The connection process is fast because all the network settings for each ATEM unit have a

different default IP address when shipped from the factory. This means when you connect them
all to each other, their network settings are automatically configured and will work straight away.
However, if you are adding a camera control panel to an already existing system, or you need
to manually assign a different IP address to avoid potential conflicts on your network, you can
enable DHCP so your panel determines the best IP address, or disable DHCP and set the IP
address manually.

Changing Network Settings

Changing network settings means manually setting the panel’s IP address so it can join your
network, then entering the switcher’s IP address on your panel so the switcher can be identified
by your panel. These settings are located in your camera control panel’s ‘settings’ LCD menu.
The home screen is the first menu item you will see on the CCU’s LCD. To access the network
settings, press the ‘panel settings’ soft button.

Press the ‘settings’ soft button on the LCD home screen

to access all the camera control panel’s settings

The DHCP setting is the first setting in the sequence of menu pages. Under this setting is a row
of small dot icons. As you press the arrow soft button to navigate through the pages of settings,
the dot icons will illuminate to show which page you are on. All your camera control panel
settings are available via these pages.

To set the camera control panel’s IP address:

1 If you want the panel to automatically set a compatible IP address, select the DHCP
setting by pressing the ‘on’ soft button.

TIP If you know your network’s IP address, you can navigate to the next
setting page and check the panel’s IP address setting to confirm it has
selected an address compatible with your network.

2 If you want to set the IP address manually, make sure the DHCP setting is set to ‘off’,
then press the arrow soft button to navigate to the ‘panel IP address’ setting.
3 Rotate the corresponding knobs to change the IP address fields.

Using ATEM Camera Control Panel 166

 4 Now press the arrow button to move to the subnet mask and gateway settings and
make the necessary changes.
5 Once all the subnet mask and gateway number fields are set, press the ‘save changes’
soft button to confirm your settings.

With your camera control panel’s IP address set, the network can now communicate with
your panel.
The next step is to assign the switcher’s IP address on the camera control panel. By telling your
camera control panel your switcher’s IP address, the panel can then identify your switcher on
the network.

TIP If your switcher is located near the camera control panel, it’s helpful to open the
network settings menu on the switcher so you can observe your switcher’s IP address
while entering the IP address number fields on the camera control panel. This is also a
good way to cross check your network settings between each unit.

To set the switcher’s IP address on your camera control panel:

1 Press the arrow soft button to navigate to the ‘switcher IP address’ setting.
2 Using the knobs underneath the LCD, set the numbers for each address field.
3 Press ‘save changes’ to confirm your settings.

Now that your panel has identified the switcher, all the controls on your panel should illuminate.
This lets you know the panel is communicating with your switcher and is now able to control
your cameras via the program return SDI outputs from the switcher to each camera.
If the lights are not illuminated on your panel, check your network settings and ensure the
Ethernet cables are connected correctly.

Camera Control Panel Layout

Each CCU on your camera control panel is exactly the same with the same controls. The menu
settings are primarily controlled using the left CCU’s LCD and soft buttons.

Each CCU has exactly the same controls.

Using ATEM Camera Control Panel 167

LCD Menu Settings
Pressing the ‘home’ soft button returns you to main home screen. From the home screen, you
can access all your camera control panel’s settings including the network settings, auxiliary
for camera control, master black enable and disable settings and the brightness settings for
adjusting the lights on the various panel controls. You can also identify the software version
installed on your camera control panel and the ATEM switcher your panel is connected to.

The home screen displays features you may need access to at

all times, for example selecting the desired camera bank and
recalling scene files for all cameras

Camera Banks A and B

When the LCD is set to the home screen, you will see the camera bank setting at the
top of the display. This setting displays which bank of cameras you are controlling.
For example, imagine you are controlling 8 cameras and you want to have a dedicated
CCU assigned to each camera. You can assign cameras 1 to 4 for each CCU on bank A,
then assign cameras 5 to 8 to each CCU on bank B.
Now when switching your live production, you can press the ‘bank’ soft button to swap
between banks A and B, which lets you instantly access camera control for cameras
that have been assigned to dedicated CCUs. This is a faster and more organized way
of controlling cameras compared to swapping between multiple cameras on each CCU
during production.

Press the bank soft button to cycle between camera banks

A and B, or hold the button down to disable or enable
camera banks

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You can also disable the banks by holding down the bank soft button until the ‘bank off’ setting
appears on the LCD.
Turning the banks off lets you change the CCUs to other cameras when needed, with a defined
set of cameras ready on each bank you can access at any time. To enable banks, simply press
the bank button again.

The bank setting lets you assign 2 banks of cameras to the four CCUs and then instantly swap between them by
pressing the ‘bank’ soft button

TIP Any camera can be selected on each CCU in both banks. For example, imagine
you want to have constant control over camera 1, even after switching to another bank
of cameras. All you need to do is make sure one CCU in each bank always has camera
1 selected.

Panel Settings
Pressing the ‘panel settings’ button on the home screen opens all settings for your camera
control panel. Navigate through the pages of settings by pressing the arrow soft button. The
network settings, including DHCP and IP address settings, are the first pages in the sequence.
These settings are described in the section that shows how to change network settings when
connecting the camera control panel to your ATEM switcher. Keep reading this section for
information on the additional settings for your camera control panel.

Auxiliary Select
Select the auxiliary output you want to assign to camera control. Turn the auxiliary control knob
underneath the LCD clockwise or counter clockwise to choose an auxiliary output.

NOTE The auxiliary selection differs depending on which ATEM switcher you are

connected to. For example, a switcher with 1 auxiliary output will provide auxiliary 1 or
none. A switcher with more auxiliary outputs lets you choose which output to assign
to camera control, or select none if you want the auxiliary outputs to be dedicated to
other sources. ATEM Constellation 8K lets you choose from any of its outputs.

Using ATEM Camera Control Panel 169

 Rotate the auxiliary select knob to assign a dedicated
auxiliary output for camera control

Master Black
Setting the master black setting to on or off enables or disables the master black control, also
known as the pedestal control. This is helpful if you want to lock the pedestal so it cannot be
accidentally adjusted during production. The pedestal is controlled by turning the ring wheel
on the joystick control knob clockwise or counter clockwise. More information on the joystick
control is provided in the following sections.

Brightness
These settings let you adjust the brightness for the buttons, indicators, LEDs and LCDs on your
camera control panel. Rotate the corresponding control knobs for each setting clockwise or
counter clockwise to brighten or dim the lights.

