your URSA Cine’s storage indicator will display the name of the storage and therecord time remaining

Media Bar
The media bar icon above the recording time will be either blue, white or red depending on its
current status and will display the used space on the storage.
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, press and hold the name or media bar of the card thatyou wish to record to.
Tapping the storage indicators will open the media pool, tap the media storage icon at the topof the touchscreen to bring up the storage and formatting menu.

Tap the storage indicators to open the media pool and then tap the storage icon to enter the storage andformatting menu

This menu displays the amount of free space on the media module as well as the module name,remaining record time, total number of clips, and the file format.
Tapping the card in the storage menu sets it as the active card. Your URSA Cine will fill this card
first. You can format your media from this menu. For more information on formatting media using
URSA Cine, see the ‘Blackmagic media module’ section of this manual.

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99

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.
 o achieve optimum audio quality, ensure your audio levels do not reach 0 dBFS. This is theTmaximum 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,
as well as headset or speaker volume.

Tap the audio meters on your URSA Cine’s touchscreen to easily access volume and headset or speaker settings

Focus Zoom
You can magnify any part of your URSA Cine’s preview image by double tapping the LCD
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 Cine lets you
configure a function button as a ‘focus zoom’ toggle that behaves like a double tap on thetouchscreen. This can be configured to show on the LCD or the front or main SDI to outputs.

Touchscreen Controls

100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 areviewing. You can move around the image using the menu wheel or by dragging your finger around the screen.

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

Swipe up or down to hide all status indicators on your URSA Cine’s LCD touchscreen

Touchscreen Controls101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 shownin 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.

Tap 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 theprevious clip.

Touchscreen Controls

102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 thenext 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 to2x, 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 Cine’s touchscreen to hide status text while
playing back footage. Swiping left or right will open the slate where you can markthe current clip ‘good take’ in metadata. Swipe again to close the slate. 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 allTap ‘play’ again to play all your recorded clips on a continuous loop.

Play

Tap again to return to real time playback.

Touchscreen Controls

103Settings
Pressing the ‘menu’ control button on your URSA Cine will bring up your camera’s dashboard.
This is a tabbed menu containing the settings not available from your camera’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 cancycle between these pages by tapping the arrows on the left and right of the settings screen,or swiping 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 Cine’s
dashboard tabs

Record Settings
The ‘record’ tab allows you to set your video standard, codec, and resolution. 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.

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Record Settings 1
The first page of the ‘record’ settings tab contains the following settings.

Resolution and Codec
This menu is split into two rows. The top row lets you choose between four resolution types,
including 12K, 9K, 8K and 4K, while the bottom row offers sensor area choices with various
pixel dimensions. For example, you can choose to record 12K resolution using 3:2 open gate at
12288 x 8040 pixels, 17:9 at 12288 x 6480 pixels, 16:9 at 12288 x 6912 pixels and more.
A table is provided at the end of this section showing all the different sensor area options and a
description for each.
Choose a Blackmagic RAW codec setting to suit the project you are working on. The options
are divided between four ‘constant bitrate’ and ‘constant quality’ settings. You can learn more
about Blackmagic RAW and the different compression settings in the ‘recording’ section earlier
in this manual.

Blackmagic RAW ‘constant bitrate’ and ‘constant quality’ options

TIP The amount of video you can record on your storage media on URSA Cine will
increase when choosing codecs that utilize higher compression. Refer to the ‘record
duration table’ in the ‘recording’ section for more information.

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105

3:2

Full width and height open gate setting using the complete sensor area.

16:9

Crops the vertical area of the sensor to conform to the common 16:9 television
broadcast standard.

17:9

Crops the vertical area of the sensor to conform to the common 4K and 8K DCI standards.

2.4:1

Crops the vertical area of the sensor to conform to the common 2.4:1 widescreen standard
when using spherical lenses. When shooting 2.4:1 using spherical lenses, cropping to fit
the 2.4:1 widescreen standard lets you record at even higher frame rates.

6:5

Maintains full sensor height and crops the horizontal area to optimize shooting withanamorphic lenses that have a 2x squeeze.

Record Settings 2
The second page of the ‘record’ settings tab contains the following settings.

Project Frame Rate
The project frame rate is URSA Cine’s video standard frame rate and provides a selection ofcommon frame rates used in the film and television industry. For example, Ultra HD at 29.97
frames per second. 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 Cine has 8 project frame rate settings including 23.98, 24, 25, 29.97, 30,
50, 59.94 and 60 frames per second.

NOTE Your camera’s project frame rate has a large impact on the ‘look’ of footage.
In broadcast 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 andeliminate 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.

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Off Speed Recording
By default, your URSA Cine’s project and sensor frame rates are matched for a natural playback
speed. However, by tapping the ‘off speed recording’ switch icon you can set your sensor frame
rate independently.
Off Speed Frame Rate
With ‘off speed frame rate’ enabled, tap the arrows next to the ‘off speed frame rate’ indicator
to set your URSA Cine’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 projectframe 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 ofthis manual.

Dynamic Range
Adjust the ‘dynamic range’ setting by tapping the dynamic range icons. Blackmagic URSA Cine
has three dynamic range settings:
Film

The ‘film’ setting shoots video using a log curve that allows you to maintainthe 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.

Extended VideoThe ‘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.

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.

If you are using ‘video’ or ‘extended video’ dynamic range, make sure the display LUT is notenabled on any of the camera’s outputs or LCDs.
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.
Gamut Compression
The ‘gamut compression’ setting on your URSA Cine is enabled by default and allows you tochoose whether you want to compress and desaturate extreme colored highlights to stay within
the display color space as they approach clipping.

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This setting will affect the image sent from SDI outputs, sent in your stream and also yourrecorded files. When shooting Blackmagic RAW the ‘gamut compression’ setting is able to be
adjusted in the RAW decode tab in the color page of DaVinci Resolve.
Turning this setting ‘off’ will allow colors to clip in a more saturated manner but can causesome color fringing from strong saturated monochromatic light sources like LEDs in someextreme cases.
Apply LUT in FileIf you are applying a LUT to any of the outputs from your URSA Cine, the selected LUT will beembedded into the Blackmagic RAW file you are recording.
This means the LUT will be saved in the header of the file and can easily be applied to theclip in post production without needing to handle a separate file. When the ‘apply LUT in file’switch is set to ‘on’ in the 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.
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 isthe 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 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 thefollowing intervals:
Frames

2 – 10

Seconds

1 – 10, 20, 30, 40, 50

Minutes1 – 10Settings

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For example, you can set the camera to record a still frame every 10 frames, 5 seconds,
30 seconds, 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 standard of each still frame is based on your recording standard, so if you set the camera torecord Ultra HD using Blackmagic RAW constant quality Q0, the time lapse setting will maintainthis standard. 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.
When you record footage in timelapse mode, the timecode counter updates when a frame ofvideo is recorded.

Your URSA Cine will indicate it is in time lapse mode with an icon over the ‘record’ button

Preferred Media for Recording
Use this setting to select which storage card your URSA Cine will record to first when more than
one storage slot is in use. The options are ‘card 1’, ‘card 2’, and ‘fullest’. Picking either ‘card 1’ or‘card 2,’ is a matter of personal preference, but using either consistently will let you know whichcard to swap out first as your storage fills up. ‘Fullest card’ can help group files chronologicallywhen shooting a single camera project. The ‘fullest card’ setting is based on the percentagethat your storage cards are filled, rather than their sizes or the amount of data used.
The setting you choose is applied when a CFexpress card is inserted. You can override thissetting 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 CFexpress cards and choosethe ‘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 orsimilar specification.
When you use the ‘2 cards’ option, the speed limit is twice the data rate of the slowest card in
the striped array.
Merging Files for Editing
Copy the .BRAW and .BRAW2 files from both memory cards into the same folder on yourcomputer and DaVinci Resolve will bring them in as a single, merged clip when you importthem 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 thefile extension from .BRAW2 to .BRAW.

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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 usefulfor 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.

If Card Drops Frame
Use this setting to configure your URSA Cine’s behavior when dropped frames are detected.
When set to ‘alert’ the dropped frame indicator will be displayed on the LCD touchscreen, andrecording 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 CFexpress card’ section for more information on how to avoid
dropping frames.

File Naming Convention
Clips are recorded in the Blackmagic RAW codec depending upon which recording standard
you have chosen.
The table below shows an example of the file naming convention:
A001_08151512_C001.braw

Blackmagic RAW clip Filename

A001_08151512_C001.braw

Camera index

A001_08151512_C001.braw

Reel Number

A001_08151512_C001.braw

MonthA001_08151512_C001.braw

Day

A001_08151512_C001.braw

Hour

A001_08151512_C001.braw

MinuteA001_08151512_C001.braw

Clip Number

Still image files captured 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 LCD
controls’ section in this manual.

NOTE When recording Blackmagic RAW clips on URSA Cine, your camera also
records simultaneous proxy files. These have exactly the same file name as theBlackmagic RAW clip but are saved in a ‘Proxy’ folder and have an .mp4 extension.

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Monitor Settings
The ‘monitor’ tab lets you adjust status text, overlays, and other monitoring options for yourURSA Cine’s LCD touchscreens, SDI outputs and the EVF USB output. Options are arranged
by output between ‘LCD’, ‘front SDI’ and ‘main SDI’. Each of these menus have five pagesof options, which you can cycle through by tapping the arrows at the edge of your camera’s
touchscreen, or swiping left or right.

Monitor Settings 1
The first page of ‘monitor’ tab contains identical settings for each output. For example, you canset ‘zebra’ on for the LCD touchscreen, but off for the SDI outputs.

Clean Feed
Tap the ‘clean feed’ switch in the outputs menu to disable all status text and overlays for that
output, except the record tally indicator.

Your URSA Cine LCD touchscreens will still display a record tally in clean feed mode

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NOTE LUTs will still be applied to outputs with ‘clean feed’ enabled. To disable LUTs,
disable the ‘display LUT’ switch in the ‘monitor’ menu for that output.

Display 3D LUT
Your URSA Cine can apply 3D LUTs to any output to approximate the look of color gradedfootage. This is especially useful when shooting with ‘film’ dynamic range as it can produce anintentionally ‘flat’ low contrast image.
If your URSA Cine has a 3D LUT active, use this setting to independently apply that LUT to yourcamera’s outputs.

NOTE For more information on loading and using 3D LUTs, see the ‘LUTS’ section ofthis manual.

Zebra
Tap the ‘zebra’ switch in each respective output menu 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 each respective output menu 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 each respective output menu to enable the frame guide forthose 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 each respective output menu to enable a rule of thirds grid for those
outputs. For more information on the rule of thirds grid, see the ‘touchscreen features’ sectionin this manual.
Safe Area Guide
Tap the ‘safe area’ switch in each respective output menu to enable safe area overlay for
those outputs.
For more information on safe area guides, and setting the level of safe area guides, see the‘touchscreen features’ section in this manual.
False Color
Tap the ‘false color’ switch in each respective output menu to enable false color exposure
assistance for those outputs.
For more information on false color, see the ‘touchscreen features’ section in this manual.

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Monitor Settings 2
The second page of your URSA Cine’s ‘monitor’ tab contains settings that vary depending on
the selected output.

LCD 1, LCD 2, SDI A, SDI B and EVF
Status Text
It can be useful to hide the status text and meters on your outputs, leaving only the
information necessary to compose or direct a shot. Tap the ‘status text’ switch icon totoggle 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 Cine’s LCD touchscreens will also remove the status
text. Swipe again to make the status text visible.
DisplayThis setting lets you select what status information you want to appear on the LCD
touchscreens and EVF. ‘Meters’ displays the histogram and audio levels. ‘Codec andresolution’ displays the current Blackmagic RAW codec and the recording resolution. Focus
markers displays the focus and iris markers.
Cinematographer provides camera settings including the histogram, ISO, shutter etc.
Director displays information that may be important for the director such as take metadata
and timecode, and ‘first AC’ displays information such as lens and iris markers.
Display Status Text For
This setting lets you select what status information you want to appear on SDI outputs A
and B. Cinematographer provides camera settings including the histogram, ISO, shutter etc.
Director displays information that may be important for the director such as take metadata
and timecode, and ‘first AC’ displays information such as lens and iris markers.
Anamorphic Desqueeze
When using anamorphic lenses, select the anamorphic desqueeze to match the squeeze
factor of the lens. For example, if you are using a lens with a 1.8x squeeze, select 1.8x fromthe anamorphic desqueeze setting. This will correct the image vertically on the LCD, EVF or
SDI outputs to counter the horizontal squeeze allowing you to monitor the image with thecorrect aspect ratio.

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Anamorphic lenses squeeze more horizontal image onto the sensor when capturing
light and allow recording of wider aspect ratios than the capture medium is designed
for. While this captures widescreen images in a way that makes much better use of thevertical resolution of the sensor, it also tends to give a very distinctive ‘look’ and feel.
The lenses are prone to distortions and stylistic image characteristics that many people
find appealing. Generally speaking, the greater the squeeze factor of the lens the more
extreme the distortions and flaring characteristics so 2x and 1.8x anamorphic lenses often
provide a more stylized look where as 1.3x and 1.5x provide a less extreme and more subtle
combination of anamorphic lens ‘character’.
There are many different monitoring desqueeze factors available on your URSA Cine.
Depending on what lenses you would like to use and what final aspect ratio you choose,this gives you a great deal of freedom because you can select the lenses with thecharacteristics you desire and be able to achieve the delivery aspect ratio you are after.
The table in this section shows the desqueezed aspect ratio for the corresponding opticalsqueeze of your lens.
The highlighted values represent some more common and useful widescreen delivery
ratios with aspects that can be achieved with the various different squeeze factors available.
Desqueezed Aspect Ratio

Squeeze
Factor

3:2

16 : 917 : 92.4 : 1

6:5

None

1.50

1.78

1.89

2.40

1.20

1.33x

2.00

2.36

2.51

3.19

1.60

1.5x

2.25

2.67

2.83

3.60

1.80

1.6x

2.40

2.84

3.02

3.84

1.92

1.66x

2.49

2.95

3.14

3.98

1.99

1.8x

2.70

3.20

3.40

4.32

2.16

2.0x

3.00

3.56

3.78

4.80

2.40

TIP If any of the formats are close but not exactly right for the format you aredelivering, you can always crop very slightly vertically or horizontally in post,for example if you want to achieve 1.89 from 1.8:1 or from 2.49 to 2.4:1.
URSA Cine’s more vertical capture formats with 6:5 and 3:2 aspect ratios allow you to
use the full height of the 23.32mm 12K large format image sensor in combination withanamorphic lenses for a variety of widescreen delivery formats which range between a 1.8:1
and 2.7:1 delivery ratio.
Additionally, using anamorphic lenses with 16:9 and 17:9 aspect ratios allow you to use more
subtle 1.33x and 1.5x squeeze ratios for widescreen formats.
The highlighted cells in the table are by no means the only formats you can use but are
just a useful way of showing how the various different squeeze factors affect the resulting
delivery aspect ratio.

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Text Surrounds Image
This setting scales the sensor image to avoid any partial obstruction by the status text. When
this is turned on it is applied to all outputs including the SDI outputs so you can be sure when
operating that no important items in frame are obstructed from view.
Tap the switch to turn this setting on or off.
LCD1 and LCD2 Only
Display
Instead of a histogram and audio meters, your URSA Cine can display codec and resolution
information at the bottom edges of the 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’, ‘codec and resolution’ or ‘focus markers’ in the ‘LCD1’ or ‘LCD2’ menu to selectyour preferred view.

SDI A, SDI B and EVF
Display Status Text For Cinematographer, Director and First AC
The LCD touchscreen displays information such as ISO, white balance, and aperture that isuseful to a camera operator or cinematographer setting up individual shots on that camera.
Your camera’s EVF and SDI outputs, 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’ changes the status text for that output to show thefollowing 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 Cine’s Slate. See the ‘slate’ section in thismanual for more information.
OPERATOR
Identifies the camera operator as set in your URSA Cine’s Slate. See the ‘slate’ section inthis manual for more information.
DURATION DISPLAY
Displays the duration of the current clip, while recording, or the last recorded clip in thefollowing format: hours:minutes:seconds

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REEL, SCENE, TAKE
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 Cine’s currently applied
LUT, if applied to that output. If no LUT is applied, ‘film’ or ‘video’ dynamic range will be
displayed.
TIMECODEThe bottom right of the monitor displays your URSA Cine’s timecode, in the following
format: hours:minutes:seconds:frames.

Monitor Settings 3
The third page of ‘monitor’ tab contains identical settings for each output. These settings act
globally across all three monitoring outputs. For example, if focus assist is enabled on yourURSA Cine’s LCD, EVF and SDI outputs, changing the ‘focus assist type’ from ‘peaking’ to‘colored lines’ will effect all outputs.

Highlight Zebra
Set the exposure level the zebra appears at by tapping the arrow icons on either side of thissetting. The zebra level is measured from 75% to 100% in 5% increments. For example, at 100%,
the zebra will appear in areas of the image where luminance has clipped. At 95%, the zebra willappear in areas where chroma is close to clipping a single red, green or blue color channel.
For more information, see the ‘zebra’ guide in the ‘touchscreen features’ section of this manual.
Skin Tone Zebra
The skin tone zebra helps you judge exposure equivalent to a 18% reflectance gray card,
mid gray, or 1 stop over mid gray for optimal exposure of the actor in the frame.
Focus Assist TypeYour URSA Cine has two focus assist modes, ‘peaking’ and ‘colored lines.’

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Peaking
When ‘peaking’ style focus assist is selected, areas of the shot that are in focus are heavily
sharpened on the outputs, but not in the recorded image itself. This causes focused partsof your shot to ‘pop’ out of the softer background on screen. As no additional overlays areused, this can be a very intuitive way to tell when focus is dialed in, especially when thesubject 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 aroundthe 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 shotswith 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 apartfrom your image. The available options are ‘white’, ‘black’, ‘red’, ‘green’ and ‘blue’.
Focus Assist Level
To set the level of focus assistance for your camera’s LCD touchscreens, EVF and SDI outputs,
move the slider from left to right.

TIP 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 infaces. 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 monitor tab contains identical settings for each output. These settings
act globally across all of your camera’s monitor outputs.

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Frame Guide
Tap the left or right arrows in the ‘frame guide’ menu setting to cycle through frame guide
options for all outputs on your URSA Cine. The options are detailed in the ‘touchscreenfeatures’ section of this manual, and are also accessible from the LCD monitoring menu in yourLCD touchscreen head up display.
Safe Area Guide
To adjust the size of the safe area overlay on your URSA Cine’s outputs, tap the arrows to theleft and right of the percentage displayed in this setting. This percentage indicates the size ofthe safe area in relation to the image frame. Most broadcasters require a 90% safe area.
Guides Opacity
Tap the left or right arrows in the ‘guides opacity’ menu setting to choose the opacity of theareas obscured by frame guides on your LCD touchscreens, EVF and SDI outputs. The optionsare 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 Cine’s
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 inthis manual.

Monitor Settings 5
The fifth page of your URSA Cine’s monitor tab contains settings that vary depending on theselected output.
LCD1, LCD2 and EVF Only
LCD or Viewfinder
Drag the ‘LCD brightness’ slider left or right to adjust the brightness of your URSA Cine’s
touchscreens. Drag the ‘viewfinder brightness’ slider to adjust the brightness of the URSA
Cine EVF’s OLED screen.

EVF Focus Chart
The viewfinder has a built in focus chart so you can focus the eye piece to suit your eyes.
The diopter has an adjustment range of -4 to +4. Simply turn the focus diopter on theeyepiece until the chart is in perfect focus.

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SDI A and SDI B

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 regardlessof your recording resolution and frame rate, while interlaced HD, or ‘1080i’ is available whenyour 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 thatcan only receive level A or level B 3G-SDI video. This option will be enabled when you areoperating 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 URSA Cine. The
settings are spread over two pages and divided between channels 1 and 2. You can map eachaudio channel to a different source, as well as adjusting various settings such as padding andlow cut filters.
These settings work together with the switches on your URSA Cine’s internal control panel.
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.

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Audio Settings 1
The first page of your URSA Cine’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 eachaudio 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 Cine’s built in microphone’s left and rightchannels 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 Cine’s internal control panel switches, your XLR input may belisted 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 Cine’s 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 beavailable as a selectable item if the XLR 1 or 2 input switch is set to ‘mic’.
None
Use this setting to disable the audio channel.
Channel 1/2 Level
Use these sliders to adjust the recording levels of your chosen channel 1 and 2 sources.
Audio meters are included with each slider to help you set the correct audio level. Theselevels will also update when you adjust the audio using the audio knobs on the ergonomic
control panel.

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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.

Pad XLR -20dB
The -20dB pad option gives you added control to further reduce the input gain levels on yourURSA Cine’s XLR audio inputs when shooting in a loud environment even after your input levels
are already turned down.

Audio Settings 2
The second page of your URSA Cine’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 your Blackmagic URSA Cineso the meter peaks at the 0db indicator on the audio meter. This maximizes the signal tonoise 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.

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Both VU and PPM meters are available at reference levels of -18dBFS or -20dBFS so you canmonitor your audio to suit different international broadcasting standards.
Audio meter settingStandard

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 Cine’s 3.5mm
headphone jack. Move the audio slider left or right to adjust levels. These levels will also update
when you adjust the headphone volume using the settings wheel on the forward control panel.
Speaker Level
This slider adjusts the output levels for your camera’s built in speaker. Move the audio slider
left or right to adjust levels. These levels will also update when you adjust the speaker volumeusing the settings wheel on the forward control panel.

