Documente Academic
Documente Profesional
Documente Cultură
Mac OS X
Windows
October 2014
English
35
Franais
68
Deutsch
101
Espaol
134
167
200
233
Welcome
Thank you for purchasing Blackmagic Studio Camera!
We are extremely excited to have designed the Blackmagic Studio Camera.
Ever since I was a teenager I have loved live production, its so exciting!
Traditionally cameras with talkback and tally were very expensive and
physically large, so hard to manage. We really wanted to solve this problem
by designing a more compact camera that included all the talkback, tally
and camera control features of physically much larger cameras.
Thats why the Blackmagic Studio Camera was developed. We wanted to
build a much smaller camera for portability, however normally small cameras
have small tiny screens. We did not want that. What we really wanted was a
much larger viewfinder! The result is Blackmagic Studio Camera, the smallest
broadcast camera but with a very large viewfinder thats wonderful to use!
Precise focus and framing are so easy with a viewfinder this large!
Of course you get tally indicators, talkback, massive built in battery and of
course a fantastic quality camera with flexible MFT lens mount. Its everything
you need in a complete package! You can plug in larger wind protected
microphones even with phantom power and the optical fiber is built in so you
can run your camera miles away from your switcher! If you need, you can even
add a HyperDeck Shuttle and use the camera for general production use!
We hope you use your new camera for some amazing live productions and
produce some fantastic looking work! We are extremely excited to see what
creative work you produce!
Grant Petty
CEO Blackmagic Design
Contents
5
Getting Started
19
Using ATEM Software Control
Attaching a Lens 7
8
Connections
Blackmagic Studio Camera - Left Side 8
Blackmagic Studio Camera - Right Side 9
10
Studio Camera Settings
Synchronizing Settings 24
25
Developer Information
Blackmagic Video Device Embedded Control Protocol 25
Overview25
Assumptions25
Camera Settings 10
Blanking Encoding 25
Audio Settings 11
Message Grouping 25
Monitoring Settings 12
Studio Settings 13
Adjusting Settings 14
Additional Settings 15
16
Camera Video Output
Connecting to Video Switchers 16
Connecting to Recorders 16
17
Blackmagic Camera Utility
18
Attaching Accessories
Sun Shade 18
Other Accessories 18
33
Help
34
Warranty
Getting Started
5 Getting Started
Introducing Blackmagic Studio Camera
Features
1. FRONT TALLY LIGHT
Indicates to the on-air talent which camera is currently "live". See page 12.
2. LANC REMOTE
2.5mm stereo jack for LANC remote control supports iris, zoom and focus control. See page 8.
3. AVIATION HEADPHONES
0.25" TRS connector for monitoring PGM and control room audio with aviation style headsets. See page 8.
4. HEADPHONES MICROPHONE INPUT
0.206" TRS connector for talking to the control room with aviation style headsets. See page 8.
5. AUDIO INPUTS
2 x 1/4" balanced XLR connectors for audio input. See page 8.
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
6. OPTICAL INPUT/OUTPUT
Optical input and output allows cable runs of up to 28 miles. See page 9.
7. SDI OUT
SDI output for connecting to a switcher or other device. See page 9.
8. SDI IN
SDI input allows the camera operator to view the Program (PGM) output. See page 9.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9. REFERENCE INPUT
Allows multiple cameras to be genlocked to a blackburst or tri-level reference signal. See page 9.
10. POWER
12 24V power input for power supply and battery charging. See page 9.
PUSH
6 Getting Started
PUSH
11
12
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
22
23
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
7 Getting Started
Attaching a Lens
Getting started with your Blackmagic Studio Camera is as simple as attaching a lens and turning the
camera on. To remove the protective dust cap from the lens mount, hold down the locking button and
rotate the cap counterclockwise until it is released. We recommend you always turn off your Blackmagic
Camera prior to attaching or removing a lens.
3
PUSH
To attach a lens:
PUSH
Step 1. Align the dot on your lens with the dot on the camera mount. Many lenses have either a blue,
red or white dot or some other indicator.
Step 2. Twist the lens clockwise until it locks into place.
Step 3. To remove the lens, hold down the locking button, rotate the lens counterclockwise until its
dot or indicator reaches the 12 oclock position and gently remove.
When no lens is attached to the camera, the lens mount is exposed to dust and other debris so you'll
want to keep the dust cap on whenever possible.
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
Step 2. Press and hold the power button to switch off the camera.
Connections
8 Connections
Blackmagic Studio Camera - Left Side
LANC Remote Control
The remote port on your camera is used to remotely control lens focus, iris and zoom adjustments when
using a compatible lens. The port is a 2.5 mm stereo jack using the standard LANC protocol.
Active MFT lenses allow you to control the zoom servo with a LANC controller. The following lenses are
currently supported:
Panasonic Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S. Lens
Panasonic Lumix G X Vario PZ 45-175mm f/4.0-5.6 Zoom OIS Lens
Olympus 12-50mm f/3.5-6.3 ED M.Zuiko EZ Micro 4/3 Lens
Headphones Output
For monitoring program and control room audio with aviation style headsets with "fixed wing" connectors.
Aviation headsets range from single ear models for use in studio environments to full size noise cancelling
models which are suitable for loud concerts or sporting events. Audio is taken from channel 15 and 16 of
the incoming SDI and optical fiber video. Channels 15 and 16 are rarely if ever used during production
and so are very suitable to serve for the audio talkback.
PUSH
Audio Inputs
3
2
PUSH
Two channels of professional balanced analog audio is supported via XLR connectors. Use the audio menu
to set the input levels for each channel. The inputs support both Mic level inputs and line level inputs
and the input type is also selected from the audio menu. Audio is embedded into Channel 1 and 2 of the
SDI stream.
9 Connections
Blackmagic Studio Camera - Right Side
Optical Input/Output
The optical fiber input and output uses industry standard LC connectors, supporting 3G-SDI on Studio
Camera HD, and 6G-SDI on Studio Camera 4K. Optical fiber cable is widely available because it's the
same cable used in computer networking. Optical fiber allows cable runs of up to 28 miles which is more
than enough for even the most demanding outside broadcast event. If both optical and SDI inputs are
connected, the output from the device which was connected first will be used.
SDI Out
Use the SDI Out connector to output 10-bit 4:2:2 video to professional SDI video equipment such as
routers, monitors, SDI capture devices and broadcast switchers. Blackmagic Studio Camera HD supports
3G-SDI, and Studio Camera 4K supports 12G-SDI.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
SDI In
The SDI input allows the camera operator to view the Program (PGM) output. Simply press the PGM
button to toggle between live camera output and Program output from a switcher control room. If
both optical and SDI inputs are connected, the output from the device which was connected first will
be used. If you're using the Studio Camera to record to a device such as the Blackmagic Hyperdeck
Shuttle, the output from the Hyperdeck can be connected to the SDI input so you can playback what
you have just recorded.
Reference Input
REF
This allows multiple cameras to be genlocked to a blackburst or tri-level reference signal. Genlocking
cameras to an external reference signal helps to prevent timing errors which may result in the picture
jumping when switching between different cameras.
12V
Power
Use the 12 24V power input for connecting your power supply and to charge the internal battery. When
the battery is fully charged it will power the camera for up to 4 hours on Studio Camera HD, and up to
3 hours on Studio Camera 4K .
10 Camera Settings
Camera Settings
To configure settings on your Blackmagic Studio Camera, press the MENU button.
Use the navigation buttons to highlight menus and use the SET button to confirm your selection.
Video Format
Select the video format you wish to output. A list of supported formats is on the left of the page.
Gain
Gain settings are helpful when you are shooting in low light conditions. The default setting is 0dB and
gain can be increased in 6dB increments up to 18dB.
White Balance
Six white balance presets are selectable for a variety of color temperature conditions.
3200K for tungsten light
4500K for fluorescent light
5000K, 5600K, 6500K and 7500K for a variety of daylight conditions.
Camera settings.
Shutter Speed
Shutter Speed complements the ISO setting by regulating the amount of light on the sensor. There are
15 different shutter speeds available ranging from 1/50 sec to 1/2000 sec.
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
Language
1920 x 1080p60
3840x2160p60
English is the default language. Additional languages such as Japanese, French, German, Russian,
Spanish, Chinese and Korean will be supported in the future.
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Dynamic Range
Film
The film dynamic range setting on Studio Camera HD uses a log gamma curve to maximize the information
in your video signal. This helps you get the most out of color grading software, such as DaVinci Resolve.
Video
The video setting on Studio Camera HD and Studio Camera 4K uses the REC709 standard for high
definition video which is compatible with modern studio equipment.
11 Camera Settings
Audio Settings
To adjust audio input and audio monitoring settings on your Blackmagic Studio Camera, press the MENU
button and select the microphone icon to the left of the display.
Audio Input
Switches audio between using the camera's internal microphone and the XLR audio connectors.
Microphone Level
Microphone input adjusts the recording levels of the built in microphone. Move the audio slider left
or right to increase or decrease levels. Studio Camera has a built in stereo microphone. The built in
microphone records to audio channels 1 and 2 when no external audio source is connected.
Input Level
External audio connectors support audio at microphone level or line level. Select Line when connecting
external audioequipmentsuch as an audio mixer or amplifier.Select the Mic Low or Mic High setting
depending on the signal strength of your microphone. It's important to select the appropriate level to
avoid your external audio sounding almost inaudible or too hot and distorted.
Audio settings.
Set the external audio input levels by using the left and right arrows.
Ch 1 Input
Move the audio slider icon left or right to increase or decrease levels for channel 1. The external audio
input overrides the built in microphone and is output to audio channel 1.
Ch 2 Input
Move the audio slider icon left or right to increase or decrease levels for channel 2. The external audio
input overrides the built in microphone and is output to audio channel 2.
Phantom Power
Enable or disable phantom power for both external XLR inputs by navigating to the Audio menu and
selecting On or Off using the arrow buttons. Phantom power is a method for transmitting power through
microphone cables and it is best known as a convenient power source for condenser microphones.
Be sure to wait at least 10 seconds for Phantom power to discharge after disconnecting before plugging
in a self powered microphone. Older ribbon type microphones are not suitable for phantom power usage.
When the Line setting is selected, Phantom Power is disabled.
12 Camera Settings
Monitoring Settings
To adjust the display settings for the LCD, press the MENU button and select the monitor icon.
Brightness
Move the slider icon left or right to adjust brightness settings for the LCD. The default setting is 60%.
Zebra
Blackmagic Cameras have a zebra feature which gives an indication of exposure levels. Diagonal lines
will appear across any part of the video that exceeds the zebra exposure level.
Turn zebra on and select the desired zebra warning level by using the left and right arrows. The default
setting is medium.
Focus Peaking
Allows you to change the level of focus peaking. The settings include: off, low, medium and high. Adjust
this setting when you are using a very sharp lens and the whole image is peaking. The default setting
is medium.
Monitoring settings.
Tally Brightness
Changes the brightness of the front tally light. Settings include: low, medium and high. The default
setting is medium.
13 Camera Settings
Studio Settings
To adjust the display settings for the LCD, press the MENU button and select the headphones icon.
Camera Number
If you want your Studio Camera to receive tally signals from an ATEM switcher, you'll need to set the
camera number on your camera. This ensures the switcher sends the tally signal to the correct camera.
The camera number can be set to a value of 1-99. Default setting is 1.
Reference Source
Used to select the genlock source. The Studio Camera can lock to program SDI input or external genlock
source. If using an external genlock source, be aware that changing that source will most likely cause a
glitch as the camera locks to the new source.
Reference Timing
Allows you to manually adjust the reference timing on a line or pixel basis.
Headset Level
Studio settings.
Move the volume slider left or right to increase or decrease audio monitoring levels. The default setting
is 50%.
Program Mix
Changes the balance of camera sound to talkback sound. The headphones will output audio following
what is displayed on the LCD. For instance, if you are in camera view, camera audio is heard. And if you
are in program view, program audio is heard. The default setting is 0%.
14 Camera Settings
Adjusting Settings
Blackmagic Studio Camera supports electronic lens control, which allows you to adjust lens settings
such as aperture and auto focus. The focus peaking feature creates a green edge around the sharpest
parts of the image so you can easily confirm your focus. Focus peaking is only visible on the LCD and
does not affect the SDI output.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Focus Button
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
When using the Studio Camera with an auto focus lens press the FOCUS button for focus peaking or
auto focus. Press the FOCUS button once to auto focus. A quick double press of the FOCUS button
activates focus peaking.
When using a manual lens, press the FOCUS button once for focus peaking.
Iris Button
When using video dynamic range settings, a single press of the IRIS button will set an average exposure
based on the highlights and shadows in your shot. When using film dynamic range settings, pressing
the IRIS button sets your exposure to accommodate the brightest highlight in your shot.
To set your aperture manually on Studio Camera press the up and down navigation buttons.
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
Press the IRIS button for auto exposure or use the up and
down navigation controls for manual exposure.
DISPLAY
MENU
15 Camera Settings
Additional Settings
Push to Talk (PTT)
FOCUS
IRIS
PTT
PGM
LUT
SET
When doing live production it's vital that camera operators can talk to the director and others within
the control room. Simply press and HOLD the button to begin talking. Press twice in quick succession
for hands free communication.
Press again to revert to the default behavior.
DISPLAY
MENU
Program (PGM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
The Studio Camera features settings like PTT and PGM which
are essential for live production.
It's sometimes important for camera operators to see the program output, rather than just the view from
their own camera. Press the button to toggle between live camera output and the program output from a
switcher control room. You can use either the SDI or optical input to connect your external video source.
Set
Use this button to confirm your menu selections.
Display
Toggles framing guides and battery remaining indicator overlays on and off on the LCD. Overlays are
not present on the SDI output.
Menu
Press this button to bring up the Menu and then use the arrow buttons to navigate.
Power
Press the power button to turn on the Blackmagic Studio Camera. Press and hold the button to turn
the camera off.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
SDI OUT
12V
Blackmagic Studio Camera also features a reference input which allows multiple cameras to be genlocked
to a blackburst or tri-level reference signal. Genlocking cameras, VTRs and other devices to an external
reference signal helps to eliminate timing errors which may result in the picture jumping when switching
between different sources.
Connecting to Recorders
If you simply wish to record your Studio Camera's output, you can connect the SDI output to the SDI input
of an SSD recorder such as the Blackmagic HyperDeck Shuttle. The SDI output from the HyperDeck can
then be connected to the Studio Camera's SDI input, so you can view your recordings on the camera's LCD.
PUSH
Launch the Blackmagic Camera Utility and follow any on screen prompt to update the camera software.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Attaching Accessories
18 Attaching Accessories
Sun Shade
The Studio Cameras include a foldable sun shade to shade the LCD in bright conditions and ensure
optimum viewing is possible at all times.
Step 1. Locate the 6 thumbscrews that are included with your Studio Camera.
Step 2. Align the holes in the sun shade with the camera's mounting points and screw in 2 thumbscrews
to the top and each side of the camera to firmly secure the sun shade.
Other Accessories
For studio use you might want to mount the camera on a pedestal and add rails for large broadcast lenses
and teleprompters. For outside broadcast your may want to attach microphones, external batteries, or
LANC remote controllers. The camera includes two 3/8 mounting points on the bottom, and ten 1/4
mounting points on the sides and the top. This means you have the flexibility to customize your rig for
any size production.
PUSH
3
2
PUSH
PRESS TO TALK
PUSH
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
IN
2
HDMI IN
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
STEREO IN
IN
10
HD
HD
HD
HD
SDI INPUTS
IN
1
USB 2.0
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
R
ANALOG AUDIO OUT
+12V BACKUP
POWER
PUSH
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
MULTI-VIEW
SDI OUT
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
HD
Step 3. On your Blackmagic Studio Camera, press Menu. Navigate to Studio Settings>Camera
Number and set it to match the switcher input. For example, if studio camera 1 is connected to
Cam 1 on the ATEM switcher, the camera number must also be set to 1. This ensures tally is
sent to the correct camera.
3OUT
OUT
+12V BACKUP
POWER
SDI OUT
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
USB 2.0
SDI OUT
OUT
SDI OUT
IN
PGM SDI
OPTICAL
OUT/IN
MIC
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
CH 2
MULTI-VIEW
ANALOG AUDIO IN
CH 1CH 1
CH 2CH 2
CH 2
CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
OUT
OUT
OUT
IN
IN
IN
SDI OUT
Step 1. Connect your Blackmagic Studio Camera's Optical Out/In to the Optical Out/In on an ATEM
Studio Converter.
PRESS TO TALK
SDI OUT
CH 2
CH 1
ANALOG AUDIO IN
LOCK TO TALK
SDI OUT
STEREO
IN
PUSH
HD
HD
PUSH
CH 1
SDI INPUTS
CONTROL
Step 2. Connect any one of the ATEM switcher's SDI outputs, except down converted or multi view
outputs, to your Studio Camera's SDI In. Camera control signals are not sent via the multi view
and down converted SDI outputs.
REMOTE
LOCK TO TALK
LOCK TO TALK
TROL
REMOTE
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
H/PHONE
IN
Step 42. Connect a suitable SDI out from ATEM Studio Converter to any SDI In on the ATEM switcher.
AES/EBU TALKBACK LOOPS
OUT
OUT
OUT
Step 3. Connect any one of the ATEM switcher's SDI outputs, except down converted or multi view
outputs to ATEM Studio Converter's SDI In. Camera control signals are not sent via the multi view
and down converted SDI outputs.
SDI OUT
L
R
ANALOG AUDIO OUT
H/PHONE
IN
OPTICAL OUT/IN
IN
IN
PGM SDI
MIC
H/PHONE
Step 4. On your Blackmagic Studio Camera, press Menu. Navigate to Studio Settings>Camera Number
and set it to match the switcher input. For example, if studio camera 1 is connected to Cam 1
on the ATEM switcher, your camera number must also be set to 1. This ensures tally is sent to
the correct camera.
Open ATEM Software Control Preferences and set the switcher's button mapping to make sure you are
switching the right camera with correct tally. Now you have a video connection from the switcher to your
Blackmagic Studio Camera, you can also get the advantage of live tally indicators on your camera, as well as
being able to view the program feed of the switcher by pressing your cameras PGM button.
Launch ATEM Software Control and click on the Camera button located at the bottom of the software
window. Youll see a row of labeled camera controllers containing tools to adjust and refine each
cameras image. The controllers are easy to use. Simply click the buttons using your mouse, or click
and drag to adjust.
Channel Status
The channel status at the top of each camera controller displays the camera label, On Air indicator and
lock button. Press the lock button to lock all the controls for a specific camera. When on air, the channel
status illuminates red and displays the On Air alert.
Color Wheel
Each camera controller displays the channel status so you
know which camera is on air. Use the color wheels to adjust
each YRGB channel's lift, gamma and gain settings.
The color wheel is a powerful feature of the DaVinci Resolve color corrector and used to make color
adjustments to each YRGB channels lift, gamma and gain settings. You can select which setting to adjust
by clicking on the three selection buttons above the color wheel.
Master Wheel
Use the master wheel below the color wheel to make contrast adjustments to all YRGB channels at once,
or luminance only for each lift, gamma or gain setting.
Reset Buttons
The reset button near the top right of each camera controller lets you easily choose color correction
settings to reset, copy or paste. Each color wheel also has its own reset button. Press to restore a setting
to its default state, or copy/paste a setting. Locked controllers are not affected by the Paste feature.
The master reset button on the top right corner of the color corrector panel lets you reset lift, gamma and
gain color wheels plus Contrast, Hue, Saturation and Lum Mix settings. You can paste color correction
settings to camera controllers individually, or all cameras at once for a unified look. Iris, focus, coarse and
pedestal settings are not affected by the Paste feature. When applying Paste to all, a warning message
will appear asking you to confirm your action. This is so you dont accidentally paste new settings to any
unlocked cameras that are currently on air.
Coarse Setting
The coarse setting is located to the left of the iris/pedestal control and is used to limit the iris range. This
feature helps you prevent over exposed images from going to air.
To set your coarse threshold, completely open the iris using the iris control, then drag the coarse setting
up or down to set optimum exposure. Now when you adjust the iris, the coarse threshold will prevent it
from going above optimum exposure.
Iris Indicator
The iris indicator is located to the right of the iris/pedestal control and displays a visual reference
so you can easily see how open or closed the lens aperture is. The iris indicator is affected by the
coarse setting.
The iris/pedestal control illuminates red
when its respective camera is on air.
White Balance
The white balance setting next to the shutter speed control can be adjusted by clicking on the left or right
arrows on each side of the color temperature indicator. Different light sources emit warm or cool colors,
so you can compensate by adjusting the white balance. This ensures the whites in your image stay white.
You have color wheels and settings such as saturation available and you can see shadows, mid tones
and highlight settings all at the same time. Simply switch between cameras using the camera selection
controls at the top of the window as you need.
Click and drag anywhere within the color ring: Note that you dont need to drag the color
balance indicator itself. As the color balance indicator moves, the RGB parameters underneath
change to reflect the adjustments being made to each channel.
Shift-Click and drag within the color ring: Jumps the color balance indicator to the absolute
position of the pointer, letting you make faster and more extreme adjustments.
Double-click within the color ring: Resets the color adjustment without resetting the master
wheel adjustment for that control.
Click the reset control at the upper-right of a color ring: Resets both the color balance control
and its corresponding master wheel.
Master Wheels
Use the master wheels below the color wheels to adjust each YRGB channels lift, gamma and gain controls.
To make adjustments using the master wheel:
Drag the master wheel left or right: Dragging to the left darkens the selected parameter of
the image, dragging to the right lightens that parameter. As you make an adjustment, the YRGB
parameters underneath change to reflect the adjustment youre making. To make a Y-only
adjustment, hold down the ALT or Command key and drag left or right. Because the color corrector
uses YRGB processing, you can get quite creative and create unique affects by adjusting the Y
channel only. Y channel adjustments work best when the Lum Mix setting is set to the right side
to use YRGB processing vs the left side to use regular RGB processing. Normally, most DaVinci
Resolve colorists use the YRGB color corrector as you get a lot more control of color balance
without affecting overall gain, so you spend less time getting the look you want.
Contrast Setting
The Contrast setting gives you control over the distance between the darkest and lightest values of
an image. The effect is similar to making opposing adjustments using the lift and gain master wheels.
The default setting is 50%.
Drag the sliders left or right to adjust Contrast,
Saturation, Hue and Lum Mix settings.
Saturation Setting
The Saturation setting increases or decreases the amount of color in the image. The default setting is 50%.
Synchronizing Settings
When connected, camera control signals are sent from the ATEM switcher to your Blackmagic Studio
Camera. If a setting is accidentally adjusted from your Studio Camera, camera control will automatically
reset that setting to maintain synchronization.
Developer Information
25 Developer Information
Blackmagic Video Device Embedded Control Protocol
Version 1.0
If you are a software developer you can use the Video Device Embedded Control Protocol to construct
devices that integrate with our products. Here at Blackmagic Design, our approach is to open up our
protocols and we eagerly look forward to seeing what you come up with!