Camera Settings
Use the camera settings menu to adjust your cameras shutter speed and adjust focus as well as
making color adjustments. Press the soft button with the right arrow to navigate between all the
available settings.

Auto Focus Button

Press the auto focus soft button to automatically set the focus when you have an active lens
that supports electronic focus adjustments. It’s important to know that while most lenses
support electronic focus, some lenses can be set to manual or auto focus modes and so you
need to ensure your lens is set to auto focus mode. Sometimes this is set by sliding the focus
ring on the lens forward or backward.

Zoom
When using compatible lenses with an electronic zoom feature, you can zoom your lens in
and out using the zoom control. The controller works just like the zoom rocker on a lens,
with telephoto on one end and wide angle on the other. Turn the knob clockwise or counter
clockwise to adjust.

Manual Focus Adjustment

When you want to adjust the focus on your camera manually, you can use the focus adjustment.
Turn the knob left or right to manually adjust focus while viewing the video feed from the
camera to ensure your image is nice and sharp.

Shutter Speed Control

Decrease or increase the shutter speed by turning the knob right or left. You can also use
the dedicated shutter speed buttons on the CCU. Decreasing shutter speed is a good way to
brighten your images without using camera gain because you are increasing the exposure time

Using ATEM Camera Control Panel 170

of the image sensor. Increasing shutter speed will reduce motion blur so can be used when you
want action shots to be sharp and clean with minimal motion blur.

Color Adjustments
Contrast 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%.

Pivot When the contrast value is adjusted, you can use the pivot setting to adjust the
midpoint of the contrast balance. Darker images may require a lower pivot value
to avoid crushing the shadows too much when stretching image contrast, while
lighter images may benefit from a higher pivot value to increase shadow density
adequately.

Lum Mix Adjust the balance between RGB and YRGB processing using Lum mix. When set
to 100, you can adjust the color balance independent of brightness.

Hue The Hue setting rotates all hues of the image around the full perimeter of the color
wheel. The default setting of 180 degrees shows the original distribution of hues.
Raising or lowering this value rotates all hues forward or backward along the hue
distribution as seen on a color wheel.

Saturation The Saturation setting increases or decreases the amount of color in the image.
The default setting is 50%.

Tint Adjusting the tint setting will add green or magenta into the image to help balance
the color.

CCU Panel Controls

The panel controls for each CCU are separated into three general sections. These include:

Scene Files and Camera Settings

Scene files are for storing all the camera parameters for each CCU. Camera settings can be
changed such as shutter speed, master gain, white balance and enabling color bars. More
information for these settings, plus the relative and absolute mode settings, are described in
detail in the following ‘controlling cameras’ section.

The upper section of each CCU is used to store and recall scene files, plus control camera
settings such as shutter speed, master gain, white balance and color bars

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Color Balance Controls
The red, green and blue color balance knobs in the panel’s mid section are for adjusting the
color balance of the lift, gamma and gain levels. The white controls are for adjusting the RGB
values for the gain, or highlights and the black controls are for adjusting RGB values of the lift,
or the shadows. The black/flare button lets you adjust the RGB values for the gamma, or mid
tones, by holding down the button and adjusting the lift RGB knobs.

The color balance controls let you make fine adjustments to the red, green, blue channels
for the master gain/white, gamma and pedestal/black levels

There is also a custom control that will be uniquely assignable in a future update. Currently, the
custom control knob is set to Y gain control. This increases or decreases the overall luminance,
or brightness, of the image. More information about color balance control is provided in the
following ‘controlling cameras’ section.

Lens Controls
The lower section of the panel is where most of the control will occur during production.
The first item you will probably notice is the joystick control. This is used to open and close the
iris, also known as the white level or gain control and for adjusting the master black level, also
known as the pedestal control.

TIP You can also press the joystick down to switch its camera to the auxiliary preview
for camera control.

Gain is adjusted by leaning the joystick forwards or backwards to open or close the iris.
Increase or decrease the pedestal by rotating the ring wheel underneath the joystick’s knob
clockwise or counter clockwise. This gives you fine control over both parameters using the
same controller.

Using ATEM Camera Control Panel 172

 The lower section of the CCU is where most of the camera control occurs
during live production

Other buttons and knobs in this section of the CCU are for adjusting the sensitivity of the
joystick control, setting the coarse level, locking and unlocking the CCU and more. Details on
all the features are provided in the following section.

Controlling Cameras
This section describes all the features on each CCU and a general overview on how to
approach camera control.
The first step to controlling cameras is to assign a camera for a CCU.

Assigning a Camera to a CCU

At the bottom of the LCD home screen for each CCU, you will see its camera number displayed
and a soft control knob underneath it. Simply turn the knob to change the camera number.
You will also see the camera name change on the LCD. The camera name will illuminate red
when on air.

The camera name and number on the LCD home screen

shows the camera currently selected for each CCU

Using ATEM Camera Control Panel 173

 TIP The large camera number next to the CCU’s joystick control will also change
when you assign a camera. This large identifying number is easy to see and will
illuminate red when its camera is live on the program output.

Scene Files
The numbered buttons along the top of each CCU let you quickly store and recall up to 5 scene
file presets. For example, once you have arranged all your settings for a camera and you are set
up for broadcast, you can then save all the parameters for each camera and recall them later.
It’s a very fast process!

To store a scene file:

1 Press the ‘store’ button on a CCU. The button will illuminate red to indicate the panel is
ready to store a file.
2 Press a numbered scene file button.
The scene file indicator and buttons will illuminate, indicating when a scene file is stored
or recalled.

To recall a scene file:

Press the numbered button for the scene file you want to recall.
That’s all you need to do!

The scene file buttons are used for storing and recalling all settings for CCU controls

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Recall All
When this feature is enabled, you can recall a stored scene file on all cameras simultaneously
when you press the corresponding scene file button on a single CCU.
For example, you may have a specific setup for each camera that is optimized for a set in your
live production. This will likely be a large number of settings that you will want to recall later
when you return to that set.
The following is an example of how you can recall complex settings for multiple cameras
simultaneously.

To recall a scene file to multiple cameras:

1 Once all your cameras are set up, store a scene file for each camera on scene file 1.
2 Enable the ‘recall all’ setting by pressing the corresponding soft button in the LCD
home menu.
3 Now make any changes you want to each camera.
4 Press the scene file 1 button on any CCU. You will notice that all CCUs have recalled the
settings stored in scene file 1 for each independent CCU.