Setup Settings
The ‘setup’ tab contains your URSA Cine’s identification settings, software version, function
button settings and other camera settings not directly linked to recording or monitoring. Thismenu has thirteen 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 Cine’s ‘setup’ tab contains the following settings.

Setup menu on URSA Cine

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Name
When you first set up your URSA Cine it’s important to give your camera a unique name. If you
are using more than one camera, this lets you easily identify it on a network and when changing
settings using the Blackmagic Camera Setup utility.
To change the name:1

Tap on the edit icon to open the text editor.

2

Tap the circled cross to delete the current name and type in a new name using the alphanumeric keyboard.

3

Tap ‘update’ to save the new name.

Language
URSA Cine 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.

Date and Time
Set your camera’s date and time by tapping the ‘date and time’ setting. The date format is year,
month, day and the time format is 24 hour. Date and time are also used for time of day timecode
if an external timecode source is not connected. The date and time can be set manually byentering your own date, time and time zone, or you can set your camera to set it automatically.
When setting manually, tap on each field to enter the time and date and tap ‘update’ to confirm.
When set to ‘automatically’, your URSA Cine will update the date and time when connected to a
network via Ethernet, or the next time you update your camera. The camera’s default network
time protocol server is time.cloudflare.com but you can set it yourself by tapping the ‘time
protocol’ edit icon and entering your own NTP server. After entering the NTP server tap ‘update’to confirm.

Settings

123Setting the date and time correctly ensures your recorded clips have the same time and date
information as your network and also prevents conflicts that can occur with some network
storage systems.
Software
Displays the version number of the currently installed software. See the ‘Blackmagic Camera
Setup Utility’ section for more information on updating software.
CameraThe camera setting sets the alpha numeric prefix at the start of a clip’s filename when recording
to external media. To edit the prefix, tap on the edit icon and replace it with a new one. Tap‘update’ to apply. When your camera is connected to ATEM Mini via HDMI, the prefix is set
automatically to ensure all clips share the same prefix and each camera is uniquely identified ina multi camera setup.
Hardware ID
The ‘hardware ID’ indicator displays an 8 character identifier for your Blackmagic URSA Cine.
This is unique to each camera. A longer, 32 character version of this ID is also included in themetadata for Blackmagic RAW. This can be useful for identifying which footage came from aparticular camera.

Setup Settings Page 2
The second page of your URSA Cine’s ‘setup’ tab contains the following settings.

Blackmagic Cloud Clip Uploads
These settings let you choose which files are uploaded to Blackmagic Cloud when you aresigned into your Blackmagic Cloud account. When ‘proxies only’ is selected, only the proxy files
from your camera are uploaded. Select ‘originals and proxies’ to upload both original camera
files and proxies.

NOTE When uploading originals and proxies, the proxy files will always upload firstso you can start editing straight away while the original Blackmagic RAW files are
uploaded.

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Drop Frame Timecode
Use the ‘drop frame timecode’ option to use drop frame timecode when using NTSC projectframe rates of 29.97 and 59.94. Drop frame timecode drops a small number of frames from thetimecode at set intervals. This keeps your project timecode accurate despite each second notcontaining a whole number of frames at NTSC frame rates.
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 workin 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 Cine uses to calculate flicker
free shutter settings.
When shooting under lights, your shutter speed can effect the visibility of flicker. YourURSA Cine will automatically calculate flicker free shutter speeds for your current frame rateand display suggestions in the ‘shutter speed’ menu. These speeds are effected by thefrequency of the local mains power supply used to drive those lights. In most PAL countries, thisfrequency is 50Hz, while NTSC countries typically use 60Hz power. Simply tap ‘50Hz’ or ‘60Hz’
to set the right frequency for your region.
Characteristics 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.
Sensitivity Measurement
Your camera lets you display the light sensitivity as ISO or Gain. ISO is the traditional standard
for measuring the sensivity to light in a cinema camera, however you may wish to select gain tomatch your experience shooting with broadcast cameras.
Display ND Filter As
Use this setting to adjust how the ND filter indicator on your URSA Cine displays the ND filter
setting. Each setting corresponds to a different camera convention. Cinematographers typicallyuse ND.number notation, while those familiar with DSLRs or broadcast cameras may prefer thisinformation displayed as f stops or as a fraction of available light.
These options are available here as ‘number,’ ‘stop,’ and ‘fraction,’ respectively.

Set the ND filter status to be displayed as ND.number, f stops,or fraction of available light

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125Setup Settings Page 3
The third page of your URSA Cine’s ‘setup’ tab contains the following settings.

ATEM Camera ID
If you’re streaming from URSA Cine to an ATEM Television Studio HD8 ISO, or an ATEM switcher
via an ATEM Streaming Bridge, then your camera can receive tally and camera control signals
from the switcher. For this to work, you will need to set the ATEM Camera ID on your camera.
This ensures the switcher sends the control signals 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.
Color Bars
Outputting color bars is useful when connecting your URSA Cine to a switcher or externalmonitor. This means even if you are setting up and don’t have a lens attached yet, you can still
output a picture and confirm the connection. To turn on color bars for all outputs on your URSA
Cine, including the LCD touchscreen, simply tap the ‘color bars’ switch icon.
Reference SourceThis setting is used to select the reference source. Your URSA Cine can lock to an internalor external reference source, or to the reference signal in the program input from an ATEM
switcher. If you are using your URSA Cine with an ATEM Switcher’s camera control function,
you should always set your reference source to ‘program’ unless the switcher itself and allconnected cameras are set to an external reference.

NOTE When you are setting your reference source for URSA Cine, you may
experience a small dropout on your camera’s outputs when switching between yourreference sources. This is because the camera is adjusting its referencing timing tomatch that of the external source. For this reason it is important not to change thissetting 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.

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Setup Settings Page 4
The fourth page of your URSA Cine’s ‘setup’ tab contains the following settings.

Set Function Button
On your camera’s forward control panel, you will notice two function buttons, ‘F1’ and ‘F2.’
These are mappable to frequently used features and are quickly accessible when using yourcamera with the LCD touchscreen closed, such as when you are using URSA Cine EVF. The
default setting for the ‘HFR’ button is off speed record, however this button, plus a group ofother buttons on your camera, can be set to control any functions you choose. These functions
are all assigned using the ‘set function button’ setting.

OFF

ON

H PHONE
MONITORIRIS

MENU

ISO / GAIN

F1

F2

HFR

F1

MENU

CH1/2
CH3/4

BACK

SHUTTER
F2

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

Customizable ‘F1’, ‘F2’ and ‘HFR’ buttons are located on the forward control panel

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To set these buttons, use the arrows to select a function button and then its behavior, a setting,and a parameter for that setting.

1

2

3

4

5

1 Button

2 Behavior

3 Setting

4 Parameter

5 Parameter Displayed On

Function Button Behaves as Preset or Toggle
Once you have selected the function button you want to map, you can select a behavior.
The available options are:PresetWhen 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 thearrows on either side of the ‘parameter’ menu until you get to WB ‘5600K’ and Tint ‘-20’.
ToggleWhen set to this behavior, pressing a function button will toggle a particular setting on oroff. The ‘setting’ menu is grayed out in this mode. Instead, tap the left or right arrows in theparameter menu to scroll through the available options, including:Clean feed

Zebra

RecordND toggle

Status text

Grid

Auto white balance

Call

Display

Safe area guide

Push to talk

Color bars

LUT

Off speed recording

StreamNone

Frame guides

Focus zoom

Still

Focus assist

Focus

ND up

False color

Iris

ND down

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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.
F1 Parameter Displayed On
Using the ‘toggle’ behavior also lets you select the output this setting applies to.
Simply tap any combination of LCD 1, SDI A, SDI B and LCD 2 to select. If the output
for an option is not available, such as ‘color bars’ which always applies to all outputs,
the output options are disabled.

Setup Settings Page 5
The fifth page of your URSA Cine’s ‘setup’ tab contains settings to configure the
URSA Cine EVF.

Zoom Displayed On
Select the display or displays you want the focus zoom to appear on when zooming into theimage on the EVF. For example, you can set the zoom to be visible on both the EVF plus
SDI output A.
Set EVF Button
Use these options to select the button on the EVF you wish to assign a function to.
Button Parameter
Tap the left or right arrow icons to select the function you wish to assign to the desired
EVF button.

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Setup Settings Page 6
The sixth page of your URSA Cine’s ‘setup’ tab contains settings to configure the optional
Blackmagic Zoom Demand. These settings are only active when you have Blackmagic Zoom
Demand attached to your URSA Cine.
For more information on attaching and using Blackmagic Zoom Demand with your URSA Cine,refer to the ‘Blackmagic Zoom and Focus Demand’ section later in this manual.

Zoom Rocker Direction
NormalThe default zoom rocker direction. Push the zoom rocker to the right to zoom in and to theleft to zoom out.
ReverseWhen the zoom rocker direction is set to ‘reverse’ push the zoom rocker to the left to zoom
in and to the right to zoom out.
Blackmagic Zoom Demand has four zoom function buttons and a speed dial that you can map
to different functions.

1

4

1 Zoom F1

2 Zoom F2

3

3 Zoom F3

52

4 Zoom F4

5 Speed Dial

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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 7
The seventh page of your URSA Cine’s ‘setup’ tab contains settings to configure the optional
Blackmagic Focus Demand. These settings are only active when you have Blackmagic Focus
Demand attached to your URSA Cine.
For more information on attaching and using Blackmagic Focus Demand with your URSA Cine,refer to the ‘Blackmagic Zoom and Focus Demand’ section later in this manual.

Focus Demand Direction
You can change the direction of the focus wheel on the focus demand by selecting either‘normal’ or ‘reverse’.
NormalTurn the focus wheel clockwise to focus on subjects closer to the lens andcounterclockwise for subjects further away.
ReverseTurn the focus wheel counterclockwise to focus on subjects closer to the lens andclockwise for subjects further away.

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131Setup Settings Page 8
The eighth page of your URSA Cine’s ‘setup’ tab contains the following settings.

Status LED
Your URSA Cine has a small LED next to the power switch that provides tally and status
information. You can enable or disable this LED, plus the camera’s backlit button LEDs, bytapping the ‘status LED’ switch icon.
The small 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.

OrangeIf 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.

LED Brightness
To set the brightness of your URSA Cine’s LEDs including backlit button LEDs, simply tap ‘low,’‘medium,’ or ‘high.’

TIP The status LED settings on your Blackmagic URSA Cine also control the status
LEDs on Blackmagic Zoom Demand and Blackmagic Focus Demand.

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Auto Dim Display and Dim Display After
Enable the ‘auto dim display’ setting to dim URSA Cine’s LCDs after a defined period ofinactivity. For example, if you enable ‘auto dim display’ and set the ‘dim display after’ setting to 1
minute, the camera’s LCDs will automatically dim after 1 minute of inactivity.
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 throughall of the clips on your media and then loop. Selecting ‘single clip’ will loop one clip at a time.

Setup Settings Page 9
The ninth page of your URSA Cine’s ‘setup’ tab contains settings that allow you to set yourcamera’s streaming options.
For more information on setting up streaming from your URSA Cine, 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 streaming data rate during a stream.
Platform
Select your desired streaming platform. Options include YouTube RTMP, YouTube SRT (Beta),
Twitter and Twitch. Any local streaming devices that can receive a stream from URSA Cine suchas ATEM Streaming Bridge or ATEM Television Studio HD8 ISO will be available here whenconnected to the same local network your URSA Cine is connected to.
ServerUse the arrow buttons to choose a server, these options will change depending on yourstreaming platform.
Key
Tap the pencil icon to enter a stream key for your streaming platform.

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Quality
Use the arrow buttons to select a streaming quality.

Setup Settings Page 10
The tenth page of your URSA Cine’s ‘setup’ tab contains settings that relate to your camera’s
streaming options.

Stream Information
Toggle the ‘stream information’ switch to ‘on’ to display information on your camera’s status
display. 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 asmartphone, a duration counter that shows the duration of your stream and a data rate using
megabits per second.

Display 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 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, EVF and SDI outputs. Refer to the ‘record settings’ section
for more information.

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Low Latency
Setting low latency to ‘on’ will ensure that there is minimum delay between what is happening
live and what is being viewed by the audience. Setting it to ‘off’ gives you more buffering so
is a more stable stream if you have an Internet connection that may be subject to dropouts orpoor connection.
Import Stream Settings
Tap the ‘import stream settings’ button to import an XML setup file that has been created soyour 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 laterin this manual.
Delete Stream Settings
Press this button to delete your camera’s imported streaming settings. You will be asked toconfirm your selection.

Setup Settings Page 11
The eleventh page of the ‘setup’ tab contains your camera’s network settings. These settings
let you set your camera to use a network connected via the camera’s 10G Ethernet port
or via WiFi.

Network Connection
The network connection tabs at the top of the page show you the current state of eachconnection. When selected, the tab allows you to adjust the settings for that type of connection.
Connection Priority
Connection priority opens up a page where you can select the order of priority for yourcamera’s Internet, network and WiFi connections. For example, you can select what you wantas your highest, middle and lowest priority. Drag each item to move their priority order.
Network Settings
Tap the network settings button to open the network settings panel. Here, you can set thecamera to use DHCP or static IP and configure your IP address settings. Tap OK to confirm.

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WiFi Network
WiFi network opens up a page where you can select from the currently available networks.
It’s worth mentioning that you will need to screw in the WiFi antennas on the top of your camera
to ensure you get a signal when using WiFi.
Enable WiFi
The enable WiFi toggle turns the WiFi on or off.

WiFi Setup
The high speed WiFi feature on your URSA Cine lets you connect to wireless network accesspoints and get the same accessibility you have with Ethernet. This means you can upload clips
directly to Blackmagic Cloud or edit storage, transmit video to monitoring equipment via an
ATEM Streaming Bridge or to an ATEM Television Studio HD8 ISO switcher. If your network
has Internet access you can even stream video directly to the Internet without being physicallytethered with a cable. When connected via WiFi and using the camera’s IP address you can also
control the camera wirelessly using our Camera Control REST API.
The first step to using WiFi is to attach URSA Cine’s WiFi antennas to your camera. Please
ensure you use the antennas that are provided with your camera. Once the antennas areattached, you will need to enable WiFi in the camera’s menu settings and connect to your
WiFi router.
To enable and connect WiFi:
1

Open the menu settings on your camera and navigate to the ‘network connection’ page ofthe ‘setup’ settings.

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2

Tap the WiFi icon and then tap on the ‘enable WiFi’ setting to turn it on.

3

Tap the WiFi network box to open a list of available networks.

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4

Tap on the desired network router in the list and then tap ‘connect’.

5Type in your password and tap ‘enter’.

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

Streaming VideoURSA Cine has its own built in streaming engine that enables the camera to stream directly toplatforms such as YouTube, Facebook Live and Twitch.
You can also connect URSA Cine to a monitor or television on the same local network, or via
the Internet anywhere in the world using an optional ATEM Streaming Bridge. This can be doneusing WiFi or Ethernet from URSA Cine to your local network router, or using USB to access thecellular data link on your cell phone.
Below are three examples showing different ways to stream to an external HDMI monitor.

Connecting via WiFi

HDMI Display

0

3

2

1

REC

4

VF3
EXP

VF2

5

ZOOM

VF1

8

7

6

HDMI

OFF

–

ON

+

H PHONE
MONITOR
IRIS

CH1/2
CH3/4

BACK

SHUTTER

WHITE BAL

F2

HFR

F1

LOCK

LOCK

MENU

ISO / GAIN

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

MENU

WiFi Router
URSA Cine

Ethernet
ATEM Streaming Bridge

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Connecting over the Internet
0

3

2

1

REC

4

VF3
EXP

VF2
VF1

8

7

6

5

ZOOM

OFF

–

ON

+

H PHONE
MONITOR
IRIS

CH1/2
CH3/4

BACK

SHUTTER

WHITE BAL

F2

HFR

F1

LOCK

LOCK

MENU

ISO / GAIN

RESET

HOLD

TC

IRIS

FOCUS

PGM

STILL

BRGT

MENU

HDMI Display

URSA Cine

HDMI

Ethernet
Internet
ATEM Streaming Bridge

USB-C

Connecting over a Network
0

3

2

1

REC

4

VF3
EXP

VF2
VF1

8

7

6

5

ZOOM

OFF

–

ON

+

H PHONE
MONITOR
IRIS

CH1/2
CH3/4

BACK

ISO / GAINSHUTTER

WHITE BAL

F2

HFR

F1

LOCK

LOCK

MENU

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

MENU

URSA Cine

HDMI Display

HDMI

Network

Ethernet

Ethernet
ATEM Streaming Bridge

To stream to a monitor on set all you need to do is:1

Ensure your URSA Cine is set to DHCP.

2

Connect your URSA Cine to an existing local network via WiFi or Ethernet.

3

Plug your ATEM Streaming Bridge into the same network.

4

Connect the ATEM Streaming Bridge to your computer via USB and use the ATEM Setup
utility to ensure it is set to stream to a local network without key.

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Once this is done, provided both are on the same network URSA Cine will be able to detect thestreaming bridge and show it as a streaming platform in page 9 of your camera’s setup settings.
Simply select the streaming bridge as a platform and begin streaming to it by toggling the‘stream’ button.
You will know streaming is active because the stream encoding data rate box will indicate data is
being sent and an image will appear on the display connected to your ATEM Streaming Bridge.

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Smartphone Setup
Connect a smartphone to your camera’s USB-C expansion port on the top rear using a USB-C
cable. This connection lets you set up fast and be streaming to the world in any location where
your smartphone has a 4G or 5G cellular connection.

USB

12G SDI OUT

VIEWFINDER
LOCK

12G SDI OUTEXTREF IN/TC IN

CH1/3
CH2/4

RS

10G
CH1/2

CH3/4

12V/24V

DISP

LENS

SLATE

AUD

STRM

…

REC

USB
Smartphone 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.

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 yourphone to save your phone’s battery life.

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Setting the ATEM Camera ID
URSA Cine can also stream to an ATEM Television Studio HD8 ISO with tally, record trigger
and basic camera control functionality. For this, you will need to set the ATEM Camera ID in the
URSA Cine setup settings.
For more information on setting your camera’s ATEM Camera ID, refer to the ‘Setup Settings’
section earlier in this manual.
Creating the XML FileTo 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. Thismeans 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 yourinternet 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 thename listed in the remote
Blackmagic URSA Cine’s
platform menu.

3

Select the quality you
want to stream. Thissetting will set the quality
setting in the remote
URSA Cine.

4

Click the ‘Save ATEM
Settings’ button, choose
a location on yourcomputer to save theXML file and click ‘save’.

5

You can now email the
saved XML file to theremote operator.

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143

Loading the XML File
To import an XML settings file in to your URSA Cine, copy the file to a media module, CFexpress
card, or USB-C flash disk.

1

On the tenth page of your camera’s setup menu, tap on the button labeled ‘importstream settings’.

2

At the top of the screen, tap the storage media 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’.

Setup Settings Page 12
The twelfth page of your URSA Cine’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 Cine

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144

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 bytapping the ‘Bluetooth’ switch icon in the ‘setup’ menu. When Bluetooth is enabled, the camera
can be detected by Bluetooth devices up to 30 feet away. It’s important to mention for URSA
Cine’s Bluetooth control to work correctly you need to connect your camera’s WiFi antennas totheir antenna points on the top panel towards the rear of the unit.
Because URSA Cine uses the same set of commands for Bluetooth control as it does for‘Blackmagic SDI Camera Control Protocol’, you can write your own applications to control
almost every setting in the camera remotely, from monitoring to audio settings, the camera’s
built in DaVinci Resolve color corrector or lens control.
For more information see the ‘Blackmagic SDI camera control protocol’ section in this manual.

Pairing your Camera with your iPad
1

Enable Bluetooth by tapping the ‘Bluetooth’ switch icon in the ‘setup’ menu on yourURSA Cine.

2

Open the ‘Blackmagic Camera Control App’ and select the URSA Cine you would like topair with. Available cameras will be listed by their camera letter, followed by their uniquehardware ID. For example A:3198FC00.

Select the URSA Cine you would like to pair with

When 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,’ GPSreadings 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 your iPad.
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.

Settings

145

4

The information on the screen will confirm that your URSA Cine is now pairedwith your iPad.

Settings

146

5

If there is a problem pairing the camera to your iPad you will see the following
error message:

NOTE If you are not using Bluetooth to control your URSA Cine, it is a good idea toturn Bluetooth off for the purpose of security.

Disconnect Current Device
Use this setting to disconnect your URSA Cine from the iPad it is currently paired with.
Clear Paired Devices
Use this setting to clear the list of devices that your URSA Cine has been paired with.

Controlling your Camera using Blackmagic Camera Control
Once you have successfully paired your URSA Cine to your iPad, you can power the camera on
or off, change settings, adjust metadata and trigger record remotely using the iPad app.

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147

Once paired, Blackmagic Camera Control will display this screen, allowing you to adjust your settings andstart recording

Tap the slate icon in the lower right corner to access and update the slate

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148

URSA Cine uses Bluetooth LE to communicate with devices for wireless control. As this is thesame type of protocol used in portable devices, it only uses a minimal amount of battery power.
You can power off your URSA Cine 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 Cine is powered off, the name of your camera will stillshow up on the list of available devices in Blackmagic Camera Control. Since you have alreadypaired with your camera, you can now switch it on remotely by selecting your camera name andtapping ‘connect’. Your camera will not show up in this list if Bluetooth is disabled.

Setup Settings Page 13
The thirteenth page of your URSA Cine’s ‘setup’ tab contains the following settings.