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control
messages embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are
packed from LSB first. Message groups, individual messages and command headers are defined as,
and can be assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of
VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of
255 bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum
of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame,
it should use heuristics to determine which packets to prioritise and send immediately. Lower priority
messages can be delayed to later frames, or dropped entirely as appropriate.
26 Developer Information
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.
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 are device specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set
to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
27 Developer Information
Defined Commands
Command 0 : change configuration
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration
parameters available on the device. Parameters 0 through 127 are device
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.
28 Developer Information
128: signed 5.11 fixed point
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).
Data types 129 through 255 are available for device specific purposes.
Data (void)
The data field is 0 or more bytes as determined by the data type and number
of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
29 Developer Information
Group
ID
Lens
Video
Parameter
Type
.0
Focus
fixed16
.1
Instantaneous autofocus
void
.2
Aperture (f-stop)
.3
Index
Minimum
Maximum
Interpretation
0.0
1.0
0.0=near, 1.0=far
fixed16
-1.0
16.0
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
1
.0
Video mode
int8
[1] = M-rate
0=regular, 1=M-rate
[2] =
dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
30 Developer Information
Group
ID
Audio
2
.0
Type
Mic level
fixed16
Index
Minimum
Maximum
Interpretation
0.0
1.0
0.0=minimum, 1.0=maximum
.1
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Parameter
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
31 Developer Information
Group
ID
Configuration
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
Interpretation
.0
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
.1
Reserved
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
32 Developer Information
Example Protocol Packets
Operation
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27 0x00
0x00
12
128
0x33
0x01
16
255
24
16
12
128
0x9a
0xfd
0x9a
0xfd
76
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
24
12
128
0x9a
0xfd
0x9a
0xfd
Help
33 Help
Getting Help
The fastest way to obtain help is to go to the Blackmagic Design online support pages and check the
latest support material available for your camera.
Battery Replacement
The Studio Camera's built in battery is not user-serviceable. Should the battery require replacement,
you will need to send it to your nearest Blackmagic Design service center for replacement. If the camera
is outside of its warranty period, the battery replacement will incur a small service fee for the cost of
the battery, labor and return of the camera to you. Please contact Blackmagic Design Support to find
out details of where to send your camera, how to package it safely and how much the replacement will
cost in your country.
Warranty
34 Warranty
12 Month Limited Warranty
Blackmagic Design warrants that this product will be free from defects in materials and workmanship for
a period of 12 months from the date of purchase. If a product proves to be defective during this warranty
period, Blackmagic Design, at its option, either will repair the defective product without charge for parts
and labor, or will provide a replacement in exchange for the defective product.
In order to obtain service under this warranty, you the Customer, must notify Blackmagic Design of the
defect before the expiration of the warranty period and make suitable arrangements for the performance
of service. The Customer shall be responsible for packaging and shipping the defective product to a
designated service center nominated by Blackmagic Design, with shipping charges pre paid. Customer
shall be responsible for paying all shipping charges, insurance, duties, taxes, and any other charges for
products returned to us for any reason.
This warranty shall not apply to any defect, failure or damage caused by improper use or improper or
inadequate maintenance and care. Blackmagic Design shall not be obligated to furnish service under
this warranty: a) to repair damage resulting from attempts by personnel other than Blackmagic Design
representatives to install, repair or service the product, b) to repair damage resulting from improper
use or connection to incompatible equipment, c) to repair any damage or malfunction caused by the
use of non Blackmagic Design parts or supplies, or d) to service a product that has been modified or
integrated with other products when the effect of such a modification or integration increases the time
or difficulty of servicing the product. THIS WARRANTY IS GIVEN BY BLACKMAGIC DESIGN IN LIEU OF
ANY OTHER WARRANTIES, EXPRESS OR IMPLIED. BLACKMAGIC DESIGN AND ITS VENDORS DISCLAIM
ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
BLACKMAGIC DESIGNS RESPONSIBILITY TO REPAIR OR REPLACE DEFECTIVE PRODUCTS IS THE
WHOLE AND EXCLUSIVE REMEDY PROVIDED TO THE CUSTOMER FOR ANY INDIRECT, SPECIAL,
INCIDENTAL OR CONSEQUENTIAL DAMAGES IRRESPECTIVE OF WHETHER BLACKMAGIC DESIGN
OR THE VENDOR HAS ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. BLACKMAGIC
DESIGN IS NOT LIABLE FOR ANY ILLEGAL USE OF EQUIPMENT BY CUSTOMER. BLACKMAGIC IS
NOT LIABLE FOR ANY DAMAGES RESULTING FROM USE OF THIS PRODUCT. USER OPERATES THIS
PRODUCT AT OWN RISK.
Copyright 2014 Blackmagic Design. All rights reserved. Blackmagic Design, 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 trade marks of their respective companies with which they are associated.
Mac OS X
Windows
201410
Blackmagic Studio Camera
MFT
HyperDeck Shuttle
38
38
52
40
53
40
55
57
41
41
42
43
Camera Settings
Developer Information
58
Blackmagic Video Device Embedded Control Protocol
58
Overview
58
Assumptions
58
Camera Settings
43
Blanking Encoding
58
Message Grouping
58
Audio Settings
44
Monitoring Settings
45
Studio Settings
46
47
48
49
49
49
51
51
66
67
38
Blackmagic Studio Camera
1.
45
2. LANC
LANC2.5mm
41
3.
0.25TRS PGM/
41
4.
0.206TRS
41
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
5.
1/4 XLR 2 41
6. /OPTICAL IN/OUT
2845km 42
7. SDI OUT
SDI 42
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
8. SDI IN
SDI PGM 42
9. REF
3 42
10. POWER
12-24V 42
PUSH
39
PUSH
11
11. 10LCD
12
45
12.
13. FOCUS
1 2LCD 47
14. IRIS
1 47
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
15. PTT
2
48
22
16. PGM
48
17. LUT
23
18.
LCD 48
19. SET
48
20. DISPLAY
/ 48
21. MENU
LCD 48
OPTICAL OUT
22.
Blackmagic Studio Camera
40 48
OPTICAL IN
SDI OUT
SDI IN
23. USB
USB mini 50
REF
12V
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
40
PUSH
PUSH
2
3 12
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
Studio Camera/
SDI IN
12V
OPTICAL OUT
SDI OUT
SDI IN
REF
12V
Studio CameraStudio
Camera
1 LCD LCD
2
REF
OPTICAL IN
41
Blackmagic Studio Camera -
LANC
LANC2.5mm
MFTLANC
PGM/
SDI/1516 1516
SDI/
1516
PUSH
3
2
PUSH
2XLR
mic/line
SDI1
2
42
Blackmagic Studio Camera -
/OPTICAL IN/OUT
SDI
SDISDISDI
10-bit 4:2:2Blackmagic Studio Camera HD3G-SDIStudio Camera
4K12G-SDI
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
SDI
SDI PGM PGM
/
SDI Studio Camera
Blackmagic HyperDeck Shuttle HyperDeckSDI
REF
12V
12 24VStudio Camera
HD4Studio Camera 4K3
Camera Settings
43 Camera Settings
Camera Settings
Blackmagic Studio Camera MENU
SET
Video Format
Gain
0dB 6dB
+18dB
White Balance
6
3200K
4500K
5000K 5600K 6500K 7500K
Shutter Speed
ISO 1/501/2000
15
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Film
Studio Camera HDFilmLog
DaVinci Resolve
Video
Studio Camera HDStudio Camera 4KVideo
HDREC709
Language
44 Camera Settings
Audio Settings
Blackmagic Studio Camera MENU
Audio Input
XLR
Microphone Level
Studio Camera
1 2
Input Level
mic/line
Line Mic LowMic High
Ch 1 Input
1
1
Ch 2 Input
2
2
Phantom Power
XLR/ OnOff
10
Line
45 Camera Settings
Monitoring Settings
LCD MENU
Brightness
LCD 60
Zebra
Blackmagic Camera 100%
Medium
Focus Peaking
Off Low Medium
High
Medium
Tally Brightness
Low Medium High
Medium
46 Camera Settings
Studio Settings
LCD
MENU
Camera Number
ATEMStudio Camera
1-99 1
Reference Source
Studio Camera SDI
Reference Timing
/
Headset Level
50
Program Mix
LCD
0
47 Camera Settings
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
Focus
MENU
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
FOCUS
1
FOCUS
FOCUS1
IRIS
Video IRIS1
Film IRIS
Studio Camera
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
IRIS
DISPLAY
MENU
48 Camera Settings
PTT
FOCUS
IRIS
PTT
PGM
LUT
SET
PTT 2
DISPLAY
MENU
PGM
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Studio CameraPTTPGM
SDI
LUT
Set
Display
LCD /
SDI
MENU
49
Studio CameraSDI/
OPTICAL OUT
OPTICAL IN
SDI OUT
Studio Camera 3
VTR
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Studio CameraSDI
REF
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
SDI OUT
SDIHyperDeckSDI
HyperDeckSDIStudio CameraSDI
12V
PUSH
Mac OS X
Blackmagic Camera Utility
Blackmagic Camera
Windows
Blackmagic Camera Utility PDF
Blackmagic Camera UtilityBlackmagic Camera Utility
Mini USB2.0
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
51
1 Studio Camera6
2 2
LANC
Studio Camera 2
PUSH
3
2
PUSH
DaVinci Resolve
ATEMATEMSDI
ATEMSDI
SDI
SDISDI
SDI
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
IN
10
HD
HD
HD
HD
SDI INPUTS
IN
1
USB 2.0
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
HD
MULTI-VIEW
R
ANALOG AUDIO OUT
+12V BACKUP
POWER
PUSH
SDI OUT
3OUT
OUT
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
OUT
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
HD
USB 2.0
SDI OUT
PGM SDI
OPTICAL
OUT/IN
MIC
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
CH 1CH 1
CH 2CH 2
CH 2
CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
OUT
OUT
IN
IN
OUT
IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
4
AES/EBU TALKBACK LOOPS
OUT
H/PHONE
OUT
OUT
L
R
ANALOG AUDIO OUT
H/PHONE
4
SDI OUT
CH 2
MULTI-VIEW
ANALOG AUDIO IN
SDI OUT
IN
SDI OUT
+12V BACKUP
POWER
SDI OUT
PRESS TO TALK
SDI OUT
LOCK TO TALK
SDI OUT
STEREO
IN
PUSH
CH 2
CH 1
ANALOG AUDIO IN
HD
PUSH
CH 1
SDI INPUTS
CONTROL
2. ATEMSDIMulti ViewStudio
CameraSDIMulti View
SDI
REMOTE
LOCK TO TALK
IN
2
HDMI IN
REMOTE
STEREO IN
LOCK TO TALK
TROL
PRESS TO TALK
PRESS TO TALK
IN
OPTICAL OUT/IN
IN
IN
PGM SDI
MIC
H/PHONE
Aux
Aux
Aux
On Air
YRGB
DaVinci ResolveYRGB
3
YRGB
Paste to all
//
Paste to
all
/
SHIFT
/MaccommandWindows
CONTROL
dB
CCU
DaVinci Resolve
//
RGB
//
YRGB
YRGB
YALTCommand
YRGBY
Y
YRGBRGB
DaVinci ResolveYRGB
50
50
180
YRGB100
RGB100
RGBYRGB
Developer Information
58 Developer Information
Blackmagic Video Device Embedded Control Protocol
Version 1.0
If you are a software developer you can use the Video Device Embedded Control Protocol to construct
devices that integrate with our products. Here at Blackmagic Design our approach is to open up our
protocols and we eagerly look forward to seeing what you come up with!
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control
messages embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed
from LSB first. Message groups, individual messages and command headers are defined as, and can be
assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of
VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of
255 bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum
of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame,
it should use heuristics to determine which packets to prioritise and send immediately. Lower priority
messages can be delayed to later frames, or dropped entirely as appropriate.
59 Developer Information
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 to indicate
a broadcast message to all devices.
Command length (uint8)
The command length is an 8 bit unsigned integer which specifies the length
of the included command data. The length does NOT include the length of
the header or any trailing padding bytes.
Command id (uint8)
The command id is an 8 bit unsigned integer which indicates 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 are device specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set
to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
60 Developer Information
Defined Commands
Command 0 : change configuration
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration
parameters available on the device. Parameters 0 through 127 are device
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.
Data type (uint8)
The data type specifies the type of the remaining data. The packet length is
used to determine the number of elements in the message. Each message
must contain an integral number of data elements.
Currently defined values are:
0: void / boolean
A void value is represented as a boolean array of length zero.
The data field is a 8 bit value with 0 meaning false and all other values
meaning true.
1: signed byte
Data elements are signed bytes
2: signed 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.
61 Developer Information
128: signed 5.11 fixed point
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).
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. Each element
will be clamped according to its valid range.
A void parameter may only be assigned an empty list of boolean type. This
operation will trigger the action associated with that parameter.
A boolean value may be assigned the value zero for false, and any other
value for true.
1: offset / toggle value
Each value specifies signed offsets of the same type to be added to the
current parameter values.The resulting parameter value will be clamped
according to their valid range.
It is not valid to apply an offset to a void value.
Applying any offset other than zero to a boolean value will invert that value.
Operation types 2 through 127 are reserved. Operation types 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 and
number of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
62 Developer Information
Group
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
Interpretation
.0
Focus
fixed16
0.0
1.0
0.0=near, 1.0=far
.1
Instantaneous autofocus
void
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[1] = M-rate
0=regular, 1=M-rate
[2] =
dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
63 Developer Information
Group
ID
Parameter
Type
Audio
2
.0
Mic level
.1
Minimum
Maximum
Interpretation
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Index
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
64 Developer Information
Group
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
65 Developer Information
Example Protocol Packets
Operation
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
set exposure to 10 ms on
camera 4 (10 ms = 10000 us =
0x00002710)
12
0x10
0x27
0x00
0x00
12
128
0x33
0x01
16
255
24
16
12
128
0x9a
0xfd
0x9a
0xfd
76
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
12
24
128
0x9a
0xfd
0x9a
0xfd
66
Blackmagic Design
www.blackmagicdesign.com/supportBlackmagic
Blackmagic Design
Blackmagic Camera
Blackmagic Design
Studio Camera
Blackmagic Design
Blackmagic Design
67
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Blackmagic Design 12
Blackmagic Design
Blackmagic Design
Blackmagic
Design
Blackmagic Design
Blackmagic Design
a Blackmagic Design
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Design d
Blackmagic Design
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Blackmagic Design
Copyright 2014 Blackmagic Design Blackmagic Design DeckLink HDLink
Workgroup Videohub Multibridge Pro Multibridge Extreme Intensity Leading the creative video revolution
Mac OS X
Windows
Franais
octobre 2014
Welcome
Bienvenue
Nous vous remercions d'avoir fait l'acquisition d'une Blackmagic Studio Camera.
Nous avons conu la Blackmagic Studio Camera avec beaucoup d'enthousiasme.
J'ai toujours ador la production en direct, et cela depuis mon adolescence. Dans
le pass, les camras pourvues des fonctions tally et rseau d'ordres taient trs
onreuses et trs grandes, donc difficiles grer. Nous souhaitions vraiment
remdier ce problme en crant une camra plus compacte incluant des
fonctionnalits telles que le rseau d'ordres, le tally et le contrle de la camra
qui sont normalement offertes par des camras de plus grande taille.
C'est la raison pour laquelle nous avons dvelopp la Blackmagic Studio Camera.
Nous dsirions crer une camra beaucoup plus petite pour des raisons de
portabilit, cependant les petites camras sont gnralement dotes de tous
petits crans. C'est ce que nous voulions viter. Ce que nous recherchions, c'tait
un viseur beaucoup plus grand ! Et voil le rsultat : la Blackmagic Studio Camera
est une petite camra broadcast mais elle possde un trs grand viseur qui est
un vrai plaisir utiliser. Il est trs facile de raliser une mise au point et un cadrage
prcis avec un viseur de cette taille.
Il va sans dire que vous bnficiez galement d'indicateurs tally, d'un rseau
d'ordres, d'une puissante batterie intgre sans oublier une camra d'excellente
qualit quipe d'une monture d'objectif Micro 4/3 flexible. C'est tout ce dont vous
avez besoin dans un seul produit ! Vous pouvez brancher des microphones munis
de bonnettes anti-vent mme si ces derniers ncessitent une alimentation fantme.
Comme la fibre optique est intgre, il vous est possible de placer votre camra
des kilomtres de votre mlangeur. Si vous le souhaitez, vous pouvez mme ajouter
un HyperDeck Shuttle et utiliser la camra pour la production gnrale.
Nous esprons que vous allez utiliser votre nouvelle camra pour crer des
productions en direct exceptionnelles et produire des travaux au rendu remarquable
! Nous nous rjouissons de voir les travaux cratifs que vous allez raliser !
Grant Petty
PDG de Blackmagic Design
Sommaire
71
Mise en route
85
Utilisation de l'ATEM Software Control
Monter un objectif 73
74
Connexions
Blackmagic Studio Camera - Ct gauche 74
Blackmagic Studio Camera - Ct droit 75
76
Paramtres de la Studio Camera
91
Developer Information
Blackmagic Video Device Embedded Control Protocol 91
Overview91
Assumptions91
Paramtres de la camra 76
Blanking Encoding 91
Paramtres Audio 77
Message Grouping 91
Paramtres Monitoring 78
Paramtres Studio 79
Ajustement des paramtres 80
Paramtres supplmentaires 81
82
Sortie vido de la camra
Connexion des mlangeurs vido 82
Connexion des enregistreurs 82
83
Blackmagic Camera Utility
84
Fixation des accessoires
Pare-soleil84
Autres accessoires 84
99
Assistance
100
Garantie
Mise en route
71 Mise en route
Introduction la Blackmagic Studio Camera
Caractristiques
1. VOYANT TALLY FRONTAL
Indique l'acteur quelle camra passe actuellement l'antenne. Voir page 78.
2. CONTRLE DISTANCE LANC
Le jack stro de 2,5mm pour le contrle distance LANC prend en charge le contrle du diaphragme, du
zoom et de la mise au point. Voir page 74.
3. CASQUE D'AVIATION
Connecteur TRS de 0,25" pour le contrle du programme et du son en rgie par le biais d'un casque d'aviation.
Voir page 74.
4. ENTRE POUR LE MICRO DU CASQUE
Connecteur TRS de 0,206" pour communiquer avec la rgie au moyen d'un casque d'aviation. Voir page 74.
5. ENTRES AUDIO
Deux connecteurs XLR symtriques de 1/4" pour le signal audio. Voir page 74.
2
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
6. ENTRE/SORTIE OPTIQUES
L'entre et la sortie optiques permettent une longueur de cble de 45 kilomtres. Voir page 75.
7. SORTIE SDI
Sortie SDI permettant une connexion un mlangeur ou un autre appareil. Voir page 75.
8. ENTRE SDI
L'entre SDI permet au cameraman de visualiser le signal de sortie du programme (PGM). Voir page 75.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9. ENTRE DE RFRENCE
Permet de multiples camras d'tre synchronises un signal de rfrence blackburst ou tri-level. Voir page 75.
10. ALIMENTATION
Entre 12 - 24V pour l'alimentation et le chargement de la batterie. Voir page 75.
PUSH
72 Mise en route
PUSH
11
12
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
22
OPTICAL IN
SDI OUT
SDI IN
REF
12V
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
73 Mise en route
Monter un objectif
Pour mettre en route votre Blackmagic Studio Camera, il vous suffit de monter un objectif et d'allumer
l'appareil. Pour retirer le cache de protection de la monture d'objectif, maintenez le bouton de verrouillage
enfonc et tournez le cache dans le sens inverse des aiguilles d'une montre jusqu' ce qu'il soit libr. Nous
vous recommandons d'teindre systmatiquement votre camra avant de monter ou d'ter un objectif.
Pour monter un objectif :
PUSH
PUSH
tape 1.
Alignez le point situ sur votre objectif avec celui de la monture. De nombreux objectifs possdent
un point bleu, rouge ou blanc ou un autre indicateur.
tape 2. Tournez l'objectif dans le sens des aiguilles d'une montre jusqu' ce qu'il s'embote correctement.
tape 3. Pour retirer l'objectif, maintenez le bouton de verrouillage enfonc et tournez l'objectif dans le
sens inverse des aiguilles d'une montre jusqu' ce que le point atteigne la position de midi puis
retirez-le dlicatement.
PUSH
OPTICAL OUT
Si aucun objectif n'est assembl la camra, le capteur est expos la poussire et d'autres dbris. Il vous
est donc conseill de garder le cache anti-poussire autant que possible.
OPTICAL IN
PUSH
SDI OUT
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
Connexions
74 Connexions
Blackmagic Studio Camera - Ct gauche
Contrle distance LANC
Le port LANC de votre camra permet de contrler distance la mise au point de l'objectif et les rglages
du diaphragme et du zoom lorsque vous utilisez un objectif compatible. Le port est un jack stro de 2,5 mm
qui prend en charge le protocole LANC.
Les objectifs Micro 4/3 actifs vous permettent de contrler le servo du zoom l'aide de la tlcommande
LANC. Les objectifs suivants sont pris en charge :
Objectif Panasonic Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S
Objectif Panasonic Lumix G X Vario PZ 45-175mm f/4.0-5.6 Zoom O.I.S
Objectif Micro 4/3 Olympus 12-50mm f/3.5-6.3 ED M.Zuiko EZ
Sortie Casque
Permet de contrler le programme et le son en rgie au moyen d'un casque d'aviation muni de connecteurs
de type "fixed wing". La gamme de casques d'aviation est tendue, elle part de modles d'oreillettes pour
une utilisation dans les studios jusqu'aux casques rduction de bruit de taille normale qui conviennent aux
concerts et vnements sportifs. L'audio est achemine partir des canaux 15 et 16 des signaux vido SDI et
fibre optique entrants. Les canaux 15 et 16 sont rarement utiliss durant la production et sont donc appropris
une utilisation pour le rseau d'ordres.
PUSH
3
2
PUSH
Entres audio
2 canaux d'audio symtrique analogique professionnelle sont pris en charge par les connecteurs XLR. Configurez
les niveaux d'entre de chaque canal l'aide du menu audio. Les entres prennent en charge les signaux de
niveau micro ainsi que les signaux de niveau ligne. Le type de signal est galement slectionnable partir
du menu audio. Le son est intgr aux canaux 1 et 2 du flux SDI.
75 Connexions
Blackmagic Studio Camera - Ct droit
Entre/Sortie optiques
L'entre et la sortie fibre optique utilisent des connecteurs LC conformes aux normes de l'industrie, qui
prennent en charge des signaux 3G-SDI sur la Studio Camera HD, et des signaux 6G-SDI sur la Studio Camera
4K. Le cble fibre optique est trs courant car il est galement utilis dans les rseaux informatiques. La
fibre optique permet une longueur de cble de 45 kilomtres ce qui est bien plus qu'il n'en faut mme pour
les diffusions d'vnements en plein air les plus exigeantes. Si les entres optiques et SDI sont toutes deux
connectes, le signal de sortie provenant de l'appareil qui a t connect en premier sera utilis.