NOTE While this feature is very powerful and helpful, please use with care as it affects
all cameras, including the camera switched to the program output. We recommend
enabling ‘recall all’ for specific setups prior to air and then immediately disabling the
feature until you need it again.

ND
This setting will be enabled in a future update.

CC
This setting will be enabled in a future update.

Master Gain
Blackmagic Design cameras have ISO and gain settings that can be set using the master gain
buttons on the camera control panel. To increase the master gain, press the up arrow next to
the master gain indicator. To decrease gain, press the down arrow.
Increasing or decreasing the master gain lets you allow for more light in dimly lit shooting
conditions, however it’s worth being careful with the master gain as electronic noise can appear
in the image as it reaches its highest settings.

TIP When a negative gain value is set, the down arrow will illuminate. When positive
gain is set, the up arrow will illuminate.

Relative Control and Absolute Control

The camera control panel has two control modes that determine how the panel maintains
synchronization between the physical controls and their settings. The two control modes are
relative control and absolute control.

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 Pressing the ‘ON’ button repeatedly will cycle between relative and absolute control modes

Relative Control
In relative control mode, when a setting is adjusted externally and becomes out of sync with
the original controller, the next time a change is made to the original controller, its setting will
gradually return to sync as the new adjustment is performed.
For example, if the camera’s iris is set to f2.8 on the camera control panel and then set to f5.6
using ATEM Software Control, the joystick will still be physically placed at f2.8, but the setting
is now f5.6. In relative mode, when you then adjust the joystick to decrease the gain level,
the setting will continue from f5.6 and gently return to sync with the controller as you make
changes. The process is almost invisible and it’s likely you won’t even notice.

Absolute Control
In absolute control mode, the settings are always synchronized to their corresponding controls.

NOTE When the panel is in absolute control mode, it’s worth keeping in mind that if a
control’s setting is changed using ATEM Software Control or a different CCU, the next
adjustment on the original controller will result in an initially harsh settings change as it
snaps back to its originally set position.
For example, if the joystick has set the iris to f2.8 on the camera control panel and
then the setting is changed to f5.6 using ATEM Software Control, the next time you
adjust the gain level using the joystick, the gain level will immediately snap to f2.8 and
begin adjusting from there. That is because the joystick is still positioned at f2.8 on the
camera control panel.
For this reason, it’s important to decide before going to air which control mode you
want to use when controlling your cameras so you can be sure there is no risk of
unintended changes when live to air.

White Balance
You can adjust the white balance of each camera by holding down the white balance button,
marked ‘W/B’ and pressing the shutter up and down arrow buttons to warm or cool the image.
The shutter setting indicator displays white balance values so you can monitor the color
temperature in degrees Kelvin. Check the white balance setting at any time by holding down
the white balance button and observing the shutter setting indicator.

Using ATEM Camera Control Panel 176

 TIP When changing a white balance or shutter speed setting, you can increase their
speed of change by holding down the corresponding up or down arrow buttons.

Hold down the W/B button and press the shutter up and down arrow buttons to set a white balance in
degrees Kelvin

Color Bars
Pressing the ‘bars’ button will set the camera to display color bars. Press again to turn bars off.

Shutter Speed
The arrow buttons next to the shutter display let you change the camera’s shutter speed.
Press the up arrow to increase the shutter speed and down to decrease. For general
production use, the shutter speed is typically set to 50, meaning 1/50th of a second, which
produces a pleasing motion blur. If you want crisper images with reduced motion blur, for
example when shooting sport, a faster shutter speed may be preferred.

Press the shutter up and down buttons to set the camera’s

shutter speed

White and Black Balance Controls

The two rows of color balance knobs are used to adjust the color balance of the white and
black levels, also known as gain and pedestal. Turn the red, green and blue knobs clockwise
or counter clockwise to make changes.

TIP For achieving accurate color settings while adjusting the color balance, it’s best
to view scopes. For example, a waveform, parade or vectorscope as provided on a
Blackmagic SmartScope 4K.

Black/Flare Button
Adjust the color of the gamma or mid tones by holding down the black/flare button and
adjusting the black balance RGB controls.

D EXT/EXT
This feature will be enabled in a future update.

Camera Number
Each CCU has its own large camera number that shows you which camera is being controlled.
This large display is illuminated green when in a neutral state and red when its camera is
switched to the program output.

Using ATEM Camera Control Panel 177

Gain and Pedestal Level Control
The joystick control lets you make fine adjustments to the gain/iris and pedestal/master
black levels.
Leaning the joystick forwards or backwards opens or closes the camera’s iris, also known as
the gain level. As you lean the joystick forwards and backwards, its indicator strip will illuminate,
providing an approximate display of the camera’s exposure. For a precise assessment of the
exposure f-stop, observe the iris indicator.
Located around the collar of the joystick’s handle is a ring wheel that controls the pedestal
level. The ring wheel has small ridges built in for firm control and a position indicator is located
on the top of the knob to show the physical positioning of the wheel. Turn the wheel clockwise
to increase the master black level, or counter clockwise to decrease.

The joystick lets you adjust the gain level by leaning the controller forwards
and backwards. The master black level can be adjusted by turning the
ring wheel clockwise or counter clockwise. Corresponding indicators are
provided for accurate measurement.

Iris and Master Black Indicators

The indicators for the iris and master black joystick control displays the gain value, shown as
the f-stop exposure level for the camera lens and the level of the master black setting.

Preview
When making changes with the camera controls, you can monitor your changes before
switching to air by pressing the CCU’s preview button. This performs the same function as
pressing the joystick, which immediately switches the camera to the dedicated auxiliary output
for camera control. This dedicated auxiliary output is set using the ‘auxiliary select’ setting on
your camera control panel, or the general camera control settings in ATEM Software Control.

Using ATEM Camera Control Panel 178

Sensitivity
The sensitivity setting lets you define a specific range between the highest and lowest gain
levels so you can achieve finer control using the joystick. For example, when sensitivity is at its
maximum setting, you can lean the joystick all the way forwards or backwards, however it will
only affect a narrow range of gain.
You can define how narrow the range is by increasing or decreasing the sensitivity.

Coarse Control Knob

The coarse setting lets you define a limit to the maximum gain control. For example, you may
want to ensure your gain never rises higher than a determined exposure.