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149

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 thecamera. 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 performinga factory reset. After a factory reset, you can restore your presets and LUTs quickly by importingthem 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 Cine, place your camera on a surface you know islevel and tap the ‘calibrate motion sensor’ button. It is essential that you keep the camera
stable during calibration. This is to ensure that the recorded motion sensor metadata in theBlackmagic RAW files during filming is accurate. The process takes approximately five seconds
to complete.
The horizon can be set off center if needed. For example, if you want to set the tilt at
a consistent angle, calibrate the motion sensor with the camera at the angle you want,then use the horizon meter to maintain the same angle.
The motion sensor data can be used in DaVinci Resolve to stabilize clips. Refer to the‘gyro stabilization’ section for more information.
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 bringsback your new settings, which helps you compare the appearance before and after calibration.
When the LCD shows an accurate white balance, save your settings.

Settings

150

Regulatory Information
To see the regulatory information on your URSA Cine simply press the ‘see information’ button
in setup page 13. This will show a page containing the logos and IDs for regulatory compliancethat URSA Cine has been approved for. For the most up to date information please ensure thatyour URSA Cine is updated and is running the latest software version.
For more information, refer to the regulatory notices and safety information sections near theend of this manual.

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151

Presets
The ‘presets’ tab lets you save and recall a complete collection of settings for your URSA Cine.
This is very useful when one camera is used for multiple projects or different lens setups. For
example, you may have a preset for anamorphic lenses, one for spherical lenses, or otherpresets for different frame rates. All settings are saved in each preset and you can easily switch
between them.
You can also import and export presets, which is very useful for setting up a multi camera
shoot. Simply set up one URSA Cine to suit your project, then export that preset for all the other
URSA Cine cameras on set.

Your URSA Cine’s ‘presets’ tab

NOTE Your URSA Cine can save up to sixty presets to its internal memory.

Preset Buttons
The button icons along the bottom of your URSA Cine’s ‘presets’ menu correspond with thefollowing functions.

Add

Load

UpdateEdit

ManageDeleteSaving and Loading Presets
To create a new preset, tap the ‘add’ icon. This will open a touch keyboard on yourLCD touchscreen where you can name your preset. Once you’ve typed in the name, tap‘update’ to save all of your URSA Cine’s current settings to that preset.
If your camera already has a preset loaded with the same name, you will be prompted to
overwrite the existing preset or keep both.

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152

Enter a name for your preset by tapping the ‘add’ icon in the preset tab and using the touch keyboard

Once you have a preset saved, tap its name in the presets 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
if you want to update the preset with your URSA Cine’s current setting. Tap ‘update’ to confirm.

Select a preset and tap the ‘load’ icon to load it. Selected presets will appear solid blue, while currently loaded
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 presets menu. Select the storage
media where your presets are saved.
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 in thestorage media.

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153

Your URSA Cine will search the root directory and ‘presets’ folder on the selected 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 thesame name as a preset already saved to your camera, you will be prompted to overwrite theexisting 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 Cine’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 storage media, select the preset you want to export by tapping it and tap
the ‘manage’ icon.
From the ‘manage preset’ options choose ‘export selected preset’. Use the storage media
selection switch to choose the storage media you would like to export the preset to. From the‘export to’ options tap the card or drive you would like to export your preset to. Confirm yourchoice 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.

Deleting Presets
Your URSA Cine has space for sixty presets. To delete a preset, select it and tap the ‘delete’icon. You will be prompted to confirm your choice. Tap ‘delete’ to confirm.

LUTS
The ‘LUTS’ menu lets you import, export and apply 3D LUTs to your camera’s outputs.

The LUTs tab provides a range of 3D look up tables and you can add your own

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154

Introducing 3D LUTs
Your URSA Cine can apply 3D LUTs to images on the touchscreens and all outputs. LUTs workby telling your camera what color and luminance output to show for a particular color andluminance input. For example you may want to record internally in camera with normal color but
send a preview out to your monitors and switcher of what broadcast legal colors for your region
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. By applying 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 Cine can store up to thirty 17 pointor 33 point 3D LUTs, of up to 1.5 megabytes each. Once loaded, you can choose to display
a given LUT on any of your camera’s outputs.
Your URSA Cine supports 33 point 3D LUTs in .cube format created in DaVinci Resolveand 17 point 3D LUTs converted to Resolve .cube format via LUT conversion programs.
Your camera processes 3D LUTs using high quality tetrahedral interpolation.
For more information on displaying LUTs, see the ‘monitor settings’ section in this manual.

Built in LUTs
Your URSA Cine 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.
The Gen 5 Film Look LUT is a high contrast stylized look which provides the same color andgamma to the default starting point you will get when you use DaVinci Resolve’s film lookcreator plug in.
Gen 5 Film Look
The Gen 5 Film Look LUT is a high contrast stylized look which provides the same color andgamma to the default starting point you will get when you use DaVinci Resolve’s film lookcreator plug in.
Gen 5 Film to Extended Video
Displays a wider dynamic range than the ‘film to video’ LUT, and applies a mild contrast changewith 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 efficientencoding 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 Cine alongsideother broadcast cameras using the REC 709 color space.

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155

LUTs Buttons
The button icons along the bottom of your URSA Cine’s ‘LUTS’ screen correspond to thefollowing functions:

LoadManageDeleteImporting LUTs
To import a 3D LUT, tap the ‘manage’ icon at the bottom of the LUT menu. Select either the cardor drive with the storage media selection switch, depending on where your LUTs are saved.
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 todisplay any available LUTs on other cards or drives attached to your camera.
Your URSA Cine 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 toyour camera.

NOTE If your URSA Cine’s thirty 3D LUT slots are full, you will not be able to import
until you delete some existing LUTs to make space.
If the LUT you want to import has the same name as a LUT already saved to your camera,
you will 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 beable to import as many LUTs as you have free slots on your camera.

NOTE If you are having trouble importing a LUT to your URSA Cine, it may be thewrong 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 17 points.

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 storage, select the LUT you want to export and tap the ‘manage’ icon. Fromthe ‘manage LUT’ options choose ‘export selected LUT’. Use the storage media selection
switch to select a card or drive, depending on the location you would like to export the LUT to.
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.

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156

Deleting LUTs
Your URSA Cine has space for thirty 17 point or 33 point 3D LUTs. To delete LUTs you are nolonger using, or make room for more, select the LUTs you want to delete and tap the icon.
You will 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 Cine, 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 tofootage 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 thewrong 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 Cine’s ‘record’ menu, the recorded
clip will open in Blackmagic RAW Player and DaVinci Resolve with the chosen 3D LUT alreadyapplied to it. The 3D LUT can then be easily toggled ‘on’ or ‘off’ but will always travel with theBlackmagic 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 isthe 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’.

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157

Entering Metadata
Metadata is information saved inside your clip, such as take numbers, camera settings andother identifying details. This is extremely useful when sorting and processing footage inpost production. 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
VFX assets to plates.
Your Blackmagic URSA Cine 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 SlatePressing the ‘slate’ button on the assist station will open the slate on the assist station
touchscreen. You can also swipe any touchscreen left or right to open the slate.
The slate is divided into three tabs: Clips, project and lens data. 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. Lens data lets
you enter information about the lens attached to your camera.

TIP Metadata entered into the slate is viewable on your URSA Cine’s outputs when‘status text’ is set to ‘director’ in the ‘monitor’ settings tab. See the ‘monitor settings’
section in this manual for more information.

‘Clips’ Metadata
Changes made to clip metadata work slightly differently in standby mode when your URSA Cineis ready to record, plus playback mode when you’re reviewing footage you’ve already shot. In‘standby,’ clip metadata will be saved to the next clip recorded, except for ‘good take last clip’
which refers to the most recently recorded clip.
In playback mode, clip metadata is always recorded to the current clip being viewed.

Your URSA Cine’s slate is divided into ‘clip’, ‘project’ and ‘lens data’ tabs

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158

Slate forThis setting shows the metadata saved for the current clip being played back. In standby mode,
this refers to the next clip that will be recorded.
Lens Type
This field displays information about the lens used in the clip being played back, or the next clip
when the camera is in record standby mode.

The slate’s clip metadata displays the filename, lens data, reel, scene and take numbers, good take marker,
interior or exterior, plus day or nightReel
The ‘reel’ indicator shows the current reel.
Your URSA Cine 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 move this up anddown using the left and right arrows on either side of the scene number, or tapping the scene
number to enter the scene number editor.
The range of possible scene numbers is 1 to 9999.
By adding a letter to the scene number in the scene number editor, you can also indicate thecurrent shot. For example 23A would indicate scene twenty three, shot one. If you have a shot
letter added to your scene, your URSA Cine will suggest letter increments whenever you enter
the scene number editor. For example, if your current scene number is 7B, your URSA Cine willoffer ‘7C’ as an increment suggestion.
The scene number indicator can also show information about the current shot size in the top
right corner of the ‘scene’ tile. For example, WS, CU, MS, etc. You can select these in the scene
number editor at the right hand side of the shot keyboard.

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159

The shot sizes available are:
WS

Wide shotMS

Medium shot

MCU

Medium close up

CU

Close upBCU

Big close up

ECU

Extreme close up

When entering ‘scene’ metadata, your URSA Cine will prompt you with increment suggestions to the left of thetouch keyboard, and shot types to the rightTake
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 theindicator to enter the take number editor.

TIP When the shot number or scene letter are advanced, the take number willrevert to ‘1.’

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160

You can add take descriptions in the take number editor. These are offered to the right of thetake number keyboard, and correspond to the following scenarios:
PU‘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 shot while the camera
is kept running.
Tap ‘A’ to automatically increment
the take number for each clip whilein ‘standby’ mode.
A small 'A' appears next to the takenumber on the slate when enabled.

When entering ‘take’ metadata, your URSA Cine will offer prompts for additional shot types to the right of thetouch keyboard

Good Take
Tap the ‘good take’ indicator to flag good takes for easy recall in post production. This tag
applies to either the last clip recorded, if your URSA Cine is in standby mode, or the clip
currently being viewed in playback mode.
Int / Ext
Tap ‘int’ or ‘ext’ to add a ‘interior’ or ‘exterior’ 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 thecurrent clip in playback mode.

Entering Metadata161

Project Metadata
Project metadata behaves the same way whether you are in standby or playback mode.
This metadata always refers to your project as a whole and is independent of clip numbers.

Your URSA Cine’s ‘project’ slate tab

Project Name
Displays your current project name. Tap the pencil icon to change the project name.
Director
Displays the director’s name for the current project. Tap the pencil icon to change
the director name.
CameraDisplays a single letter camera index. Tap the pencil icon to change the camera index.

NOTE Camera index is used in metadata and for file naming purposes and differs fromyour URSA Cine’s ‘ATEM Camera ID’ used when controlling URSA Cine with an ATEM
switcher via an ATEM Streaming Bridge or an ATEM Television Studio HD8 ISO.

Camera Op
Displays the camera operator. Tap the pencil icon to change the camera operator name.

Entering Metadata

162

Lens Data
These settings display information about the current lens fitted to your camera. Many electronic
lenses automatically supply information such as the lens model, aperture and focal length.
If you are using a lens that does not provide this information, or you want to enter additionaldata, you can tap the pencil icon in this setting to enter the information manually. This will bringup the ‘lens data’ menu, which contains the following information:

The ‘lens data’ menu showing information automatically populated from a lens with Cooke /i Technology

Lens TypeShows the lens model. If your lens type is not automatically shown here, you can tap thissetting to enter the data manually. Your camera has an internal database stored for many
commonly used lenses, so if you need to enter data manually, your camera will suggest names
automatically as you type. This makes entering data much faster.

Use the touch keyboard to enter lens data if it is not provided automaticallyEntering Metadata

163

Iris
Shows the iris aperture setting at the start of your clip. This information can be displayed in
f- or T-stops depending on the lens used, if supplied automatically. Tap this setting to enter
data manually.
Focal Length
Shows the focal length setting of the lens at the start of the recorded clip. When automaticallysupplied, this is shown in millimeters. Tap this setting to enter 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. You can also enter this data
manually.
FilterShows the current lens filters used. Tap this setting to enter data manually. You can makemultiple entries separated by commas.

Filter information is entered manuallyEntering Metadata

164

The ‘lens data’ menu showing information automatically populated from a lens with Cooke /i Technology, andfilter information that has been manually entered

NOTE You can clear lens data at any time by tapping the ‘reset lens data’ icon in the‘lens data’ menu. You will be prompted to confirm your choice. If you confirm, all lensdata will be cleared and repopulated with any lens data automatically provided by thecurrently fitted lens. If you have manually entered any information into these fields, youwill need to reset the lens data the next time you mount a lens, otherwise the manuallyentered value will remain.

Entering Metadata

165

Camera Video Outputs
URSA Cine has two 12G-SDI outputs, one Ethernet streaming output, and 5 USB outputs
including the EVF output. This section describes each output and how you can use them.

12G-SDI Outputs
The 12G-SDI out connectors on the rear panel support HD and 4K video including high frame
rate progressive formats such as 2160p50, 59.94 and 60 on a single SDI cable. Interlaced HD
formats are also supported including 1080i50, 59.94 and 60. You can use the 12G-SDI outputs
to connect to any SDI monitor, for example a director’s preview monitor or to video village, as
well as to 4K switchers such as ATEM Constellation switchers. This output can be switchedbetween HD and Ultra HD by selecting 2160p, 1080p or 1080i in the ‘SDI A’ and ‘SDI B’monitor settings.

Connecting to Monitors
SDI monitoring can be handy 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. Frame guides and othermonitoring information can be enabled or disabled in via the camera’s ‘monitor’ settings.
The SDI outputs automatically flag HDR video with ancillary metadata when you are working
in ‘Film’ dynamic range and use the ‘Broadcast Film to Rec.2020 Hybrid Log Gamma’ or‘Broadcast Film to Rec.2020 to PQ Gamma’ LUT on the SDI output. This means you can display
stunning HDR images on HDR enabled screens from either SDI output.
12G-SDI Output Standards

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.
AU
1

DIO

IN

AU
2

DIO

IN

V
12 5A
1.

AU
1

DIO

IN

AU
2

DIO

IN

USB
CK

LO
V
12 A
1.5

USB
CK

LO

12G

UT

IO

SD
12G

12G

UT

IO

SD

UT

IO

SD

C
RE

1

CH

2/4

CH

RM
ST
D
AU

/TC
F IN

IN

RE

3/4

CH

1/2

SL

CH

DI

E
AT

S
12G

NS
LE
P
DIS

T

OU

1

CH

2/4

CH

10G

24V

12 V/

/ TC
F IN

IN

RE

3/4

CH

1/2

S

CH

NS
LE
P
DIS

You can connect the 12G-SDI output to any 1080 HD or Ultra HD live production switcher or monitor

10G

V

/24

12 V

Camera Video Outputs

166

URSA Cine Baseplates
There are two types of URSA Cine Baseplate. Both models have a built in shoulder pad for
handheld shooting with the same attachment and adjustment mechanism. This makes it quick
and easy to mount your camera to a tripod and balance it quickly and easily using a standard
dovetail plate.
URSA Cine is shipped with an URSA Cine Baseplate 19. This plate has built in rosettes on eachside for attaching accessories and rod holes for 15mm lightweight and 19mm studio rods for
attaching and positioning cinema accessories like matte boxes or follow focus equipment.
URSA Cine Baseplate 15 is an optional accessory which is a little smaller and lighter. It offers
similar functionality with a provision for 15mm lightweight rod accessories but does not have therosettes or the ability to use 19mm rods.
Both baseplates offer a wide range of forward and backwards adjustment for balancing thecamera on your shoulder and have a small kickstand at the rear which can be flipped down toachieve a flat position when sitting the URSA Cine on a desktop without a dovetail plate.

TIP To fit your baseplate back into the custom moulded pelican case, flipping the
kickstand back into the baseplate before stowing it away helps to fit it nicely into themoulded cut-out.

Attaching the Baseplate
If you have purchased the URSA Cine 12K + EVF kit, the baseplate is already attached to yourcamera. If you have purchased the standard kit which doesn’t include the EVF then you willneed to attach the baseplate plate after removing the camera from the case.
To attach URSA Cine Baseplates to your camera:

OFF

ON

H PHONE
MONITORIRIS

MENU

ISO / GAIN
F1

MENU

CH1/2
CH3/4

BACK

SHUTTER
F2

LOCK

LOCK

WHITE BAL

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

HFR

REC

LOCK

SLIDE

RELEASE

Secure the attached baseplate screws into the mounting points on
the underside of your camera using a large flathead screwdriver

Attaching the Baseplate167

Adjusting the Baseplate
The baseplate has a small lever towards the front of the plate with 3 lever adjustment positions.
Swing the lever left or right to select an adjustment position.

The different positions include ‘lock’, ‘slide’ and ‘release’.

LockThis tightens the mounting clamp so the baseplate is firmly secured to the tripod.

SlideThis position releases the clamp just enough to allow the baseplate to slide freely forwards
and backwards on the tripod mount, but not enough to release from the dovetail entirely. Thisis helpful when making balance adjustments. When in this position you can slide it off the frontor rear end of the dovetail bottom plate although most dovetail plates have safety mechanisms
built in to ensure you can’t do this by accident.

ReleaseIf you want to lift the camera vertically off from the dovetail plate, press and hold the quick‘release’ button. This enables the clamp lever to be moved to the ‘release’ position which opens
the clamp completely and lets you take the camera away from the tripod. Be sure to have a firm
hold of the camera when selecting the quick release position.

Attaching the camera to the dovetail plate
When first attaching the camera onto the dovetail plate you will need to either slide it on fromthe front or rear of the plate with the baseplate lever in the ‘slide’ position, or lower it on fromabove with the lever in the ‘release’ position.
If lowering in the ‘release’ position, it is a good idea to first carefully lower it from one side onto
the dovetail plate. Once flush against it lower the other side so the camera is sitting flat andpush the baseplate lever forwards into the ‘slide’ then ‘lock’ position. Double check the camera
is now sitting securely and locked into place on the tripod.

Attaching the Baseplate

168

Interchangeable Lens Mount
Blackmagic URSA Cine ships with the PL mount attached. However, your camera has aninterchangeable lens mount so you are not locked into using lenses to match the lens mountsupplied with your camera. This means you can remove the original mount and attach an
optional EF or LPL mount. The locking EF mount is included with your camera, however
you can also purchase the mount separately, plus the PL and LPL mounts, via your local
Blackmagic Design reseller.

PL mount

Locking EF mountLPL MountWith the ability to interchange 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 and the LPL mount lets you use high end, robust cinema lenses
designed for large format sensors, absolute precision and repeatable control.
Attaching each mount is as simple as unscrewing the original mount and replacing it with the
new mount. It’s very easy!

Interchangeable Lens Mount

169

Removing the PL Mount
To remove the original PL mount from URSA Cine:

1

2
VIEWFINDER

VIEWFINDER

EXT

EXT

RS

RS

First ensure power has been disconnected fromyour camera. Unscrew and remove all of the mountscrews using a 3mm Hex driver. When removing the
PL mount you may need to rotate the locking ringslightly to access any obscured screws.

Gently remove the lens mount.

Keep reading this section for details about the LPL and EF lens mount kits and how to installeach mount to your URSA Cine.

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

4 x 3mm Hex screws
The LPL mount kit also comes with a full spare sets of screws incase the originals are misplaced.

Tools Required
When attaching the LPL mount, you will need a 3mm Hex driver. While it’s not absolutely
required, we recommend using a torque wrench able to accurately set a maximum torqueof 1.5Nm to remove the potential of over tightening the screws.

3mm Hex driverInterchangeable Lens Mount

170

Attaching the LPL Mount
2

1
VIEWFINDER

VIEWFINDER

EXT

EXT

RS

RS

Carefully place the LPL lens mount onto thecamera body. Ensure the electronic contacts on
the LPL mount are located towards the left side of
the camera at the 9 o’clock position.

Using a 3mm Hex driver or torque wrench set
to 1.5Nm, loosely turn the four mounting screws
until initial contact is made with the shoulder ofthe lens mount. To access all four screws, you
may need to rotate the LPL locking ring, as someholes may be obscured when the ring is either
open or closed.

3
VIEWFINDER

1

3

4

2

EXT

RS

Confirm the lens mount is level and correctlyaligned, then tighten the screws in the ordershown here to an even pressure without
overtightening the screws.

Blackmagic URSA Cine Mount EF
Blackmagic URSA Cine Mount EF supports an extensive range of EF stills and cinema lenses.
The EF mount kit includes:
1 x EF mount
The EF mount lets you attach common EF stills lenses.

Interchangeable Lens Mount171

4 x 3mm Hex mount screws
The EF mount kit also comes with a full spare sets of screws in casethe originals are misplaced.

Tools Required
When attaching the EF mount, you will need a 3mm Hex driver. While it’s not absolutely
required, we recommend using a torque wrench able to accurately set a maximum torqueof 1.5Nm to remove the potential of over tightening the screws.

3mm Hex driver

Attaching the EF Mount
1

2
VIEWFINDER

VIEWFINDER

EXT

EXT

RS

RS

Carefully place the EF lens mount onto thecamera body ensuring the lens release button is
located towards the right side of the camera atthe 3 o’clock position.

Using a 3mm Hex driver or torque wrench
set to 1.5Nm, loosely turn the four mounting
screws until initial contact is made with theshoulder of the lens mount.

3
VIEWFINDER

1

3

4

2

EXT

RS

Confirm the lens mount is level and correctly aligned,then tighten the screws in the order shown here toan even pressure without over tightening the screws.

Interchangeable Lens Mount

172

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

Attaching and removing an EF mount lens1

The first step is to remove the protective dust cap. To do this, unlock the EF mount byrotating the locking ring counter clockwise until it stops.