Sortie SDI
Utilisez la sortie SDI pour acheminer de la vido 4:2:2 10 bits du matriel vido SDI professionnel tel que des
grilles de commutation, moniteurs, priphriques de capture SDI et mlangeurs broadcast. La Blackmagic
Studio Camera HD prend en charge les signaux 3G-SDI et la Studio Camera 4K les signaux 12G-SDI.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Entre SDI
L'entre SDI permet au cameraman de visualiser le signal de sortie du programme (PGM). Il vous suffit d'appuyer
sur le bouton PGM pour basculer entre le signal en direct de la camra et le signal du programme provenant
de la rgie o se trouve le mlangeur. Si les entres optiques et SDI sont toutes deux connectes, le signal
de sortie provenant de l'appareil qui a t connect en premier sera utilis. Si vous utilisez la Studio Camera
pour enregistrer sur un appareil tel que le Blackmagic Hyperdeck Shuttle, la sortie de l'Hyperdeck peut tre
connecte l'entre SDI pour vous permettre de lire ce que vous venez d'enregistrer.
Entre de rfrence
REF
Elle permet de multiples camras d'tre synchronises un signal de rfrence blackburst ou tri-level. Le
fait de synchroniser des camras un signal de rfrence externe facilite la prvention d'erreurs de timing
qui peuvent provoquer un saut de l'image lors de la commutation entre diffrentes camras.
12V
Paramtres de la Studio
Camera
Gain
Les paramtres Gain sont utiles lorsque vous tournez dans des situations o l'clairage est minime. Le paramtre
par dfaut est de 0dB et le gain peut tre augment par tranches de 6dB jusqu' 18dB.
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
La vitesse d'obturation complte le paramtre ISO en rgulant la quantit de lumire reue par le capteur.
Il y a 15 diffrentes vitesses d'obturation disponibles de 1/50 sec 1/2000 sec.
Langue
L'anglais est la langue par dfaut. D'autres langues telles que le japonais, franais, allemand, russe, espagnol,
chinois et coren seront disponibles ultrieurement.
Paramtres Audio
Les connecteurs audio externes prennent en charge de l'audio de niveau micro ou de niveau ligne. Slectionnez
la fonction Line lorsque vous connectez du matriel audio externe tel qu'une console de mixage audio ou un
amplificateur. Slectionnez le paramtre Mic Low ou Mic High selon la force du signal de votre microphone. Il
est important de slectionner le niveau appropri pour viter que votre audio externe soit presque inaudible,
trop forte ou distordue.
Configurez les niveaux des signaux audio externes l'aide des flches gauche et droite.
Luminosit (Brightness)
Dplacez le curseur vers la gauche ou vers la droite pour ajuster les paramtres de luminosit de l'cran LCD.
Par dfaut, ce paramtre est rgl sur 60%.
Zebra
Les Blackmagic Cameras possdent une fonction zebra qui vous indique les niveaux d'exposition. Des lignes
diagonales apparaitront sur n'importe quelle zone de la vido qui excde le niveau d'exposition zebra.
Activez la fonction zebra et slectionnez le niveau d'alerte zebra souhait l'aide des flches gauche et droite.
Par dfaut, ce paramtre est rgl sur Medium.
Focus Peaking
Ce paramtre vous permet de changer le niveau de la fonction focus peaking (aide la mise au point). Faites
votre choix entre : off, low, medium et high. Ajustez ce paramtre lorsque vous utilisez un objectif trs net et
que l'image entire est crte. Par dfaut, ce paramtre est rgl sur Medium.
Paramtres Monitoring
FOCUS
IRIS
PTT
PGM
LUT
La Blackmagic Studio Camera prend en charge le contrle d'objectif lectronique, ce qui vous permet d'ajuster
les paramtres de l'objectif tels que le diaphragme et la mise au point automatique. La fonction focus peaking
est une aide la mise au point qui cre un bord vert autour des zones de l'image les plus nettes, ce qui vous
permet de confirmer facilement votre mise au point. Cette fonction n'apparat que sur votre cran LCD et
SET
MENU
n'affecte
pas la sortie SDI. DISPLAY
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Lorsque vous utilisez la Studio Camera avec un objectif mise au point automatique, appuyez sur le bouton
FOCUS pour faire votre slection entre les fonctions focus peaking et mise au point automatique (autofocus).
Pour slectionner la mise au point automatique, appuyez une fois sur le bouton FOCUS. Pour activer le focus
peaking appuyez deux fois rapidement sur le bouton FOCUS.
Lorsque vous utilisez un objectif manuel, appuyez une fois sur le bouton FOCUS pour activer la fonction
focus peaking.
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
Pour rgler votre diaphragme manuellement sur la Studio Camera, appuyez sur les boutons de navigation
DISPLAYle bas.
MENU
flches vers le haut ou vers
LUT
SET
SET
DISPLAY
MENU
FOCUS
IRIS
PTT
PGM
LUT
SET
Lors de la production en direct, il est primordial que les cameramen puissent communiquer avec le ralisateur
et les personnes se trouvant en rgie. Il vous suffit d'appuyer et de maintenir le bouton enfonc et vous pouvez
ensuite commencer
parler.MENU
Appuyez deux fois rapidement pour une communication mains libres. Appuyez
DISPLAY
nouveau pour revenir la configuration par dfaut.
Programme (PGM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Parfois, il est important que les cameramen puissent visualiser le signal du programme au lieu du signal de
leur propre camra. Il vous suffit d'appuyer sur le bouton PGM pour basculer entre le signal en direct de
la camra et le signal du programme provenant de la rgie o se trouve le mlangeur. Vous pouvez utiliser
l'entre SDI ou l'entre optique pour connecter votre source vido externe.
Bouton LUT
Fonction non disponible actuellement.
Bouton Menu
Appuyez sur ce bouton pour faire apparatre le menu, puis naviguez l'aide des boutons flche.
Sortie vido de la
camra
OPTICAL OUT
OPTICAL IN
Pour visualiser la sortie du programme (PGM) partir du mlangeur, il suffit de le connecter l'entre SDI ou
fibre optique de votre Studio Camera.
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
La Studio Camera comporte galement une entre de rfrence qui permet de multiples camras d'tre
synchronises un signal blackburst ou tri-level. Le fait de synchroniser des camras, magntoscopes et autres
appareils un signal de rfrence externe facilite l'limination d'erreurs de timing qui peuvent provoquer un
saut de l'image lors de la commutation entre diffrentes sources.
SDI IN
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
12V
SDI OUT
Si vous souhaitez enregistrer le signal de sortie de votre Studio Camera, il vous suffit de connecter la
sortie SDI l'entre SDI d'un enregistreur SSD comme le Blackmagic Hyperdeck Shuttle. La sortie SDI de
l'Hyperdeck peut ensuite tre connecte l'entre SDI de la Studio Camera, ce qui vous permet de visualiser
vos enregistrements sur l'cran LCD de la camra.
Blackmagic Camera
Utility
PUSH
Aprs avoir install le logiciel Blackmagic Camera Utility le plus rcent sur votre ordinateur, connectez un
cble USB entre lordinateur et la camra. Le mini port USB 2.0 est situ sur le dessous de la camra.
Lancez le logiciel Blackmagic Camera Utility et suivez les instructions figurant sur lcran pour mettre jour
le logiciel de la camra.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Fixation des
accessoires
Autres accessoires
Pour les productions en studio, il se peut que vous dsiriez monter la camra sur un pidestal et ajouter
des rails pour les gros objectifs broadcast et les prompteurs. Pour la diffusion en plein air, vous prfrerez
peut-tre ajouter des micros, batteries externes et des contrleurs distance LANC. La camra dispose de
deux points de montage de 3/8 sur la face infrieure, et de dix points de montage de 1/4 sur les cts et
la face suprieure. Cela signifie que vous avez la flexibilit de configurer votre matriel pour n'importe quel
type de production.
2
PUSH
3
2
PUSH
Utilisation de l'ATEM
Software Control
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
IN
10
HD
HD
HD
HD
SDI INPUTS
IN
1
USB 2.0
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
HD
MULTI-VIEW
CH 2
CH 1
ANALOG AUDIO IN
R
ANALOG AUDIO OUT
+12V BACKUP
POWER
PUSH
HD
CH 2
CH 1CH 1
CH 2CH 2
CH 2
CH 1
tape 3. Appuyez sur le bouton MENU de votre Blackmagic Studio Camera. Allez sur Studio >Camera
Number et faites correspondre le numro l'entre du mlangeur. Par exemple, si la Studio Camera
1 est connecte la Cam 1 sur le mlangeur ATEM, le numro de la camra doit galement tre
configur sur 1. Ainsi, le tally est envoy la camra approprie.
MULTI-VIEW
ANALOG AUDIO IN
ANALOG AUDIO
ANALOG
IN AUDIO OUT
tape 1.
3OUT
OUT
PRESS TO TALK
OUT
Connectez l'entre/sortie fibre optique de votre Blackmagic Studio Camera l'entre/sortie fibre
optique de l'ATEM Studio Converter.
tape4 2. Connectez une sortie SDI approprie de l'ATEM Studio Converter n'importe quelle entre SDI
du mlangeur ATEM.
AES/EBU TALKBACK LOOPS
OUT
OUT
OUT
LOCK TO TALK
SDI OUT
STEREO
IN
PUSH
HD
PUSH
CH 1
SDI INPUTS
CONTROL
tape 2. Connectez n'importe quelle sortie SDI du mlangeur ATEM, except les sorties down-converties
ou Multi View, l'entre SDI de votre Studio Camera. Les signaux Camera Control ne sont pas
achemins via les sorties SDI down-converties et Multi View.
REMOTE
LOCK TO TALK
IN
2
HDMI IN
REMOTE
STEREO IN
LOCK TO TALK
TROL
tape 1. Connectez la sortie SDI de votre Blackmagic Studio Camera n'importe quelle entre SDI du
mlangeur ATEM.
PRESS TO TALK
PRESS TO TALK
SDI OUT
SDI OUT
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
PGM SDI
OPTICAL
OUT/IN
MIC
OUT
OUT
OUT
IN
IN
IN
SDI OUT
+12V BACKUP
POWER
SDI OUT
USB 2.0
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
H/PHONE
IN
SDI OUT
tape 3. Connectez n'importe quelle sortie SDI du mlangeur ATEM, except les sorties down-converties
ou Multi View, l'entre SDI de l'ATEM Studio Converter. Les signaux Camera Control ne sont pas
achemins via les sorties SDI down-converties et Multi View.
L
R
ANALOG AUDIO OUT
H/PHONE
IN
OPTICAL OUT/IN
IN
IN
PGM SDI
MIC
H/PHONE
tape 4. Appuyez sur le bouton MENU de votre Blackmagic Studio Camera. Allez sur Studio >Camera
Number et faites correspondre le numro l'entre du mlangeur. Par exemple, si la Studio Camera
1 est connecte la Cam 1 sur le mlangeur ATEM, le numro de la camra doit galement tre
configur sur 1. Ainsi, le tally est envoy la camra approprie.
Ouvrez les prfrences de l'ATEM Software Control et configurez le mappage des boutons du mlangeur pour
garantir une commutation de la bonne camra avec le tally appropri. Vous avez prsent une connexion
vido partant du mlangeur vers votre Blackmagic Studio Camera, vous pouvez galement bnficier des
indicateurs tally en direct sur la camra. De plus, il est possible de visualiser le flux de programme du mlangeur
en appuyant sur le bouton PGM de votre camra.
Lancez le logiciel ATEM Software Control et cliquez sur le bouton Camera situ au bas de la fentre du logiciel.
Vous apercevrez une range de fentres qui permettent de commander toutes les camras et qui contiennent
des outils puissants pour ajuster et affiner l'image de chaque camra. Les commandes sont trs faciles utiliser.
Il vous suffit de cliquer sur les boutons l'aide de votre souris, ou de cliquer et dplacer les curseurs pour effectuer
des ajustements.
tat du canal
La section tat du canal est situe dans la partie suprieure de chaque fentre de contrle de camra et affiche le label
de la camra, l'indicateur de passage l'antenne et le bouton de verrouillage. Appuyez sur le bouton de verrouillage
pour verrouiller toutes les commandes relatives une camra spcifique. Lorsque la camra est l'antenne, la section
tat du canal s'illumine en rouge et affiche l'alerte On Air.
Cercles chromatiques
Chaque fentre de contrle de camra affiche l'tat du canal
afin que vous sachiez quelle camra est l'antenne. Utilisez
les cercles chromatiques pour ajuster les paramtres Lift,
Gamma et Gain de chaque canal YRGB.
Le cercle chromatique est une fonctionnalit puissante du correcteur de couleurs DaVinci Resolve et permet d'effectuer
des ajustements de couleur pour les paramtres lift, gamma et gain de chaque canal YRGB. Pour slectionner le
paramtre ajuster, il vous suffit de cliquer sur un des trois boutons de slection situs au-dessus du cercle chromatique.
Roue matresse
Utilisez la roue matresse situe sous le cercle chromatique pour effectuer des ajustements de contraste sur tous les
canaux YRGB en mme temps, ou uniquement de luminance pour les paramtres lift, gamma ou gain.
Boutons de rinitialisation
Le bouton de rinitialisation situ dans la partie suprieure droite de la fentre de contrle de la camra vous permet
de choisir aisment les paramtres de correction colorimtrique que vous souhaitez rinitialiser, copier ou coller.
Chaque cercle chromatique possde galement son propre bouton de rinitialisation. Appuyez sur ce bouton pour
restaurer le paramtre par dfaut, ou pour copier/coller un paramtre. Les fentres de contrle de camra verrouilles
ne sont pas affectes par la fonction Paste.
Le bouton de rinitialisation principal est situ en haut droite de la fentre de correction colorimtrique. Il vous
permet de rinitialiser les cercles chromatiques Lift, Gamma et Gain ainsi que les paramtres Contrast, Saturation,
Hue et Lum Mix. Vous pouvez coller les paramtres de correction colorimtrique des fentres de contrle de
camra individuelles ou toutes les fentres en mme temps pour crer un rendu uniforme. Les paramtres relatifs
l'iris, la mise au point et au niveau de noir ainsi que le paramtre Coarse ne sont pas affects par la fonction Paste.
Lorsque vous souhaitez appliquer la fonction Paste to all (coller toutes les fentres), un message apparatra pour
confirmer cette action. De cette faon, vous ne collerez pas de nouveaux paramtres accidentellement aux camras
non verrouilles en cours de diffusion.
Paramtre Coarse
Le paramtre Coarse est situ gauche du contrle de l'iris/niveau de noir et permet de limiter l'ouverture
de l'iris. Cette fonctionnalit vous aide ne pas faire passer des images surexposes l'antenne.
Pour configurer cette limite, ouvrez compltement l'iris l'aide de la fonction de contrle de l'iris, puis
dplacez le curseur Coarse vers le haut ou vers le bas pour configurer l'exposition optimale. prsent, lorsque
vous ajustez l'iris, la limite que vous avez configure l'aide du paramtre Coarse l'empchera de dpasser
l'exposition optimale.
Indicateur de l'iris
L'indicateur de l'iris est situ droite du contrle de l'iris/niveau de noir et fait office de rfrence visuelle
vous permettant de visualiser l'ouverture de lentille. L'indicateur de l'iris est affect par le paramtre Coarse.
Le contrle de l'iris/niveau de noir s'illumine en rouge lorsque
sa camra respective est l'antenne.
Vous disposez prsent de cercles chromatiques et de paramtres tels que la saturation. Vous pouvez
galement visualiser tous les paramtres relatifs aux basses lumires, tons moyens et hautes lumires en
mme temps. Il vous suffit de commuter entre les camras l'aide des commandes de slection situes sur
le haut de la fentre lorsqu'il est ncessaire.
Cliquez et dplacez votre pointeur n'importe o dans le cercle de couleur : Notez qu'il n'est
pas ncessaire de positionner votre pointeur sur l'indicateur de la balance des couleurs. Lorsque
l'indicateur de la balance des couleurs se dplace, les paramtres RGB situs sous le cercle
chromatique se modifient pour reflter les ajustements apports chaque canal.
Cliquez en maintenant le bouton SHIFT enfonc et dplacez votre pointeur n'importe o dans
le cercle de couleur : L'indicateur de la balance des couleurs se positionnera l'endroit mme
o se trouve le pointeur, ce qui vous permet de faire des ajustements plus rapides et extrmes.
Roues matresses
Utilisez les roues matresses situes sous les cercles chromatiques pour ajuster les commandes Lift, Gamma
et Gain de chaque canal YRGB.
Pour effectuer des ajustements l'aide de la roue matresse :
Ajustez les roues matresses en dplaant la commande vers
la gauche ou vers la droite.
Dplacez la roue matresse vers la gauche ou vers la droite : Un dplacement vers la gauche
assombrit le paramtre slectionn de l'image alors qu'un dplacement vers la droite claircit ce
mme paramtre. Lors de l'ajustement, les paramtres YRGB situs au-dessous de la roue matresse
se modifient pour reflter l'ajustement en cours. Pour effectuer un ajustement n'affectant que la
luminance, maintenez la touche ALT ou Command enfonce et dplacez la roue vers la gauche
ou vers la droite. Comme le correcteur colorimtrique prend en charge un traitement YRGB, il
vous permet de faire preuve de crativit et de crer des effets uniques en ajustant uniquement
le canal Y. Les ajustements du canal Y fonctionnent mieux lorsque le paramtre Lum Mix est rgl
sur le ct droit pour un traitement YRGB et sur le ct gauche pour un traitement RGB standard.
En gnral, la plupart des coloristes DaVinci Resolve utilisent le correcteur colorimtrique YRGB
car on obtient une meilleure matrise de la balance des couleurs sans affecter le gain gnral.
Il vous faudra ainsi moins de temps pour obtenir le rendu dsir.
Paramtre Saturation
Le paramtre Saturation augmente ou rduit la quantit de couleur de l'image. Par dfaut, ce paramtre est
rgl sur 50%.
Paramtre Hue
Le paramtre Hue fait tourner toutes les teintes de l'image sur le primtre complet du cercle chromatique.
Le paramtre par dfaut de 180 degrs affiche la distribution originale des teintes. L'augmentation ou la
diminution de cette valeur fait tourner toutes les teintes vers l'avant ou vers l'arrire selon la distribution des
teintes d'un cercle chromatique.
Paramtres Contrast, Saturation, Hue et Lum Mix.
Developer
Information
91 Developer Information
Blackmagic Video Device Embedded Control Protocol
Version 1.0
If you are a software developer you can use the Video Device Embedded Control Protocol to construct devices
that integrate with our products. Here at Blackmagic Design our approach is to open up our protocols and
we eagerly look forward to seeing what you come up with!
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control messages
embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device addressing
is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed from
LSB first. Message groups, individual messages and command headers are defined as, and can be assumed to
be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of VANC
line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of 255
bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum of one
frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame, it should
use heuristics to determine which packets to prioritise and send immediately. Lower priority messages can
be delayed to later frames, or dropped entirely as appropriate.
92 Developer Information
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.
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 are device specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
93 Developer Information
Defined Commands
Command 0 : change configuration
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration parameters
available on the device. Parameters 0 through 127 are device specific parameters.
Parameters 128 though 255 are reserved for parameters that apply to multiple
types of devices.
94 Developer Information
128: signed 5.11 fixed point
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).
Data types 129 through 255 are available for device specific purposes.
Data (void)
The data field is 0 or more bytes as determined by the data type and number of
elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
95 Developer Information
Group
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
0.0
1.0
Interpretation
.0
Focus
fixed16
.1
Instantaneous autofocus
void
0.0=near, 1.0=far
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[1] = M-rate
0=regular, 1=M-rate
[2] = dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
96 Developer Information
Group
ID
Audio
Type
Index
Minimum
Maximum
Interpretation
.0
Mic level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.1
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Parameter
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
97 Developer Information
Group
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
98 Developer Information
Example Protocol Packets
Operation
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27
0x00
0x00
12
128
0x33
0x01
16
255
24
16
12
128
0x9a
0xfd
0x9a
0xfd
76
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
24
12
128
0x9a
0xfd
0x9a
0xfd
Assistance
99 Assistance
Obtenir de l'assistance
Le moyen le plus rapide d'obtenir de l'aide est d'accder aux pages d'assistance en ligne de Blackmagic
Design et de consulter les dernires informations de support concernant votre camra.
Remplacement de la batterie
La batterie intgre de la Studio Camera nest pas rparable par lutilisateur. Si la batterie doit tre remplace,
vous devrez lexpdier au centre dassistance Blackmagic Design le plus proche. Si la camra nest plus couverte
par la garantie, le remplacement de la batterie se fera moyennant des frais de services minimaux pour le cot
de la batterie, le travail ralis et la rexpdition de votre camra. Veuillez contacter le service dassistance de
Blackmagic Design pour de plus amples informations sur lexpdition de votre camra, comment l'emballer
en toute scurit et les frais de remplacement de la batterie dans votre pays.
Garantie
100 Garantie
Garantie limite 12 mois
Par la prsente, Blackmagic Design garantit que ce produit sera exempt de dfauts matriels et de fabrication
pendant une dure de un an compter de la date d'achat. Si un produit savre dfectueux pendant la priode
de garantie, Blackmagic Design peut, sa seule discrtion, rparer le produit dfectueux sans frais pour les
pices et la main doeuvre, ou le remplacer en change du produit dfectueux.
Pour se prvaloir du service offert en vertu de la prsente garantie, il vous incombe dinformer Blackmagic
Design de lexistence du dfaut avant expiration de la priode de garantie, et de prendre les mesures
ncessaires pour lexcution des dispositions de ce service. Le consommateur a la responsabilit de soccuper
de lemballage et de l'expdition du produit dfectueux au centre de service nommment dsign par
Blackmagic Design, en frais de port prpay. Il incombe au Consommateur de payer tous les frais de transport,
dassurance, droits de douane et taxes et toutes autres charges relatives aux produits qui nous auront t
retourns et ce quelle que soit la raison.
La prsente garantie ne saurait en aucun cas sappliquer des dfauts, pannes ou dommages causs par
une utilisation inapproprie ou un entretien inadquat ou incorrect. Blackmagic Design na en aucun cas
lobligation de fournir un service en vertu de la prsente garantie : a) pour rparer les dommages rsultant
de tentatives de rparations, dinstallations ou tous services effectus par du personnel non qualifi par
Blackmagic Design, b) pour rparer tout dommage rsultant d'une utilisation inadquate ou d'une connexion
du matriel incompatible, c) pour rparer tout dommage ou dysfonctionnement caus par lutilisation de
pices ou de fournitures nappartenant pas la marque de Blackmagic Design, d) pour examiner un produit
qui a t modifi ou intgr dautres produits quand limpact dune telle modification ou intgration
augmente les dlais ou la difficult dexaminer ce produit. CETTE GARANTIE REMPLACE TOUTE GARANTIE
EXPLICITE OU IMPLICITE. BLACKMAGIC DESIGN ET SES REVENDEURS DCLINENT EXPRESSEMENT
TOUTE GARANTIE IMPLICITE DE COMMERCIALISATION OU D'ADAPTATION DANS QUELQUE BUT QUE
CE SOIT. LA RESPONSABILIT DE BLACKMAGIC DESIGN POUR RPARER OU REMPLACER UN PRODUIT
S'AVRANT DFECTUEUX CONSTITUE LA TOTALIT ET LE SEUL RECOURS EXCLUSIF PRVU ET FOURNI
AU CONSOMMATEUR POUR TOUT DOMMAGE INDIRECT, SPCIFIQUE, ACCIDENTEL OU CONSCUTIF,
PEU IMPORTE QUE BLACKMAGIC DESIGN OU SES REVENDEURS AIENT T INFORMS OU SE SOIENT
RENDUS COMPTE AU PRALABLE DE L'VENTUALIT DE CES DOMMAGES. BLACKMAGIC DESIGN NE
PEUT TRE TENU POUR RESPONSABLE DE TOUTE UTILISATION ILLICITE OU ABUSIVE DU MATRIEL PAR
LE CONSOMMATEUR. BLACKMAGIC DESIGN N'EST PAS RESPONSABLE DES DOMMAGES RSULTANT
DE L'UTILISATION DE CE PRODUIT. LE CONSOMMATEUR MANIPULE CE PRODUIT A SES SEULS RISQUES.