To do this:
1 Lean the joystick to its highest position to increase the gain setting to its maximum.
2 Now decrease the coarse setting by rotating the coarse knob counter clockwise until
the gain reaches the limit you want to set.
You can now lean the joystick all the way up and down and the gain will never rise higher than
the limit you have set.

TIP When the coarse control is combined with the sensitivity control, you can define
an upper and lower limit to the gain control.
For example, imagine you want to limit the gain so it never rises above f4.0 because
gain above that level will clip highlights in your image. You also want to limit the gain so
its minimum setting will be f8.0 to maintain the optimum sharpness range for your lens.

To do this:
1 Increase the gain control to its maximum position by leaning the joystick all the way
to its top position.
2 Now decrease the coarse setting until it reaches the upper limit you want to set.
In this case, f4.0.
3 To set the lower limit, lean the joystick all the way to its bottom position.
4 Now increase the sensitivity setting until the gain reaches the lower limit you want
to set. In this case, f8.0.
Now you can lean the joystick all the way from top to bottom and the gain will stay
within the limits you have set. This is a powerful way to define your exposure limits,
plus gain finer control with the joystick due to allowing its maximum travel forwards and
backwards.

Iris and Master Black Active

Once your levels are set and you want to lock them so they are not accidentally changed,
press the ‘iris/MB active’ button. This enables a lock on the gain and master black so that any
accidental movements of the joystick will not affect your settings. The ‘Iris/MB active’ button
label will illuminate red when the lock is active. To disable the lock, press the button again.

TIP You can lock the black/pedestal level independently by disabling the ‘master
black’ option in the ‘settings’ menu. When disabling master black, the black level is

Using ATEM Camera Control Panel 179

 locked but the iris/gain level can still be adjusted. Don’t forget to enable the master
black setting if you want to make changes to the black/pedestal level.

Auto Iris
If your camera is using a compatible lens with electronic iris control via the camera, then you
can press the ‘auto iris’ button for a quick automatic exposure setting. The camera will set
exposure based on average brightness, providing an average exposure that is a balance
between the brightest highlights and the darkest shadows.

Call
Holding down the ‘call’ button will flash the tally light on the CCU’s selected camera. This is a
helpful way of seeking the camera operators’ attention, or to let your operators know you are
about to go live.
While holding down the call button, the large camera number next to the joystick will also flash
so you can visually confirm the call is being sent.

Panel Active
After you are happy with your camera settings, you may want to lock all the controls so they
cannot be accidentally adjusted. Pressing the ‘panel active’ button enables the CCU lock so
all controls cannot be changed. Press the button again to disable the CCU lock. This can be a
helpful feature when you are recording a locked off shot and don’t want the setting adjusted by
accident, for example a wide shot of a stadium filling as the crowd enters.
ATEM Camera Control Panel is an exciting, practical and efficient way to control
Blackmagic Design cameras in your live production. We believe you will enjoy the experience
of hands on camera control using CCUs, which lets you take control of exposure and other
camera settings, freeing up your camera operators so they can concentrate on framing
and focus.

Using Tally
Sending Tally Signals via a GPI and Tally Interface
Your ATEM switcher can send tally signals to monitors and cameras to make it clear which
source is on the program output, i.e. which source is on air.
Tally is commonly used to light the red light on top of a camera or monitor so the talent knows
they are on air. Tally can also illuminate a border on a monitor such as a Blackmagic SmartView
Duo or SmartView HD. The border allows production staff to know which camera is on air.
The GPI and Tally Interface by Blackmagic Design, is an Ethernet device which provides eight
mechanical relay contact closures to ground that can be used for tally. Tally signals are sent
from the Ethernet port of your ATEM switcher to a GPI and Tally Interface on the same network
as the switcher. By following the wiring guide on the back of the GPI and Tally Interface,
a breakout cable can be connected to video equipment that supports contact closure tally
signals, such as Blackmagic SmartView Duo and SmartView HD. Up to 8 tally receiving devices
can be supported with a single GPI and Tally Interface. Only one GPI and Tally Interface unit is
needed when used with an ATEM switcher that has 1 M/E. Up to 3 units will be needed for the
20 inputs of the ATEM 4 M/E Broadcast Studio 4K and 2 M/E Production Studio 4K and up to 5
for the 40 Ultra HD and HD inputs of the ATEM Constellation 8K.

Using Tally 180

 GPI and Tally Interface

The GPI inputs are optical isolators which are triggered by connection to ground with a
maximum of 5V at 14mA.
The tally outputs are mechanical relay contact closures to ground with a maximum of 30V at 1A.
The following illustrates which tally signal is sent when a switcher input is selected on the
program output. When using GPI and Tally Interface with a 2 M/E or 4 M/E switcher, use ATEM
Setup to set each unit to signal on different tally outputs. For example, set the first unit to signal
on tally outputs 1-8, the second unit to signal on tally outputs 9-16 and the third to signal on tally
outputs 17-24.

GPI and Tally GPI and Tally GPI and Tally GPI and Tally GPI and Tally
Interface #1 Interface #2 Interface #3 Interface #4 Interface #5

Set outputs Set outputs Set outputs Set outputs Set outputs
to switcher to switcher to switcher to switcher to switcher
inputs 1-8 inputs 9-16 inputs 17-24 inputs 25-32 inputs 33-40

Ethernet

8K INPUTS 8K OUTPUTS
1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6
1 2 1 5 9 13 17 21 25 29 33 37 1 5 9 13 17 21 1 CH 1

MADI OUT IN
2 6 10 14 18 22 26 30 34 38 2 6 10 14 18 22 2 CH 2

TALKBACK
MADI IN
3 7 11 15 19 23 27 31 35 39 3 7 11 15 19 23 3 CH 1

Ethernet CONTROL REMOTE

4 8 12 16 20 24 28 32 36 40 4 8 12 16 20 24 4 CH 2
OUT

Network USB REF IN SDI INPUTS SDI OUTPUTS MULTIVIEW ANALOG AUDIO

ATEM Constellation 8K

Changing the Network and Tally Settings

ATEM Setup is used to configure the network settings in the GPI and Tally Interface so it will
communicate with your ATEM switcher. The GPI and Tally Interface must be connected via USB
in order to configure its settings with ATEM Setup.
1 Connect the GPI and Tally Interface to the same Ethernet network as your
ATEM switcher.
2 Connect the GPI and Tally Interface to a USB port on your computer and also connect
the included power supply.
3 Launch ATEM Setup.