2

Press the lens release button and rotate the dust cover counter clockwise until the red
dot on the cover reaches the 12 o’clock position. This releases the cap and you can now
remove it from the mount.

3

To attach the EF lens, align the dot on your lens mount with the dot on the camera mount.
Many lenses have a visual indicator, for example a blue, red or white dot.

4

Insert the lens into the mount and rotate clockwise until it locks into place.

5

Tighten the EF mount locking ring by rotating clockwise until it feels secure. Avoid overtightening. This action clamps the lens into place and prevents movement.

6

To remove the lens, unlock the locking ring, hold down the locking button and rotate thelens counterclockwise until its dot or indicator reaches the 12 o’clock position. Gently
remove the lens from the mount.

Interchangeable Lens Mount

173

Shimming 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 Cine’s sensor. This distance is commonly known as the flange
focal distance, or back focus, and can change slightly due to variables such as lens age and theenvironmental conditions of your shoot. URSA Cine is designed so you can easily adjust backfocus using shims.

URSA Cine Shim

Shims are placed between the lens mount and the camera body so the distance from yoursubject to the sensor matches the focus marks on your lens. This is most critical when usingcine lenses which are manually focused and have very accurate focal distance markings ontheir barrels.
Your Blackmagic URSA Cine is supplied with its captive camera body and lens mount shims
already precisely shimmed. If you wish to change this for any particular lens mount, Blackmagic
Ursa Cine Mount Shims contains additional shim sets of various thicknesses and can bepurchased from your local Blackmagic Design reseller. Use shim thicknesses depending on
your back focus requirements.
See the ‘interchangeable lens mount’ section for more information on attaching lens mounts to
URSA Cine.

Shimming Lens Mounts

174Blackmagic Camera Setup
The Blackmagic Camera Setup utility is an administration software application you candownload from the Blackmagic Design Support Center at www.blackmagicdesign.com/support
This software lets you update your camera with the latest features, so it is worth regularly
checking the Blackmagic Design website for new versions.

The Blackmagic Camera Setup utility lets you update your URSA Cine and change administration settings

Updating Camera Software for a Mac
After downloading the Blackmagic Camera Setup utility software and unzipping thedownloaded file, open the resulting disk image to reveal the Blackmagic Camera Setup Installer.
Launch the installer and follow the on screen instructions. After the installation has finished,
go to your applications folder and open the Blackmagic Cameras folder where you’ll find thismanual, 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 ofBlackmagic Camera Setup.

Blackmagic Camera Setup

175

Updating Camera Software for a Windows Computer
After downloading the Blackmagic Camera Setup utility software and unzipping thedownloaded file, you should see a Blackmagic Camera Setup folder containing this PDF manualand the Blackmagic Camera Setup Installer. Double click the installer and follow the on screen
prompts to complete the installation.
Click the start button and select ‘all apps’. Scroll down to the Blackmagic design folder. From
here you can launch Blackmagic Camera Setup.

How to Update the Camera Software
After installing the latest Blackmagic Camera Setup utility on your computer, connect a
USB cable between the computer and your URSA Cine. Use the left USB port on the assist
station above the LCD touchscreen. Simply open the rubber cap to access the port.
Launch the Blackmagic Camera Setup utility and follow the on screen prompts to update thecamera software.

USB

12G SDI OUT

VIEWFINDER
LOCK

12G SDI OUTEXTREF IN/TC IN

CH1/3
CH2/4

RS

10G
CH1/2

CH3/4

12V/24V

DISP

LENS

SLATE

AUD

STRM

…

REC

The USB-C port near the rear panel is used to update the camera software

NOTE If you are updating your camera using a laptop computer, it’s important toconnect your laptop to mains power during the update process.

Blackmagic Camera Setup

176

Setup Settings
In addition to updating your camera, the setup utility provides a range of administration settings
for purposes such as naming your URSA Cine, configuring network settings and access, assigninga secure certificate, and more. This section describes all the settings and how they work.

Setup
If you have more than one URSA Cine, you may wish to give each unit a discrete name to makethem easy to identify. You can do this by entering a new name into the name field and clicking
the ‘set’ button. It’s worth noting that changing the name of the camera will invalidate any digital
certificates in use, so it’s worth changing the name before generating a certificate signing
request or self signed certificate. More details on digital certificates is available in the ‘secure
certificate’ information later in this section of the manual.

Date and Time
Set your date and time automatically by ticking the ‘set date and time automatically’ checkbox.
When this checkbox is enabled, your camera will use the network time protocol server set in
the NTP field. The default NTP server is time.cloudflare.com, but you can also manually enteran alternate NTP server and then click on ‘set’.
If you are entering your date and time manually, use the fields to enter your date, time and timezone. Setting the date and time correctly ensures your recorded clips have the same time anddate information as your network and also prevents conflicts that can occur with some network
storage systems.

Network Settings
ProtocolTo control your camera remotely via Ethernet, or when connected to ATEM Television Studio
HD8 ISO as a remote source on your network, the camera needs to be on the same network as
your other equipment using DHCP or by manually adding a fixed IP address.

Setup Settings

177

DHCP

Your camera is set to DHCP by default. The dynamic host configuration protocol, or DHCP,
is a service on network servers that automatically finds your camera and assigns an IP
address. The DHCP is a great service that makes it easy to connect equipment via Ethernet
and ensure their IP addresses do not conflict with each other. Most computers and network
switchers support DHCP.

Static IP

When ‘static ip’ is selected, you can enter your network details manually. When setting
IP addresses manually so all units can communicate, they must share the same subnet
mask and gateway settings. If there are other devices on the network that have the same
identifying number in their IP address, there will be a conflict and the units won’t connect.
If you encounter a conflict, simply change the identifying number in the unit’s IP address.

Network AccessYour URSA Cine can be accessed via a network for transferring files. Access will be disabled bydefault, but you can choose to enable individually or via a username and password for added
security when using the web manager.

File Transfer Protocol
Enable or disable access via FTP using the checkbox. If you are supplying access via an FTP
client such as CyberDuck, click the icon to copy the FTP address. For more information, refer tothe section ‘transferring files over a network’.
File Sharing
At the bottom left corner you will notice a button named ‘Show in Finder’ on a Mac or ‘Show in
Explorer’ on Windows. This button lets you access your media files using your computer’s filebrowser. All you need to do is enable ‘file sharing’ and then click on the ‘show in Finder’ button.
You can also copy the URL and paste the file path into your browser.
Your operating system may prompt you to allow access to the drive.
Web Media Manager
Enabling web media manager lets you download clips from your camera’s media storage overyour network, or even delete unwanted clips if you need to free up disk space. When you clickon the link or copy and paste it into your web browser a simple interface will open where you
can access the media.
Enable access via HTTP by selecting the ‘enabled’ checkbox. You can also set up a secure
certificate using the ‘enabled with security only’ option. When using a digital certificate,connections to web media manager are encrypted via HTTPS. More information on digital
certificates is available in the ‘secure certificate’ section.

Setup Settings

178

REST API also uses HTTP and this means enabling access to media via the web media manager
also enables camera control via REST API.
Allow Utility Administration
Blackmagic Camera Setup can be accessed when your camera is connected via the network or
via USB. To prevent users having access via the network, select ‘via USB’.

Secure Login Settings

If you have selected ‘enabled with security’ for web media manager access you will needto enter a username and password. Type a username and password and click ‘save’.
The password field will appear empty once a password is entered. Once a username andpassword is set, you will need to enter it when accessing the web media manager.

Secure Certificate
To enable web media manager access via HTTPS, you will require a secure certificate.
This digital certificate acts as an identification card for your URSA Cine so that any incoming
connections can confirm they are connecting to the correct unit. Along with confirming
the identity of the unit, using a secure certificate ensures data transmitted between yourcamera and a computer or server will be encrypted. When using the secure login settings theconnection will not only be encrypted but require authentication for access.
There are two certificate types you can use with your camera. A secure certificate signed by acertificate authority, or a self signed certificate. A self signed certificate may be secure enoughfor some user workflows, for instance only accessing the camera via a local network.
To generate a self signed certificate click on ‘create certificate’. You will be prompted toconfirm you understand the risks with using a self signed certificate. Once you click on ‘create’,the certificate details will autofill the ‘domain’, ‘issuer’ and ‘valid until’ fields in Blackmagic
Camera Setup.

Following a factory reset, any current certificate will be deleted, but you can also remove it at
any time by clicking on the ‘remove’ button and following the prompts.
When using a self signed certificate to access media files using HTTPS, your web browser
will alert you to the risks of accessing the site. Some browsers will allow you to proceed once

Setup Settings

179

you confirm you understand the risks, however other web browsers may prevent you fromproceeding at all.

To ensure access is granted to any web browser, you will need to use a signed certificate.
To obtain a signed certificate, you first need to generate a certificate signing request, or CSR,
using Blackmagic Camera Setup. This signing request is then sent to a certificate authority, also
known as a CA, or your IT department to be signed. Once completed, a signed certificate with a.cert, .crt or .pem file extension will be returned which you can import into your camera.
URSA Cine 12K LF

Certificate

Authority

0

3

2

1

REC

4

VF3
EXP

VF2
VF1

8

7

6

5

ZOOM

OFF

–

ON

+

H PHONE
MONITOR
IRIS

CH1/2
CH3/4

BACK

SHUTTER

WHITE BAL

F2

HFR

F1

LOCK

LOCK

MENU

ISO / GAIN

RESET

HOLD

TC

IRIS

FOCUS

PGM

BRGT

STILL

MENU

To generate the certificate signing request CSR:
1

Click on the ‘generate signing request’ button.

2

A window will appear prompting you to enter a common name and subject alternative
name for your camera. Adjust any other details as required using the table below.

3

Information

Description

ExampleCommon Name

The domain name you will use

camera.melbourne.com

Subject Alternative Name

An alternate domain namecamera.melbourne.net

CountryCountry for your organization

AU

State

Province, region, county or state

Victoria

Location

Town, city, village etc. nameSouth Melbourne

Organization Name

Name of your organization

Blackmagic Design

Once you have filled in the certificate details, press ‘generate’.
Setup Settings180

When you generate a .csr you will also be creating a public key and private key at the sametime. The public key will be included with the signing request while the private key will remain
with the unit. Once the CA or IT department have verified the information in the CSR with yourorganization, they will generate a signed certificate with the above details along with yourpublic key.
Once imported, your camera will use the public and private key to confirm the identity of thecamera and to encrypt and decrypt data share via HTTPS.
Importing a signed certificate:
1

Click on ‘import signed certificate’.

2

Navigate to the location of the signed certificate using the file browser and once the file isselected click on ‘open’.

The domain, issuer and valid until fields will update with the information from your CA.
Generally, a signed certificate will be valid for about a year so the process will need to berepeated as you reach the expiration date.

Since a domain name was selected, you will need to speak to your IT department about
resolving the DNS entry for your URSA Cine. This will point all traffic for the IP address of thecamera to the selected domain address in the signing request. This will also be the HTTPS
address you use to access files via the web media manager, for example
https://camera.melbourne
It’s worth noting that the certificate will be invalidated following a factory reset and a newcertificate will need to be generated and signed.

Reset
Select ‘factory reset’ to restore your camera to factory settings. A factory reset will invalidate
the current certificate. If a secure certificate is being used you will need to generate a newcertificate signing request to be signed by a certificate authority or IT department.

Setup Settings181

Transferring Files over a Network
When connected to a network, URSA Cine can transfer files using the following protocols.
HTTP
Hypertext transfer protocol.
HTTPS
Hypertext transfer protocol secure.
FTP
File transfer protocol.
SMB
Server message block.
These protocol options let you copy files directly from your camera’s storage media to yourcomputer via a network with the fast speeds a local network can provide. For example, you cancopy clips and start editing them as soon as you have finished recording.
Access to your URSA Cine via any of these protocols can be enabled or disabled via theBlackmagic Camera Setup utility. For example, you could disable FTP access and enable
HTTPS access at the same time.

Connecting to your Camera via HTTPS
To access your camera via the web media manager you will need the URL available via the
network access settings. Network access settings appear in Blackmagic Camera Setup whenyour computer is connected via USB or Ethernet but are disabled when only Ethernet isconnected.
1

Using a USB-C cable, connect your computer to URSA Cine via the USB port on top ledge
closest to the rear panel and open Camera Setup. You should see a USB connection icon
next to the unit name. Click on the circular icon or anywhere on the product image to open
the settings.

2

When using a self signed certificate, navigate to the network access settings and click on
the copy icon beside the URL. This URL is based on the name of your camera. To modify
the URL, modify the name of the unit.

When using a self signed certificate, click on the link

Transferring Files over a Network

182

3

If you have imported a certificate signed by a CA or IT department, copy and paste theaddress in the domain field for the current certificate.

Copy the domain address and paste into a browser

4Open your web browser and paste the address into a new window. If you have enabled
access with security only you will be prompted to enter the username and password set inCamera Setup.

When using a self signed certificate, a browser warning will appear regarding the privacy ofthe connection. This means a trusted signed certificate has not been imported via the Camera
Setup utility
To continue without a valid and trusted certificate, follow your browser prompts to acknowledge
the risks and proceed to the website.

Transferring Files Using Web Media Manager
When you first open the web media manager browser view you will see a list of the storage
media connected to your camera.
Double click a media folder to reveal the contents.

Click the download button to download files or the trash icon to delete them

To download files, use the arrow icon on the far right. Your browser may prompt you to allow
downloads from the site. Click on ‘allow’. To delete a file, click the trash can icon and a delete
file window will appear. Click ‘delete’ to proceed.

Transferring Files over a Network183

Transferring Files via FTP
With your computer and Blackmagic URSA Cine on the same network, all you need is an
ftp client and your camera’s IP address or the FTP URL in the Camera Setup utility.
1

Download and install an FTP client on the computer you want to connect your camera to.
We recommend Cyberduck, FileZilla or Transmit but most FTP applications will work.
Cyberduck and FileZilla are free downloads.

2

With your Blackmagic URSA Cine connected to your network, open Camera Setup and clickon URL or press the copy icon to paste it manually. You may need to click the link a second
time if the FTP program doesn’t open a connection.

3

If you are manually opening an FTP connection, paste the URL into the client’s server field.
Check ‘anonymous login’ if available.

4

Expand a media storage folder from the list to view your recorded clips. You can now dragand drop files using the FTP interface.

Transferring Files over a Network

184

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

Blackmagic Zoom and Focus Demands
Blackmagic Zoom Demand and Blackmagic Focus Demand are optional accessories forcontrolling focus and zoom when using compatible servo driven 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.

Attaching to Tripod Handles
Each unit attaches to a tripod handle via their mounting brackets. Attach each unit to thebrackets 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.

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185

Now 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 byclosing 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 yourURSA Cine’s USB-C port to the demand unit’s ‘cam’ port.
If you are using both demand units, daisy chain them together by connecting the first unit to
the second unit via USB-C.

USB

12G SDI OUT

VIEWFINDER

LOOP

LOCK

EXT
CH1/3
CH2/4

RS

10G
CH1/2

CH3/4

12V/24V

DISP

LENS

SLATE

AUD

STRM

…

REC

Blackmagic
URSA Cine 12K

Side
USB-C port

USB-C
CAM

CAM

USB-C

12G SDI OUT

REF IN/TC IN

Blackmagic
Focus Demand

USB-C
LOOP

USB-C
CAM

Blackmagic
Zoom Demand

Daisy chaining allows for both units to be controlled using the USB-C port on your URSA Cine.
For example, connect a USB-C cable into your camera’s USB-C port and connect the other endof 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.
The USB-C cable has locking screws on each end to secure the connectors to each unit,
preventing accidental disconnection. You don’t have to use the locking screws, but they arehelpful for setups where the units are always connected to your URSA Cine.

Blackmagic Zoom and Focus Demands

186

Using Blackmagic Focus Demand
2
1

3

1

Control Knob
Rotate the focus wheel clockwise to focus on subjects closer to the lens, orcounterclockwise to focus on subjects further away. You can change the focus direction in
the menu by setting it to either ‘normal’ or ‘reverse’.

TIP If you are also using a Blackmagic Zoom Demand, press the quick zoom button tomagnify the image as you focus using the focus demand.
2

Control Pins
These three pins 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.

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

1

6

5

7

4

3

2

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. By default, it isset as a quick zoom function which instantaneously punches into the live image.

NOTE The quick zoom feature is only visible on the Blackmagic URSA Cine’s LCD andwill not be visible on the output video connected to a switcher 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 F4This 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 and hold the button to communicate
with the switcher operator.

5

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 thecamera’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 thefocus demand. The ‘cam’ port is also used for updating the internal software via theBlackmagic Camera Setup utility.

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Pinout Tables for URSA Cine Connectors
The following pinout tables show the pin arrangements for the following connectors:
 8 pin power input connector
 7 pin EXT connector
 3 Pin RS Fischer Connector
 2 pin +12V 1.5A power output connector
The 8 pin, 7 pin and 2 pin connectors on URSA Cine are compatible with Lemo style connectors.

8 pin power input connector
External View

8 pin power input
connector EEJ.2B.308

Pins

Signal1

No connection

2

Ground3

Ground4

Ground5

No connection

6

Power

7

Power

8

Power

Pins

Signal7 pin EXT connector
External View

7 pin EXT connector
EEG.1B.307

1

Serial 2 RX

2Serial 2 TX

3Serial 1 RX

4

Serial 1 TX

5

24V Output

6

Ground7

Record Run/Stop

Pinout Tables for URSA Cine Connectors

189

3 pin RS Fischer Connector
External View

Pins

Signal1

Ground2

24V Output

3

Record Run/Stop

3 pin RS Fischer
Connector DPB102A052

2 pin +12V 1.5A Power Output Connector
External View

Pins

Signal1

Ground2

12V Output

2 pin +12V 1.5A Power
Output Connector EEG.0B.302

Pinout Tables for URSA Cine Connectors

190

Using DaVinci Resolve
Shooting with your Blackmagic URSA Cine is only part of the process of creating film andtelevision content, and just as important is the process of media backup and management aswell as editing, color correction and encoding final master files. Your Blackmagic URSA Cine
includes a version of DaVinci Resolve for Mac and Windows so you have a complete solution
for shooting and post production!

NOTE We recommend using DaVinci Resolve 19 Beta 6 or later
After connecting your media to your computer, you can use DaVinci Resolve’s ‘clone’ tool, inthe ‘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 yourproduction without ever having to leave DaVinci Resolve.
DaVinci Resolve is the same tool used on most major blockbuster movies, so it’s much morethan 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 andcolor 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 thanyou 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.

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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 userinterface. This is helpful when you want to open previous projects and create new ones.
To create a new project, click on ‘new project’ at the bottom of the window and give yourproject 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 isavailable 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.

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The Cut page default workspace, with the Media Pool in icon view

For more information on the Cut page, see the ‘The Cut Page’ chapter in the
DaVinci Resolve manual.

Media Tabs
At the top left corner of the user interface you will see five tabs.
Click on these tabs to open the media toolsets you will use when creating your edit.
For example, the first tab is the media pool and you can see it is already selected. The othertabs 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 themedia 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 andtime 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 andaudio transitions you can use in your edit. These include common transitions such as crossdissolves and motion wipes.
 Titles: Next to transitions is the ‘titles’ tab. Here you can select the title type you want touse. 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 lenseffects. There are many powerful effects to choose from and you can find them quickly
using the search tool.

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TIP Use the search tool near the media tab icons to find the exact items you arelooking 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.
Source Clip

The source clip viewer displays a single clip from the media pooland you can set in and out points along the entire length of theviewer 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 searchthrough all your clips to find a specific event. As you scrub theplayhead over the clips, you will see their thumbnails selected in
the media pool. This means once you have found the clip you wantto 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 nonlinear editing, giving you the freedom to work on your edit, findshots quickly, try new ideas and stay in the moment.

Timeline

The timeline viewer lets you view the edit timeline so you can playback your project and refine your edits.

Importing Clips to the Media PoolNow you can start importing media into your project. You can do this in the media pool windowof the cut page using the import tools at the top.

Select one of the import options to add
media to your project

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194Import MediaThe import media option will import individual media files selectedfrom your storage location.

Import Media Folder

To import a folder from your media storage, select the importfolder option. When importing a folder, DaVinci Resolve will keep
the file structure, treating each folder as a separate bin so you cannavigate 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.

Adding Clips to the Timeline
Now that you are familiar with the media tabs and viewer mode buttons, you can open the
media pool and quickly start adding clips to your timeline.

The timeline of the cut page, comprising the upper timeline and the zoomed in timeline below

The timeline is where you will build your edit and is like a board with tracks you can attach clips
to, move them around and trim their edits. 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 yourtimeline 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

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195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 yourshot. 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.
Repeat steps 1 to 3 to keep adding more clips and they will automatically append, ensuring
there are no gaps in the timeline.

Appending clips ensures there are no gaps between them on the timeline

TIP You can speed up the process further by assigning a keyboard shortcut to the‘append’ 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 andtrim 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.
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Audio Trim View
Audio trim view helps you make accurate audio edits by expanding the audio waveform in thetimeline. This is useful if you’re editing a dialogue scene or a music clip and makes it easy tofind 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 button2

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.

Audio trim view expands the audio waveform in the timeline.

After you have finished editing clips using the ‘cut’ page, you might want to add a title. The next
section will show you how.

Adding Titles
Placing a title on your timeline is easy and you have many options.
To see the different types of titles you can use, click on the ‘titles’ 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 caneven 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 fromthe option menu.