Copyright 2014 Blackmagic Design. Tous droits rservs. 'Blackmagic Design, DeckLink, HDLink, Workgroup Videohub, Multibridge
Pro, Multibridge Extreme, Intensity et Leading the creative video revolution sont des marques dposes aux USA et dans d'autres pays.
Tous les autres noms de socit et de produits peuvent tre des marques dposes de leurs socits respectives auxquelles ils sont associs.
Mac OS X
Windows
Deutsch
Oktober 2014
Willkommen
Danke, dass Sie sich fr eine Blackmagic Studio Camera entschieden haben!
Auch wir sind restlos vom Design der Blackmagic Studio Camera begeistert. Schon
als Teenager war ich Feuer und Flamme fr die Liveproduktion weil sie so spannend
ist! Klassische Kameras mit Talkback und Tally waren frher extrem teuer und derart
sperrig, dass sie schwer zu handhaben waren. Dieses Problem wollten wir mit einer
kompakteren Kamera mit all den Talkback-, Tally- und Kamerabedienungsfunktionen
von physisch erheblich greren Kameras ausrumen.
Deshalb haben wir die Blackmagic Studio Camera entwickelt. Unser Ziel war der
Bau einer viel kleineren, besser tragbaren Kamera. Aber normalerweise haben
kleine Kameras auch kleine Bildschirme. Das war nicht Sinn der Sache. Was wir
wirklich wollten, war ein viel grerer Sucher! Das Resultat ist die Blackmagic Studio
Camera, die kleinste unter den Broadcast-Kameras, aber mit einem bergroen
Sucher ausgerstet. Damit arbeitet es sich wunderbar. Die przise Fokussierung und
die Bildausschnittswahl werden mit einem derart groen Sucher zum Kinderspiel.
Selbstverstndlich ist die Kamera auch mit Tally-Indikatoren und einem
leistungsfhigen eingebauten Akku ausgestattet. Und natrlich ist auch
die eigentlich Kamera von ausgezeichneter Qualitt und gibt Ihnen zudem
einen flexiblen MFT-Objektivanschluss. Alles was Sie brauchen in einem
kompletten Paket! Sie knnen grere Mikrofone mit Windschutz und sogar
Phantomspeisung anschlieen. Mit dem eingebauten Glasfaseranschluss ist der
Betrieb Ihrer Kamera aus kilometerweiter Entfernung von Ihrem Mischer mglich.
Bei Bedarf knnen Sie sogar zustzlich ein HyperDeck Shuttle anschlieen und
die Kamera fr anderweitige Produktionszwecke benutzen.
Wir wnschen Ihnen kreatives Schaffen mit Ihrer neuen Kamera und sind sehr
gespannt auf Ihre Liveproduktionen und sonstige filmische Arbeit!
Grant Petty
Inhaltsverzeichnis
104
Erste Schritte
118
Arbeiten mit ATEM Software Control
107
Anschlsse
Blackmagic Studio Camera linke Seite 107
Blackmagic Studio Camera rechte Seite 108
109
Kamera-Einstellungen
124
Developer Information
Blackmagic Video Device Embedded Control Protocol 124
Overview124
Kamera-Einstellungen109
Assumptions124
Audio-Einstellungen110
Studio-Einstellungen112
Anpassen der Einstellungen 113
Zustzliche Einstellungen 114
115
Videoausgang der Kamera
Anschlieen von Videomischern 115
Anschlieen von Aufzeichnungsgerten 115
116
Blackmagic Camera Utility (Dienstprogramm)
117
Befestigen von Zubehr
Gegenlichtblende117
Weiteres Zubehr 117
132
Hilfe
133
Garantie
Erste Schritte
Funktionsmerkmale
1. VORDERES TALLY-LICHT
Zeigt den Darstellern an, welche Kamera sich gegenwrtig auf Sendung befindet. Siehe Seite 111.
2. LANC-FERNBEDIENUNG
Der 2,5 mm Klinkenstecker fr die LANC-Fernbedienung untersttzt Blenden-, Zoom- und Fokussiersteuerung.
Siehe Seite 107.
3. LUFTFAHRT-KOPFHRER
0,25" TRS-Klinkenstecker fr das Monitoring von PGM (Programm) und Audio von der Steuerzentrale mit
Luftfahrt-Headsets. Siehe Seite 107.
4. MIKROFON-KOPFHRER-EINGANG
0,206" TRS-Klinkenstecker fr die Kommunikation mit der Steuerzentrale ber Luftfahrt-Headsets. Siehe Seite 107.
5. AUDIOEINGNGE
2 x 1/4" symmetrische XLR-Buchsen fr die Audioeingabe. Siehe Seite 107.
2
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
6. GLASFASER-EINGANG/AUSGANG
Der Glasfaser-Eingang und -Ausgang erlaubt Kabellngen von bis zu 45 Kilometern. Siehe Seite 108.
7. SDI OUT
SDI-Ausgang zum Anschluss an einen Mischer oder andere Gerte. Siehe Seite 108.
8. SDI IN
ber den SDI-Eingang kann der Kamerabediener das ausgegebene Programm (PGM) betrachten. Siehe Seite 108.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9. REFERENZEINGANG
Erlaubt die Synchronisierung mehrerer Kameras mit Genlock ber ein Blackburst- oder Tri-Level-Referenzsignal.
Siehe Seite 108.
10. STROMVERSORGUNG
12 24 V Buchse fr die Stromversorgung und zum Aufladen des Akkus. Siehe Seite 108.
PUSH
11
12
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
14. IRIS-TASTE
Einmaliges Drcken fr Belichtungsautomatik (Auto Exposure). Siehe Seite 113.
15 PUSH-TO-TALK-TASTE (PTT)
Taste zum Sprechen gedrckt halten. Zweimaliges Drcken der PPT-Taste in schneller Folge ermglicht die
handfreie Kommunikation. Erneutes Drcken bringt das standardmige Verhalten zurck. Siehe Seite 114.
22
OPTICAL IN
SDI OUT
SDI IN
23. USB-BUCHSE
USB-Mini-B-Port zur Aktualisierung der Kamera-Firmware. Siehe Seite 116.
REF
12V
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
PUSH
PUSH
Schritt 1. Richten Sie den Punkt an Ihrem Objektiv auf die Ansetzmarkierung an der Kamera aus.
Bei vielen Objektiven ist dieser Punkt blau, rot oder wei und manche Objektive sind auf andere
Weise markiert.
Schritt 2.
Schritt 3.
Halten Sie zum Abnehmen des Objektivs die Verriegelungstaste gedrckt, drehen Sie das
Objektiv gegen den Uhrzeigersinn, bis der Punkt bzw. die Ansetzmarkierung die 12-Uhr-Position
erreicht hat und nehmen Sie das Objektiv vorsichtig ab.
PUSH
3
2
PUSH
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
Wenn kein Objektiv an der Kamera angebracht ist, liegt der Sensor frei und kann leicht durch Staub oder
andere Ablagerungen verschmutzt werden. Deswegen empfiehlt es sich, die Staubschutzkappe mglichst
stndig an der Kamera zu belassen.
Drcken Sie die Einschalttaste unter dem LCD. Dann erscheint das Live-Kamerabild auf
dem LCD.
Schritt 2.
Anschlsse
107 Anschlsse
Blackmagic Studio Camera linke Seite
LANC-Fernbedienung
ber den Remote-Port Ihrer Kamera lassen sich bei Einsatz eines kompatiblen Objektivs die Fokussierung,
Blenden- und Zoomeinstellungen des Objektivs fernsteuern. Der Port ist eine 2,5-mm-Stereoklinkenbuchse
und verwendet das LANC-Standardprotokoll.
Aktive MFT-Objektive gestatten Ihnen, den Zoomservo per LANC-Fernbedienung zu steuern. Folgende
Objektive werden zurzeit untersttzt:
Panasonic Lumix G X Vario PZ 14-42 mm f/3,5-5,6 Objektiv mit Power O.I.S (Bildstabilisator)
Panasonic Lumix G X Vario PZ 45-175 mm f/4,0-5,6 Zoomobjektiv mit O.I.S.
Olympus 12-50 mm f/3,5-6,3 ED M.Zuiko EZ Micro 4/3 Objektiv
Kopfhrerausgang
Ausgang fr das Monitoring von Programm und Audio der Steuerzentrale ber Luftfahrt-Headsets mit Fixed
Wing"-Steckern. Das Angebot von Luftfahrt-Headsets reicht von Ohrhrermodellen fr Studioumgebungen bis
hin zu kompletten, lrmreduzierenden Modellen zum Einsatz bei lauten Konzerten und Sportveranstaltungen.
Das Audio wird den Kanlen 15 und 16 des eingehenden SDI- oder Glasfaser-Videos entnommen. Da die
Kanle 15 und 16 nur in den seltensten Fllen whrend der Produktion eingesetzt werden, bieten sie sich zum
Einsatz fr Audio-Talkback an.
Mikrofon-Kopfhrer-Eingang
PUSH
Dieser Eingang ermglicht die Kommunikation mit der Steuerzentrale ber Luftfahrt-Headsets. Das Audio wird
in die Kanle 15 und 16 der an die Steuerzentrale zurckgehenden SDI-oder Glasfaser-Ausgabe eingebettet.
Audioeingnge
3
2
PUSH
Zwei Kanle professionelles symmetrisches Analogaudio werden via XLR-Buchsen untersttzt. Stellen Sie die
Eingabepegel fr die beiden Kanle ber das Audiomen ein. Die Eingnge untersttzen ebenso Mikrofonpegelwie auch Leitungspegel-Eingaben. Die Eingabeart wird ebenfalls auf dem Audiomen ausgewhlt. Audio
wird in Kanal 1 und 2 des SDI-Datenflusses eingebettet.
108 Anschlsse
Blackmagic Studio Camera rechte Seite
Glasfaser-Eingang/Ausgang
Der Glasfaser-Eingang und -Ausgang ist mit branchenblichen LC-Buchsen ausgestattet. Beide untersttzen
3G-SDI an der Studio Camera HD sowie 6G-SDI an der Studio Camera 4K. Glasfaserkabel sind berall
erhltlich, da sie auch fr Computervernetzungen benutzt werden. Mit Glasfaserkabeln lassen sich Signale
ber Entfernungen von bis zu 45 km bermitteln. Mehr als genug fr die meisten Auenbertragungen,
einschlielich der komplexesten. Wenn an beide Glasfaser- und SDI-Eingnge ein Gert angeschlossen ist,
wird die Ausgabe des zuerst angeschlossenen Gerts verwendet.
OPTICAL IN
SDI OUT
SDI IN
REF
SDI In
ber den SDI-Eingang kann der Kamerabediener das ausgegebene Programm (PGM) betrachten. Drcken
Sie einfach die PGM-Taste, um zwischen der Live-Kameraausgabe und der Programmausgabe von einer
Mischer-Steuerzentrale umzuschalten. Wenn an beide Glasfaser- und SDI-Eingnge Gerte angeschlossen
sind, wird die Ausgabe des zuerst angeschlossenen Gerts verwendet. Wird mit der Studio Camera auf ein
anderes Gert aufgezeichnet, beispielsweise ein Blackmagic Hyperdeck Shuttle, lsst sich der Ausgang
des Hyperdecks an den SDI-Eingang der Kamera anschlieen. Dies erlaubt die Wiedergabe des soeben
aufgezeichneten Filmmaterials.
Referenzeingang
12V
Erlaubt die Synchronisierung mehrerer Kameras mit Genlock ber ein Blackburst- oder Tri-Level-Referenzsignal.
Die Genlock-Synchronisierung von Kameras mit einem externen Referenzsignal verhindert Zeitversatzfehler,
die beim Umschalten zwischen verschiedenen Kameras zu strenden Bildbewegungen fhren knnen.
Stromversorgung
Schlieen Sie Ihr Netzteil ber die 12 24 V Buchse an und laden Sie den eingebauten Akku auf. Der voll
aufgeladene Akku gibt der Studio Camera HD eine Betriebsdauer von rund vier Stunden und der Studio
Camera 4K bis zu drei Stunden.
KameraEinstellungen
109 Kamera-Einstellungen
Kamera-Einstellungen
Drcken Sie die MENU-Taste (Men), um die Einstellungen Ihrer Blackmagic Studio Camera zu konfigurieren.
Benutzen Sie die Navigationstasten, um Mens zu aktivieren, und die SET-Taste, um Ihre Auswahl zu besttigen.
Videoformat
Whlen Sie das gewnschte Videoausgabeformat aus. Bitte entnehmen Sie die untersttzten Formate der
linksseitig abgebildeten Tabelle.
Lichter (Gain)
Gain-Einstellungen sind beim Filmen in Verhltnissen mit geringem Licht hilfreich. Der voreingestellte Wert
betrgt 0dB. Der Gain-Wert lsst sich in Schritten von jeweils 6dB bis zu +18dB steigern.
Kameraeinstellungen
Untersttzte Videoformate
Studio Camera HD
und Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Die Verschlusszeit gibt zusammen mit der ISO-Einstellung die Lichtmenge vor, die auf den Sensor gelassen
wird. Es sind 15 verschiedene Verschlusszeiten von 1/50 sec bis 1/2000 sec verfgbar.
Dynamikumfang
Film
Bei Einstellung des Dynamikumfangs der Studio Camera HD auf Film"-Modus werden die in Ihrem Vidoesignal
enthaltenen Daten durch eine Log-Gammakurve optimiert. So knnen Sie leichter das Beste aus Ihrer
Farbkorrektursoftware, beispielsweise DaVinci Resolve, herausholen.
Video
Im Videomodus arbeiten die Studio Camera HD und die Studio Camera 4K mit dem REC709-Standard, der
mit modernem Studioequipment kompatibel ist.
Sprache (Language)
Die voreingestellte Sprache ist Englisch. In Zukunft werden auch zustzliche Sprachen wie Japanisch, Franzsisch,
Deutsch, Russisch, Spanisch, Chinesisch und Koreanisch untersttzt.
110 Kamera-Einstellungen
Audio-Einstellungen
Drcken Sie zur Vorgabe der Eingangs- und Audiokontrolleinstellungen Ihrer Blackmagic Studio Camera die
MEN-Taste (MENU) und whlen Sie das links vom Display angezeigte Mikrofon-Symbol aus.
Audioeingang
Schaltet zwischen dem Einsatz der Buchsen des internen Mikrofons und den XLR-Audiobuchsen der Kamera um.
Mikrofonpegel
Der Mikrofoneingang passt die Aufnahmepegel des eingebauten Mikrofons an. Schieben Sie zum Erhhen
oder Verringern der Pegel den Audio-Schieberegler nach links oder rechts. Die Studio Camera weist ein
eingebautes Stereomikrofon auf. Wenn keine externe Audioquelle angeschlossen ist, zeichnet das eingebaute
Mikrofon auf die Audiokanle 1 und 2 auf.
Eingangspegel
Externe Audioanschlsse untersttzen Audio auf Mikrofon- oder Leitungspegel. Whlen Sie Line", um externe
Audiogerte wie beispielsweise einen Tonmixer oder Verstrker anzuschlieen. Geben Sie je nach der Signalstrke
Ihres Mikrofons die Einstellung Mic Low" (niedrig) oder Mic High" (hoch) vor. Es ist wichtig, den passenden
Pegel auszuwhlen, damit vermieden wird, dass Ihr Audio kaum hrbar oder zu laut und verzerrt klingt.
Audio-Einstellungen
Stellen Sie die externen Audioeingangspegel mithilfe der linken und rechten Pfeiltasten ein.
111 Kamera-Einstellungen
Einstellungen fr das Monitoring
Drcken Sie die MEN-Taste (MENU) und whlen Sie das Monitor-Symbol aus, um die Display-Einstellungen
des LCD vorzugeben.
Helligkeit (Brightness)
Bewegen Sie das Schiebereglersymbol nach links oder rechts, um die Helligkeitseinstellungen des LCD
anzupassen. Die Helligkeit ist auf 60 % voreingestellt.
Zebra
Blackmagic-Kameras sind mit einer Zebra-Funktion ausgestattet, die Aufschluss ber die Belichtungsstrken
gibt. Ein diagonales Linienmuster erscheint ber jedem Videobereich, der die Zebra-Belichtungsstrke
berschreitet.
Schalten Sie Zebra ein und whlen Sie mithilfe der linken und rechten Pfeiltasten den gewnschten ZebraWarnpegel aus. Es ist ein Mittelwert voreingestellt.
Focus Peaking
Erlaubt die Einstellung des Pegels fr Focus Peaking. Verfgbare Einstellungen sind: Off" (ausgeschaltet),
Low" (niedrig), Medium" (Mittelwert) und High" (hoch). Passen Sie diese Einstellung an, wenn Sie ein
extrem scharfes Objektiv benutzen und das ganze Bild Peaking-Anzeigen verursacht. Focus Peaking ist auf
einen Mittelwert voreingestellt.
112 Kamera-Einstellungen
Studio-Einstellungen
Drcken Sie die MEN-Taste (MENU) und whlen Sie das Kopfhrer-Symbol aus, um die Display-Einstellungen
des LCD vorzugeben.
113 Kamera-Einstellungen
Anpassen der Einstellungen
FOCUS
IRIS
PTT
PGM
LUT
Die Blackmagic Studio Camera untersttzt elektronische Blendensteuerung. Das erlaubt Ihnen,
Blendeneinstellungen wie die ffnungsweite und automatische Fokussierung anzupassen. Mit der FokusPeaking-Funktion werden die schrfsten Bildbereiche grn umrandet, damit Sie sich mhelos Ihrer Scharfstellung
vergewissern knnen. Fokus-Peaking ist ausschlielich auf dem LCD zu sehen und wirkt sich nicht auf die
SET
DISPLAY
MENU
SDI-Ausgabe
aus.
Fokus-Taste (Focus)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Drcken Sie bei Einsatz der Studio Camera mit einem Autofokus-Objektiv die Fokus-Taste (FOCUS) fr Focus
Peaking oder Autofokus. Drcken Sie die FOCUS-Taste einmal fr Autofokus. Durch zweimaliges Drcken der
FOCUS-Taste in schneller Folge aktivieren Sie Focus Peaking.
Drcken Sie die FOCUS-Taste bei Einsatz eines manuellen Objektivs einmal.
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
DISPLAY
MENU
114 Kamera-Einstellungen
Zustzliche Einstellungen
Push to Talk (PTT)
FOCUS
IRIS
PTT
PGM
LUT
SET
Bei Liveproduktionen ist es unverzichtbar, dass Kamerabediener mit dem Regisseur und anderen Mitwirkenden
in der Steuerzentrale sprechen knnen. Halten Sie einfach die PPT-Taste gedrckt und fangen Sie an zu
sprechen. Zweimaliges
Drcken
der PPT-Taste in schneller Folge ermglicht die handfreie Kommunikation.
DISPLAY
MENU
Erneutes Drcken bringt die standardmige Funktionsweise zurck.
Programm (PRM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Manchmal ist es wichtig, dass Kamerabediener auch die Programmausgabe und nicht blo die Ansicht von
den eigenen Kameras sehen knnen. Drcken Sie die PGM-Taste, um zwischen Live-Kameraausgabe und
der Programmausgabe von einer Mischer-Steuerzentrale umzuschalten. Ihre externe Videoquelle lsst sich
wahlweise ber den SDI- oder den Glasfasereingang anschlieen.
Set (Besttigen)
Besttigen Sie mit dieser Taste Ihre im Men getroffene Auswahl.
Display
Schaltet die auf dem LCD eingeblendeten Bildausschnittmarkierungen (Overlays) und Indikatoren fr die
verbleibende Akkulaufzeit ein und aus. Die SDI-Ausgabe ist frei von Overlays.
Menu (Men)
Drcken Sie diese Taste, um das Men aufzurufen und navigieren Sie mit den Pfeiltasten.
Videoausgang der
Kamera
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
Die Studio Camera verfgt auerdem ber einen Referenzeingang, der die Genlock-Synchronisierung mehrerer
Kameras mit einem Blackburst- oder Tri-Level-Referenzsignal erlaubt. Die Genlock-Synchronisierung von
Kameras, VTRs und anderen Gerten mit einem externen Referenzsignal verhindert Zeitversatzfehler, die
beim Umschalten zwischen verschiedenen Quellen zu strenden Bildbewegungen fhren knnen.
OPTICAL IN
SDI OUT
SDI IN
REF
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
SDI OUT
Schlieen Sie den SDI-Ausgang der Kamera an den SDIEingang des Hyperdecks an, und den SDI-Ausgang des
Hyperdecks an den SDI-Eingang der Kamera, um Ihr
aufgezeichnetes Material zu betrachten
12V
PUSH
Schlieen Sie Ihren Computer nach erfolgter Installation der Blackmagic Camera Utility mit einem USB-Kabel
an Ihre Kamera an. Der Mini-USB-2.0-Port befindet sich am Kameraboden.
Starten Sie das Dienstprogramm Blackmagic Camera Utility und folgen Sie der auf dem Bildschirm angezeigten
Aufforderung zur Aktualisierung der Kamerasoftware.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Befestigen von
Zubehr
Legen Sie sich die im Lieferumfang Ihrer Studio Camera enthaltenen sechs Flgelschrauben zurecht.
Schritt 2.
Schieben Sie die Bohrlcher in der Gegenlichtblende ber die Befestigungspunkte an der
Kamera. Drehen Sie dann jeweils zwei der Flgelschrauben seitlich der Kamera und an ihrer
Ober- und Unterseite fest, bis die Gegenlichtblende sitzt.
Weiteres Zubehr
Fr Studionachrichten mag es wnschenswert sein, Ihre Kamera auf ein Rollstativ zu setzen und Schienen fr
gewichtige Broadcast-Objektive und Teleprompter anzubringen. Auenbertragungen hingegen mgen
den Anschluss von Mikrofonen, externen Akkus und LANC-Fernbedienungen erfordern. Die Kamera ist am
Boden mit zwei 3/8-Zoll-Befestigungspunkten und seitlich und oben mit zehn 1/4-Zoll Befestigungspunkten
versehen. Das gibt Ihnen die Flexibilitt, Ihr Rig fr Produktionen aller Gren umzubauen.