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4 If your ATEM switcher connects directly to your computer or ATEM advanced panel
without an Ethernet network switch, choose to “Configure Address Using Static IP”.
The GPI and Tally Interface defaults to a fixed IP address of 192.168.10.2 when shipped
and we suggest you use this number for simplicity. If you are using two GPI and Tally
Interface units with an ATEM 2 M/E Production Switcher, we suggest setting the second
unit to 192.168.10.3.
If you want to choose a different static IP address, you can set it to anything you like
that’s in the same range as the ATEM switcher, so long as it’s not already in use by
another device on your network. Default IP addresses for ATEM products are best
avoided for this reason, including: 192.168.10.1, 192.168.10.2, 192.168.10.3, 192.168.10.10,
192.168.10.50, 192.168.10.60 and 192.168.10.240.
If your ATEM switcher connects via an existing Ethernet network switch, you may wish
to choose “Configure Address Using DHCP” as this setting automatically obtains the
IP Address, Subnet Mask and Gateway information from your DHCP server.
5 Type in the IP address of your ATEM switcher in the “Switcher Address” field. Your
ATEM switcher defaults to a fixed IP address of 192.168.10.240 when shipped and this
is the number you should type in this field unless you have changed it.
6 “Set tally outputs” should be set to “Switcher Inputs 1-8” unless you are configuring
a second unit to provide tally outputs for switcher inputs 9-16 of an ATEM 2 M/E
Production Switcher.
7 Click “Apply”. The white LED to the right of the USB port should stop flashing and
remain on to indicate it has successfully found the ATEM switcher. The GPI and Tally
Interface is now ready.
8 Close ATEM Setup and disconnect your USB cable.

Network and output settings for the GPI and Tally Interface

Using Tally 182

Using Audio
Connecting other Audio Sources
All ATEM production switchers feature standard balanced XLR or TRS audio inputs and outputs.
TRS connectors are also known as 1/4 inch jacks. XLR and TRS inputs are balanced, designed
to reduce interference and noise, especially when long cable lengths are required.
If your ATEM switcher has unbalanced RCA audio inputs, you can connect your external audio
source directly. RCA audio connectors are useful when using audio from consumer equipment
such as a HiFi system or iPod.

Plug external HiFi audio into your switcher via the RCA inputs

Unique to ATEM 4 M/E Broadcast Studio 4K and ATEM 2 M/E Production Studio 4K are line
level, balanced XLR input and output for talkback, designed for connecting to existing talkback
systems. This model also features XLR input and output for timecode. Standard SMPTE linear
timecode is supported and the output is frame synchronized for reliable video and audio timing.

ATEM 2 M/E Production Studio 4K features built

in XLR connectors for timecode, audio and talkback

Using Embedded SDI and HDMI Audio Sources

All ATEM switchers include a built-in audio mixer that lets you use the embedded HDMI and
SDI audio from your cameras, media servers and other inputs without the need for an external
audio mixer.
Once you’ve connected your SDI and HDMI cameras to the switcher for vision mixing, there are
no other connections to make as the audio mixer uses the embedded audio in the video signal.
This saves space and makes setup very fast and low cost as you don’t need separate audio

Using Audio 183

connections for every video source. You don’t need an external audio mixer unless you prefer
to use one.
The audio is mixed in the Audio tab of ATEM Software Control and output over the SDI and
HDMI program outputs as embedded digital audio.
All ATEM switchers feature XLR or 1/4 inch jacks that let you monitor mixed audio on the
monitor XLR or TRS output. The audio mixer contains independent controls for setting the
monitor audio level and also for selecting solo audio monitoring when working with these
ATEM switcher models.
For maximum flexibility, The ATEM 4 M/E Broadcast Studio 4K and 2 M/E Production Studio
4K feature separate XLR monitor outputs that can be switched into an extra pair of program
audio outputs.

Using MADI with ATEM Constellation 8K

ATEM Constellation 8K supports digital audio with the MADI protocol, also known
as Multichannel Audio Digital Interface. MADI is popular with most professional
audio manufacturers, broadcasters and high end recording facilities. MADI ports on
ATEM Constellation 8K have robust BNC connectors and transmit audio data over 75 ohm
coaxial cables up to 100 meters long.

ATEM Constellation 8K has BNC connectors for MADI audio, plus 1/4” TRS connectors for analog audio
in and out.

Using Audio 184

MADI In
MADI channels 1-64 receive digital audio at 24 bit depth with a sampling rate of 48 kHz. These
are connected to an extra 64 channels in the audio mixer that you can mix into the program
output with the same EQ and dynamics as the video input audio mixing channels. These
additional 64 audio inputs mean you can do very complex audio mixing all inside the ATEM
Constellation 8K switcher.

MADI Out 1
In 8K mode, MADI Out 1 sends these sources:

Channels 1-10 Channels 1 and 2 of SDI inputs 1-10.

Channel 11 Media player audio.

Channel 12 External mic.

Channel 13 TRS analog audio input.

Channel 14 PGM audio.

In HD and Ultra HD mode, MADI Out 1 sends these sources:

Channels 1-30 Channels 1 and 2 of SDI inputs 1-30.

Channel 31 External mic.

Channel 32 TRS analog audio input.

MADI Out 2
In 8K mode, MADI Out 2 sends these sources:

Channels 1-10 Channels 3 and 4 of SDI inputs 1-10.

Channel 11 Media player audio.

Channel 12 External mic.

Channel 13 TRS analog audio input.

Channel 14 PGM audio.

In HD and Ultra HD mode, MADI Out 2 sends these sources:

Channels 1-30 Channels 3 and 4 of SDI inputs 1-30.

Channel 31 External mic.

Channel 32 PGM audio.

Using Audio 185

Using a Third Party Audio Mixer Control Surface
Using an Audio Mixer Control Surface
In the fast-paced world of live TV production, using a mouse to make adjustments can
sometimes feel too slow! If you need to mix more than one audio source at a time on your
ATEM switcher then here’s an idea that can really help. Connecting a hardware audio mixer
control surface to your ATEM switcher provides you with the ability to use both hands and
adjust multiple audio levels at the same time.
An audio mixer control surface can be connected to your Mac or PC as a MIDI device using
Mackie Control commands to communicate with the ATEM switcher.
Many third party MIDI control surfaces are compatible with your ATEM switcher but please
check with the manufacturer of your control surface if in doubt.

You can adjust multiple audio levels at the same time by connecting a hardware audio mixer to the computer
which is running ATEM Software Control.