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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 thetitle’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.
To 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 automaticallycreate 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 orchange 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 theclip 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 makeadjustments to clips, such as white balance and ISO settings, as if you were changing theoriginal 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 topush 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 featuresof Blackmagic RAW and how to use Blackmagic RAW files in your DaVinci Resolve workflow.

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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 datacontained 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.
The 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’ settingsfor each clip in the ‘camera raw’ tab will show you just how powerful and flexible working withBlackmagic RAW can be.
The ‘color science’ menu lets you choose whether to interpret your footage with generation 4color science or generation 5 color science. URSA Cine uses Blackmagic Design generation
5 color science. Files made on different cameras with generation 4 color science canbe reinterpreted with generation 5 color science to match your shots from URSA Cine.
Alternatively, if you are shooting mainly with cameras that create Blackmagic RAW files withgeneration 4 color science, you can mix in clips shot on URSA Cine with generation 5 color
science by reverting them to generation 4 color science. This makes it easy to match shots
filmed on cameras using different generations of Blackmagic color science.

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 SettingsOnce 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.

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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.
Exposure
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 formaximum saturation.
Contrast
Defaulting at 1.0, drag the slider to the left for the least amount of contrast at 0 or to the rightto 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 awayfrom 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 toincrease 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 valueof 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 fromthe 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.

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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,
but you have not lost your Blackmagic RAW data. Simply select Blackmagic Design
Film or Blackmagic Design Extended Video from the dropdown gamma menu andmake your adjustments.
To save 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 anotheruser 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 yourmedia drive.

Project Settings for Blackmagic RAW
If you need to make a setting change that is common to all the clips, for example a globalchange 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 selectBlackmagic 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’.

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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 toyour 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 andcan 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 makesecondary 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 offeatures 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 therelevant 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 highend color correction facilities.
Generally, the first step for primary color correction is to optimize the levels for shadows, midtones 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.

Using Scopes
Most colorists make creative color choices by focusing on the emotion and the look they want
their program to have and then simply work using the monitor to achieve that look. You can lookat everyday objects and how different types of light interact with them to generate ideas onwhat you can do with your images and a little practice.

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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 righton the palette toolbar. You can choose to display a waveform, parade, vectorscope, histogramor CIE chromaticity scope. Using these scopes you can monitor your tonal balance, check thelevels 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 andcontrast adjustments.

The ‘lift, ‘gamma’, ‘gain’ and ‘offset’ color wheels give you total control over the color and tonal balance of yourclips. To make a uniform adjustment to all colors for each tonal region, drag the dial underneath the color wheels
back and forth

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The primaries bars make color adjustments easier when using a mouse.

For more accurate control of each color using a mouse, you can change the color wheels to‘primaries bars’ which let you adjust each color and luminance channel for the lift, gamma andgain 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 yourimage. 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 theparade scope.
 Adjusting the ‘gain’: Click on the ‘gain’ dial and slide it back and forth. This adjusts thehighlights 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. As you 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 thelook 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.

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The curves palette is another tool you can use to make primary color corrections, or enhance specific areas ofyour clip when using a power window

Secondary Color Correction
If you want to adjust a specific part of your image then you need to use secondary corrections.
The adjustments you have been doing up until now using the lift, gamma and gain adjustments
affect the whole image at the same time and so they are called primary color corrections.
However, if you need to adjust specific parts of your image, say for example you wanted to
improve the color in the grass in a scene, or you wanted to deepen the blue in a sky, then you
can use secondary corrections. Secondary color corrections are where you select a part of theimage 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 sideof a road, or the blue in a sky, or you may need to adjust color on a specific object to focus theaudience’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.

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4

Usually you’ll need to make some adjustments to soften the edges of your selection andlimit the region to only the desired color. Click on the ‘highlight’ button above the viewer to
see your selection.

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 easilymask 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 toisolate 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.

Use power windows to mask out areas you don’t want to be affected by the HSL
qualifier secondary adjustments

For example, you can track a window on a person in order to make color and contrast changes
just to that person without affecting his or her surroundings. By making corrections like this you
can influence the audience’s attention on areas you want them to notice.
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 redpoints 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 connectedto the center.

Now you can make color corrections to your image in just the area you want.

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Power windows let you make secondary corrections to specific parts of your image

Tracking a Window
The camera, object or area in your shot may be moving, so to make sure your window stays
on your selected object or area, you can use DaVinci Resolve’s powerful tracking feature. The
tracker analyzes the pan, tilt, zoom and rotation of the camera or object in your clip so you
can match your windows to that movement. If this isn’t done, your correction can move off theselected target and call attention to itself, which you probably don’t want.

14
You can 4track 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 orarea 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 themovement. 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. Thiscan be solved manually using the keyframe editor. Refer to the DaVinci Resolve manual tofind out more.
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Using Plugins
While making secondary color corrections you can also add Resolve FX or Open FX plugins tocreate fast, interesting looks and effects using the ‘color’ page, or imaginative transitions andeffects 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 newserial 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.

OFX plugins are a quick and easy way to create an imaginative and interesting look

In the ‘edit’ page you can add plugin filters, generators and transitions to clips by opening the‘Open FX’ panel in the ‘effects library’ and dragging your selected plugin onto the video clip ortrack 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.
DaVinci Resolve has a helpful set of features for editing, mixing and mastering audio for yourproject directly in the ‘edit’ page. For projects requiring more advanced audio tools, theFairlight page provides you with a full audio post production environment. If you are alreadyfamiliar with the edit page and want to move straight to Fairlight, skip this section and moveonto 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 helpfulwhen building your sound, and separating your audio elements into individual tracks, forexample, 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’ andchoose from the options, including ‘mono’, ‘stereo’, and ‘5.1’. This will add the track to thebottom of the track list. Alternatively select ‘add tracks’ and select the position you would likethe new track or multiple tracks placed.
Your new audio track will appear on the timeline.

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TIP If you wish to change the type of track after creating it, right click next to the nameof 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 bysimply dragging it up or down with the pointer. This overlay corresponds to the Volume
parameter in the Inspector.

Dragging a volume overlay to adjust the clip level

For projects requiring more advanced audio tools, the Fairlight page provides you with a fullaudio post production environment.

The Fairlight Page
The ‘Fairlight’ page in DaVinci Resolve is where you adjust your project audio. In single
monitor mode, this page gives you an optimized look at the audio tracks of your project, withan expanded 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 vastarray of features in front of you, they are all there to help you deliver the best audio quality
for your project.

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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 tofollow steps.

The Audio Timeline
 Track Header: At the left of each track is a header area that displays the track number, track
name, track color, audio channels, fader value and audio meters. The track header also
contains different controls for locking and unlocking tracks, plus solo and muting controls.
These controls can help to keep your tracks organized, and let you preview individual
tracks one at a time.
 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 asingle signal that can be controlled via a single channel strip. Fairlight automatically creates abus 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 eachindividual track.
If your edit is a bit more complex you can create more buses and combine multiple tracks ofaudio 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 andsolo tracks.

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The audio mixer, with channel strips corresponding to the tracks in the timeline

Using the Equalizer to Enhance your Audio
After adjusting the audio levels of your audio clips in your project, you may find that the audio
needs further finessing. In some cases you may find that the dialogue, music and sound effects
are competing for the same frequency on the audio spectrum, making your audio too busy
and unclear. 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 yoursound 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 orat 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, anddifferent filter types allow you to define the shape of the EQ curve.

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The four band equalizer can be applied to every clip in the timeline

Outer bands let you make band filter adjustments using hi-shelf, lo-shelf, hi-pass and lopass 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 allow the high frequencies to pass through the filter while cutting the low frequencies.
Any frequencies 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 onwhether you use a high shelf or low shelf.
The middle sets of band controls let you make a wide variety of equalization adjustments, andcan 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, andas 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.

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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 forthat track.
2

Select the band filter type from the dropdown menu for the band you want to adjust.

The EQ section in the mixer panel indicating an EQ curve
has been applied to track one

The 6 Band parametric equalizer that can be applied to every track

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, andgenerally perfect your audio mix.

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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.
If you have experienced the node workflow in the color page, this will feel familiar to you.

The Fusion Page
The Fusion page features 2 viewer windows across the top with transport controls to view yourmedia, an inspector window to the right to access tool settings, and a nodes window at thebottom 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 templatessorted 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 pooland effects library take up the same screen area, so you can swap between the two tokeep your viewers as large as possible.
 Clips: Clicking the clips tab will reveal or hide thumbnails representing clips on yourtimeline. The thumbnails are located underneath the nodes editor, letting you instantly
navigate to other clips.

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Create a new version of your composition by right clicking on a thumbnail and selecting ‘create newcomposition’.

 Viewers: The viewers are always visible and let you see the different views of yourcomposition, for example an overall 3D perspective via the merge 3D node, a camera
output, or your final render output. These viewers also let you see how your changes areaffecting a specific element.
You can choose which nodes to view by clicking on a node and typing ‘1’ for the left vieweror ‘2’ for the right viewer. White button icons appear beneath the node to let you know
which viewer it is 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 thetimeline, without handles.

 Nodes: The nodes window is the heart of the Fusion page where you build your node tree
by connecting tools together from one node’s output to another node’s input. This area willchange size depending on which editors are open, for example the spline or keyframes
editor. A toolbar at the top of the nodes area features the most commonly used tools forfast access.

Using DaVinci Resolve215 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 accessto other settings for nodes sorted by category.

The text inspector contains additional tabs for text, layout, transform, shading, image
and settings.

Getting Started with Fusion
To get started with Fusion, simply position your playhead over any clip on your timeline andclick 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 andcropping 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 notapplied 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 ingredientsin a cake. 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.

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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
OutputMultiple outputs on nodes means a single node can connect to many different nodes inyour 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 thetool you want to add. The new node will automatically connect to the tool selected. You canalso add a node anywhere on the node window and manually connect nodes by dragging theoutput 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 toolson 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 thecomplete 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.

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Adjusting Nodes Using the Inspector Panel
Adjust your node settings using the inspector panel. Simply click on the node you want tomodify 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.

Selected nodes appear with a red border. Here the inspector panel is displaying the layout tab controls
for the text node.

There are different parameters and settings you can adjust for every node depending on its
task, from sizing and center positions to changing the number of particles in an emitter node.
Setting keyframes and changing the settings over time will animate the effect.

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 toshorten or lengthen the curve, or the keyframe square icons to move the keyframe location.

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The splines panel gives you further control over keyframe animation. You can select keyframes,such as the first and last, and smooth the animation between them into a bezier curve by typing‘shift’ + ’s’, or right clicking on a keyframe and selecting ‘smooth’.

Using the Motion Tracker and Adding Text
To get a better idea of how to use Fusion, we have included the following examples to show
how to use the tracker tool to track an element in a clip, plus add text and attach it to theelement using the tracking data.
The ‘tracker’ tool tracks pixels over time on the x & y axis, and generates data you can use toattach 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 theinspector.

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 cornerand drag the tracker to an area of interest on your clip. High contrast areas work well, forexample 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 areaof interest disappears during the render range, such as a car or bird moving out offrame. This lets you track only the relevant footage.
Now you can take that tracking data and apply the motion path to a text tool.

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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’.

5

Click on the ‘tracker’ node and type ‘1’ so you can see the merged results on your left handviewer. 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 tochange 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 panel let you adjust theoffset position for the text.

Now you can play back your composition and see your text attached to the object you
have tracked!

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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 theobject you are tracking disappears off the screen. The keyframe editor makes this a very
simple process.

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7

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 theparameter with keyframes added will appear in the list below. Click on the magnify icon anddrag 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 inyour footage!
If you want to track an area of the image that contains a flat surface you want to enhance orreplace, 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 thepower 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!

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

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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 yourprogram from any page of DaVinci Resolve. You can even use quick export to export andupload 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 tochoose a range of the current program to export. If no timeline in or out points have beenset, 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

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The Deliver Page
This page lets you select the range of clips you want to export, plus the format, codec andresolution 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 ofexport 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 yourown parameters. For this example, select YouTube, then click on the arrow next to thepreset 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 yourexported video. Click the ‘browse’ button and choose the location where you want to saveyour 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 tochoose 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 therender 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 themost of your project!

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Developer Information
Camera Control REST API
If you are a software or hardware developer you can build custom applications or leverage
ready to use tools such as REST client or Postman to seamlessly control and interact withyour compatible Blackmagic camera using Camera Control REST API. This API enables you to
perform a wide range of operations, such as starting or stopping recordings, accessing disk
information and much more. Whether you’re developing a custom application tailored to yourspecific needs or utilizing existing tools, this API empowers you to unlock the full potential ofyour Blackmagic camera with ease. We look forward to seeing what you come up with!

NOTE It’s important to mention that controlling Blackmagic cameras via REST API
relies on the web manager being enabled on each compatible Blackmagic camera.
Enable the web media manager in the Blackmagic Camera Setup ‘network access’
settings for each camera you are controlling.

The following Blackmagic cameras are compatible with Camera Control REST API: Blackmagic URSA Cine 12K LF
 Blackmagic Cinema Camera 6K
 Blackmagic URSA Broadcast G2
 Blackmagic Micro Studio Camera 4K G2
 Blackmagic Studio Camera 4K Plus Blackmagic Studio Camera 4K Plus G2

 Blackmagic Studio Camera 4K Pro

 Blackmagic Studio Camera 4K Pro G2

 Blackmagic Studio Camera 6K Pro
Sending API Commands
To send an API command to your camera from a third party application such as Postman,
add /control/api/v1/ to the end of the camera’s Web media manager URL or IP address.
For example, https://ursa-broadcast-g2.local/control/api/v1/
You can find the Web media manager URL and IP address information in Blackmagic
Camera Setup.

The Web media manager URL in Blackmagic Camera Setup

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Downloading API’s from your Camera
You can download REST API YAML documentation from your camera by adding /control/
documentation.html to the end of the camera’s Web media manager URL or IP address.
For example, https://ursa-broadcast-g2.local/control/documentation.html

NOTE It’s worth noting that changing the camera name in Blackmagic Camera Setup
will also change the camera’s Web media manager URL.

Livestream Control API
API for controlling Livestreams on Blackmagic Design products.

GET /livestreams/0
Get the livestream’s current status.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

status (required)stringPossible values are: Idle, Connecting, Streaming, Flushing,Interrupted.

bitrate (required)integerCurrent bitrate (bps).

effectiveVideoFormat (required)stringEffective video format for the livestream, serialised as astring.

GET /livestreams/0/start
Determine if the livestream is active.
Response
200 - OK
Name

Type

Description

ResponsebooleanTrue when the livestream is active.

PUT /livestreams/0/start
Start the livestream.
Response
204 - No Content

GET /livestreams/0/stop
Determine if the livestream is inactive.
Response
200 - OK
Name

Type

Description

ResponsebooleanTrue when the livestream is inactive.

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PUT /livestreams/0/stop
Stop the livestream.
Response
204 - No Content

GET /livestreams/0/activePlatform
Get the currently selected platform configuration for the livestream.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

platform (required)stringPlatform name.

server (required)string

The platform’s server name, or “Custom” when the URL iscustomizable.

key (required)stringStream key.

passphrase

stringPassphrase. Only included for SRT streams.

quality (required)string

Quality level name.

url

stringLivestream destination. Only included when URL iscustomizable.

PUT /livestreams/0/activePlatform
Set the currently selected platform configuration for the livestream.
Parameters
Name

Type

Description

platform (required)stringPlatform name.

server (required)string

The platform’s server name, or “Custom” when the URL iscustomizable.

key (required)stringStream key.

passphrase

stringPassphrase. Only included for SRT streams.

quality (required)string

Quality level name.

url

stringLivestream destination. Only included when URL iscustomizable.

Response
204 - No Content
400 - Bad Request

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GET /livestreams/platforms
Get the list of available platforms.
Response
200 - OK
Name

Type

Description

Responsearray

List of available platforms names.

Response[i]stringPlatform name.

GET /livestreams/platforms/{platformName}
Get the service configuration for a platform.
Parameters
Name

Type

Description{platformName} (required)stringName of the platform.

Name

Type

Description

platform (required)stringCorresponding platform name.

keystringDefault stream key.

servers (required)array

List of server configurations.

servers[i]objectServer configuration.

servers[i].server (required)stringServer name.

servers[i].url (required)stringLivestream destination.

servers[i].srtExtensions

array

Miscellaneous tags used for SRT livestreams.

servers[i].srtExtensions[i]objectDictionary object mapping SRT tag strings to values.

servers[i].srtExtensions[i][{key}]

string

SRT tag value.

servers[i].groupstring

Logical grouping of the server.

profiles (required)array

List of profile configurations.

profiles[i]objectQuality configuration.

profiles[i].profile (required)string

Quality level name.

profiles[i].configs (required)array

List of video format configurations.

profiles[i].configs[i]objectVideo format configuration for profiles.

profiles[i].configs[i].resolution(required)stringVideo format serialised as a string.

profiles[i].configs[i].fps (required)stringFrames per second.

profiles[i].configs[i].bitrate (required)integer

Pixel bitrate (bps).

profiles[i].configs[i].audioBitrateinteger

Audio bitrate (bps).

profiles[i].configs[i].keyFrameInterval

integer

How often a key frame is sent, in seconds.

profiles[i].configs[i].videoCodecs

array

Supported video encoding algorithm/s.

profiles[i].configs[i].videoCodecs[i]stringVideo encoding algorithm. Possible values are: H264, H265.

Response
200 - OK
The response is a JSON object.

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profiles[i].lowLatency (required)boolean

If true, fewer frames will be buffered in the livestream.

defaultProfile

string

Quality level name.

credentials

objectCredientials used for RTMP streams.

credentials.username (required)string

The username part of the creditials. Only used for RTMP
streams.

credentials.password (required)stringUsed for RTMP streams, also used as Passphrase for SRT
streams.

customizableUrlEnabledbooleanTrue when the server URL is customizable.

400 - Bad Request

GET /livestreams/customPlatforms
Get a list of custom platform files.
Response
200 - OK
Name

Type

Description

Responsearray

List of custom platform file names.

Response[i]stringCustom platform file name.

DELETE /livestreams/customPlatforms
Remove all custom configuration files.
Response
204 - No Content

GET /livestreams/customPlatforms/{filename}Get a custom platform file.
Parameters
Name

Type

Description{filename} (required)stringName of the file to get.

Name

Type

Description

Response

objectBlackmagic streaming XML file format.

Response
200 - OK404 - Not Found

PUT /livestreams/customPlatforms/{filename}
Update a custom platform file if it exists, if not, create a new file with the given file name.
Parameters
Name

Type

Description{filename} (required)stringName of the file to update/create.

Response
204 - No Content
400 - Bad Request
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DELETE /livestreams/customPlatforms/{filename}Remove the given custom platform file.
Parameters
Name

Type

Description{filename} (required)stringName of the file to be removed.

Response
204 - No Content
404 - Not Found

Event Control API
API For working with built-in websocket.

GET /event/list
Get the list of events that can be subscribed to using the websocket API.
Response
200 - OK
The response is a JSON object.
Name

Type

eventsarray

events[i]stringDescription

List of events that can be subscribed to using thewebsocket API

System Control API
API for controlling the System Modes on Blackmagic Design products.

GET /system
Get device system information.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

codecFormat

objectcodecFormat.codec

stringCurrently selected codec.

codecFormat.container

stringMultimedia container format.

videoFormat

objectVideo format configuration.

videoFormat.name (required)stringVideo format serialised as a string.

videoFormat.frameRate

stringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

videoFormat.heightnumberHeight dimension of video format.

videoFormat.width

numberWidth dimension of video format.

videoFormat.interlacedbooleanIs the display format interlaced?

501 - This functionality is not implemented for the device in use.
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GET /system/supportedCodecFormats
Get the list of supported codecs.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

codecsarray

codecs[i]objectcodecs[i].codec

stringCurrently selected codec.

codecs[i].container

stringMultimedia container format.

501 - This functionality is not implemented for the device in use.

GET /system/codecFormat
Get the currently selected codec.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

codec

stringCurrently selected codec.

container

stringMultimedia container format.

501 - This functionality is not implemented for the device in use.

PUT /system/codecFormat
Set the codec.
Parameters
Name

Type

Description

codec

stringCurrently selected codec.

container

stringMultimedia container format.

Response
204 - No Content
501 - This functionality is not implemented for the device in use.

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GET /system/videoFormat
Get the currently selected video format.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

name (required)stringVideo format serialised as a string.

frameRatestringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

heightnumberHeight dimension of video format.

width

numberWidth dimension of video format.

interlacedbooleanIs the display format interlaced?

501 - This functionality is not implemented for the device in use.

PUT /system/videoFormat
Set the video format.
Parameters
This parameter can be one of the following types:
Name

Type

Description

frameRatestringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

heightnumberHeight dimension of video format.

width

numberWidth dimension of video format.

interlacedbooleanIs the display format interlaced?

Name

Type

Description

name (required)stringVideo format serialised as a string.

Response
204 - No Content
501 - This functionality is not implemented for the device in use.

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GET /system/supportedVideoFormats
Get the list of supported video formats for the current system state.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

formatsarray

List of video formats.

formats[i]objectVideo format configuration.

formats[i].name (required)stringVideo format serialised as a string.

formats[i].frameRate

stringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

formats[i].heightnumberHeight dimension of video format.

formats[i].width

numberWidth dimension of video format.

formats[i].interlacedbooleanIs the display format interlaced?

501 - This functionality is not implemented for the device in use.