2
PUSH
3
2
PUSH
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
REMOTE
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
REMOTE
STEREO IN
SDI INPUTS
IN
1
USB 2.0
IN
10
HD
HD
HD
HD
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
3
L
+12V BACKUP
POWER
PUSH
PROGRAM OUTPUTS
PUSH
PUSH
STEREO
IN
PUSH
HD
HD
CH 1
CH 2
SDI OUT
MULTI-VIEW
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
Schritt 1.
AES/EBU TALKBACK LOOPS
3OUT
OUT
+12V BACKUP
POWER
SDI OUT
IN
OUT
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
PGM SDI
USB 2.0
SDI OUT
OPTICAL
OUT/IN
MIC
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
OUT
OUT
IN
IN
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
OUT
IN
R
ANALOG AUDIO OUT
PGM SDI
Verbinden Sie einen beliebigen SDI-Ausgang des ATEM-Mischers jedoch nicht die abwrtskonvertierten
oder Multi View"-Ausgnge mit dem SDI-Eingang (SDI In) Ihrer Studio Camera. Kamerasteuerungssignale
werden nicht ber die Multi View"-Ausgnge oder abwrtskonvertierte SDI-Ausgnge bermittelt.
All SDI and HDMI video connections are
CH 1CH 1
CH 2CH 2
CH 2
CH 1
Drcken Sie die Men-Taste Ihrer Blackmagic Studio Camera. Navigieren Sie zu Studio Settings" > Camera
Number" (Studio-Einstellungen > Kameranummer) und stellen Sie diese analog zum Mischereingang ein.
Beispiel: Wenn Studio Camera 1 an den ATEM Mischereingang Cam 1" angeschlossen ist, muss auch
die Kameranummer auf 1 eingestellt sein. So wird das Tally-Signal an die richtige Kamera bermittelt.
ANALOG AUDIO
ANALOG
IN AUDIO OUT
SDI OUT
CH 2
MULTI-VIEW
ANALOG AUDIO IN
CH 2
CH 1
ANALOG AUDIO IN
PRESS TO TALK
SDI OUT
Schritt 3.
LOCK TO TALK
SDI OUT
PUSH
HD
Schritt 2.
CH 1
SDI INPUTS
CONTROL
Koppeln Sie den SDI-Ausgang (SDI Out") Ihrer Blackmagic Studio Camera an den SDI-Eingang (SDI
In") eines ATEM Mischers.
LOCK TO TALK
IN
2
HDMI IN
Schritt 1.
LOCK TO TALK
TROL
PRESS TO TALK
PRESS TO TALK
MIC
H/PHONE
IN
Koppeln Sie den Optical Out/In"-Anschluss Ihrer Blackmagic Studio Camera an den Optical Out/
In"-Anschluss eines ATEM Studio Converters.
Schritt 2. Verbinden Sie einen geeigneten SDI-Ausgang des ATEM Studio Converters mit einem beliebigen SDI4
Eingang (SDI In) des ATEM-Mischers.
AES/EBU TALKBACK LOOPS
OUT
Schritt 3.
SDI OUT
L
R
ANALOG AUDIO OUT
H/PHONE
Schritt 4.
OUT
Verbinden Sie einen beliebigen SDI-Ausgang des ATEM-Mischers jedoch nicht die abwrtskonvertierten
oder Multi View"-Ausgnge mit dem SDI-Eingang (SDI In) des ATEM Studio Converters.
Kamerasteuerungssignale werden nicht ber die Multi View"-Ausgnge oder abwrtskonvertierte
SDI-Ausgnge bermittelt.
IN
OPTICAL OUT/IN
OUT
IN
IN
PGM SDI
MIC
H/PHONE
Drcken Sie die Men-Taste Ihrer Blackmagic Studio Camera. Navigieren Sie zu Studio Settings" > Camera
Number" (Studio-Einstellungen > Kameranummer) und stellen Sie diese analog zum Mischereingang ein.
Beispiel: Wenn Studio Camera 1 an den ATEM Mischereingang Cam 1" angeschlossen ist, muss die Nummer
Ihrer Kamera ebenfalls auf 1 eingestellt sein. So wird das Tally-Signal an die richtige Kamera bermittelt.
ffnen Sie Preferences" (Voreinstellungen) in ATEM Software Control und belegen Sie die Tasten des Mischers so,
dass die jeweilige Kamera mit der richtigen Tally-Leuchte angezeigt wird. Jetzt wo eine Videoverbindung von Ihrem
Mischer zu Ihrer Blackmagic Studio Camera besteht, knnen Sie auch die Tally-Indikatoren an Ihrer Kamera nutzen
und per Druck der PGM-Taste Ihrer Kamera den Programm-Feed ansehen.
Klicken Sie auf das Einstellungssymbol, um Ihren AuxiliaryAusgang fr die Kamerasteuerung vorzugeben
Starten Sie die Bediensoftware ATEM Software Control und klicken Sie am unteren Rand der Benutzeroberflche auf
das Kamerasymbol. Nun erfolgt die Anzeige einer Zeile von gekennzeichneten Kamerafenstern mit leistungsfhigen
Tools zur Anpassung und Verfeinerung des Bildes der jeweiligen Kamera. Die Bedienelemente sind einfach handhabbar.
Klicken Sie die Symbole mit Ihrer Maus an oder nehmen Sie Anpassungen per Klick und einer Ziehbewegung vor.
Kanalstatus
Der Kanalstatus im oberen Bereich der Kamerasteuerung zeigt die Kamerakennung, On-Air-Anzeige und eine
Sperrschaltflche an. Klicken Sie auf die Sperrschaltflche, um alle Steuerungen einer spezifischen Kamera zu sperren.
Wenn die Kamera auf Sendung ist, leuchtet der Kanalstatus rot auf und zeigt die On-Air-Warnung an.
Farbrad
Jedes Bedienelement zeigt den Kanalstatus an, damit ersichtlich
ist, welche Kamera sich auf Sendung befindet. Verwenden Sie
die Farbrder, um die Einstellungen der Schatten-, Mittel- und
Weitonwerte einzelner YRGB-Kanle zu justieren
Das Farbrad ist eine leistungsstarke Funktion des DaVinci Resolve Farbkorrektors zur Vornahme farblicher Anpassungen
an den Einstellungen fr Lift" (Schwarztne), Gamma" (Mitteltne) und Gain" (Weitne) einzelner YRGB-Kanle.
Die Auswahl der anzupassenden Einstellung erfolgt per Klick auf eine der drei ber dem Farbrad befindlichen
Auswahlschaltflchen.
Masterrad
Passen Sie mithilfe des nachstehenden Farbrades die Kontraste aller YRGB-Kanle auf einmal an oder justieren Sie nur
jeweils die Leuchtdichte der Einstellungen fr (Schwarztne), Gamma (Mitteltne) und Gain (Weitne).
Reset-Symbole
Anhand des rechts oben in allen Kamerafenstern befindlichen Reset-Symbols knnen Sie bequem auswhlen, welche
Farbkorrektureinstellungen zurckgesetzt, kopiert oder eingefgt werden sollen. Jedes Farbrad verfgt ber ein
zugehriges Reset-Symbol. Klicken Sie es an, um eine Einstellung auf ihren Standardwert zurckzusetzen oder um eine
zu kopieren bzw. einzufgen. Gesperrte Steuerelemente bleiben von der Einfgefunktion unberhrt.
Das Master-Resetsymbol oben rechts im Farbkorrektorfenster lsst Sie die Farbrder fr Lift, (Schwarztne), Gamma
(Mitteltne) und Gain (helle Bereiche) sowie die Einstellungen fr Contrast" (Kontrast), Hue" (Farbton), Saturation"
(Sttigung), und Lum Mix" (Luminanzmischung) zurcksetzen. Sie knnen Farbkorrektureinstellungen einzeln in
Kamerafenster kopieren oder dies fr einen durchgngigen Look fr alle Kameras auf einmal tun. Die Einstellungen fr
Blende, Coarse" und Schwarzwert bleiben von der Einfgefunktion unberhrt. Bei Anwendung von Paste to all" (In
alle einfgen) werden Sie durch einen Warnhinweis gebeten, den Vorgang zu besttigen. Dies soll das versehentliche
Einfgen neuer Einstellungen fr auf Sendung befindliche Kameras verhindern.
Coarse"-Einstellung
Mit der links vom Blenden/Schwarzwert-Button angeordneten Coarse"-Einstellung lassen sich die zulssigen
Blendenwerte begrenzen. Diese Funktion hilft zu verhindern, dass berbelichtete Bilder auf Sendung gehen.
So stellen Sie den Coarse"-Grenzwert ein: ffnen Sie die Blende mithilfe der Blendensteuerung so weit
es geht. Setzen Sie dann die Coarse"-Einstellung nach oben oder unten, um den maximal zulssigen
Blendenwert einzustellen. Jetzt verhindert der Coarse"-Grenzwert beim Einstellen der Blende, dass Ihr
Blendenhchstwert berschritten wird.
Blenden-Indikator
Der links von der Blenden-/Schwarzwert-Steuerung befindliche Blenden-Indikator stellt den ffnungstatus
der Blende visuell dar. Der Blenden-Indikator wird durch die Coarse"-Einstellung beeinflusst.
Das Blenden-/Schwarzwert-Bedienelement leuchtet rot auf,
wenn die jeweilige Kamera On Air ist
Autofokus-Symbol
Jedes Kamerafenster weist unten links ein Autofokus-Symbol auf. Klicken Sie auf dieses Symbol, um bei
Einsatz eines Objekts mit elektronischer Blendensteuerung automatisch zu fokussieren. Wichtig: Die meisten
Objektive untersttzten elektronische Fokussierung. Stellen Sie jedoch bei Objektiven, die automatisch und
manuell fokussierbar sind, den Autofokusmodus ein. Bei manchen Objektiven erfolgt dies durch Vorwrtsoder Rckwrtsschieben des Fokussierrings.
Manuelle Fokuseinstellung
Mithilfe des unten in jedem Kamerasteuerungsfenster befindlichen Fokussierrings knnen Sie Ihre Kamera
manuell scharfstellen. Ziehen Sie den Fokussierring nach links oder rechts, um die Schrfe manuell einzustellen.
Prfen Sie dabei anhand des Videofeeds von der Kamera, ob Ihr Bild gewnscht scharf ist.
Verschlusszeit-Steuerung
Das Verschlusszeit-Bedienelement ist zwischen dem Farbrad und der Blenden-/Schwarzwert-Steuerung angeordnet.
Reduzieren oder erhhen Sie die Verschlusszeit, indem Sie Ihre Maus ber die Verschlusszeit-Anzeige schieben und
den linken oder rechten Pfeil anklicken.
Eventuelles Lichtflimmern lsst sich durch Senken der Verschlusszeit beseitigen. Durch eine niedrigere Verschlusszeit
lassen sich Ihre Bilder ohne Einsatz der Kameraeinstellung aufhellen, da der Bildsensor so lnger dem Licht ausgesetzt
wird. Eine hhere Verschlusszeit reduziert auch Bewegungsunschrfe und bietet sich daher fr gestochen scharfe
Action-Shots mit minimaler bewegungsbedingter Unschrfe an.
Weiabgleich
Die neben dem Verschlusszeitregler befindliche Einstellung fr den Weiabgleich wird per Klick auf die Rechts- bzw.
Linkspfeile beidseitig der Farbtemperaturanzeige angepasst. Verschiedene Lichtquellen geben unterschiedlich warme
oder kalte Farben aus, was Sie durch Anpassen des Weiabgleichs kompensieren knnen. So wird dafr gesorgt, dass
die Weitne in Ihrem Bild wei bleiben.
Zur Verfgung stehen Ihnen hier Farbrder und Einstellungen wie Sttigung, und die Einstellungen fr Schatten,
Mitteltne und Glanzlichter sind alle gleichzeitig sichtbar. Wechseln Sie einfach mithilfe der Kameraauswahl-Schaltflchen
oben im Fenster zwischen Kameras hin und her.
Fhren Sie an beliebiger Stelle im Farbrad einen Klick und eine Ziehbewegung aus: Hinweis: Die
Farbbalance-Anzeige selbst braucht nicht bewegt zu werden. Die unter der Farbbalance-Anzeige gelegenen
RGB-Parameter verschieben sich analog zur Farbbalance-Justierung und reflektieren so an einzelnen Kanlen
vorgenommene Anpassungen.
Fhren Sie mittels Shift-Klick eine Ziehbewegung im Farbrad aus: Versetzt die Farbbalance-Anzeige auf
die absolute Position des Mauszeigers und gestattet die Vornahme schnellerer, extremerer Anpassungen.
Fhren Sie einen Doppelklick im Farbrad aus: Setzt die Farbanpassung zurck, ohne die Anpassung des
Masterrads fr dieses Steuerelement zu berhren.
Klicken Sie das Reset-Symbol oben rechts in einem Farbrad an: Dies setzt die Farbbalance zusammen
mit dem ihr zugehrigen Masterrad zurck.
Masterrder
Benutzen Sie die unter den Farbrdern befindlichen Masterrder, um die Lift"-, Gamma"- und Gain"-Steuerungen
fr jeden YRGB-Kanal individuell anzupassen.
So nehmen Sie Anpassungen mithilfe des Masterrads vor:
Ziehen Sie das Masterrad nach links oder rechts: Durch Ziehen nach links wird der ausgewhlte Parameter
des Bildes verdunkelt, durch Ziehen nach rechts wird er erhellt. Wenn Sie eine Anpassung vornehmen, ndern
sich dabei die darunter liegenden YRGB-Parameter und reflektieren Ihre soeben vorgenommene Anpassung.
Fhren Sie bei gedrckt gehaltener ALT-Taste eine Ziehbewegung nach links oder rechts aus, um nur den
Y-Wert anzupassen. Da der Farbkorrektor sich der YRGB-Verarbeitung bedient, knnen Sie Ihre Kreativitt
ausleben und einzigartige Optiken allein durch Anpassung des Y-Kanals erzielen. Anpassungen am Y-Kanal
lassen sich am besten vornehmen, wenn die Lum Mix"-Einstellung fr YRGB-Verarbeitung nach rechts gesetzt
ist. Ist diese nach links gesetzt, erfolgt eine regulre RGB-Verarbeitung. Normalerweise arbeiten die meisten
DaVinci Resolve Coloristen mit dem YRGB-Farbkorrektor, da dieser mehr Mglichkeiten zur Steuerung der
Farbbalance bietet, ohne dabei die hellen Tonwerte (Gain") insgesamt zu beeinflussen. So kriegen Sie Ihren
gewollten Look schneller hin.
Kontrasteinstellung (Contrast")
Die Kontrasteinstellung (Contrast") lsst Sie die Spanne zwischen den dunkelsten und hellsten Tonwerten in einem
Bild steuern. Die erzielte Wirkung hnelt dem Einsatz der Lift"- und Gain"-Masterrder, um entgegengesetzte
Anpassungen vorzunehmen. Die Helligkeit ist auf 50 % voreingestellt.
Sttigungseinstellung (Saturation")
Ziehen Sie die Schieberegler nach rechts oder links,
um die Einstellungen fr Kontrast, Sttigung, Farbton
und Luminanzmischung anzupassen
Mit Saturation" (Sttigung) lsst sich der im Bild vorhandene Farbanteil erhhen oder senken. Die Helligkeit ist auf
50 % voreingestellt.
Developer
Information
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control messages
embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device addressing
is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed
from LSB first. Message groups, individual messages and command headers are defined as, and can be
assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of
VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of 255
bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum of one
frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame, it should
use heuristics to determine which packets to prioritise and send immediately. Lower priority messages can
be delayed to later frames, or dropped entirely as appropriate.
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 are device specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration parameters
available on the device. Parameters 0 through 127 are device specific parameters.
Parameters 128 though 255 are reserved for parameters that apply to multiple
types of devices.
Data (void)
The data field is 0 or more bytes as determined by the data type and number of
elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
0.0
1.0
Interpretation
.0
Focus
fixed16
.1
Instantaneous autofocus
void
0.0=near, 1.0=far
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[1] = M-rate
0=regular, 1=M-rate
[2] = dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
ID
Audio
Type
Index
Minimum
Maximum
Interpretation
.0
Mic level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.1
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Parameter
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27
0x00
0x00
12
128
0x33
0x01
16
255
24
12
128
0x9a
0xfd
0x9a
0xfd
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
24
12
128
0x9a
0xfd
0x9a
0xfd
76
Hilfe
132 Hilfe
Hilfestellung
Am schnellsten erhalten Sie Hilfe ber die Online-Support-Seiten auf der Blackmagic Design-Website. Sehen
Sie dort nach der aktuellsten Support-Dokumentation fr Ihre Kamera.
Garantie
133 Garantie
12 Monate eingeschrnkte Garantie
Blackmagic Design gewhrt eine Garantie auf Material- und Verarbeitungsfehler von 12 Monaten ab Kaufdatum.
Wenn sich ein Produkt innerhalb dieser Garantiezeit als fehlerhaft erweist, wird die Firma Blackmagic Design
nach ihrem Ermessen das defekte Produkt entweder ohne Kosten fr Teile und Arbeitszeit reparieren, oder
Sie erhalten im Austausch fr das defekte Produkt einen Ersatz.
Zur Inanspruchnahme der Garantieleistungen mssen Sie als Kunde Blackmagic Design ber den Fehler
innerhalb der Garantiezeit in Kenntnis setzen. Der Kunde ist fr die Verpackung und den bezahlten Versand
des defekten Produkts an ein spezielles von Blackmagic Design benanntes Service Center verantwortlich.
Smtliche Versandkosten, Versicherungen, Zlle, Steuern und sonstige Abgaben im Zusammenhang mit der
Rcksendung von Waren an uns sind vom Kunden zu tragen.
Diese Garantie gilt nicht fr Mngel, Fehler oder Schden, die durch unsachgeme Handhabung oder
unsachgeme oder unzureichende Wartung und Pflege verursacht wurden. Blackmagic Design ist innerhalb
dieser Garantie nicht verpflichtet, die folgenden Serviceleistungen zu erbringen: a) Behebung von Schden
infolge von Versuchen Dritter, die Installation, Reparatur oder Wartung des Produkts vorzunehmen, b)
Behebung von Schden aufgrund von unsachgemer Handhabung oder Anschluss an nicht kompatible
Gerte, c) Behebung von Schden oder Strungen, die durch die Verwendung von nicht Blackmagic-DesignErsatzteilen oder -Verbrauchsmaterialien enstanden sind, d) Service fr ein Produkt, das verndert oder in andere
Produkte integriert wurde, sofern eine solche nderung oder Integration zu einer Erhhung des Zeitaufwands
oder zu Schwierigkeiten bei der Wartung des Produkts fhrt. BER DIE IN DIESER GARANTIEERKLRUNG
AUSDRCKLICH AUFGEFHRTEN ANSPRCHE HINAUS BERNIMMT BLACKMAGIC DESIGN KEINE
WEITEREN GARANTIEN, WEDER AUSDRCKLICH NOCH STILLSCHWEIGEND. BLACKMAGIC DESIGN
UND SEINE HNDLER LEHNEN JEGLICHE STILLSCHWEIGENDEN GARANTIEN IN BEZUG AUF AUSSAGEN
ZUR MARKTGNGIGKEIT UND GEBRAUCHSTAUGLICHKEIT FR EINEN BESTIMMTEN ZWECK AB. DIE
VERANTWORTUNG VON BLACKMAGIC DESIGN, FEHLERHAFTE PRODUKTE ZU REPARIEREN ODER ZU
ERSETZEN, IST DIE EINZIGE UND AUSSCHLIESSLICHE ABHILFE DIE GEGENBER DEM KUNDEN FR
ALLE INDIREKTEN, SPEZIELLEN, NEBEN- ODER FOLGESCHDEN ZUR VERFGUNG GESTELLT WIRD,
UNABHNGIG DAVON, OB BLACKMAGIC DESIGN ODER DER HNDLER VON DER MGLICHKEIT
SOLCHER SCHDEN ZUVOR IN KENNTNIS GESETZT WURDE. BLACKMAGIC DESIGN IST NICHT HAFTBAR
FR JEGLICHE WIDERRECHTLICHE VERWENDUNG DER GERTE DURCH DEN KUNDEN. BLACKMAGIC
HAFTET NICHT FR SCHDEN, DIE SICH AUS DER VERWENDUNG DES PRODUKTS ERGEBEN. NUTZUNG
DES PRODUKTS AUF EIGENE GEFAHR.
Copyright 2014 Blackmagic Design. Alle Rechte vorbehalten. Blackmagic Design', 'DeckLink', 'HDLink', 'Workgroup Videohub',
'Multibridge Pro', 'Multibridge Extreme', 'Intensity' und 'Leading the creative video revolution sind eingetragene Markennamen in den
USA und in anderen Lndern. Alle anderen Unternehmens- und Produktnamen sind mglicherweise Warenzeichen der jeweiligen Firmen,
mit denen sie verbunden sind.
Mac OS X
Windows
Espaol
octubre de 2014
Bienvenido
Gracias por haber adquirido una Studio Camera de Blackmagic!
Estamos muy contentos de haber diseado esta nueva cmara. Desde
adolescente, siempre tuve pasin por las producciones en directo. Son tan
emocionantes! Las cmaras con intercomunicadores y sistemas de sealizacin
siempre han sido sumamente costosas y difciles de manejar debido a su gran
tamao. Quisimos solucionar este problema desarrollando un producto ms
compacto con los controles y prestaciones de las grandes cmaras.
Por eso diseamos la Studio Camera. Queramos una cmara ms pequea
que brindara una mayor portabilidad, pero las cmaras de menor tamao
tienen pantallas diminutas. Esto no era lo que tenamos en mente. Nuestra
idea era ofrecer un visor mucho ms grande! Entonces desarrollamos la Studio
Camera. Se trata de la cmara profesional ms pequea del mercado y cuenta
con un visor enorme que es fantstico. Gracias a su tamao, resulta sumamente
fcil enfocar y ajustar la imagen con precisin.
Asimismo, cuenta con luces piloto, intercomunicador, batera integrada y por
supuesto una montura Micro 4/3 flexible. Es todo lo que necesitas en una
solucin completa. Puedes conectar micrfonos ms grandes con proteccin
de viento y alimentacin fantasma, o utilizar la cmara a kilmetros de distancia
de tu mezclador gracias a las conexiones de fibra ptica. Incluso puedes hacer
uso de la cmara para todo tipo de producciones en general conectndola
a un HyperDeck Shuttle.
Esperamos que la aproveches al mximo la Studio Camera durante tus
producciones en directo y te permita realizar proyectos increbles.
Estamos muy entusiasmados por ver plasmada toda tu creatividad!
Grant Petty
Director Ejecutivo de Blackmagic Design
Indice
137
Primeros pasos
151
Uso del programa de control
Introduccin137
140
Conexiones
Blackmagic Studio Camera - Lado izquierdo 140
Blackmagic Studio Camera - Lado derecho 141
142
Ajustes de la Studio Camera
157
Developer Information
Blackmagic Video Device Embedded Control Protocol 157
Overview157
Assumptions157
148
Salida de vdeo de la cmara
Conexin a mezcladores 148
Conexin a grabadores 148
149
Programa utilitario de la cmara
150
Accesorios
Parasol150
Otros accesorios 150
165
Ayuda
166
Garanta
Primeros pasos
Caractersticas
1. LUZ PILOTO FRONTAL
Indica a la persona frente a las cmaras cul de ellas est transmitiendo. Ver pgina 144.