Using Audio 186

Connecting Your Audio Mixer Control Surface
1 Connect your compatible MIDI control surface to your Mac or PC. Most modern control
surfaces use USB.
2 Verify your control surface is recognized by your computer as a MIDI device.
For Mac computers, go to Applications/Utilities/Audio MIDI Setup and launch the
application. Go to the Window menu and choose Show MIDI Window. Ensure your
control surface appears as a MIDI device in this window.
For Windows computers, go to Device Manager/Sound, Video and Game Controllers
and ensure your control surface appears in the list of icons.
3 The ATEM audio mixer is designed to communicate with your control surface using
Mackie Control commands so your control surface will need to support Mackie Control.
You’ll also need to make sure your control surface is configured to use native Mackie
Control or Mackie Control emulation. Please refer to your control surface’s user manual
for configuration details.
Some control surfaces offer several types of Mackie Control emulation and you should
choose the one that activates the most features on your control surface. For example,
with the Behringer BCF 2000, choosing “Mackie Control Mapping for Cakewalk Sonar
3 [MCSo]” enables level faders, bank selectors, balance control, AFV and ON/MUTE
functions and also activates the LED screen which displays which bank of faders
you have selected for your audio mix. The LED screen will not activate if you choose
another Mackie Control emulation.
4 Launch ATEM Software Control and it will automatically look for your control surface
using the first port on the first MIDI device that it finds. Click on the Audio tab in ATEM
Software Control to display the ATEM audio mixer. Try sliding the gain faders up and
down on your hardware control surface and verify that the audio mixer faders show a
corresponding increase and decrease in the software on your computer screen. If so,
you have successfully configured your control surface to work with the ATEM switcher.

Using Audio 187

 Try sliding the gain faders up and down on your hardware
control surface and verify that the audio mixer faders
show a corresponding movement in the software on your
computer screen

The MUTE button

In the ATEM audio mixer interface, audio is always on, or present in the mix, when the
ON button is selected. When the ON button is deselected, audio is not present or is muted.
To match the software interface, you’ll find the MUTE button on your audio mixer control surface
will be lit when audio is always on or present in the mix. The MUTE button will be unlit when
audio is not present or is muted.

Decibel Scales
All hardware mixers are made differently and the scale printed on your control surface may not
match the scale in the ATEM audio mixer interface. Always refer to the ATEM audio mixer levels
for the true decibel scales.

Using Audio 188

Adapter Cables for Talkback
and Camera Control
Talkback Pin Connections
The ‘talkback’ connector on the back panel of ATEM Constellation 8K is for routing engineering
talkback and production talkback. You can make an adapter cable with an RJ45 connector
using this pinout diagram.

Eng TX+ Eng TX- Prod TX+ Prod RX+ Prod RX- Prod TX- Eng RX+ Eng RX-

1 2 3 4 5 6 7 8

12
34
56
78

RJ45 pinout for ‘talkback’ connector on the back panel of ATEM Constellation 8K

Serial Port Pin Connections for Control Cables

RS-422 Pin Connections for Control Cables
RS-422 is a broadcast standard using a common DE 9 or RJ12 connector. You can easily rewire
these types of connectors in a custom built PTZ control unit if you want to design one yourself.
A pinout diagram of the RS-422 DE 9 and RJ12 connector is provided below.
5 4 3 2 1

Receive (–) Receive (+) Transmit (–) Transmit (+) Ground Pins

8 3 2 7 1, 4, 6, 9

9 8 7 6

RS-422 PTZ pin connections.

TX+ TX- GND GND RX- RX+

1 2 3 4 5 6

12
34
5 6

RJ12 Pinout for PTZ remote on ATEM Constellation 8K

Adapter Cables for Talkback and Camera Control 189

Developer Information
Blackmagic SDI Camera Control Protocol
Version 1.3
If you are a software developer you can use the SDI Camera Control Protocol to construct
devices that integrate with our products. Here at Blackmagic Design our approach is to open
up our protocols and we eagerly look forward to seeing what you come up with!

Overview
The Blackmagic SDI Camera Control Protocol is used by ATEM switchers, Blackmagic 3G-SDI
Shield for Arduino and the Blackmagic Camera Control app to provide Camera Control
functionality with supported Blackmagic Design cameras. Please refer to the ‘Understanding
Studio Camera Control’ chapter section of this manual, or the ATEM Switchers Manual
and SDK manual for more information. These can be downloaded at
www.blackmagicdesign.com/support.
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 prioritize and send immediately.
Lower priority messages can be delayed to later frames, or dropped entirely as appropriate.

Abstract Message Packet Format

Every message packet consists of a three byte header followed by an optional variable length
data block. The maximum packet size is 64 bytes.

Device addresses are represented as an 8 bit unsigned integer. Individual

Destination device (uint8) devices are numbered 0 through 254 with the value 255 reserved to indicate
a broadcast message to all devices.

The command length is an 8 bit unsigned integer which specifies the length
Command length (uint8) of the included command data. The length does NOT include the length of the
header or any trailing padding bytes.

Developer Information 190

 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
Command id (uint8) not understand. Commands 0 through 127 are reserved for commands that
apply to multiple types of devices. Commands 128 through 255 are device
specific.

This byte is reserved for alignment and expansion purposes. It should be set
Reserved (uint8)
to zero.

The command data may contain between 0 and 60 bytes of data. The format
Command data (uint8[])
of the data section is defined by the command itself.

Messages must be padded up to a 32 bit boundary with 0x0 bytes.

Padding (uint8[])
Any padding bytes are NOT included in the command length.

Receiving devices should use the destination device address and or the command identifier to
determine which messages to process. The receiver should use the command length to skip
irrelevant or unknown commands and should be careful to skip the implicit padding as well.

Defined Commands
Command 0 : change configuration

The category number specifies one of up to 256 configuration categories

Category (uint8)
available on the device.

The parameter number specifies one of 256 potential configuration

parameters available on the device. Parameters 0 through 127 are device
Parameter (uint8)
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.

The data type specifies the type of the remaining data. The packet length is
Data type (uint8) used to determine the number of elements in the message. Each message
must contain an integral number of data elements.

Currently defined values are:

A void value is represented as a boolean array of length zero.

0: void / boolean The data field is a 8 bit value with 0 meaning false and all 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.

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.
128: signed 5.11 fixed point 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).

Developer Information 191

 Data types 129 through 255 are available for device specific purposes.