GET /system/supportedFormats
Get supported formats.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

supportedFormats

array

supportedFormats[i]objectsupportedFormats[i].codecs

array

supportedFormats[i].codecs[i]stringsupportedFormats[i].frameRates

array

supportedFormats[i].frameRates[i]stringsupportedFormats[i].
maxOffSpeedFrameRate

numbersupportedFormats[i].
minOffSpeedFrameRate

numbersupportedFormats[i].
recordResolution

objectsupportedFormats[i].
recordResolution.heightnumberHeight of the resolution.

supportedFormats[i].
recordResolution.width

numberWidth of the resolution.

supportedFormats[i].
sensorResolution

objectPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

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supportedFormats[i].
sensorResolution.heightnumberHeight of the resolution.

supportedFormats[i].
sensorResolution.width

numberWidth of the resolution.

501 - This functionality is not implemented for the device in use.

GET /system/format
Get current format.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

codec

stringCurrently selected codec.

frameRatestringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

maxOffSpeedFrameRate

numberminOffSpeedFrameRate

number

offSpeedEnabledbooleanoffSpeedFrameRate

numberrecordResolution

objectrecordResolution.heightnumberHeight of the resolution.

recordResolution.width

numberWidth of the resolution.

sensorResolution

objectsensorResolution.heightnumberHeight of the resolution.

sensorResolution.width

numberWidth of the resolution.

501 - This functionality is not implemented for the device in use.

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PUT /system/format
Set the format.
Parameters
Name

Type

Description

codec

stringCurrently selected codec.

frameRatestringPossible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

maxOffSpeedFrameRate

numberminOffSpeedFrameRate

number

offSpeedEnabledbooleanoffSpeedFrameRate

numberrecordResolution

objectrecordResolution.heightnumberHeight of the resolution.

recordResolution.width

numberWidth of the resolution.

sensorResolution

objectsensorResolution.heightnumberHeight of the resolution.

sensorResolution.width

numberWidth of the resolution.

Response
204 - No Content
501 - This functionality is not implemented for the device in use.

Transport Control API
API for controlling Transport on Blackmagic Design products.

GET /transports/0
Get device’s basic transport status.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

mode

stringTransport mode. Possible values are: InputPreview,
InputRecord, Output.

PUT /transports/0
Set device’s basic transport status.
Parameters
Name

Type

Description

mode

stringTransport mode. Possible values are: InputPreview, Output.

Response
204 - No Content

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GET /transports/0/stop
Determine if transport is stopped.
Response
200 - OK
Name

Type

Description

ResponsebooleanTrue when transport mode is InputPreview or when in
Output mode and speed is 0

Name

Type

Description

ResponsebooleanTrue when transport is in Output mode and speed is nonzero

PUT /transports/0/stop
Stop transport.
Response
204 - No Content

GET /transports/0/play
Determine if transport is playing.
Response
200 - OK

PUT /transports/0/playStart playing on transport.
Response
204 - No Content

GET /transports/0/playback
Get playback state.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

type

stringPossible values are: Play, Jog, Shuttle, Var.

loopbooleanWhen true playback loops from the end of the timeline tothe beginning of the timeline

singleClipbooleanWhen true playback loops from the end of the current clip tothe beginning of the current clip

speed

numberPlayback Speed, 1.0 for normal forward playback

position

integer

Playback position on the timeline in units of video frames

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PUT /transports/0/playback
Set playback state.
Parameters
Name

Type

Description

type

stringPossible values are: Play, Jog, Shuttle, Var.

loopbooleanWhen true playback loops from the end of the timeline tothe beginning of the timeline

singleClipbooleanWhen true playback loops from the end of the current clip tothe beginning of the current clip

speed

numberPlayback Speed, 1.0 for normal forward playback

position

integer

Playback position on the timeline in units of video frames

Name

Type

Description

recordingbooleanIs transport in Input Record mode

Name

Type

Description

recordingbooleanIs transport in Input Record mode

clipName

stringUsed to set the requested clipName to record to, when
specifying “recording” attribute to True

Response
204 - No Content

GET /transports/0/record
Get record state.
Response
200 - OK
The response is a JSON object.

PUT /transports/0/record
Set record state.
Parameters

Response
204 - No Content

GET /transports/0/timecodeGet device’s timecode.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

timecode

number

The time of day timecode in units of binary-coded decimal(BCD).

clip

number

The position of the clip timecode in units of binary-coded
decimal (BCD).

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GET /transports/0/timecode/source
Get timecode source selected on device
Response
200 - OK
The response is a JSON object.
Name

Type

Description

timecode

stringPossible values are: Timecode, Clip.

Timeline Control API
API for controlling playback timeline.

GET /timelines/0
Get the current playback timeline.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

clips

array

clips[i]objectclips[i].clipUniqueId

integer

Unique ID used to identify this clip

clips[i].frameCount

integerNumber of frames in this clip on the timeline

DELETE /timelines/0
Clear the current playback timeline.
Response
204 - No Content

POST /timelines/0/add
Add a clip to the end of the timeline.
Parameters
This parameter can be one of the following types:
Name

Type

Description

clips

integer

Unique ID used to identify this clip

Name

Type

Description

clips

array

clips[i]integer

Unique ID used to identify this clip

Response
204 - No Content

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Media Control API
API for controlling media devices in Blackmagic Design products.

GET /media/workingset
Get the list of media devices currently in the working set.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

size

integer

The fixed size of this device’s working set

workingset

array

workingset[i]objectworkingset[i].index

integerIndex of this media in the working set

workingset[i].activeDisk

booleanIs this current item the active disk

workingset[i].volume

stringVolume nameworkingset[i].deviceNamestringInternal device name of this media device

workingset[i].remainingRecordTime

integer

Remaining record time on media device in seconds

workingset[i].totalSpace

integer

Total space on media device in bytes

workingset[i].remainingSpace

integer

Remaining space on media device in bytes

workingset[i].clipCount

integerNumber of clips currently on the device

GET /media/active
Get the currently active media device.
Response
200 - OK
The response is a JSON object.
Name

Type

Description

workingsetIndex

integer

Working set index of the active media device

deviceNamestringInternal device name of this media device

PUT /media/active
Set the currently active media device.
Parameters
Name

Type

Description

workingsetIndex

integer

Working set index of the media to become active

Response
204 - No Content

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GET /media/devices/doformatSupportedFilesystems
Get the list of filesystems available to format the device.
Response
200 - OK
Name

Type

Responsearray

Response[i]stringDescription

GET /media/devices/{deviceName}
Get information about the selected device.
Parameters
Name

Type

Description{deviceName} (required)stringDevice name of the media device, as returned bydeviceName member of Workingset or ActiveMedia

Name

Type

Description

state

string

The current state of the media device. Possible values
are: None, Scanning, Mounted, Uninitialised, Formatting,
RaidComponent.

Response
200 - OK
The response is a JSON object.

GET /media/devices/{deviceName}/doformat
Get a format key, used to format the device with a put request.
Parameters
Name

Type

Description{deviceName} (required)stringDevice name of the media device, as returned bydeviceName member of Workingset or ActiveMedia

Name

Type

Description

deviceNamestringInternal device name of this media device

keystring

The key used to format this device, it must be fetched with
the GET request and then provided back with a PUT request

Response
200 - OK
The response is a JSON object.

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PUT /media/devices/{deviceName}/doformat
Perform a format of the media device.
Parameters
Name

Type

Description{deviceName} (required)stringDevice name of the media device, as returned bydeviceName member of Workingset or ActiveMedia

Name

Type

Description

key

string

The key used to format this device, it must be fetched with
the GET request and then provided back with a PUT request

filesystem

stringFilesystem to format to (supportedFilesystems returns list of
supported fileSystems)

volumestringVolume name to set for the disk after format

Response
204 - No Content

Preset Control API
API For controlling the presets on Blackmagic Design products

GET /presets
Get the list of the presets on the camera
Response
200 - OK
The response is a JSON object.
Name

Type

Description

presetsarray

List of the presets on the camera

presets[i]stringPOST /presets
Send a preset file to the camera
Response
200 - OK
The response is a JSON object.
Name

Type

Description

presetAdded

stringName of the preset uploaded

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GET /presets/active
Get the list of the presets on the camera
Response
200 - OK
The response is a JSON object.
Name

Type

presetstringDescription

PUT /presets/active
Set the active preset on the camera
Parameters
Name

Type

presetstringDescription

Response
204 - No Content

GET /presets/{presetName}
Download the preset fileParameters
Name

Type

Description{presetName} (required)stringname of the preset file

Name

Type

Description

Response

stringResponse
200 - OK
The response is a binary file.

PUT /presets/{presetName}
Update a preset on the camera if it exists, if not create a preset and save current state with thepresetName
Parameters
Name

Type

Description{presetName} (required)stringname of the preset file

Response
204 - No Content

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DELETE /presets/{presetName}
Delete a preset from a camera if exists
Parameters
Name

Type

Description{presetName} (required)stringname of the preset file

Response
204 - No Content

Audio Control API
API For controlling audio on Blackmagic Design Cameras

GET /audio/channels
Get the total number of audio channels available
Response
200 - Returns the total number of channels
The response is a JSON object.
Name

Type

Description

channels

integer

Total number of audio channels available

500 - Internal server error

GET /audio/supportedInputs
Get the list of supported audio inputs
Response
200 - List of all supported audio inputs
Name

Type

Responsearray

Response[i]stringDescription

A supported audio input

500 - Internal server error

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GET /audio/channel/{channelIndex}/input
Get the audio input (source and type) for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Type

Description

stringPossible values are: None, Camera - Left, Camera - Right,
Camera - Mono, XLR1 - Mic, XLR1 - Line, XLR2 - Mic, XLR2- Line, 3.5mm Left - Line, 3.5mm Left - Mic, 3.5mm Right Line, 3.5mm Right - Mic, 3.5mm Mono - Line, 3.5mm Mono
- Mic.

Response
200 - Currently selected input
The response is a JSON object.
Name

input

404 - Channel does not exist

PUT /audio/channel/{channelIndex}/input
Set the audio input for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Name

Type

Description

stringPossible values are: None, Camera - Left, Camera - Right,
Camera - Mono, XLR1 - Mic, XLR1 - Line, XLR2 - Mic, XLR2- Line, 3.5mm Left - Line, 3.5mm Left - Mic, 3.5mm Right Line, 3.5mm Right - Mic, 3.5mm Mono - Line, 3.5mm Mono
- Mic.

input

Response
204 - No Content
400 - Invalid input
404 - Channel does not exist

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GET /audio/channel/{channelIndex}/input/description
Get the description of the current input of the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Description of the current input of the selected channel
The response is a JSON object.
Name

Type

Description

gainRange

objectgainRange.Min

number

The minimum gain value in dB

gainRange.Max

number

The maximum gain value in dB

capabilities

objectcapabilities.PhantomPowerboolean

Input supports setting of phantom power

capabilities.LowCutFilter

boolean

Input supports setting of low cut filter

capabilities.Padding

objectcapabilities.Padding.available

boolean

Input supports setting of padding

capabilities.Padding.forced

booleanPadding is forced to be set for the input

capabilities.Padding.value

numberValue of the padding in dB

404 - Channel does not exist

GET /audio/channel/{channelIndex}/supportedInputs
Get the list of supported inputs and their availability to switch to for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its supported inputs are being
queried. (Channels index from 0)

Response
200 - The list of supported inputs
The response is a JSON object.
Name

Type

supportedInputs

array

supportedInputs[i]objectsupportedInputs[i].schema

objectDescription

supportedInputs[i].schema.input

stringPossible values are: None, Camera - Left, Camera - Right,
Camera - Mono, XLR1 - Mic, XLR1 - Line, XLR2 - Mic, XLR2- Line, 3.5mm Left - Line, 3.5mm Left - Mic, 3.5mm Right Line, 3.5mm Right - Mic, 3.5mm Mono - Line, 3.5mm Mono
- Mic.

supportedInputs[i].available

booleanIs the input available to be switched into from the current
input for the selected channel

404 - Channel does not exist
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GET /audio/channel/{channelIndex}/levelGet the audio input level for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Currently set level for the selected channel
The response is a JSON object.
Name

Type

gain

numbernormalised

numberDescription

404 - Channel does not exist

PUT /audio/channel/{channelIndex}/levelSet the audio input level for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Name

Type

Description

gain

numbernormalised

numberResponse
204 - No Content
400 - Invalid input
404 - Channel does not exist

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GET /audio/channel/{channelIndex}/phantomPowerGet the audio input phantom power for the selected channel if possible
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Currently set level for the selected channel
The response is a JSON object.
Name

Type

phantomPowerbooleanDescription

404 - Channel does not exist

PUT /audio/channel/{channelIndex}/phantomPower
Set the audio phantom power for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Name

Type

Description

phantomPowerbooleanResponse
204 - No Content
400 - Phantom power is not supported for this input
404 - Channel does not exist

GET /audio/channel/{channelIndex}/padding
Get the audio input padding for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Currently set padding for the selected channel
The response is a JSON object.
Name

Type

paddingbooleanDescription

404 - Channel does not exist

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PUT /audio/channel/{channelIndex}/padding
Set the audio input padding for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Name

Type

Description

paddingbooleanResponse
204 - No Content
400 - Padding is not supported for this input
404 - Channel does not exist

GET /audio/channel/{channelIndex}/lowCutFilter
Get the audio input low cut filter for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Currently set low cut filter for the selected channel
The response is a JSON object.
Name

Type

lowCutFilter

booleanDescription

404 - Channel does not exist

PUT /audio/channel/{channelIndex}/lowCutFilter
Set the audio input low cut filter for the selected channel
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Name

Type

Description

lowCutFilter

booleanResponse
204 - No Content
400 - Low cut filter is not supported for this input
404 - Channel does not exist

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GET /audio/channel/{channelIndex}/available
Get the audio input’s current availability for the selected channel. If unavailable, the source
will be muted
Parameters
Name

Type

Description{channelIndex} (required)integer

The index of the channel that its input is being controlled.
(Channels index from 0)

Response
200 - Currently set availability for the selected channel
The response is a JSON object.
Name

Type

availablebooleanDescription

404 - Channel does not exist

Lens Control API
API For controlling the lens on Blackmagic Design products

GET /lens/iris
Get lens’ aperture
Response
200 - OK
The response is a JSON object.
Name

Type

Description

continuousApertureAutoExposurebooleanIs Aperture controlled by auto exposure

apertureStop

numberAperture stop value

normalised

numberNormalised value

apertureNumber

numberAperture number

Name

Type

Description

apertureStop

numberAperture stop value

normalised

numberNormalised value

apertureNumber

numberAperture number

PUT /lens/iris
Set lens’ aperture
Parameters

Response
204 - No Content

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GET /lens/zoom
Get lens’ zoom
Response
200 - OK
The response is a JSON object.
Name

Type

Description

focalLength

integer

Focal length in mm

normalised

numberNormalised value

Name

Type

Description

focalLength

integer

Focal length in mm

normalised

numberNormalised value

Name

Type

Description

focus

numberNormalised value

Name

Type

Description

focus

numberNormalised value

PUT /lens/zoom
Set lens’ zoom
Parameters

Response
204 - No Content

GET /lens/focus
Get lens’ focus
Response
200 - OK
The response is a JSON object.

PUT /lens/focus
Set lens’ focus
Parameters

Response
204 - No Content

PUT /lens/focus/doAutoFocus
Perform auto focus
Response
204 - No Content

Developer Information250

Video Control API
API For controlling the video on Blackmagic Design products

GET /video/iso
Get current ISO
Response
200 - OK
The response is a JSON object.
Name

Type

Descriptioniso

integerCurrent ISO value

Name

Type

Descriptioniso

integer

ISO value to set

PUT /video/iso
Set current ISO
Parameters

Response
204 - No Content

GET /video/supportedISOs
Get the list of supported ISO settings
Response
200 - List of supported ISO values
The response is a JSON object.
Name

Type

Description

supportedISOs

array

Array of supported ISO values

supportedISOs[i]integer

500 - Internal server error

GET /video/gain
Get current gain value in decibels
Response
200 - OK
The response is a JSON object.
Name

Type

Description

gain

integerCurrent gain value in decibels

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PUT /video/gain
Set current gain value
Parameters
Name

Type

Description

gain

integerGain value in decibels to set

Response
204 - No Content

GET /video/supportedGains
Get the list of supported gain settings in decibels
Response
200 - List of supported gain values in decibels
The response is a JSON object.
Name

Type

Description

supportedGains

array

Array of supported gain values in decibels

supportedGains[i]integer

500 - Internal server error

GET /video/whiteBalance
Get current white balance
Response
200 - OK
The response is a JSON object.
Name

Type

Description

whiteBalance

integerCurrent white balance

Name

Type

Description

whiteBalance

integerWhite balance to set

PUT /video/whiteBalance
Set current white balance
Parameters

Response
204 - No Content

PUT /video/whiteBalance/doAuto
Set current white balance automaticallyResponse
204 - No Content

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GET /video/whiteBalanceTint
Get white balance tint
Response
200 - OK
The response is a JSON object.
Name

Type

Description

whiteBalanceTint

integerCurrent white balance tint

PUT /video/whiteBalanceTint
Set white balance tint
Parameters
Name

Type

Description

whiteBalanceTint

integerWhite balance tint to set

Name

Type

Description

stop

numberCurrent filter power (fStop)

Name

Type

Description

stop

numberFilter power (fStop) to set

Response
204 - No Content

GET /video/ndFilter
Get ND filter stop
Response
200 - OK
The response is a JSON object.

PUT /video/ndFilter
Set ND filter stop
Parameters

Response
204 - No Content

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GET /video/supportedNDFilters
Get the list of available ND filter stops
Response
200 - List of available ND filter stops
The response is a JSON object.
Name

Type

Description

supportedStops

array

Array of available ND filter stops

supportedStops[i]string501 - Not implemented for this device

GET /video/ndFilter/displayMode
Get ND filter display mode on the camera
Response
200 - OK
The response is a JSON object.
Name

Type

Description

displayModestringPossible values are: Stop, Number, Fraction.

PUT /video/ndFilter/displayMode
Set ND filter display mode on the camera
Parameters
Name

Type

Description

displayModestringPossible values are: Stop, Number, Fraction.

Response
204 - No Content

GET /video/ndFilterSelectable
Check if ND filter adjustments are selectable via a slider
Response
200 - Indicates if ND filter is selectable
The response is a JSON object.
Name

Type

Description

selectablebooleanTrue if ND filter adjustments are selectable via a slider

501 - Not implemented for this device

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GET /video/shutter
Get current shutter. Will return either shutter speed or shutter angle depending on shutter
measurement in device settings
Response
200 - OK
The response is a JSON object.
Name

Type

Description

continuousShutterAutoExposureboolean

Is shutter controlled by auto exposure

shutterSpeed

integer

Shutter speed value in fractions of a second (minimum issensor frame rate)

shutterAngle

integer

Shutter angle

Name

Type

Description

shutterSpeed

integer

Shutter speed value in fractions of a second (minimum issensor frame rate)

shutterAngle

integer

Shutter angle

Name

Type

Descriptionmode

objectAuto exposure mode

mode.mode

stringPossible values are: Off, Continuous, OneShot.

mode.typestringPossible values are: , Iris, Shutter, Iris,Shutter, Shutter,Iris.

Name

Type

Descriptionmode

objectAuto exposure mode

mode.mode

stringPossible values are: Off, Continuous, OneShot.

mode.typestringPossible values are: , Iris, Shutter, Iris,Shutter, Shutter,Iris.

PUT /video/shutter
Set current shutter
Parameters

Response
204 - No Content

GET /video/autoExposure
Get current auto exposure mode
Response
200 - OK
The response is a JSON object.

PUT /video/autoExposure
Set auto exposure
Parameters

Response
204 - No Content

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GET /video/detailSharpening
Get the current state of detail sharpening
Response
200 - Current detail sharpening state
The response is a JSON object.
Name

Type

Description

enabledbooleanWhether detail sharpening is enabled

500 - Internal server error

PUT /video/detailSharpening
Enable or disable detail sharpening
Parameters
Name

Type

Description

enabledbooleanEnable or disable detail sharpening

Response
204 - Detail sharpening state updated
400 - Invalid input value
500 - Internal server error

GET /video/detailSharpeningLevel
Get the current detail sharpening level
Response
200 - Current detail sharpening level
The response is a JSON object.
Name

Type

Description

level

stringCurrent detail sharpening level Possible values are: Low,
Medium, High, Unknown.

500 - Internal server error

PUT /video/detailSharpeningLevel
Set the detail sharpening level
Parameters
Name

Type

Description

level

stringDesired level of detail sharpening

Response
204 - Detail sharpening level updated
400 - Invalid level value
500 - Internal server error

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Camera Control API
API For controlling the Camera specific features on Blackmagic Design products

GET /camera/colorBars
Get the status of color bars display
Response
200 - Returns the current status of color bars
The response is a JSON object.
Name

Type

Description

enabledbooleanIndicates if the color bars are currently enabled

500 - Internal server error

PUT /camera/colorBars
Set the status of color bars display
Parameters
Name

Type

Description

enabledbooleanEnable or disable the color bars

Response
204 - Color bars status updated successfully
400 - Invalid request
500 - Internal server error

GET /camera/programFeedDisplay
Get the status of program feed display
Response
200 - Returns the current status of program feed display
The response is a JSON object.
Name

Type

Description

enabledbooleanIndicates if the program feed display is currently enabled

500 - Internal server error

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PUT /camera/programFeedDisplay
Set the status of program feed display
Parameters
Name

Type

Description

enabledbooleanEnable or disable the program feed display

Response
204 - Program feed display status updated successfully
400 - Invalid request format or value
500 - Internal server error

GET /camera/tallyStatus
Get the tally status of the camera
Response
200 - Returns the current tally status of the camera
The response is a JSON object.
Name

Type

Description

statusstringCurrent tally status of the camera Possible values are: None,
Preview, Program.