2. CONEXIN LANC
Conexin estreo de 2,5 mm para controlar el enfoque y la apertura del diafragma a distancia. Ver pgina 140.
3. AURICULARES PROFESIONALES
Conector TRS de 0,25 para monitorizar el audio mediante auriculares profesionales. Ver pgina 140.
4. ENTRADA PARA EL MICRFONO DE LOS AURICULARES
Conector TRS de 0,206 pulgadas para comunicarse con la sala de control mediante auriculares profesionales.
Ver pgina 140.
5. ENTRADAS DE AUDIO
Dos conectores XLR de 0,25 para seales balanceadas. Ver pgina 140.
2
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
6. ENTRADA/SALIDA PTICA
Entrada y salida para fibra ptica. Permite utilizar longitudes de cable de hasta 45 km. Ver pgina 141.
7
8
9
REF
7. SALIDA SDI
Salida SDI para conectar mezcladores y otros dispositivos. Ver pgina 141.
PUSH
12V
10
8. ENTRADA SDI
Permite al camargrafo ver la salida de programa (PGM). Ver pgina 141.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9. ENTRADA DE REFERENCIA
Permite sincronizar varias cmaras segn una seal de referencia (BB o Tri-level). Ver pgina 141.
10. ALIMENTACIN
Entrada para fuente de alimentacin (12-24 V) y carga de la batera. Ver pgina 141.
PUSH
11
12
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
23
OPTICAL IN
SDI OUT
SDI IN
REF
12V
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
PUSH
Paso 1. El punto en el objetivo debe estar alineado con el punto en la montura de la cmara. Muchos
objetivos tienen un punto azul, rojo o blanco, o algn otro indicador.
PUSH
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
12V
OPTICAL OUT
SDI OUT
SDI IN
REF
12V
La cmara dispone de una batera interna que puede cargarse mediante el adaptador suministrado. Puede
alternar entre distintos modos de alimentacin sin interrupciones, por lo cual es posible cargar la batera
mientras est en funcionamiento.
Paso 1. Presione el botn de encendido situado debajo de la pantalla. La pantalla se encender y mostrar
la imagen.
REF
OPTICAL IN
Encendido de la cmara
Conexiones
140 Conexiones
Blackmagic Studio Camera - Lado izquierdo
Conexin LANC
Permite ajustar el enfoque, acercar o alejar la imagen y modificar la apertura del diafragma a distancia en
objetivos compatibles. Consta de un conector hembra estreo de 2.5 mm que utiliza el protocolo LANC
estndar.
Mediante un controlador LANC es posible manipular el servomotor en objetivos activos con montura tipo
Micro 4/3. Actualmente, la cmara es compatible con los siguientes objetivos:
Panasonic Lumix G X Vario PZ 14-42 mm f/3.5-5.6 Power O.I.S.
Panasonic Lumix G X Vario PZ 45-175 mm f/4.0-5.6 Zoom O.I.S.
Olympus 12-50mm f/3.5-6.3 ED M. Zuiko EZ Micro 4/3
PUSH
Permite comunicarse con la sala de control mediante auriculares profesionales. El audio se integra a los canales
15 y 16 de la seal de fibra ptica o SDI transmitida a la sala de control.
Entradas de audio
3
2
PUSH
Las conexiones XLR admiten dos canales de audio analgico balanceado profesional. El volumen de entrada
para cada canal se puede ajustar en el men de audio. Las entradas admiten seales de audio a nivel de
lnea o micrfono. El tipo de entrada se selecciona desde el mismo men. El audio se integra a los canales
1 y 2 de la seal SDI.
141 Conexiones
Blackmagic Studio Camera - Lado derecho
Entrada/Salida ptica
La entrada y salida de fibra ptica dispone de conectores LC convencionales y admite seales 3G-SDI
(Studio Camera HD) y 6G-SDI (Studio Camera 4K). Existe una gran variedad de cables de fibra ptica disponibles
en el mercado porque son los mismos que se utilizan en las redes informticas. Las conexiones de fibra ptica
hacen posible usar cables con una extensin de hasta 45 km, lo cual es suficiente aun para las transmisiones
desde exteriores ms exigentes. Cuando se utilizan las entradas para fibra ptica y SDI simultneamente,
la seal del dispositivo conectado en primer lugar tiene prioridad.
Salida SDI
Utilice la salida SDI para transmitir seales en formato 4:2:2 a 10 bits a dispositivos de vdeo SDI profesionales
tales como conmutadores, tarjetas de captura y mezcladores. La Studio Camera HD es compatible con seales
3G-SDI, mientras que la Studio Camera 4K permite transmitir seales 12G-SDI.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Entrada SDI
Esta entrada permite al camargrafo ver las imgenes de la salida de programa (PGM). Simplemente presione
PGM para ver las imgenes de la cmara en directo o la salida de programa del mezclador en la sala de
control. Al utilizar las entradas para fibra ptica y SDI simultneamente, la seal del dispositivo conectado
en primer lugar tendr prioridad. Si se utiliza la Studio Camera para grabar imgenes en un dispositivo tal
como el Hyperdeck Shuttle de Blackmagic, la salida de este ltimo puede conectarse a la entrada SDI para
reproducir el material grabado.
Entrada de referencia
REF
Esta entrada permite sincronizar varias cmaras segn una seal de referencia (Black Burst o Tri-level).
La sincronizacin de las cmaras con una seal de referencia externa ayuda a prevenir errores de coordinacin
que podran dar como resultado saltos en la imagen al cambiar de una cmara a otra.
12V
Alimentacin
La entrada de 12 24 V permite conectar la fuente de alimentacin y cargar la batera interna. La Studio
Camera HD y la Studio Camera 4K tienen una autonoma de 4 y 3 horas respectivamente con la batera
completamente cargada.
Ajustes de la Studio
Camera
Formato de vdeo
Seleccione el formato de vdeo que desea utilizar. Sobre el margen izquierdo de la pgina encontrar una
lista de formatos compatibles.
Ganancia
Estos parmetros son de utilidad al rodar en condiciones de poca luz. El valor preestablecido es 0dB y este
puede aumentarse en incrementos de 6dB hasta un mximo de 18dB.
Balance de blancos
La cmara incluye seis valores preestablecidos para diferentes temperaturas de color.
3200K para luz de tungsteno
4500K para luz fluorescente
5000K, 5600K, 6500K y 7500K para una distintas condiciones de luz diurna, dependiendo de la
hora del da.
Ajustes de la cmara
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
La velocidad del obturador complementa el valor ISO controlando la cantidad de luz en el sensor. Existen 15
velocidades disponibles, desde 1/50 seg. hasta 1/2000 seg.
1920 x 1080p23.98
3840x2160p23.98
Rango dinmico
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
Film
El modo Film en la Studio Camera HD usa una curva gamma logartmica para maximizar la informacin en
la seal de vdeo. Esto permite aprovechar las ventajas que ofrecen los programas de etalonaje digital tales
como DaVinci Resolve.
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Video
El modo Video en la Studio Camera HD y la Studio Camera 4K usa el estndar REC709 para seales de
vdeo de alta definicin. Este estndar es compatible con los equipos ms modernos.
Idioma
El idioma preestablecido es ingls. Prximamente se podrn seleccionar otros idiomas tales como espaol,
francs, alemn, ruso, japons, chino y coreano.
Entrada de audio
Permite utilizar el audio del micrfono interno de la cmara o de las conexiones XLR.
Volumen de entrada
Las conexiones de audio externas admiten seales a nivel de lnea o micrfono. Seleccione Line al conectar
equipos de audio externos tales como mezcladores o amplificadores. Seleccione Mic Low o Mic High
dependiendo de la fuerza de la seal del micrfono. Es importante seleccionar el volumen apropiado para
asegurarse de que el audio externo pueda oirse o evitar que suene muy alto y distorsionado.
Ajuste el volumen del audio externo mediante las flechas.
Ajustes de audio
Entrada Ch 1
Mueva el control deslizante hacia la derecha o la izquierda para aumentar o disminuir el volumen del canal 1.
La seal de audio externa anula el micrfono de la cmara y se transmite a travs del canal 1.
Entrada Ch 2
Mueva el control deslizante hacia la derecha o la izquierda para aumentar o disminuir los niveles del canal 2.
La seal de audio externa anula el micrfono de la cmara y se transmite a travs del canal 2.
Alimentacin fantasma
Habilite o desactive la alimentacin fantasma para ambas entradas XLR externas seleccionando On /
Off mediante las flechas en el men Audio. La alimentacin fantasma es un mtodo para proporcionar
corriente mediante los cables del micrfono a los dispositivos de audio que la necesitan, como por ejemplo un
micrfono de condensador. Asegrese de esperar al menos 10 segundos luego de desconectar el micrfono
para que la alimentacin sea nula antes de conectar un micrfono independiente. Los micrfonos de cinta
no son compatibles con est forma de alimentacin.
No es posible activar la alimentacin fantasma al seleccionar la opcin Line.
Brillo
Mueva el control deslizante hacia la izquierda o la derecha para ajustar el brillo de la pantalla. El valor
preestablecido es 60%.
Funcin Zebra
Las cmaras de Blackmagic cuentan con una funcin denominada "Zebra" que indica los niveles de exposicin.
Aparecern lneas diagonales en cualquier parte de la imagen que supere el valor determinado mediante
dicha funcin.
Active la funcin Zebra y seleccione el nivel de advertencia utilizando las flechas. El nivel preestablecido
es medio.
Indicador de enfoque
Permite cambiar el nivel del indicador de enfoque (focus peaking). Las opciones son desactivado, bajo, medio
y alto. Modifique este parmetro al utilizar un objetivo de gran nitidez para disminuir la cantidad de puntos
en la imagen. El nivel preestablecido es medio.
Ajustes de monitorizacin
Nmero de cmara
Para que la Studio Camera puede utilizar el sistema de sealizacin en forma conjunta con el mezclador,
es preciso identificarla con un nmero. De este modo, el mezclador enviar la seal a la cmara correcta.
La cmara puede identificarse con cualquier nmero entre 1 y 99. El nmero preestablecido es 1.
Fuente de referencia
Se utiliza para seleccionar la fuente de sincronizacin. La cmara puede sincronizarse con la seal de programa
recibida a travs de la entrada SDI o con una fuente externa. Cuando se utiliza una fuente externa, tenga en
cuenta que podra ocurrir una falla en la imagen al realizar la sincronizacin con la cmara.
Tiempo de referencia
Permite ajustar manualmente el tiempo de referencia segn lneas o pxeles.
Mueva el control deslizante hacia la derecha o la izquierda para aumentar o disminuir el volumen de
monitorizacin del audio. El valor preestablecido es 50%.
Mezcla de audio
Permite cambiar el balance entre el sonido de la cmara y el del intercomunicador. La seal de audio se
transmitir por los auriculares segn el modo de visualizacin activo. Por ejemplo, al filmar se escuchar
el audio de la cmara. Al reproducir las imgenes transmitidas al aire se escuchar el audio de la salida de
programa. El valor preestablecido es 0%.
IRIS
PTT
PGM
LUT
SET
DISPLAY
Botn FOCUS
MENU
Al utilizar la cmara con un objetivo de enfoque automtico, presione el botn FOCUS para activar el indicador
de enfoque o la funcin de enfoque automtico. Presione el botn FOCUS una vez para enfocar en forma
automtica. Presione el botn FOCUS dos veces para activar el indicador de enfoque.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
Cuando utilice un objetivo manual, presione el botn FOCUS una vez para activar el indicador de enfoque.
Presione el botn FOCUS una vez para enfocar en forma
automtica. Presione el botn FOCUS dos veces para activar
el indicador de enfoque.
Botn IRIS
Al utilizar el rango dinmico en el modo Video, presione este botn una vez para establecer una exposicin
promedio a partir de las luces y sombras de la toma. Al utilizar el rango dinmico en el modo Film, presione
este botn para ajustar la exposicin segn las partes ms brillantes de la imagen.
Para ajustar la apertura manualmente, presione los botones con las flechas hacia arriba y abajo en el
panel posterior.
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
DISPLAY
MENU
FOCUS
IRIS
PTT
PGM
LUT
SET
Al llevar a cabo una produccin en directo, es de suma importancia que los camargrafos puedan comunicarse
con el director y con los dems integrantes del equipo en la sala de control. Simplemente presione este botn
y mantngalo presionado
mientras
habla. Presione el botn dos veces rpidamente para activar el modo
DISPLAY
MENU
manos libres. Presinelo nuevamente para volver al modo normal.
Programa (PGM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
A veces es importante que el camargrafo pueda ver la salida de programa y no solo las imgenes captadas
por su cmara. Presione este botn para ver las imgenes de la cmara en directo o la seal principal
del mezclador en la sala de control. La fuente de vdeo externa se puede conectar a la entrada SDI o de fibra
ptica.
Flechas
Utilice estos botones para desplazarse por los distintos mens.
Set
Utilice este botn para confirmar las opciones seleccionadas.
Display
Permite mostrar u ocultar las guas de encuadre y el indicador de carga de la batera en la pantalla. Estos
elementos no son visibles en la seal SDI saliente.
Menu
Presione este botn para acceder al Men y luego utilice las flechas para desplazarse por las distintas opciones.
Power
Presione este botn para encender la cmara. Mantngalo presionado para apagarla.
Salida de vdeo de la
cmara
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Conexin a grabadores
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
12V
SDI OUT
Si simplemente desea grabar las imgenes captadas por la cmara, puede conectarla a una unidad SSD tal
como el Hyperdeck Shuttle de Blackmagic mediante las conexiones SDI. De este modo, tambin es posible
ver las imgenes grabadas por el dispositivo en la pantalla de la cmara.
Programa utilitario de la
cmara
PUSH
Ejecute el programa Blackmagic Camera Utility y siga las instrucciones que aparecen en la pantalla para
actualizar el software de la cmara.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Accesorios
150 Accesorios
Parasol
La Studio Camera incluye un parasol plegable para dar sombra a la pantalla en condiciones de mucho brillo
y asegurar una visualizacin ptima en todo momento.
Paso 1. Ubique las seis tuercas de mariposa incluidas en la cmara.
Paso 2. Haga coincidir los agujeros del parasol con los puntos de montura de la cmara y coloque dos
tuercas en la parte superior y en cada costado de la misma para sujetar el parasol.
Otros accesorios
Para boletines de noticias, quizs sea conveniente colocar la cmara sobre un pedestal y aadirle rieles para
objetivos de gran tamao y apuntadores electrnicos. En el caso de transmisiones desde exteriores, podra
ser necesario agregar micrfonos, bateras externas o mandos a distancia. La cmara incluye dos agujeros con
rosca de 3/8 en la parte inferior y diez de 1/4 en la parte superior y los costados de la misma. De esta manera,
ofrece la flexibilidad necesaria para adaptarla y utilizar diferentes accesorios segn el tipo deproduccin.
PUSH
3
2
PUSH
Conexin SDI
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
IN
10
HD
HD
HD
Paso 2. Conecte cualquiera de las salidas SDI del mezclador (excepto aquellas utilizadas para el modo de
visualizacin mltiple o seales subconvertidas) a la entrada SDI de la Studio Camera. No es posible
transmitir la seal de control de la cmara a travs de las salidas mencionadas en la excepcin anterior.
REMOTE
LOCK TO TALK
IN
2
HDMI IN
REMOTE
STEREO IN
LOCK TO TALK
TROL
Paso 1. Conecte la salida SDI de la cmara cualquier entrada SDI del mezclador.
PRESS TO TALK
PRESS TO TALK
HD
HD
PUSH
STEREO
IN
PUSH
SDI INPUTS
CONTROL
IN
1
USB 2.0
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
HD
Paso 3. Presione el botn MENU en la cmara. Seleccione Studio Settings y luego modifique el campo
Camera Number de forma que coincida con la entrada del mezclador. Por ejemplo, si Studio Camera
1 corresponde a Cam 1 en el mezclador, el campo Camera Number tambin debe ser 1. De este
modo es posible asegurarse de que se ha establecido la comunicacin con la cmara correcta.
CH 1
SDI INPUTS
CH 2
MULTI-VIEW
ANALOG AUDIO IN
CH 1CH 1
CH 2CH 2
CH 2
CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
HD
MULTI-VIEW
CH 2
CH 1
ANALOG AUDIO IN
Paso 1. Conecte la Studio Camera a un ATEM Studio Converter mediante las conexiones de fibra ptica
en ambos dispositivos.
Paso 2. Conecte una salida SDI disponible del ATEM Studio Converter a cualquier entrada SDI del mezclador.
3
L
R
ANALOG AUDIO OUT
+12V BACKUP
POWER
3OUT
OUT
PRESS TO TALK
OUT
LOCK TO TALK
SDI OUT
PUSH
SDI OUT
SDI OUT
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
PGM SDI
OPTICAL
OUT/IN
MIC
OUT
OUT
IN
IN
OUT
SDI OUT
+12V BACKUP
POWER
SDI OUT
USB 2.0
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
H/PHONE
IN
4
Paso 3.
Conecte cualquiera de las salidas SDI del mezclador (excepto aquellas utilizadas para el modo
de visualizacin mltiple o seales subconvertidas) a la entrada SDI del ATEM Studio Converter.
No es posible transmitir la seal de control de la cmara a travs de las salidas mencionadas en la
excepcin anterior.
SDI OUT
L
R
ANALOG AUDIO OUT
H/PHONE
OPTICAL OUT/IN
OUT
OUT
OUT
IN
IN
IN
PGM SDI
MIC
H/PHONE
Paso 4. Presione el botn MENU en la cmara. Seleccione Studio Settings y luego modifique el campo
Camera Number de forma que coincida con la entrada del mezclador. Por ejemplo, si Studio Camera
1 corresponde a Cam 1 en el mezclador, el campo Camera Number tambin debe ser 1. De este
modo es posible asegurarse de que se ha establecido la comunicacin con la cmara correcta.
Compruebe la asignacin de los botones del mezclador en las preferencias del programa ATEM Software Control
para asegurarse de que hayan sido vinculados a la cmara correcta. Al establecer una conexin entre ambos
dispositivos, el usuario tambin dispondr de indicadores en la cmara que muestran si est al aire y podr ver la
seal correspondiente a la salida de programa del mezclador en la pantalla de la misma presionando el botn PGM.
Ejecute el programa ATEM Software Control y haga clic en el botn de la cmara situado en la parte inferior
de la ventana. Ver una serie de controladores con herramientas para ajustar y mejorar la imagen de cada
cmara. Los controladores son fciles de usar. Simplemente haga clic en los botones o mantenga presionado
el botn del ratn y muvalo para ajustar la imagen.
Seleccin de cmaras
La fila de botones situada en la parte superior de la ventana permite seleccionar la cmara que el usuario
desea controlar. En la ventana de ajuste del color, tambin se pueden utilizar estos botones para seleccionar
una cmara. Cuando se emplea una salida auxiliar para la monitorizacin, la seal de la cmara seleccionada
tambin se transmitir a dicha salida segn las preferencias establecidas en el mezclador.
Estado de la cmara
En la parte superior de cada controlador se identifica la cmara y se indica si la misma est al aire. Adems
hay un botn de bloqueo. Al hacer clic sobre este se bloquean todos los controles de la cmara. Cuando la
cmara est al aire, la barra superior de la ventana se enciende en rojo e indica On Air.
Crculo cromtico
En la parte superior de cada controlador se identifica la
cmara y se indica si la misma est al aire. Adems, hay un
botn de bloqueo. Utilice los controles generales debajo
de cada crculo cromtico para ajustar las sombras, tonos
intermedios y luces en cada canal YRGB.
El crculo cromtico es una herramienta til de DaVinci Resolve que permite ajustar el color en las luces, tonos
intermedios y sombras de cada canal YRGB. Para seleccionar el parmetro que desea modificar, haga clic en
uno de los tres botones situados arriba del crculo cromtico.
Control general
El control general situado debajo del crculo cromtico permite ajustar el contraste en todos los canales
YRGB al mismo tiempo o la luminancia de las luces, tonos intermedios y sombras en forma independiente.
Botn de reajuste
Los botones situados en la parte superior derecha de cada controlador permiten seleccionar fcilmente los
parmetros de etalonaje que se desean copiar, aplicar o restablecer. A su vez, cada crculo cromtico tambin
cuenta con un botn de reajuste. Haga clic sobre el mismo para copiar, aplicar o restablecer los parmetros a
los valores predeterminados. Cabe destacar que los ajustes de los controladores bloqueados no se modifican
al copiar y aplicar otros parmetros.
El botn de reajuste general situado en la esquina superior derecha de la ventana de etalonaje permite
restablecer los valores predeterminados del crculo cromtico y los ajustes de contraste, saturacin, matiz y
luminancia. Es posible aplicar parmetros de etalonaje a todas las cmaras en general o a cada una en forma
individual para lograr una apariencia uniforme en las imgenes. Los valores correspondientes a la apertura
del diafragma, el enfoque, el control primario y el pedestal no se alteran al copiar y aplicar otros ajustes. Al
modificar parmetros en todas las cmaras simultneamente, el sistema solicita una confirmacin previa por
parte del usuario. De esta forma, es posible evitar cambios en las cmaras no bloqueadas cuya seal est al aire.
Control primario
Este control se encuentra a la izquierda del control del diafragma/pedestal y permite limitar la apertura
mxima del diafragma. Es til para evitar que salgan al aire imgenes sobreexpuestas.
Para limitar la apertura del diafragma, bralo completamente usando el control circular y luego utilice el
control primario para ajustar la exposicin. De esta forma, al modificar la apertura del diafragma, dicho umbral
impedir que se exceda el lmite mximo de exposicin.
El botn de enfoque automtico se encuentra en la esquina inferior izquierda del controlador. Presinelo para
ajustar el enfoque en forma automtica si cuenta con un objetivo activo que permita modificar el enfoque
electrnicamente. Cabe destacar que aunque la mayora de los objetivos son compatibles con esta funcin,
algunos tambin disponen de un modo de ajuste manual, por lo cual es importante asegurarse de seleccionar
el modo automtico. En algunos casos, el modo se selecciona deslizando el anillo de enfoque en el objetivo
hacia adelante o atrs.
Enfoque manual
Para modificar el enfoque de la cmara en forma manual, utilice el ajuste situado en la parte inferior de cada
controlador. Deslice la rueda hacia la izquierda o derecha para ajustar el enfoque manualmente al mirar la
seal de vdeo de la cmara de forma de obtener imgenes claras y ntidas.
Este control se encuentra entre el crculo cromtico y el control del diafragma/pedestal. Para aumentar o
disminuir la velocidad del obturador, coloque el puntero del ratn sobre el indicador de velocidad y luego
haga clic sobre las flechas correspondientes.