The operation type specifies what action to perform on the specified

Operation type (uint8)
parameter. Currently defined values are:

The supplied values are assigned to the specified parameter. Each element
will be clamped according to its valid range. A void parameter may only be
0: assign value '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.

Each value specifies signed offsets of the same type to be added to the
current parameter values. The resulting parameter value will be clamped
1: offset / toggle value
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.

The data field is 0 or more bytes as determined by the data type and number
Data (void)
of elements.

The category, parameter, data type and operation type partition a 24 bit operation space.

Group ID Parameter Type Index Minimum Maximum Interpretation

0.0 Focus fixed16 – 0 1 0.0 = near, 1.0 = far

trigger instantaneous
0.1 Instantaneous autofocus void – – –
autofocus
Aperture Value (where
0.2 Aperture (f-stop) fixed16 – -1 16
fnumber = sqrt(2^AV))

0.3 Aperture (normalised) fixed16 – 0 1 0.0 = smallest, 1.0 = largest

Steps through available

0.4 Aperture (ordinal) int16 – 0 n aperture values from
minimum (0) to maximum (n)
Instantaneous auto trigger instantaneous auto
0.5 void – – –
Lens aperture aperture
true = enabled, false =
0.6 Optical image stabilisation boolean – – –
disabled
Move to specified focal
0.7 Set absolute zoom (mm) int16 – 0 max length in mm, from minimum
(0) to maximum (max)
Set absolute zoom Move to specified focal
0.8 fixed16 – 0 1
(normalised) length: 0.0 = wide, 1.0 = tele
Start/stop zooming at
Set continuous zoom specified rate: -1.0 = zoom
0.9 fixed16 – -1 +1.0
(speed) wider fast, 0.0 = stop,
+1 = zoom tele fast

Developer Information 192

Group ID Parameter Type Index Minimum Maximum Interpretation

[0] = frame rate – – 24, 25, 30, 50, 60

[1] = M-rate – – 0 = regular, 1 = M-rate
0=NTSC, 1=PAL, 2=720,
3=1080, 4=2K DCI, 5=2K 16:9,
1.0 Video mode int8 [2] = dimensions – – 6=UHD, 7=3k Anamorphic,
8=4k DCI, 9=4k 16:9,
10=4.6k 2.4:1, 11=4.6k
[3] = interlaced – – 0 = progressive, 1 = interlaced
[4] = Color space – – 0 = YUV
1 = 100 ISO,
2 = 200 ISO,
1.1 Gain (up to Camera 4.9) int8 1 16 4 = 400 ISO,
8 = 800 ISO,
16 = 1600 ISO
int16 [0] = color temp 2500 10000 Color temperature in K
1.2 Manual White Balance
int16 [1] = tint -50 50 tint
Calculate and set auto white
1.3 Set auto WB void – – –
balance
Use latest auto white balance
1.4 Restore auto WB void – – –
setting
1.5 Exposure (us) int32 1 42000 time in us
Steps through available
1.6 Exposure (ordinal) int16 – 0 n exposure values from
minimum (0) to maximum (n)
1.7 Dynamic Range Mode int8 enum – 0 1 0 = film, 1 = video,
0 = off, 1 = low, 2 =  medium,
1.8 Video sharpening level int8 enum – 0 3
3 = high
Video
fps as integer
[0] = file frame rate – –
(eg 24, 25, 30, 50, 60, 120)
fps as integer, valid when
sensor-off-speed set (eg 24,
[1] = sensor frame
– – 25, 30, 33, 48, 50, 60, 120),
rate
no change will be performed
if this value is set to 0
[2] = frame width – – in pixels
1.9 Recording format int16
[3] = frame height – – in pixels
– – [0] = file-M-rate
[1] = sensor-M-rate, valid
– –
when sensor-off-speed-set
[4] = flags
– – [2] = sensor-off-speed
– – [3] = interlaced
– – [4] = windowed mode
0 = Manual Trigger,
1 = Iris,
1.10 Set auto exposure mode int8 – 0 4 2 = Shutter,
3 = Iris + Shutter,
4 = Shutter + Iris
Shutter angle in degrees,
1.11 Shutter angle int32 – 100 36000
multiplied by 100
Shutter speed value as a
1.12 Shutter speed int32 – 24 2000 fraction of 1, so 50 for 1/50th
of a second
1.13 Gain int8 – -128 127 Gain in decibel (dB)
1.14 ISO int32 – 0 2147483647 ISO value

Developer Information 193

Group ID Parameter Type Index Minimum Maximum Interpretation
0.0 = minimum, 1.0 =
2.0 Mic level fixed16 – 0 1
maximum
0.0 = minimum, 1.0 =
2.1 Headphone level fixed16 – 0 1
maximum
0.0 = minimum, 1.0 =
2.2 Headphone program mix fixed16 – 0 1
maximum
0.0 = minimum, 1.0 =
2.3 Speaker level fixed16 – 0 1
maximum

Audio 0 = internal mic,

1 = line level input,
2.4 Input type int8 – 0 2
2 = low mic level input,
3 = high mic level input
0.0 = minimum, 1.0 =
[0] ch0 0 1
maximum
2.5 Input levels fixed16
0.0 = minimum, 1.0 =
[1] ch1 0 1
maximum
true = powered,
2.6 Phantom power boolean – – –
false = not powered
bit flags:
[0] = display status,
uint16 [1] = display frame guides
3.0 Overlay enables – – –
bit field Some cameras don't allow
separate control of frame
guides and status overlays.
0 = HDTV, 1 = 4:3, 2 = 2.4:1,
Frame guides style (Camera [0] = frame guides
3.1 int8 0 8 3 = 2.39:1, 4 = 2.35:1,
3.x) style
5 = 1.85:1, 6 = thirds
Frame guides opacity [1] = frame guide 0.0 = transparent, 1.0 =
3.2 fixed16 0.1 1
(Camera 3.x) opacity opaque
Output
0 = off, 1 = 2.4:1, 2 = 2.39:1,
[0] = frame guides
– – 3 = 2.35:1, 4 = 1.85:1, 5 = 16:9,
style
6 = 14:9, 7 = 4:3, 8 = 2:1
[1] = frame guide
Overlays 0 100 0 = transparent, 100 = opaque
opacity
(replaces .1 and .2
3.3 int8 percentage of full frame
above from [2] = safe area
Cameras 4.0) 0 100 used by safe area guide
percentage
(0 means off)
bit flags: [0] = display thirds,
[3] = grid style – – [1] = display cross hairs,
[2] = display center dot
0.0 = minimum, 1.0 =
4.0 Brightness fixed16 – 0 1
maximum

int16 – – – 0x4 = zebra

4.1 Overlay enables
bit field – – – 0x8 = peaking
0.0 = minimum, 1.0 =
4.2 Zebra level fixed16 – 0 1
maximum
0.0 = minimum, 1.0 =
4.3 Peaking level fixed16 – 0 1
maximum
Display
Color bars display time 0 = disable bars, 1-30 =
4.4 int8 – 0 30
(seconds) enable bars with timeout (s)
[0] = focus assist 0 = Peak,
– –
method 1 = Colored lines
0 = Red,
4.5 Focus Assist int8 1 = Green,
[1] = focus line
– – 2 = Blue,
color
3 = White,
4 = Black