500 - Internal server error

Color Correction Control API
API For controlling the color correction on Blackmagic Design products based on DaVinci
Resolve Color Corrector

GET /colorCorrection/lift
Get color correction lift
Response
200 - OK
The response is a JSON object.
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

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PUT /colorCorrection/lift
Set color correction lift
Parameters
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

Response
204 - No Content

GET /colorCorrection/gamma
Get color correction gamma
Response
200 - OK
The response is a JSON object.
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

PUT /colorCorrection/gamma
Set color correction gamma
Parameters
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

Response
204 - No Content

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GET /colorCorrection/gain
Get color correction gain
Response
200 - OK
The response is a JSON object.
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

PUT /colorCorrection/gain
Set color correction gain
Parameters

Response
204 - No Content

GET /colorCorrection/offset
Get color correction offset
Response
200 - OK
onse is a JSON object.
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

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PUT /colorCorrection/offset
Set color correction offset
Parameters
Name

Type

Description

red

numberDefault value is: 0.

green

numberDefault value is: 0.

bluenumberDefault value is: 0.

luma

numberDefault value is: 0.

Response
204 - No Content

GET /colorCorrection/contrast
Get color correction contrast
Response
200 - OK
The response is a JSON object.
Name

Type

Description

pivot

numberDefault value is: 0.5.

adjustnumberDefault value is: 1.

PUT /colorCorrection/contrast
Set color correction contrast
Parameters
Name

Type

Description

pivot

numberDefault value is: 0.5.

adjustnumberDefault value is: 1.

Response
204 - No Content

GET /colorCorrection/color
Get color correction color properties
Response
200 - OK
The response is a JSON object.
Name

Type

Description

huenumberDefault value is: 0.

saturation

numberDefault value is: 1.

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PUT /colorCorrection/color
Set color correction color properties
Parameters
Name

Type

Description

huenumberDefault value is: 0.

saturation

numberDefault value is: 1.

Response
204 - No Content

GET /colorCorrection/lumaContribution
Get color correction luma contribution
Response
200 - OK
The response is a JSON object.
Name

Type

Description

lumaContribution

numberDefault value is: 1.

PUT /colorCorrection/lumaContribution
Set color correction luma contribution
Parameters
Name

Type

Description

lumaContribution

numberDefault value is: 1.

Response
204 - No Content
Alongside the Blackmagic Camera Control REST API we also have our Camera Control RESTWeb Socket which is an extension of the Camera Control REST API but allows you to listen tovarious parameters in the camera so that when they change or are adjusted subscribers will be
notified of the state change. This allows the subscriber to be aware of changes wherever they
are triggered from. For example, a focus puller physically changing the lens focus position, acamera operator engaging the 2 stop ND with a button on the camera or someone triggering
record start or stop commands from a smart phone via Bluetooth.

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Notification websocket - 1.0.0
Service that notifies subscribers of device state changes.

messages
Subscribe (The messages from the server/device)(JSON)
Name

Type

.data

object.data.action

string.data.properties

array

Description

Possible values are: subscribe, unsubscribe,
listSubscriptions, listProperties, websocketOpened.

.data.properties[i]stringdevice property that the user can subscribe to. The user
can either choose a value from the predefined enum, or
provide a wildcard string. Possible values are: /media/active,/system, /system/codecFormat, /system/videoFormat,/system/format, /system/supportedFormats, /timelines/0,/transports/0, /transports/0/stop, /transports/0/play,/transports/0/playback, /transports/0/record, /transports/0/
timecode, /transports/0/timecode/source, /audio/channel/{channelIndex}/input, /audio/channel/{channelIndex}/
supportedInputs, /audio/channel/{channelIndex}/level,/audio/channel/{channelIndex}/phantomPower, /audio/channel/{channelIndex}/padding, /audio/channel/{channelIndex}/lowCutFilter, /audio/channel/{channelIndex}/available, /colorCorrection/lift, /colorCorrection/gamma,/colorCorrection/gain, /colorCorrection/offset,/colorCorrection/contrast, /colorCorrection/color,/colorCorrection/lumaContribution, /lens/iris, /lens/focus,/lens/zoom, /presets, /presets/active, /video/iso, /video/
whiteBalance, /video/whiteBalanceTint, /video/ndFilter,/video/videoNdFilterDisplayMode, /video/shutter, /video/
autoExposure. Must match the pattern: .*.

.data.values

objectAn object with property names as the key and a property
value as json. Check the next section for a the device
properties and their return values.

.data.successboolean.data.deviceProperties

array.data.deviceProperties[i]stringdevice property that the user can subscribe to. The user
can either choose a value from the predefined enum, or
provide a wildcard string. Possible values are: /media/active,/system, /system/codecFormat, /system/videoFormat,/system/format, /system/supportedFormats, /timelines/0,/transports/0, /transports/0/stop, /transports/0/play,/transports/0/playback, /transports/0/record, /transports/0/
timecode, /transports/0/timecode/source, /audio/channel/{channelIndex}/input, /audio/channel/{channelIndex}/
supportedInputs, /audio/channel/{channelIndex}/level,/audio/channel/{channelIndex}/phantomPower, /audio/channel/{channelIndex}/padding, /audio/channel/{channelIndex}/lowCutFilter, /audio/channel/{channelIndex}/available, /colorCorrection/lift, /colorCorrection/gamma,/colorCorrection/gain, /colorCorrection/offset,/colorCorrection/contrast, /colorCorrection/color,/colorCorrection/lumaContribution, /lens/iris, /lens/focus,/lens/zoom, /presets, /presets/active, /video/iso, /video/
whiteBalance, /video/whiteBalanceTint, /video/ndFilter,/video/videoNdFilterDisplayMode, /video/shutter, /video/
autoExposure. Must match the pattern: .*.

.typestringPossible values are: response.

.id

numberOptional parameter that repeats the id in the output for
tracking messages

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(JSON)
Name

Type

Description.data

object.data.action

stringPossible values are: propertyValueChanged.

.data.property

stringdevice property that the user can subscribe to. The user
can either choose a value from the predefined enum, or
provide a wildcard string. Possible values are: /media/active,/system, /system/codecFormat, /system/videoFormat,/system/format, /system/supportedFormats, /timelines/0,/transports/0, /transports/0/stop, /transports/0/play,/transports/0/playback, /transports/0/record, /transports/0/
timecode, /transports/0/timecode/source, /audio/channel/{channelIndex}/input, /audio/channel/{channelIndex}/
supportedInputs, /audio/channel/{channelIndex}/level,/audio/channel/{channelIndex}/phantomPower, /audio/channel/{channelIndex}/padding, /audio/channel/{channelIndex}/lowCutFilter, /audio/channel/{channelIndex}/available, /colorCorrection/lift, /colorCorrection/gamma,/colorCorrection/gain, /colorCorrection/offset,/colorCorrection/contrast, /colorCorrection/color,/colorCorrection/lumaContribution, /lens/iris, /lens/focus,/lens/zoom, /presets, /presets/active, /video/iso, /video/
whiteBalance, /video/whiteBalanceTint, /video/ndFilter,/video/videoNdFilterDisplayMode, /video/shutter, /video/
autoExposure. Must match the pattern: .*.

.data.value

objectAn object with property names as the key and a property
value as json. Check the next section for a the device
properties and their return values.

.type

stringPossible values are: event.

Publish (The messages that user can send to the server/device)(JSON)
Name

Type

.data

object.data.action

string.data.properties

array.data.properties[i]stringDescription

Possible values are: subscribe, unsubscribe,
listSubscriptions, listProperties, websocketOpened.

device property that the user can subscribe to. The user
can either choose a value from the predefined enum, or
provide a wildcard string. Possible values are: /media/active,/system, /system/codecFormat, /system/videoFormat,/system/format, /system/supportedFormats, /timelines/0,/transports/0, /transports/0/stop, /transports/0/play,/transports/0/playback, /transports/0/record, /transports/0/
timecode, /transports/0/timecode/source, /audio/channel/{channelIndex}/input, /audio/channel/{channelIndex}/
supportedInputs, /audio/channel/{channelIndex}/level,/audio/channel/{channelIndex}/phantomPower, /audio/channel/{channelIndex}/padding, /audio/channel/{channelIndex}/lowCutFilter, /audio/channel/{channelIndex}/available, /colorCorrection/lift, /colorCorrection/gamma,/colorCorrection/gain, /colorCorrection/offset,/colorCorrection/contrast, /colorCorrection/color,/colorCorrection/lumaContribution, /lens/iris, /lens/focus,/lens/zoom, /presets, /presets/active, /video/iso, /video/
whiteBalance, /video/whiteBalanceTint, /video/ndFilter,/video/videoNdFilterDisplayMode, /video/shutter, /video/
autoExposure. Must match the pattern: .*.

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.data.values

object.data.successboolean.data.devicePropertiesarray

An object with property names as the key and a property
value as json. Check the next section for a the device
properties and their return values.

.data.deviceProperties[i]stringdevice property that the user can subscribe to. The user
can either choose a value from the predefined enum, or
provide a wildcard string. Possible values are: /media/active,/system, /system/codecFormat, /system/videoFormat,/system/format, /system/supportedFormats, /timelines/0,/transports/0, /transports/0/stop, /transports/0/play,/transports/0/playback, /transports/0/record, /transports/0/
timecode, /transports/0/timecode/source, /audio/channel/{channelIndex}/input, /audio/channel/{channelIndex}/
supportedInputs, /audio/channel/{channelIndex}/level,/audio/channel/{channelIndex}/phantomPower, /audio/channel/{channelIndex}/padding, /audio/channel/{channelIndex}/lowCutFilter, /audio/channel/{channelIndex}/available, /colorCorrection/lift, /colorCorrection/gamma, /colorCorrection/gain, /colorCorrection/offset,/colorCorrection/contrast, /colorCorrection/color,/colorCorrection/lumaContribution, /lens/iris, /lens/focus,/lens/zoom, /presets, /presets/active, /video/iso, /video/
whiteBalance, /video/whiteBalanceTint, /video/ndFilter,/video/videoNdFilterDisplayMode, /video/shutter, /video/
autoExposure. Must match the pattern: .*.

.typestringPossible values are: response.

.id

numberOptional parameter that repeats the id in the output for
tracking messages

Device Properties/media/active
The value JSON returned via the eventResponse when the /media/active property changes on
the device:
Name

Type

Description.workingsetIndex

integer

Working set index of the active media device.deviceNamestringInternal device name of this media device

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/system
The value JSON returned via the eventResponse when the /system property changes on
the device:
Name

Type

Description.codecFormat

objectCurrently selected codec.codecFormat.codec

stringCurrently selected codec.codecFormat.container

stringMultimedia container format.videoFormat

objectCurrently selected video format.videoFormat.frameRate

stringFrame rate Possible values are: 23.98, 24.00, 24, 25.00, 25,
29.97, 30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00,
60, 119.88, 120.00, 120.

.videoFormat.heightnumberHeight dimension of video format.videoFormat.width

numberWidth dimension of video format.videoFormat.interlacedbooleanIs the display format interlaced?

.videoFormat.namestringVideo format serialised as a string/system/codecFormat
Currently selected codec
The value JSON returned via the eventResponse when the /system/codecFormat propertychanges on the device:
Name

Type

Description.codecstringCurrently selected codec.container

stringMultimedia container format/system/videoFormat
Currently selected video format
The value JSON returned via the eventResponse when the /system/videoFormat propertychanges on the device:
Name

Type

Description.frameRate

stringFrame rate Possible values are: 23.98, 24.00, 24, 25.00, 25,
29.97, 30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00,
60, 119.88, 120.00, 120.

.height

numberHeight dimension of video format.widthnumberWidth dimension of video format.interlacedbooleanIs the display format interlaced?

.namestringVideo format serialised as a string

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/system/format
The value JSON returned via the eventResponse when the /system/format property changes
on the device:
Name

Type

Description.codecstringCurrently selected codec.frameRate

stringFrame rate Possible values are: 23.98, 24.00, 24, 25.00, 25,
29.97, 30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00,
60, 119.88, 120.00, 120.

.maxOffSpeedFrameRate

number.minOffSpeedFrameRate

number.offSpeedEnabledboolean.offSpeedFrameRate

number.recordResolution

object.recordResolution.heightnumberHeight of the resolution.recordResolution.width

numberWidth of the resolution.sensorResolution

object.sensorResolution.heightnumberHeight of the resolution.sensorResolution.width

numberWidth of the resolution/system/supportedFormats
The value JSON returned via the eventResponse when the /system/supportedFormats propertychanges on the device:
Name

Type

Description.supportedFormats

array.supportedFormats[i]object.supportedFormats[i].codecs

array.supportedFormats[i].codecs[i]string.supportedFormats[i].frameRates

array.supportedFormats[i].frameRates[i]string.supportedFormats[i].
maxOffSpeedFrameRate

number.supportedFormats[i].
minOffSpeedFrameRate

number.supportedFormats[i].
recordResolution

object.supportedFormats[i].
recordResolution.heightnumberHeight of the resolution.supportedFormats[i].
recordResolution.width

numberWidth of the resolution.supportedFormats[i].
sensorResolution

object.supportedFormats[i].
sensorResolution.heightnumberHeight of the resolution.supportedFormats[i].
sensorResolution.width

numberWidth of the resolution

Possible values are: 23.98, 24.00, 24, 25.00, 25, 29.97,
30.00, 30, 47.95, 48.00, 48, 50.00, 50, 59.94, 60.00, 60,
119.88, 120.00, 120.

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/timelines/0
The value JSON returned via the eventResponse when the /timelines/0 property changes on
the device:
Name

Type

Description.clipsarray.clips[i]object.clips[i].clipUniqueId

integer

Unique ID used to identify this clip

.clips[i].frameCount

integerNumber of frames in this clip on the timeline/transports/0
The value JSON returned via the eventResponse when the /transports/0 property changes on
the device:
Name

Type

Description.mode

stringTransport mode Possible values are: InputPreview,
InputRecord, Output.

/transports/0/stoptrue when transport mode is InputPreview or when in Output mode and speed is 0
The value JSON returned via the eventResponse when the /transports/0/stop propertychanges on the device:
Name

Type

Description/transports/0/play
True when transport is in Output mode and speed is non-zero
The value JSON returned via the eventResponse when the /transports/0/play property changes
on the device:
Name

Type

Description/transports/0/playback
The value JSON returned via the eventResponse when the /transports/0/playback propertychanges on the device:
Name

Type

Description.type

stringPossible values are: Play, Jog, Shuttle, Var.

.loopbooleanWhen true playback loops from the end of the timeline tothe beginning of the timeline.singleClipbooleanWhen true playback loops from the end of the current clip tothe beginning of the current clip

.speednumberPlayback speed, 1.0 for normal forward playback.position

integer

Playback position on the timeline in units of video frames

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/transports/0/record
The value JSON returned via the eventResponse when the /transports/0/record propertychanges on the device:
Name

Type

Description.recording

booleanIs transport in Input Record mode/transports/0/timecode
The value JSON returned via the eventResponse when the /transports/0/timecode propertychanges on the device:
Name

Type

Description.timecode

number

The time of day timecode in units of binary-coded decimal(BCD).

.clip

number

The position of the clip timecode in units of binary-coded
decimal (BCD).

/transports/0/timecode/source
The value JSON returned via the eventResponse when the /transports/0/timecode/source
property changes on the device:
Name

Type

Description.timecode

stringPossible values are: Timecode, Clip.

/audio/channel/{channelIndex}/input
Get the audio input (source and type) for the selected channel
The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/input
property changes on the device:
Name

Type

.inputobject.input.input

stringDescription

Possible values are: None, Camera - Left, Camera - Right,
Camera - Mono, XLR1 - Mic, XLR1 - Line, XLR2 - Mic, XLR2- Line, 3.5mm Left - Line, 3.5mm Left - Mic, 3.5mm Right Line, 3.5mm Right - Mic, 3.5mm Mono - Line, 3.5mm Mono
- Mic.

/audio/channel/{channelIndex}/level
The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/levelproperty changes on the device:
Name

Type

Description.levelobject

The input level of the selected channel. Only one property
is required for setting. If both provided, gain will beprioritized and level would be ignored.

.level.gain

number.level.normalised

numberNormalised value

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/audio/channel/{channelIndex}/phantomPowerThe value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/phantomPower property changes on the device:
Name

Type

.phantomPowerobject.phantomPower.phantomPowerbooleanDescription/audio/channel/{channelIndex}/padding
The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/
padding property changes on the device:
Name

Type

.padding

object.padding.padding

booleanDescription/audio/channel/{channelIndex}/lowCutFilter
The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/
lowCutFilter property changes on the device:
Name

Type

.lowCutFilter

object.lowCutFilter.lowCutFilter

booleanDescription/audio/channel/{channelIndex}/available
The value JSON returned via the eventResponse when the /audio/channel/{channelIndex}/available property changes on the device:
Name

Type

.available

object.available.available

booleanDescription/colorCorrection/lift
The value JSON returned via the eventResponse when the /colorCorrection/lift propertychanges on the device:
Name

Type

.Lift

object.Lift.red

number.Lift.green

number.Lift.blue

number.Lift.luma

numberDescription

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/colorCorrection/gamma
The value JSON returned via the eventResponse when the /colorCorrection/gamma propertychanges on the device:
Name

Type

.Gammaobject.Gamma.red

number.Gamma.green

number.Gamma.blue

number.Gamma.luma

numberDescription/colorCorrection/gain
The value JSON returned via the eventResponse when the /colorCorrection/gain propertychanges on the device:
Name

Type

.Gain

object.Gain.red

number.Gain.green

number.Gain.blue

number.Gain.luma

numberDescription/colorCorrection/offset
The value JSON returned via the eventResponse when the /colorCorrection/offset propertychanges on the device:
Name

Type

.Offsetobject.Offset.red

number.Offset.green

number.Offset.blue

number.Offset.luma

numberDescription/colorCorrection/contrast
The value JSON returned via the eventResponse when the /colorCorrection/contrast propertychanges on the device:
Name

Type

Description.Contrast

object.Contrast.pivot

numberDefault value is: 0.5.

.Contrast.adjust

numberDefault value is: 1.

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/colorCorrection/color
The value JSON returned via the eventResponse when the /colorCorrection/color propertychanges on the device:
Name

Type

.Colorobject.Color.hue

number.Color.saturation

numberDescription

Default value is: 1.

/colorCorrection/lumaContribution
The value JSON returned via the eventResponse when the /colorCorrection/lumaContribution
property changes on the device:
Name

Type

.LumaContribution

object.LumaContribution.lumaContribution

numberDescription

Default value is: 1.

/lens/iris
The value JSON returned via the eventResponse when the /lens/iris property changes on
the device:
Name

Type

Description.continuousApertureAutoExposurebooleanIs Aperture controlled by auto exposure.apertureStop

numberAperture stop value.normalised

numberNormalised value.apertureNumber

numberAperture number/lens/focus
The value JSON returned via the eventResponse when the /lens/focus property changes on
the device:
Name

Type

Description.properties/lens/zoom
The value JSON returned via the eventResponse when the /lens/zoom property changes on
the device:
Name

Type

Description.focalLength

integer

Focal length in mm.normalised

numberNormalised value

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/presets
The value JSON returned via the eventResponse when the /presets property changes on
the device:
Name

Type

.presetList

object.presetList.presets

array.presetList.presets[i]stringDescription

List of the presets on the camera/presets/active
The value JSON returned via the eventResponse when the /presets/active property changes
on the device:
Name

Type

.activePreset

object.activePreset.preset

stringDescription/video/iso
The value JSON returned via the eventResponse when the /video/iso property changes on
the device:
Name

Type

Description.iso

integerCurrent ISO value/video/gain
The value JSON returned via the eventResponse when the /video/gain property changes on
the device:
Name

Type

Description.gain

integerCurrent gain value in decibels/video/whiteBalance
The value JSON returned via the eventResponse when the /video/whiteBalance propertychanges on the device:
Name

Type

Description.whiteBalance

integerCurrent white balance/video/whiteBalanceTint
The value JSON returned via the eventResponse when the /video/whiteBalanceTint propertychanges on the device:
Name

Type

Description.whiteBalanceTint

integerCurrent white balance tint

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/video/ndFilter
The value JSON returned via the eventResponse when the /video/ndFilter property changes on
the device:
Name

Type

Description.stop

numberCurrent filter power (fStop)/video/videoNdFilterDisplayMode
The value JSON returned via the eventResponse when the /video/videoNdFilterDisplayMode
property changes on the device:
Name

Type

Description.displayModestringPossible values are: Stop, Number, Fraction.

/video/shutter
The value JSON returned via the eventResponse when the /video/shutter property changes on
the device:
Name

Type

Description.continuousShutterAutoExposureboolean

Is shutter controlled by auto exposure.shutterSpeed

integer

Shutter speed value in fractions of a second (minimum issensor frame rate).shutterAngle

integer

Shutter angle/video/autoExposure
The value JSON returned via the eventResponse when the /video/autoExposure propertychanges on the device:
Name

Type

Description.autoExposure

Developer Information274

Blackmagic Bluetooth Camera Control
Blackmagic cameras with Bluetooth LE implement a variety of features and commands thatallow users to control their cameras wirelessly. Developers have full access to these features fortheir custom applications.
The following services and characteristics describe the full range of communication options thatare 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 Mini”).