Si la imagen parpadea, disminuya la velocidad de obturacin para resolver el problema. Una buena forma de
obtener ms brillo en las imgenes sin modificar la ganancia es disminuyendo la velocidad de obturacin, ya
que de este modo se incrementa el tiempo de exposicin del sensor. Al aumentar la velocidad de obturacin
se reduce el rastro dejado por los objetos en movimiento, por lo cual tambin puede usarse para lograr una
mayor nitidez en las tomas de accin.
Balance de blancos
Est situado junto al control de la velocidad de obturacin y puede modificarse haciendo clic en las flechas
ubicadas a ambos lados del indicador de la temperatura del color. Permite compensar los colores clidos
o fros emitidos por diferentes fuentes de luz. De este modo, es posible conservar la pureza de los blancos
en la imagen.
Estas funciones de etalonaje estn integradas en la cmara. Las herramientas son idnticas a las utilizadas
en DaVinci Resolve, de modo que si el usuario est familiarizado con ellas podr valerse de su experiencia
en materia de correccin del color durante las producciones en directo.
Se puede expandir el panel de correccin desde el controlador de la cmara para acceder a la interfaz
completa con ajustes adicionales.
Esta dispone de crculos cromticos y otros controles que permiten ver las luces, tonos intermedios y sombras
al mismo tiempo. Para cambiar de cmara, utilice los botones en la parte superior de la ventana.
Haga clic dentro del crculo y arrastre el ratn: Ntese que no es necesario arrastrar el indicador
de balance de color. A medida que este se desplaza, los valores RGB debajo del crculo cambian
reflejando los ajustes realizados en cada canal.
Mantenga presionada la tecla de maysculas y haga clic en cualquier parte dentro del crculo:
Esto permite situar el indicador del balance de color en la posicin indicada por el puntero del
ratn para realizar ajustes significativos con rapidez.
Haga clic dos veces dentro del crculo: Se restablecen los valores originales sin reajustar el control
general para dicho parmetro.
Controles generales
Los controles generales situados debajo de cada crculo cromtico permiten ajustar las sombras, tonos
intermedios y luces en cada canal YRGB.
Para realizar ajustes mediante el control general:
Mueva los controles generales hacia la izquierda o derecha
para realizar ajustes.
Contraste
Este control permite ajustar la distancia entre los valores ms claros y oscuros de una imagen. El efecto es
similar al que se obtiene realizando ajustes opuestos mediante los controles generales situados debajo de
Lift y Gain. El valor preestablecido es 50%.
Mueva los controles hacia la izquierda o derecha para ajustar
el contraste, la saturacin, el matiz y la mezcla de luminancia.
Saturacin
Este control permite aumentar o disminuir la cantidad de color en la imagen. El valor preestablecido es 50%.
Mezcla de luminancia
Las funciones de etalonaje en la Studio Camera estn basadas en las herramientas de correccin primaria
de DaVinci Resolve. Este programa fue desarrollado a principio de los aos 80 y es el ms utilizado en la
produccin de largometrajes en Hollywood.
El corrector de color de la cmara incluye funciones sumamente tiles y creativas. Una de ellas es el mtodo
de procesamiento YRGB.
Al corregir el color, se puede seleccionar cualquiera de los dos mtodos de procesamiento. Aquellos coloristas
con ms experiencia usan YRGB, ya que ofrece un control ms preciso sobre el color y permite ajustar los
canales en forma independiente, lo cual brinda ms opciones creativas.
Cuando el control Lum Mix se desliza totalmente a la derecha, se utiliza el modo YRGB. Si se desliza totalmente
a la izquierda, se emplea el modo RGB. Asimismo, se puede seleccionar cualquier posicin intermedia para
obtener una mezcla de ambos modos de correccin.
Cul es el mejor ajuste? Esto depende del usuario, ya que el proceso de etalonaje es totalmente creativo y
no es posible decir que algo es correcto o incorrecto. El ajuste ms apropiado depende de las preferencias
del usuario y de lo que luzca bien segn su criterio.
Sincronizacin de ajustes
El mezclador transmite la seal de control a la cmara cuando ambos dispositivos estn conectados. Si se
modifica un ajuste por error en la cmara, el mdulo de control del mezclador restablecer automticamente
los valores para mantener la sincronizacin.
Developer
Information
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control messages
embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device addressing
is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed
from LSB first. Message groups, individual messages and command headers are defined as, and can be
assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of VANC
line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of 255
bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum of one
frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame, it should
use heuristics to determine which packets to prioritise and send immediately. Lower priority messages can
be delayed to later frames, or dropped entirely as appropriate.
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 are device specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration parameters
available on the device. Parameters 0 through 127 are device specific parameters.
Parameters 128 though 255 are reserved for parameters that apply to multiple
types of devices.
Data (void)
The data field is 0 or more bytes as determined by the data type and number
of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
0.0
1.0
Interpretation
.0
Focus
fixed16
.1
Instantaneous autofocus
void
0.0=near, 1.0=far
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[1] = M-rate
0=regular, 1=M-rate
[2] = dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
ID
Audio
Type
Index
Minimum
Maximum
Interpretation
.0
Mic level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.1
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Parameter
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27
0x00
0x00
12
128
0x33
0x01
16
255
24
12
128
0x9a
0xfd
0x9a
0xfd
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
24
12
128
0x9a
0xfd
0x9a
0xfd
76
Ayuda
165 Ayuda
Cmo obtener ayuda
La forma ms rpida de obtener ayuda es visitando las pginas de soporte tcnico en el sitio web de Blackmagic
Design, donde podr acceder al material de apoyo ms reciente disponible para la cmara.
Reemplazo de la batera
La batera de la Studio Camera no puede ser reemplazada por el usuario. Si fuera necesario cambiarla,
deber enviar la cmara al centro de servicio tcnico ms cercano para efectuar el reemplazo. Si la cmara
se encuentra fuera de garanta, ser necesario abonar una pequea tarifa por el importe de la batera, la
mano de obra y el retorno de la misma. Srvase contactar al servicio de soporte tcnico de Blackmagic Design
para ms detalles sobre dnde debe enviarse la cmara, cmo embalarla en forma segura y cunto costar
el reemplazo en su pas.
Garanta
166 Garanta
12 meses de garanta limitada
Blackmagic Design garantiza que el producto adquirido no presentar defectos en los materiales o en su
fabricacin por un perodo de 12 meses a partir de la fecha de compra del mismo. Si un producto resulta
defectuoso durante el perodo de validez de la garanta, Blackmagic Design podr optar por reemplazarlo
o repararlo sin costo alguno por concepto de piezas y/o mano de obra.
Para acceder al servicio proporcionado bajo los trminos de esta garanta, el Cliente deber dar aviso del
defecto a Blackmagic Design antes del vencimiento del perodo de garanta y encargarse de los arreglos
necesarios para la prestacin del mismo. El Cliente ser responsable por el empaque y el envo del producto
defectuoso al centro de servicio tcnico designado por Blackmagic Design y deber abonar las tarifas postales
por adelantado. El cliente ser responsable de todos los gastos de envo, seguros, aranceles, impuestos y
cualquier otro importe que surja con relacin a la devolucin de productos por cualquier motivo.
Esta garanta carecer de validez ante defectos o daos causados por un uso indebido o por falta de cuidado
y mantenimiento. Blackmagic Design no tendr obligacin de prestar el servicio estipulado en esta garanta
para (a) reparar daos provocados por intentos de personal ajeno a Blackmagic Design de instalar, reparar
o realizar un mantenimiento del producto; (b) reparar daos resultantes del uso de equipos incompatibles o
conexiones a los mismos; (c) reparar cualquier dao o mal funcionamiento provocado por el uso de piezas o
repuestos no suministrados por Blackmagic Design; o (d) brindar servicio tcnico a un producto que haya sido
modificado o integrado con otros productos, cuando dicha modificacin o integracin tenga como resultado
un aumento de la dificultad o el tiempo necesario para reparar el producto. ESTA GARANTA OFRECIDA POR
BLACKMAGIC DESIGN REEMPLAZA CUALQUIER OTRA GARANTA, EXPRESA O IMPLCITA. POR MEDIO DE
LA PRESENTE, BLACKMAGIC DESIGN Y SUS DISTRIBUIDORES RECHAZAN CUALQUIER GARANTA IMPLCITA
DE COMERCIALIZACIN O IDONEIDAD PARA UN PROPSITO PARTICULAR. LA RESPONSABILIDAD DE
BLACKMAGIC DESIGN EN CUANTO A LA REPARACIN O SUSTITUCIN DE PRODUCTOS DEFECTUOSOS
CONSTITUYE UNA COMPENSACIN COMPLETA Y EXCLUSIVA PROPORCIONADA AL CLIENTE POR
CUALQUIER DAO INDIRECTO, ESPECIAL, FORTUITO O EMERGENTE, AL MARGEN DE QUE BLACKMAGIC
DESIGN O SUS DISTRIBUIDORES HAYAN SIDO ADVERTIDOS CON ANTERIORIDAD SOBRE LA POSIBILIDAD
DE TALES DAOS. BLACKMAGIC DESIGN NO SE HACE RESPONSABLE POR EL USO ILEGAL DE EQUIPOS
POR PARTE DEL CLIENTE. BLACKMAGIC DESIGN NO SE HACE RESPONSABLE POR DAOS CAUSADOS POR
EL USO DE ESTE PRODUCTO. EL USUARIO UTILIZA EL PRODUCTO BAJO SU PROPIA RESPONSABILIDAD.
Copyright 2014 Blackmagic Design. Todos los derechos reservados. Blackmagic Design, DeckLink, HDLink,
Videohub Workgroup, Multibridge Pro", Multibridge Extreme, Intensity y Leading the creative video
revolution son marcas registradas en los EE.UU. y en otros pases. Todas las dems marcas comerciales y nombres de
productos pertenecen a sus respectivas compaas.
Mac OS X
Windows
201410
Welcome
Tally
Blackmagic Studio Camera
Tally
MFT
HyperDeck Shuttle
Grant Petty
Blackmagic Design
170
173
175
182
183
170
184
172
185
172
187
189
173
174
190
Developer Information
Blackmagic Video Device Embedded Control Protocol
190
Overview
190
Assumptions
190
175
Blanking Encoding
190
176
Message Grouping
190
177
178
179
180
Studio Camera
181
184
181
181
183
183
198
199
170
Blackmagic Studio Camera
1. TALLY
177
2. LANC
2.5mmLANC173
3.
0.25TRSPGM173
4.
0.206TRS173
5.
21/4XLR173
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
6. /
2845174
7. SDI
SDI174
8. SDI
SDIPGM174
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9.
BB174
10.
12 24V174
PUSH
PUSH
171
11
11. 10LCD
177
12
12. TALLY
13. FOCUS
LCD179
14. IRIS
179
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
15. PTT
180
22
16. PGM
180
17. LUT
23
18.
LCD180
19. SET
180
20. DISPLAY
180
21. MENU
LCD180
OPTICAL OUT
22.
172180
OPTICAL IN
SDI OUT
SDI IN
23. USB
USB mini B182
REF
12V
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
172
PUSH
PUSH
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
Studio Camera
SDI IN
Studio Camera
LCDLCD
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
173
Blackmagic Studio Camera -
LANC
2.5mm
LANC
MFTLANC
Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S.
Lumix G X Vario PZ 45-175mm f/4.0-5.6 Zoom O.I.S.
12-50mm f/3.5-6.3 ED M.Zuiko EZ Micro 4/3
SDI
15161516
SDI1516
XLR
SDI12
PUSH
3
2
PUSH
174
Blackmagic Studio Camera -
/
LCStudio Camera HD3G-SDIStudio Camera
4K6G-SDI28
45SDI
SDI
SDI Out10-bit 4:2:2SDISDI
Blackmagic Studio Camera HD3G-SDIStudio Camera 4K12G-SDI
SDI
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
SDIPGM
SDI
Blackmagic Hyperdeck ShuttleStudio CameraHyperdeck
SDI
BB
REF
12 24VStudio Camera HD
4Studio Camera 4K3
12V
Studio Camera
Video Format
Gain
0dB6dB18dB
White Balance
3200K
4500K
5000K5600K6500K7500K
Shutter Speed
Camera
ISO151/501/2000
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Film
Studio Camera HDFilmLog Gamma
DaVinci Resolve
Video
Studio Camera HDStudio Camera 4KVideoREC709
Language
Audio Input
XLR
Microphone Level
Studio Camera
12
Input Level
Line
Mic LowMic High
Audio
Ch 1 Input1
11
Ch 2 Input2
22
Phantom Power
AudioOnOffXLR
10
Line
LCDMENU
Brightness
LCD60%
Zebra
Blackmagic
Medium
Focus Peaking
OffLowMediumHigh
Medium
Tally BrightnessTally
Monitoring
TallyLowMediumHighMedium
MENU
Camera Number
Studio CameraATEMTally
1991
Reference Source
Studio CameraSDI
Reference Timing
Headset Level
50%
50%
Program Mix
LCD
0%
IRIS
PTT
PGM
LUT
SET
FOCUS
DISPLAY
MENU
Studio CameraFOCUS
FOCUSFOCUS
FOCUS
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
IRIS
FOCUSFOCUS
VideoIRIS
FilmIRIS
Studio Camera
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
IRIS
DISPLAY
MENU
PTT
FOCUS
IRIS
PTT
PGM
LUT
SET
PGM
DISPLAY
MENU
SDI
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
LUT
Studio CameraPTTPGM
SET
DISPLAY
LCDSDI
MENU
181
Studio CameraBB
VTR
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
SDIStudio Camera
REF
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
12V
SDI OUT
SDIHyperdeckSDI
HyperdeckSDISDI
Blackmagic Camera
Utility
PUSH
Mac OS X
Blackmagic Camera Utility
Blackmagic Camera Installer
Windows
Blackmagic Camera UtilityBlackmagic Camera Utility
PDFBlackmagic Camera Utility
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
183
Studio CameraLCD
6Studio Camera
2
LANC
PUSH
3
2
PUSH
ATEMATEMSDI
ATEMSDI
SDISDISDI
SDI
Blackmagic Studio CameraSDI OutATEMSDI In
PRESS TO TALK
PUSH
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
IN
2
HDMI IN
REMOTE
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
IN
10
HD
HD
HD
HD
SDI INPUTS
IN
1
USB 2.0
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
REMOTE
STEREO IN
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
HD
PREVIEW
HD
PROGRAM OUTPUTS
PUSH
PUSH
MULTI-VIEW
CH 1
CH 2
1
R
R
ANALOG AUDIO OUT
+12V BACKUP
POWER
SDI OUT
HD
3OUT
OUT
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
OUT
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
PGM SDI
OPTICAL
OUT/IN
MIC
OUT
OUT
IN
IN
OUT
SDI OUT
+12V BACKUP
POWER
SDI OUT
USB 2.0
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
CH 2
MULTI-VIEW
ANALOG AUDIO IN
CH 1CH 1
CH 2CH 2
CH 2
CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
PRESS TO TALK
SDI OUT
CH 2
CH 1
ANALOG AUDIO IN
LOCK TO TALK
SDI OUT
PUSH
HD
HD
STEREO
IN
PUSH
CH 1
SDI INPUTS
CONTROL
PUSH
STEREO IN
LOCK TO TALK
LOCK TO TALK
TROL
REMOTE
IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
H/PHONE
IN
OUT
OUT
OUT
IN
IN
IN
L
R
ANALOG AUDIO OUT
H/PHONE
OPTICAL OUT/IN
PGM SDI
MIC
H/PHONE
Aux
Aux
Aux
On Air
On Air
DaVinci ResolveYRGBLiftGamma
Gain
YRGB
LiftGammaGain
YRGBLiftGammaGain
/Paste
LiftGammaGainContrastHue
SaturationLum Mix
CoarsePaste
Paste
Paste
Shift
Maccommand
WindowsControl
Coarse
Coarse/
CoarseCoarse
Coarse
/Coarse
dB
Gain
DaVinci Resolve
Lift/Gamma/Gain
LiftGammaGain
RGB
Shift
LiftGammaGain
YRGBLiftGammaGain
YRGBY
ALTCommandYRGB
YLum Mix
YRGBRGB
DaVinci ResolveYRGB
Contrast
ContrastLiftGain
50%
ContrastSaturation
HueLum Mix
Saturation
Saturation50%
Lum Mix
ContrastSaturationHueLum
Mix
RGBYRGBYRGB
Developer Information
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control
messages embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are packed
from LSB first. Message groups, individual messages and command headers are defined as, and can be
assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region
of VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum
of 255 bytes payload. Under most circumstances, this should allow all messages to be sent with a
maximum of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame,
it should use heuristics to determine which packets to prioritise and send immediately. Lower priority
messages can be delayed to later frames, or dropped entirely as appropriate.
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
Interpretation
0.0
1.0
0.0=near, 1.0=far
.0
Focus
fixed16
.1
Instantaneous autofocus
void
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
Optical image
stabilisation
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[1] = M-rate
0=regular, 1=M-rate
[2] =
dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
ID
Audio
Type
Index
Minimum
Maximum
Interpretation
.0
Mic level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.1
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Parameter
Phantom power
boolean
Overlays
3
.0
Display
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
set exposure to 10 ms on
camera 4 (10 ms = 10000 us =
0x00002710)
12
0x10
0x27 0x00
0x00
12
128
0x33
0x01 0
16
255
24
12
128
0x9a
0xfd
0x9a
0xfd
255
0x10
0x27
0x00
0x00
128
0x33
0x01 0
255
24
12
128
0x9a
0xfd
0x9a
0xfd
76
198
Blackmagic Design
Blackmagic Design
Blackmagic Support Centerwww.blackmagicdesign.com/support
Blackmagic Design
Blackmagic Design
199
12
Blackmagic Design12
Blackmagic Design
Blackmagic Design
Blackmagic Design
Mac OS X
Windows
2014 10
Blackmagic Studio Camera .
Blackmagic Studio Camera .
!
. ,
.
Blackmagic Studio Camera .
,
.
. , !
,
Blackmagic Studio Camera !
!
Blackmagic Studio Camera , , ,
MFT .
!
,
! , HyperDeck
Shuttle !
Studio Camera
!
!
Blackmagic Design CEO
203
206
208
214
215
216
217
ATEM
203
217
205
218
205
DaVinci Resolve
220
222
206
207
223
Developer Information
Blackmagic Video Device Embedded Control Protocol
Studio Camera
223
Overview
223
Assumptions
223
(Camera Settings)
208
Blanking Encoding
223
(Audio Settings)
209
Message Grouping
223
(Monitoring Settings)
210
(Studio Settings)
211
(Adjusting Settings)
212
(Additional Settings)
213
214
214
216
216
231
232
203
Blackmagic Studio Camera
1.
"" . 210 .
2. LANC
, , LANC 2.5mm . 206 .
3.
PGM 0.25" TRS . 206 .
4.
0.206" TRS . 206 .
5.
1/4" XLR . 206 .
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
PUSH
12V
10
6. /
/ 28( 45Km) . 207 .
7. SDI
SDI . 207 .
8. SDI
PGM SDI . 207 .
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
9. REF
(tri-level) . 207
.
10.
12 24V . 207 .
PUSH
204
PUSH
11
12
12.
""
.
13 (FOCUS)
1 , LCD . 212 .
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
18
19
18
DISPLAY
MENU
20
21
14. (IRIS)
1 . 212 .
15. (PTT)
.
. . 213 .
22
16. (PGM)
. 213
.
23
17. (LUT)
.
18.
LCD . 213 .
19. (SET)
. 213 .
20. (DISPLAY)
. 213 .
21. (MENU)
LCD . 213 .
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
22. (POWER)
Blackmagic Studio Camera .
. 205 213 .
REF
12V
23. USB
USB B . 215 .
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
205
Blackmagic Studio Camera .
.
Blackmagic Camera , .
:
PUSH
PUSH
1 .
. , ,
.
2 .
3 .
12
.
.
2
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
Studio Camera
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
Studio Camera
. ,
.
1 .
LCD . LCD .
2 .
206
Blackmagic Studio Camera -
LANC
, , ,
. 2.5mm LANC .
MFT LANC .
:
Panasonic Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S Lens
Panasonic Lumix G X Vario PZ 45-175mm f/4.0-5.6 Zoom O.I.S Lens
Olympus 12-50mm f/3.5-6.3 ED M.Zuiko EZ Micro 4/3 Lens
() .
. SDI/ 15
16 . 15 16
.
. SDI 15 16
.
PUSH
3
2
PUSH
XLR 2 .
. ,
. SDI 1 2
.
207
Blackmagic Studio Camera -
/
/ LC Studio Camera HD 3G-SDI Studio Camera 4K
6G-SDI .
. , 28( 45Km)
. SDI ,
.
SDI
SDI 10 4:2:2 , , SDI ,
SDI . Blackmagic Studio Camera HD 3G-SDI
Studio Camera 4K 12G-SDI .
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
SDI
SDI PGM . PGM
.
SDI , . Studio Camera
Blackmagic Hyperdeck Shuttle , Hyperdeck SDI
.
REF
(tri-level) .
, .
REF
12V
12-24V . Studio
Camera HD 4 Studio Camera 4K 3 .
Studio Camera
Video Format
. .
Gain
. 0dB
6dB 18dB .
White Balance
6 .
3200K
4500K
5000K, 5600K, 6500K, 7500K.
Shutter Speed
(Camera Settings)
Dynamic Range
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
Language
1920 x 1080p60
3840x2160p60
. , , , , , ,
.
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
Film
Studio Camera HD
, DaVinci Resolve
.
Video
Studio Camera HD Studio Camera 4K HD
REC709 .
Audio Input
XLR .
Microphone Level
.
. Studio Camera .
, 1 2 .
Input Level
.
Line . Mic Low Mic High
.
.
(Audio Settings)
/ .
Ch 1 Input
1 .
1 .
Ch 2 Input
2 .
2 .
Phantom Power
On/Off XLR
. ,
. 10
.
.
Line .
Brightness
/ LCD . 60%.
Zebra
Blackmagic Cameras .
.
/ .
.
Focus Peaking
. (off), (low), (medium), (high)
. .
.
(Monitoring Settings)
Tally Brightness
. (low), (medium), (high) .
.
Camera Number
ATEM Studio Camera .
. 1-99
. 1 .
Reference Source
. Studio Camera SDI
. ,
.
Reference Timing
.
Headset Level
(Studio Settings)
. 50%.
Program Mix
. LCD
. , .
. 0%.
IRIS
PTT
PGM
LUT
SET
Focus
DISPLAY
MENU
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
FOCUS .
FOCUS
.
, FOCUS .
Iris
, IRIS
. , IRIS
.
Studio Camera / .
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
IRIS ,
/ .
DISPLAY
MENU
FOCUS
IRIS
PTT
PGM
LUT
SET
. PTT .
DISPLAY
MENU
. .
(PGM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
, .
PGM
. SDI .
(LUT)
.
///
.
Set
.
Display
LCD . SDI
.
Menu
Menu .
Power
Blackmagic Studio Camera .
.
214
Blackmagic Studio Cameras 10 4:2:2 SDI
. / ATEM Camera Converter
.
Studio Camera SDI (PGM)
.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
SDI OUT
12V
Blackmagic Camera
Utility
PUSH
Mac OS X
Blackmagic Camera Utility .
.
Blackmagic Camera .
Windows
Blackmagic Camera Utility . Blackmagic Camera
Utility PDF Blackmagic Camera Utility .
.
Blackmagic Camera Utility USB .
USB 2.0 . Blackmagic Camera Utility
.
USB 2.0 .
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
216
Studio Camera 6 .
2 .
. , , LANC
. Studio Camera 3/8
10 1/4 . ,
.
PUSH
3
2
PUSH
ATEM
217 ATEM
ATEM Software Control ATEM Blackmagic Studio Camera
. . ,
, , DaVinci Resolve
.
ATEM SDI
. , ATEM SDI
SDI . SDI SDI
.
SDI
ATEM Camera Control
PRESS TO TALK
PRESS TO TALK
PUSH
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
IN
2
HDMI IN
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
SDI INPUTS
IN
1
USB 2.0
3
L
IN
10
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HD
HDMI IN
PREVIEW
REF IN
HD
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
PUSH
HD
HD
+12V BACKUP
POWER
HD
STEREO
IN
PUSH
HD
3 .
SDI INPUTS
REF IN
AUX 1-3
PROGRAM
MULTI-VIEW
OUTPUTS
REMOTE
STEREO IN
PUSH
HD
PREVIEW
HD
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
SDI OUT
MULTI-VIEW
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
3OUT
OUT
OUT
SDI OUT
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
SDI OUT
IN
PGM SDI
OPTICAL
OUT/IN
MIC
+12V BACKUP
POWER
OUT
OUT
OUT
IN
IN
IN
SDI OUT
USB 2.0
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
CH 2CH 2
CH 2
CH 1
1 .
2 4 .
3 .
IN
L
R
ANALOG AUDIO OUT
H/PHONE
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
PGM SDI
MIC
H/PHONE
OUT
OUT
OUT
SDI OUT
IN
OPTICAL OUT/IN
4 .
1
L
CH 1CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
CH 2
CH 1
ANALOG AUDIO IN
PRESS TO TALK
SDI OUT
MULTI-VIEW
ANALOG AUDIO IN
HD
LOCK TO TALK
SDI OUT
STEREO IN
2 .
REMOTE
CH 1
SDI INPUTS
CONTROL
LOCK TO TALK
LOCK TO TALK
TROL
REMOTE
1 .
IN
IN
PGM SDI
MIC
H/PHONE
218 ATEM
.
, .
,
.
Channel
, On Air ,
. .
On Air .
Color Wheel
On Air
.
YRGB , , .
Master Wheel
YRGB , //
.
Reset
, , ,
. .
/ . .
,
.
.
//
, , , .
/ , . /
, , , .
, .
.
219 ATEM
/
.
.
/ . SHIFT
.
/ . Mac COMMAND
, Windows CONTROL .
Coarse
Coarse / .
.
Coarse , Coarse
/ . , Coarse
.
/
. Coarse .
/
.
.
.
.
.
.
/ .
/
.
220 ATEM
.
.
(db) / / .
. ,
.
.
, ,
,
.
/ .
/ / .
.
.
.
White Balance
/ .
, .
.
DaVinci Resolve
CCU
.
Blackmagic Studio Camera DaVinci Resolve . DaVinci
Resolve , Blackmagic Studio Camera
.
.
DaVinci Resolve
.
, ,
.
.
221 ATEM
//
. , , , , .
:
:
. RGB
.
// .
Shift :
.
:
.
:
.
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.
:
/
.
/ :
.
YRGB . ALT Command /
Y . YRGB , Y
. Lum Mix
YRGB Y
RGB . , DaVinci Resolve
YRGB . ,
.
Contrast
.
. 50%.
Saturation
/ , , ,
.
. 50%.
222 ATEM
Hue
. 180
.
.
, , ,
Lum Mix
Blackmagic Studio Camera DaVinci Resolve
. DaVinci 1980 ,
DaVinci Resolve .
Blackmagic Studio Camera
. YRGB .
, RGB YRGB .
YRGB
.
Lum Mix YRGB 100% . Lum
Mix RGB 100% . Lum Mix /
RGB YRGB .
? .
!
Blackmagic Studio Camera ATEM .
Studio Camera ,
.
Developer Information
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control
messages embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are
packed from LSB first. Message groups, individual messages and command headers are defined
as, and can be assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region
of VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum
of 255 bytes payload. Under most circumstances, this should allow all messages to be sent with a
maximum of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame,
it should use heuristics to determine which packets to prioritise and send immediately. Lower priority
messages can be delayed to later frames, or dropped entirely as appropriate.
ID
Lens
Video
Parameter
Type
Index
Minimum
Maximum
Interpretation
.0
Focus
fixed16
0.0
1.0
0.0=near, 1.0=far
.1
Instantaneous autofocus
void
.2
Aperture (f-stop)
fixed16
-1.0
16.0
.3
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
void
.6
boolean
true=enabled, false=disabled
Video mode
int8
1
.0
[0] = frame
rate
[1] = M-rate
0=regular, 1=M-rate
[2] = dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
ID
Parameter
Type
Audio
2
.0
Mic level
.1
Minimum
Maximum
Interpretation
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
.6
Output
Index
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
Phantom power
boolean
Overlays
3
.0
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Interpretation
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
Packet Byte
Length
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27 0x00
0x00
12
128
0x33
0x01 0
16
255
24
16
12
128
0x9a
0xfd
0x9a
0xfd
76
255
0x10
0x27
0x00
0x00
128
0x33
0x01 0
255
24
12
128
0x9a
0xfd
0x9a
0xfd
231
Blackmagic Design
.
Blackmagic Design
Blackmagic (www.blackmagicdesign.com/kr/support) , ,
.
Blackmagic Design
[ ]
. , [
] Blackmagic Design .
Blackmagic Camera Utility Blackmagic Camera
Utility .
Mac OS X Blackmagic Camera Utility .
About Blackmagic Camera .
Windows Blackmagic Camera Utility .
About Blackmagic Camera Utility .
Blackmagic Camera Utility Blackmagic
(www.blackmagicdesign.com/kr/support) .
,
.
Studio Camera .
Blackmagic Design .
, , ,
. Blackmagic Design ,
.
232
12
Blackmagic Design 12
. , Blackmagic Design
.
Blackmagic Design
. Blackmagic Design
.
, , , , .
, .
Blackmagic Design . a) Blackmagic Design
. b)
. c) Blackmagic Design . d)
. BLACKMAGIC
DESIGN . BLACKMAGIC
DESIGN .
BLACKMAGIC DESIGN BLACKMAGIC
DESIGN ,
, . BLACKMAGIC DESIGN
. BLACKMAGIC
.
.
Copyright 2014 Blackmagic Design. . Blackmagic Design, DeckLink, HDLink, Workgroup Videohub, Multibridge
Pro, Multibridge Extreme, Intensity, Leading the creative video revolution .
.
Mac OS X
Windows
2014 .
!
Blackmagic Studio Camera.
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Blackmagic Studio Camera
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Blackmagic Studio Camera
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MFT.
Blackmagic Studio Camera
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HyperDeck Shuttle.
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!
Grant Petty
Blackmagic Design
250
ATEM Software Control
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Blackmagic Studio Camera
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250
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251
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253
255
239
239
240
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Studio Camera
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Overview
256
Assumptions
256
241
Blanking Encoding
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242
Message Grouping
256
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245
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249
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264
265
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Blackmagic Studio Camera
1.
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2. LANC
2,5 ,
LANC. . . 239.
3.
TRS 0,25
. . . 239.
4.
TRS 0,206
. . . 239.
OPTICAL OUT
OPTICAL IN
3
SDI OUT
SDI IN
PUSH
7
8
9
REF
5.
XLR 1/4 . . . 239.
6. /
45 . .
. 240.
PUSH
12V
10
7. SDI
SDI . . . 240.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
8. SDI
SDI (PGM). . . 240.
9.
blackburst tri-level. . .
240.
10.
1224 . . . 240.
PUSH
237
PUSH
11
11. 10- -
, . .
. 243.
12
12.
. , .
13. FOCUS
-. . . 245.
FOCUS
IRIS
PTT
PGM
LUT
13
14
15
16
17
SET
DISPLAY
MENU
20
21
14. IRIS
. . . 245.
18
19
18
22
. . . 246.
23
. . . 246.
21. MENU
-. . . 246.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
22.
REF
12V
23. USB
USB mini B . . . 248.
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
238
Blackmagic Studio Camera .
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PUSH
PUSH
1.
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2.
3.
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12 .
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2
PUSH
OPTICAL OUT
OPTICAL IN
PUSH
SDI OUT
Studio Camera
SDI IN
REF
Studio Camera ,
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1.
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2.
, .
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
239
Blackmagic Studio Camera
LANC
LANC ,
, .
2,5 LANC.
MFT
. :
Panasonic Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S.
Panasonic Lumix G X Vario PZ 45-175mm f/4.0-5.6 Zoom O.I.S.
Olympus 12-50mm f/3.5-6.3 ED M.Zuiko EZ Micro 4/3
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,
. SDI-
15 16. ,
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SDI- , ,
15 16.
PUSH
3
2
PUSH
XLR
. ,
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. . SDI-
1 2.
240
Blackmagic Studio Camera
/
/ LC 3G-SDI Studio
Camera HD 6G-SDI Studio Camera 4K.
. , 45 ,
. SDI- ,
, .
SDI
SDI 10- 4:2:2 SDI-,
, , . Blackmagic Studio Camera
HD 3G-SDI, Studio Camera 4K 12G-SDI.
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI
SDI (PGM). PGM
. SDI- ,
, . Studio Camera
, Blackmagic Hyperdeck Shuttle, Hyperdeck
SDI, .
SDI IN
blackburst tri-level.
,
.
REF
12V
1224 .
Studio Camera HD , Studio Camera 4K
.
Studio Camera
Video Format ( )
. .
Gain ()
.
0 , 18 6 .
White Balance ( )
.
3200K ( )
4500K ( )
5000K, 5600K, 6500K 7500K ( )
Shutter Speed ( )
Studio Camera HD
and Studio Camera 4K
Studio Camera 4K
1920 x 1080p23.98
3840x2160p23.98
1920 x 1080p24
3840x2160p24
1920 x 1080p25
3840x2160p25
1920 x 1080p29.97
3840x2160p29.97
1920 x 1080p30
3840x2160p30
1920 x 1080p50
3840x2160p50
1920 x 1080p59.94
3840x2160p59.94
1920 x 1080p60
3840x2160p60
1920 x 1080i50
1920 x 1080i59.94
1920 x 1080i60
, , ISO.
15 1/50 1/2000 .
Dynamic Range ( )
Film ( )
Studio Camera HD , .
, DaVinci Resolve.
Video ( )
Studio Camera HD Studio Camera 4K REC709,
Language ()
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, , , , , .
Audio Input ()
XLR.
Microphone Level ( )
.
. Studio Camera
. ,
1 2.
Input Level ( )
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, ,
Line. Mic
Low Mic High. ,
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Ch 1 Input ( 1)
1 .
1,
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Ch 2 Input ( 2)
2 .
2,
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Phantom Power ( )
XLR-, Audio
On (.) Off (.).
.
10
. .
Line .
Brightness ()
- .
60%.
Zebra ( )
Blackmagic Zebra, . ,
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Focus Peaking ( )
. :
off (.), low ( ), medium ( ) high ( ).
, .
.
Tally Brightness ( )
. : low ( ),
medium ( ) high ( ). .
Camera Number ( )
ATEM Studio Camera,
. .
1 99. 1.
Reference Source ( )
. Studio Camera
SDI .
,
- .
Reference Timing ( )
.
Headset Level ( )
.
50%.
Program Mix ( )
.
, -. ,
.
, .
0%.
FOCUS
IRIS
IRIS
PTT
PGM
PTT
PGM
LUT
LUT
SET
DISPLAY
MENU
FOCUS
,
FOCUS
SET
DISPLAY
FOCUS
MENU
IRIS
IRIS
. IRIS
.
Studio Camera .
FOCUS
IRIS
FOCUS
IRIS
PTT
PTT
PGM
LUT
PGM
LUT
SET
SET
DISPLAY
MENU
IRIS ,
/
DISPLAY
MENU
FOCUS
IRIS
PTT
PGM
LUT
SET
. .
. .
DISPLAY
MENU
Program (PGM)
FOCUS
IRIS
PTT
PGM
LUT
SET
DISPLAY
MENU
,
.
.
SDI- .
///
.
Set
.
Display
-.
SDI.
Menu
.
247
Blackmagic Studio Camera 10- 4:2:2 ,
SDI-. /
ATEM Camera Converter .
, SDI .
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
REF
12V
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
Studio Camera
SDI-
REF
12V
+12V POWER
HDMI IN
+12V POWER
HDMI OUT
HDMI IN
HDMI OUT
SDI IN
SDI IN
SDI OUT
SDI OUT
SDI- SDI- Hyperdeck
Studio Camera, SDI-
SSD-, Blackmagic Hyperdeck Shuttle.
SDI- Studio Camera, - .
PUSH
Mac OS X
Blackmagic Camera Utility
.
Blackmagic Camera Installer .
Windows
Blackmagic Camera Utility ,
PDF Blackmagic Camera Utility.
.
Blackmagic Camera Utility
USB. mini USB 2.0 .
OPTICAL OUT
OPTICAL IN
SDI OUT
SDI IN
249
Studio Camera -
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1.
, Studio Camera.
2.
,
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, .
, LANC-
. 3/8
1/4 .
.
2
PUSH
3
2
PUSH
SDI
ATEM Camera Control
PRESS TO TALK
PRESS TO TALK
PUSH
IN
5
IN
3
IN
1
IN
7
IN
1
IN
9
IN
3
IN
7
IN
5
IN
9
IN
1
CONTROL
IN
4
IN
1
USB 2.0
IN
6
HDMI IN
IN
8
IN
2
IN
10
IN
4
IN
8
IN
6
SDI INPUTS
IN
1
USB 2.0
REMOTE
IN
10
HD
HD
HD
HD
REF IN
AUX 1-3
IN
1
IN
3
IN
5
IN
7
IN
9
IN
2
IN
4
IN
6
IN
8
IN
10
HDMI IN
PREVIEW
REF IN
AUXPROGRAM
1-3
OUTPUTS
PREVIEW
3
L
REMOTE
STEREO IN
SDI INPUTS
REF IN
+12V BACKUP
POWER
PUSH
AUX 1-3
HD
PREVIEW
HD
STEREO
IN
PUSH
HD
PROGRAM OUTPUTS
PUSH
PUSH
CH 1
CH 2
SDI OUT
MULTI-VIEW
L
R
L
R
USB 2.0
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
1
L
+12V BACKUP
POWER
IN
L
R
L
R
OPTICAL OUT/IN ANALOG AUDIO
ANALOG
OPTICAL OUT/IN
OUT AUDIO OUT
USB 2.0
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
PGM SDI
SDI OUT
OPTICAL
OUT/IN
MIC
SDI OUT
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
CH 2
CH 1
2.
OUT
IN
4
SDI OUT
CH 2CH 2
3.
SDI OUT
SDI OUT
CH 1CH 1
ANALOG AUDIO
ANALOG
IN AUDIO OUT
1.
3OUT
PRESS TO TALK
MULTI-VIEW
ANALOG AUDIO IN
CH 2
CH 1
OUT
OUT
OUT
IN
IN
IN
SDI OUT
HD
3.
ANALOG AUDIO IN
OUT
SDI OUT
HD
LOCK TO TALK
SDI OUT
PUSH
PROGRAM
MULTI-VIEW
OUTPUTS
SDI- ATEM ( ,
) SDI- (In) Studio Camera.
SDI-
.
CH 1
SDI INPUTS
CONTROL
2.
LOCK TO TALK
IN
2
HDMI IN
STEREO IN
LOCK TO TALK
TROL
REMOTE
1.
L
OPTICAL OUT/IN
R
ANALOG AUDIO OUT
PGM SDI
Blackmagic Studio
ATEM Studio Converter
MIC
H/PHONE
OUT
L
R
ANALOG AUDIO OUT
H/PHONE
4.
OUT
SDI- ATEM ( ,
) SDI- (In) ATEM Studio
Converter. SDI-
.
SDI OUT
IN
OUT
IN
OPTICAL OUT/IN
IN
IN
PGM SDI
MIC
H/PHONE
, .
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, On
Air . ,
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On Air.
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, ,
YRGB- .
DaVinci Resolve. ,
, YRGB- .
, .
YRGB- : ,
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,
, .
. , /
. Paste () .
Paste to all ( )
, .
,
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, ,
,
Contrast, Hue, Saturation Lum Mix.
, .
Paste () , , Coarse
. Paste to all ( ) ,
.
, .
Coarse
Coarse /
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.
Coarse,
, Coarse
. Coarse
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/
,
/
. Coarse.
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,
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,
, ,
/ . ,
, .
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, ,
. ,
, .
White Balance ( )
, .
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, ,
, . ,
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DaVinci Resolve Primary Color Corrector,
Shift .
, ,
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, .
.
, , ,
YRGB- .
.
, .
YRGB .
(Y)
ALT Command. YRGB,
.
, Lum Mix .
YRGB, RGB.
, ,
.
, .
Contrast
.
, Lift Gain,
. 50%.
Contrast, Saturation, Hue Lum Mix
Saturation
.
50%.
Lum Mix
Blackmagic Studio Camera DaVinci
Resolve. DaVinci 80- . ,
.
Blackmagic Studio Camera
. YRGB.
RGB- YRGB- .
YRGB,
.
Lum Mix , 100% YRGB.
Lum Mix , 100% RGB.
Lum Mix ,
RGB YRGB.
,
.
ATEM Blackmagic Studio
Camera. - ,
.
Developer Information
Overview
This document describes an extensible protocol for sending a uni-directional stream of small control
messages embedded in the non-active picture region of a digital video stream.
The video stream containing the protocol stream may be broadcast to a number of devices. Device
addressing is used to allow the sender to specify which device each message is directed to.
Assumptions
Alignment and padding constraints are explicitly described in the protocol document. Bit fields are
packed from LSB first. Message groups, individual messages and command headers are defined as, and
can be assumed to be, 32 bit aligned.
Blanking Encoding
A message group is encoded into a SMPTE 291M packet with DID/SDID x51/x53 in the active region of
VANC line 16.
Message Grouping
Up to 32 messages may be concatenated and transmitted in one blanking packet up to a maximum of
255 bytes payload. Under most circumstances, this should allow all messages to be sent with a maximum
of one frame latency.
If the transmitting device queues more bytes of message packets than can be sent in a single frame, it
should use heuristics to determine which packets to prioritise and send immediately. Lower priority
messages can be delayed to later frames, or dropped entirely as appropriate.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. It should be set
to zero.
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 to determine
which messages to process. The receiver should use the command length to skip irrelevant or unknown
commands and should be careful to skip the implicit padding as well.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration
parameters available on the device. Parameters 0 through 127 are device
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.
Data (void)
The data field is 0 or more bytes as determined by the data type and number
of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
ID
Lens
Video
Parameter
Type
.0
Focus
fixed16
.1
Instantaneous autofocus
void
.2
Aperture (f-stop)
.3
Index
Minimum
Maximum
Interpretation
0.0
1.0
0.0=near, 1.0=far
fixed16
-1.0
16.0
Aperture (normalised)
fixed16
0.0
1.0
0.0=smallest, 1.0=largest
.4
Aperture (ordinal)
int16
.5
Instantaneous auto
aperture
void
.6
1
.0
Video mode
int8
[1] = M-rate
0=regular, 1=M-rate
[2] =
dimensions
[3] = interlaced
0=progressive, 1=interlaced
[4] = colour
space
0=YUV
.1
Sensor Gain
int8
16
.2
int16
3200
7500
Colour temperature in K
.3
Reserved
Reserved
.4
Reserved
Reserved
.5
Exposure (us)
int32
42000
time in us
.6
Exposure (ordinal)
int16
.7
int8 enum
0 = film, 1 = video
ID
Parameter
Type
Audio
2
.0
Mic level
.1
Minimum
Maximum
Interpretation
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Headphone level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.2
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Speaker level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.4
Input type
int8
.5
Input levels
fixed16
[0] ch0
0.0
1.0
0.0=minimum, 1.0=maximum
[1] ch1
0.0
1.0
0.0=minimum, 1.0=maximum
.6
Output
Index
Phantom power
boolean
Overlays
3
.0
Display
4
.0
Brightness
fixed16
.1
Overlays
0.0
1.0
0.0=minimum, 1.0=maximum
0x4 = zebra
0x8 = peaking
Tally
.2
Zebra level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.3
Peaking level
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
Tally brightness
fixed16
0.0
1.0
0.0=minimum, 1.0=maximum
.0
Source
int8 enum
.1
Offset
int32
5
.0
Reference
6
+/- offset in pixels
ID
Configuration
7
.0
.1
Colour
Correction
Parameter
Type
Index
Minimum
Maximum
Interpretation
int32
[0] time
BCD - HHMMSSFF
[1] date
BCD - YYYYMMDD
Reserved
Reserved
8
.0
.1
.2
.3
.4
Lift Adjust
Gamma Adjust
Gain Adjust
Offset Adjust
Contrast Adjust
fixed16
fixed16
fixed16
fixed16
fixed16
.5
Luma mix
fixed16
.6
Colour Adjust
fixed16
.7
void
[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] red
0.0
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] sat
0.0
2.0
default 1.0
reset to defaults
Packet
Length
Byte
0
10
11
12
13
14
15
command
reserved
category
parameter
type
operation
data
length
command
destination
header
12
255
12
0x10
0x27
0x00
0x00
12
128
0x33
0x01
16
255
24
16
12
128
0x9a
0xfd
0x9a
0xfd
76
255
0x10
0x27
0x00
0x00
128
0x33
0x01
255
24
12
128
0x9a
0xfd
0x9a
0xfd
264
Blackmagic
Design .
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,
Blackmagic www.blackmagicdesign.com/
support.
Blackmagic Design
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"Send us an email" .
Blackmagic Design,
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Blackmagic Camera Utility, ,
About Blackmagic Camera Utility.
Mac OS X Blackmagic Camera Utility
. About Blackmagic Camera Utility, .
Windows Blackmagic Camera Utility
. About Blackmagic Camera Utility,
.
Blackmagic Camera Utility, Blackmagic
www.blackmagicdesign.com/support, .
,
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Studio Camera , .
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Blackmagic Design.
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Black magic Design
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, Blackmagic
Design
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Blackmagic Design .
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, , -
, . Black magic
Design : ) ,
, ,
Blackmagic Design; ) ,
; )
,
; ) ,
. BL ACK MAGIC DESIGN
. BL ACK MAGIC
DESIGN
- .
BL ACK MAGIC DESIGN
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, , ,
, BL ACK M AGI C DESI GN ( )
. BL ACK MAGIC DESIGN
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BL ACK MAGIC DESIGN ,
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Copyright 2014 Blackmagic Design. . Blackmagic Design, DeckLink, HDLink, Workgroup Videohub, Multibridge Pro,
Multibridge Extreme, Intensity Leading the creative video revolution .
.