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 fromthe 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.
Timecode (encrypted)
UUID: 6D8F2110-86F1-41BF-9AFB-451D87E976C8
Request notifications for this characteristic to receive timecode updates.
Timecode (HH:MM:SS:mm) is represented by a 32-bit BCD number:(eg. 09:12:53:10 = 0x09125310)
Camera Status (encrypted)
UUID: 7FE8691D-95DC-4FC5-8ABD-CA74339B51B9Developer Information

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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= 0x01Connected= 0x02Paired= 0x04

Versions Verified= 0x08Initial Payload Received= 0x10

Camera Ready= 0x20Send a value of 0x00 to power a connected camera off.
Send a value of 0x01 to power a connected camera on.
Device NameUUID: 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 Statuscharacteristic.
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.

Developer Information276

Blackmagic SDI Camera Control Protocol
Version 1.6.2
If you are a software developer you can use the Blackmagic SDI to construct devices that integratewith our products. Here at Blackmagic Design, our approach is to open up our protocols and weeagerly 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 arepacked 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 maximumof 255 bytes payload. Under most circumstances, this should allow all messages to be sent with amaximum 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 255 reserved toindicate a broadcast message to all devices.

Command length (uint8)

The command length is an 8 bit unsigned integer which specifies thelength 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 the message
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 aredevice specific.

Reserved (uint8)

This byte is reserved for alignment and expansion purposes. It should
be set to zero.

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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.

Padding (uint8[])

Messages must be padded up to a 32 bit boundary with 0x0 bytes.
Any padding bytes are NOT included in the command length.

Receiving devices should use the destination device address and or the command identifier todetermine 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 aredevice specific parameters. Parameters 128 though 255 are reservedfor parameters that apply to multiple types of devices.

Data type (uint8)

The data type specifies the type of the remaining data. The packet lengthis used to determine the number of elements in the message. Eachmessage must contain an integral number of data elements.

Currently defined values are:
A void value is represented as a boolean array of length zero.
0: void/boolean

The data field is a 8 bit value with 0 meaning false and all othervalues meaning true.

1: signed byte

Data elements are signed bytes

2: signed 16 bit integer

Data elements are signed 16 bit values

3: signed 32 bit integer

Data elements are signed 32 bit values

4: signed 64 bit 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 5.11 fixedpoint

Data elements are signed 16 bit integers representing a real number with
5 bits for the integer component and 11 bits for the fractional component.
The fixed 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).

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Data 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. Eachelement will be clamped according to its valid range. A void parametermay 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 thecurrent 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 invertthat value.

Operation types 2 through 127 are reserved.
Operation types 128 through 255 are available for device specific purposes.
Data (void)

The data field is 0 or more bytes as determined by the data type andnumber of elements.

The category, parameter, data type and operation type partition a 24 bit operation space.
Group

Lens

ID

Parameter

Type

Index

Minimum

MaximumInterpretation

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

0.4

Aperture (ordinal)

int16

–

0

n

Steps through available
aperture values from minimum(0) to maximum (n)0.5Instantaneous auto
aperture

void

–

–

–

trigger instantaneous auto
aperture

0.6

Optical image stabilisationboolean–––true = enabled, false = disabled

0.7

Set absolute zoom (mm)

int16

–

0

max

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

0.8

Set absolute zoom
(normalised)

fixed16

–

0.0

1.0

Move to specified focal length:
0.0 = wide, 1.0 = tele

0.9

Set continuous zoom
(speed)+1.0

Start/stop zooming at specified
rate: -1.0 = zoom wider fast, 0.0= stop,+1 = zoom tele fast

fixed16–-1.0

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GroupID

1.0

Parameter

Video mode

1.1

Gain (up to Camera 4.9)

1.2

Manual White Balance

Type

int8

Index

Minimum

MaximumInterpretation[0] = frame rate––[1] = M-rate––

0 = regular, 1 = M-rate

fps as integer(eg 24, 25, 30, 50, 60)[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

128

1x, 2x, 4x, 8x, 16x, 32x, 64x, 128x
gain
Color temperature in K

int8
int16

[0] = color temp

2500

10000

int16

[1] = tint

-50

50

tint

1.3

Set auto WB

void

–

–

–

Calculate and set auto whitebalance

1.4

Restore auto WB

void

–

–

–

Use latest auto white balancesetting

1.5

Exposure (us)

int32

1

42000

time in us

1.6

Exposure (ordinal)

int16

–

0

n

Steps through available
exposure values from minimum(0) to maximum (n)1.7

Dynamic Range Mode

int8 enum–02

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

1.8

Video sharpening levelint8 enum–030 = off, 1 = low, 2 = medium,3 = high[0] = file frame rate––

fps as integer(eg 24, 25, 30, 50, 60, 120)–fps as integer, valid whensensor-off-speed set (eg 24,
25, 30, 33, 48, 50, 60, 120),no change will be performed
if this value is set to 0

Video[1] = sensor frame
rate

1.9

Recording format

int16

–

[2] = frame width––in pixels[3] = frame height––in pixels––[0] = file-M-rate––[1] = sensor-M-rate, valid
when sensor-off-speed-set––[2] = sensor-off-speed––[3] = interlaced––[4] = windowed mode[4] = flags

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

1.12

Shutter speed

int32

–

Current
sensorframe rate

5000

Shutter speed value as afraction of 1, so 50 for 1/50thof a second

1.13

Gain

int8

–

-128

127

Gain in decibel (dB)

1.14

ISO

int32

–

0

2147483647

ISO value–

0 = None, 1 = Custom,
2 = film to video,
3 = film to extended video

1.15

1.16

Display LUT

ND Filter Stop

int8

fixed16[0] = selected LUT–[1] = enabled or not––

0 = Not enabled, 1 = Enabled[0] = stop

0.0

15.0

filter power, as f-stop[1] = display mode––

0 = stop
1 = density
2 = transmittance

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GroupAudio

ID

Parameter

Type

Index

Minimum

MaximumInterpretation

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

2.3

Speaker level

fixed16

–

0.1

1.0

0.0 = minimum, 1.0 = maximum

2.4

Input type

int8

–

0

3

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

2.5

Input levels

fixed16[0] ch00.0

1.0

0.0 = minimum, 1.0 = maximum[1] ch10.0

1.0

0.0 = minimum, 1.0 = maximum

2.6

Phantom power

boolean–––true = powered,false = not powered

Overlay enables

uint16bit field[0] = bit field––

Some cameras don’t allow
separate control of frame
guides and status overlays.

3.0

Outputbit flags:[0] = display status,[1] = display frame guides[2] = clean feed

uint16bit field[1] = target displays
bit field––

bit flags:[0] = LCD
[1] = HDMI
[2] = EVF
[3] = Main SDI[4] = Front SDI

3.1

Frame guides style (Camera
3.x)

int8

–

0

8

0 = HDTV, 1 = 4:3, 2 = 2.4:1,
3 = 2.39:1, 4 = 2.35:1,
5 = 1.85:1, 6 = thirds

3.2

Frame guides opacity(Camera 3.x)

fixed16

–

0.1

1.0

0.0 = transparent, 1.0 = opaque

3.3

Overlays(replaces .1 and .2
above from
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 guideopacity0100

0 = transparent, 100 = opaque[2] = safe area
percentage

0100

percentage of full frame
used by safe area guide(0 means off)–

bit flags:[0] = display thirds,[1] = display cross hairs,[2] = display center dot,[3] = display horizon[3] = grid style–

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GroupID

Parameter

Type

Index

Minimum

MaximumInterpretation

4.0

Brightness

fixed16

–

0.0

1.0

0.0 = minimum, 1.0 = maximum

Exposure and focus tools

uint16bit field–

bit flags:[0] = Zebra[1] = Focus Assist[2] = False Color[0] = bit field–

uint16bit field[1] = target displays
bit field––

bit flags:[0] = LCD
[1] = HDMI
[2] = EVF
[3] = Main SDI[4] = Front SDI
0.0 = minimum, 1.0 = maximum

4.1

4.2

Zebra level

fixed16

–

0.0

1.0

4.3

Peaking level

fixed16

–

0.0

1.0

0.0 = minimum, 1.0 = maximum

Display
4.4

4.5

Tally

Reference

Color bar enable

Focus Assist

int8

–

0

30

0 = disable bars,
1-30 = enable bars with timeout(seconds)[0] = focus assist
method––0 = Peak,
1 = Colored lines[1] = focus line color––

0 = Red,
1 = Green,
2 = Blue,
3 = White,
4 = Black

int8

4.6

Program return feed enable

int8

–

0

30

0 = disable, 1-30 = enable withtimeout (seconds)

4.7

Timecode Source

signedbyte[0] = source––

0 = Clip,
1 = Timecode

5.0

Tally brightness

fixed16

–

0.0

1.0

Sets the tally front and tally rearbrightness to the same level.
0.0 = minimum,
1.0 = maximum

5.1

Front tally brightness

fixed16

–

0.0

1.0

Sets the tally front brightness.
0.0 = minimum,
1.0 = maximum

5.2

Rear tally brightness

fixed16

–

0.0

1.0

Sets the tally rear brightness.
0.0 = minimum,
1.0 = maximum
Tally rear brightness cannot be
turned off

6.0

Sourceint8 enum–02

0 = internal,
1 = program,
2 = external

6.1

Offset

int32

–

–

–

+/- offset in pixels

Developer Information

282

GroupID

Parameter

Type

7.0

Real Time Clock

int32

Minimum

MaximumInterpretation[0] time__

BCD - HHMMSSFF (UCT)[1] date__

BCD - YYYYMMDD
ISO-639-1 two character
language code

7.1

System language

string

[0-1]

_

_

7.2

Timezone

int32

_

_

_

Minutes offset from UTC_

BCD - s0DDdddddddddddd
where s is the sign:
0 = north (+), 1 = south (-);
DD degrees, dddddddddddd
decimal degrees

Configuration[0] latitude
7.3

8.0

8.1

Color
Correction

Index

8.2

8.3

Location

Lift Adjust

Gamma Adjust

Gain Adjust

Offset Adjust

_

int64

fixed16

fixed16

fixed16

fixed16

8.4

Contrast Adjust

fixed16

8.5

Luma mix

fixed16

8.6

Color Adjust

fixed16

8.7

Correction Reset Default

void[1] longitude__

BCD - sDDDdddddddddddd
where s is the sign: 0 = west(-), 1 = east (+); DDD degrees,
dddddddddddd decimaldegrees[0] red-2.0

2.0

default 0.0[1] green

-2.0

2.0

default 0.0[2] blue

-2.0

2.0

default 0.0[3] luma

-2.0

2.0

default 0.0[0] red-4.0

4.0

default 0.0[1] green

-4.0

4.0

default 0.0[2] blue

-4.0

4.0

default 0.0[3] luma

-4.0

4.0

default 0.0[0] red0.0

16.0

default 1.0[1] green

0.0

16.0

default 1.0[2] blue

0.0

16.0

default 1.0[3] luma

0.0

16.0

default 1.0[0] red-8.0

8.0

default 0.0[1] green

-8.0

8.0

default 0.0[2] blue

-8.0

8.0

default 0.0[3] luma

-8.0

8.0

default 0.0[0] pivot

0.0

1.0

default 0.5[1] adj

0.0

2.0

default 1.0

–

0.0

1.0

default 1.0[0] hue-1.0

1.0

default 0.0[1] sat0.0

2.0

default 1.0

–

–

–

reset to defaults

Developer Information

283

GroupID

Parameter

Type

Index

Minimum

MaximumInterpretation[0] = basic codec––

0 = CinemaDNG,
1 = DNxHD,
2 = ProRes,
3 = Blackmagic RAW
CinemaDNG:

–

10.0

Codec

–

–

ProRes:0 = HQ,
1 = 422,
2 = LT,
3 = Proxy,
4 = 444,5 = 444XQ––Blackmagic RAW:
0 = Q0,1 = Q5,
2 = 3:1,
3 = 5:1,
4 = 8:1,
5 = 12:1[0] = mode––

0 = Preview,
1 = Play,
2 = Record[1] = speed––-ve = multiple speeds
backwards,
0 = pause,+ve = multiple speeds forwards

int8 enum–[1] = code variant

Media

10.1

Transport mode

int8

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

10.5

Streambool[0] = enabled––true = enabled,
false = disabled

10.6

Stream Information

void bool[0] = enabled

–

–

10.7

Stream Display 3D LUT

void bool[0] = enabled––true = enabled,
false = disabledtrue = enabled,
false = disabled

Developer Information

284

GroupID

11.0

Parameter

Pan/Tilt Velocity

PTZ
Control
11.1

Memory Preset

Type

Index

Minimum

MaximumInterpretation[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,
1.0 = full speed up

int8
enum

[0] = preset
command––

0 = reset,
1 = store location,
2 = recall location

int8

[1] =
preset slot

0

5

–

fixed 16Developer Information

285

Example Protocol Packets
Operation

PacketLength

Byte
0

1

2

3

5

6

8

9

10

11

12

13

14

15

1

0

0

0

0

0

0

0

0x9a 0xfd 0x9a 0xfd

0

0

0

0

commandreservedcategory

parameter

type

operation

data

lengthcommand7

destination

header4

trigger instantaneous
auto focus on camera 4

8

4

4

0

0

0

1

0

0

turn on OIS on all cameras

12

255

5

0

0

0

6

0

0

set exposure to 10 ms on
camera 4 (10 ms = 10000
us = 0x00002710)

12

4

8

0

0

1

5

3

0

0x10 0x27 0x00 0x00

add 15% to zebra level(15 % = 0.15 f = 0x0133 fp)

12

4

6

0

0

4

2

128

1

0x33 0x01

00select 1080p 23.98 mode on
all cameras

16

255

9

0

0

1

0

1

0

24

1

3

0

subtract 0.3 from gamma
adjust for green & blue(-0.3 ~= 0xfd9a fp)

16

4

12

0

0

8

1

128

1

0

0

4

4

0

0

0

1

0

0

255

5

0

0

1

0

0

0

4

8

0

0

1

5

3

0

0x10 0x27 0x00 0x00

4

6

0

0

4

2

128

1

0

0

255

9

0

0

1

0

1

0

24

1

3

0

0

0

0

4

12

0

0

8

1

128

1

0

0

0x9a 0xfd 0x9a 0xfd

00

all operations combined

76

0x33 0x01
006Developer Information286

Blackmagic Tally Control Protocol
Version 1.0 (30/04/14)
This section is for third party developers or anybody who may wish to add support for theBlackmagic 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 toa 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:		bit 1:
		bit 2-3:

program tally status (0=off, 1=on)
preview tally status (0=off, 1=on)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:		bit 1:
		bit 2-3:
		bit 4-7:

monitor device program tally status (0=off, 1=on)monitor device preview tally status (0=off, 1=on)reserved (0b00)
protocol version (0b0000)

uint8[0]		bit 0:		bit 1:
		bit 2-3:
		bit 4:
		bit 5:
		bit 6-7:

slave device 1 program tally status (0=off, 1=on)
slave device 1 device preview tally status (0=off, 1=on)reserved (0b00)
slave device 2 program tally status (0=off, 1=on)
slave device 2 preview tally status (0=off, 1=on)reserved (0b00)

Developer Information

287

uint8[1]		bit 0:		bit 1:
		bit 2-3:
		bit 4:
		bit 5:
		bit 6-7:

slave device 3 program tally status (0=off, 1=on)
slave device 3 device preview tally status (0=off, 1=on)reserved (0b00)
slave device 4 program tally status (0=off, 1=on)
slave device 4 preview tally status (0=off, 1=on)reserved (0b00)...

Slave Device(1)

Slave Device(2)

Master Device

Slave Device(3)

Monitor Device

Byte

7 MSB

6

5

4

3

2

1

0 LSB

0

Version(0b0)

Version(0b0)

Version(0b0)

Version(0b0)

Reserved(0b0)

Reserved(0b0)

MonitorPreview

Monitor
Program1

Reserved(0b0)

Reserved(0b0)

Slave 1
Preview

Slave 1
ProgramReserved(0b0)

Reserved(0b0)

Slave 0Preview

Slave 0Program2

Reserved(0b0)

Reserved(0b0)

Slave 3
Preview

Slave 3
ProgramReserved(0b0)

Reserved(0b0)

Slave 2Preview

Slave 2
Program3...

Developer Information

288

Help
The fastest way to obtain help is to go to the Blackmagic Design online support pages andcheck 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 yourlocal 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 theversion 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 tocheck 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.

Help

289

Regulatory Notices
Disposal of Waste of Electrical and Electronic Equipment Within the European Union.
The symbol on the product indicates that this equipment must not be disposed of with otherwaste 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 isrecycled in a manner that protects human health and the environment. For more 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 in a commercial
environment. This equipment generates, uses, and can radiate radio frequency energy and,
if not installed and used in accordance with the instructions, may cause harmful interference
to radio communications. Operation of this product in a residential area is likely to cause
harmful interference, in which case the user will be required to correct the interference atpersonal expense.
The operation of this equipment is subject to the following two conditions:
1

This equipment or device may not cause harmful interference.

2

This equipment or device must accept any interference received, including interference
that may cause undesired operation.

R-R-BMD-20230906001
R-R-BMD-20240326001
R-R-BMD-20230906003
R-R-BMD-20230906004
R-R-BMD-20230906005
R-R-BMD-20230906006
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 tothese standards.
Connection to HDMI interfaces must be made with high quality shielded HDMI cables.
This equipment has been tested for compliance with the intended use in a commercial
environment. If the equipment is used in a domestic environment, it may cause radio
interference.

Regulatory Notices

290

WiFi and Bluetooth®
The product is a WiFi and Bluetooth wireless technology enabled product.
U.S.
Contains transmitter module FCC ID: 2A93QW2EACanadaContains transmitter module IC: 32169-W2EA (pending approval)
WARNING - Unauthorized antennas, modifications, or attachments could impair call quality,
damage the device, or result in violation of FCC regulations.
MPE/SAR/RF exposure information:
This device was verified and found to comply with FCC Part 1.1310 and IC RSS-102 Issue 5 RF
exposure requirements set forth for an uncontrolled environment.
This device includes a radio transmitter and receiver which is designed and manufactured
not to exceed the emissions limits for exposure to radio frequency (RF) energy set by theFederal Communications Commission (FCC) and Industry Canada (IC). These limits are partof comprehensive guidelines and establish permitted levels of RF energy for the general
population. These guidelines are based on the safety standards previously set by the U.S.,
Canada, and international standards bodies. The standards include a substantial safety margin
designed to assure the safety of all persons, regardless of age and health.
The exposure standard for wireless RF devices employs a unit of measurement known as
the Specific Absorption Rate, or SAR. The SAR limit set by the FCC is 4 W/kg. SAR values ator below that limit are considered safe for the general public. The maximum SAR value when
operated as a handheld device in accordance with this manual is x.xx W/kg, which is below thelimit set by the FCC and IC.
JapanType certificate number: 003-220255 (Radio Law)
5GHz band (W52, W53): Indoor use only
Type certificate number: D220164003 (Telecommunication Business Law)
This equipment contains specified radio equipment that has been certified to the technicalregulation conformity certification under the Radio and Telecommunication Business Law.
Hereby, Blackmagic Design declares that the product is using 2.4GHz and 5 GHz bands, are incompliance with directive 2014/53/EU and Radio Equipment Regulations 2017.
Certification marks can be found by accessing the menu of the camera.
Select Menu > Setup > Regulatory Information > See Information
The full text of the EU declaration of conformity is available fromcompliance@blackmagicdesign.com

Regulatory Notices

291

Safety Information
The supplied AC to 24V DC power supply for Blackmagic URSA Cine must be connected to amains socket outlet with a protective earth connection.
No operator serviceable parts inside Blackmagic URSA Cine. Refer servicing to your local
Blackmagic Design service center.
When connecting the input power connector to an external DC battery source, the supply
wiring must include current limiting or fusing.
The wiring used should be marked VW-1 or comply with the relevant parts of IEC 60332 or
IEC 60695”.
We recommend that the DC source for this camera is 24V. If a 12V DC source is used, the wiringused should be sufficient for a current of 10A.
A B-Mount battery plate is provided with this product. We recommend the use of a 24V (28.8V)
battery or dual voltage battery.
For a 12V (14.4V) battery, refer to your battery manual or markings to determine the Maximum
Continuous Discharge Current. We recommend that this has a minimum rating of 10A.

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.

European OfficeBlackmagic Design Europe B.V.
Rijnlanderweg 766, Unit D
2132 NM Hoofddorp
NLBlackmagic URSA Cine
During sunny conditions, consider shading of the camera to prevent exposure of the cameraor Lithium battery to extended periods of sunlight. Keep Lithium batteries away from all
sources of heat.
The 24V ‘EXT’ and ‘RS’ output connectors have shared capacity and are suitable to provide
power to the third party accessories like follow focus motors. Please ensure the power
consumption is less than 48W total.

Safety Information

292

Warranty
Limited Warranty
Blackmagic Design warrants that this product will be free from defects in materials and workmanshipfor a period of 12 months from the date of purchase. If a product proves to be defective during thiswarranty period, Blackmagic Design, at its option, either will repair the defective product withoutcharge 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 Designof the defect before the expiration of the warranty period and make suitable arrangements forthe performance of service. The Customer shall be responsible for packaging and shipping thedefective 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 orinadequate maintenance and care. Blackmagic Design shall not be obliged under this warranty: a) torepair 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 orconnection to incompatible equipment, c) to repair any damage or malfunction caused by the useof 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 thetime 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 anddisconnect the viewfinder when not in use for prolonged periods. Image retention is not coveredby 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 IMPLIEDWARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. BLACKMAGICDESIGN’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. BLACKMAGICDESIGN 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 OPERATESTHIS PRODUCT AT OWN RISK.
© Copyright 2024 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.
The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks byBlackmagic Design is under license. Other trademarks and trade names are those of the respective owners.

Warranty

293