Developer Information 194

Group ID Parameter Type Index Minimum Maximum Interpretation
Sets the tally front and tally
rear brightness to the same
5.0 Tally brightness fixed16 – 0 1
level. 0.0 = minimum, 1.0 =
maximum
Sets the tally front
5.1 Front tally brightness fixed16 – 0 1 brightness.0.0 = minimum, 1.0
Tally
= maximum
Sets the tally rear brightness.
0.0 = minimum, 1.0 =
5.2 Rear tally brightness fixed16 – 0 1 maximum Tally rear
brightness cannot be turned
off
0 = internal,
6.0 Source int8 enum – 0 2 1 = program,
Reference 2 = external
6.1 Offset int32 – – – +/- offset in pixels
[0] time _ _ BCD - HHMMSSFF (UCT)
7.0 Real Time Clock int32
[1] date _ _ BCD - YYYYMMDD
ISO-639-1 two character
7.1 System language string _ _ _
language code
7.2 Timezone int32 _ _ _ Minutes offset from UTC
BCD - s0DDdddddddddddd
Confi- where s is the sign:
guration [0] latitude _ _ 0 = north (+), 1 = south (-);
DD degrees, dddddddddddd
decimal degrees
7.3 Location int64
BCD - sDDDdddddddddddd
where s is the sign: 0 = west
[1] longitude _ _ (-), 1 = east (+); DDD degrees,
dddddddddddd decimal
degrees
[0] red -2 2 default 0.0
[1] green -2 2 default 0.0
8.0 Lift Adjust fixed16
[2] blue -2 2 default 0.0
[3] luma -2 2 default 0.0
[0] red -4 4 default 0.0
[1] green -4 4 default 0.0
8.1 Gamma Adjust fixed16
[2] blue -4 4 default 0.0
[3] luma -4 4 default 0.0
[0] red 0 16 default 1.0
[1] green 0 16 default 1.0
8.2 Gain Adjust fixed16
Color [2] blue 0 16 default 1.0
Correction [3] luma 0 16 default 1.0
[0] red -8 8 default 0.0
[1] green -8 8 default 0.0
8.3 Offset Adjust fixed16
[2] blue -8 8 default 0.0
[3] luma -8 8 default 0.0
[0] pivot 0 1 default 0.5
8.4 Contrast Adjust fixed16
[1] adj 0 2 default 1.0
8.5 Luma mix fixed16 – 0 1 default 1.0
[0] hue -1 1 default 0.0
8.6 Color Adjust fixed16
[1] sat 0 2 default 1.0
8.7 Correction Reset Default void – – – reset to defaults

Developer Information 195

Group ID Parameter Type Index Minimum Maximum Interpretation
1 = DNxHD,
[0] = basic codec – – 2 = ProRes,
3 = Blackmagic RAW
ProRes:
0 = HQ,
– – 1 = 422,
2 = LT, 3 = Proxy,
int8
10.0 Codec 4 = 444, 5 = 444XQ
enum
[1] = codec variant Blackmagic RAW:
0 = Q0,
1 = Q5,
– – 2 = 3:1,
3 = 5:1,
4 = 8:1,
5 = 12:1
0 = Preview,
[0] = mode – – 1 = Play,
Media 2 = Record
-ve = multiple speeds
backwards,
[1] = speed – – 0 = pause,
+ve = multiple speeds
forwards
1<<0 = loop,
10.1 Transport mode int8 1<<1 = play all,
[2] = flags – – 1<<5 = disk1 active,
1<<6 = disk2 active,
1<<7 = time-lapse recording
0 = CFast card,
[3] = slot 1 storage
– – 1 = SD,
medium
2 = SSD Recorder
0 = CFast card,
[4] = slot 2 storage
– – 1 = SD,
medium
2 = SSD Recorder
-1.0 = full speed left,
[0] = pan velocity -1.0 1.0
1.0 = full speed right
11.0 Pan/Tilt Velocity fixed 16
-1.0 = full speed down,
[1] = tilt velocity -1.0 1.0
1.0 = full speed up
PTZ
Control 0 = reset,
[0] = preset
int8 enum – – 1 = store location,
command
11.1 Memory Preset 2 = recall location
[1] =
int8 0 5 –
preset slot

Developer Information 196

Example Protocol Packets

Packet
Operation Length Byte

0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

header command data

destination

parameter
command

operation
reserved

category
length

type
trigger instantaneous
8 4 4 0 0 0 1 0 0
auto focus on camera 4

turn on OIS on all cameras 12 255 5 0 0 0 6 0 0 1 0 0 0

set exposure to 10 ms on
camera 4 (10 ms = 10000 12 4 8 0 0 1 5 3 0 0x10 0x27 0x00 0x00
us = 0x00002710)

add 15% to zebra level

12 4 6 0 0 4 2 128 1 0x33 0x01 0 0
(15 % = 0.15 f = 0x0133 fp)

select 1080p 23.98 mode

16 255 9 0 0 1 0 1 0 24 1 3 0 0 0 0 0
on all cameras

subtract 0.3 from gamma

adjust for green & blue 16 4 12 0 0 8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0
(-0.3 ~= 0xfd9a fp)

all operations combined 76 4 4 0 0 0 1 0 0 255 5 0 0 0 6 0 0

1 0 0 0 4 8 0 0 1 5 3 0 0x10 0x27 0x00 0x00

4 6 0 0 4 2 128 1 0x33 0x01 0 0 255 9 0 0

1 0 1 0 24 1 3 0 0 0 0 0 4 12 0 0

8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0

Developer Information 197

Blackmagic Embedded Tally Control Protocol
Version 1.0 (30/04/14)
This section is for third party developers or users who may wish to add support for the
Blackmagic Embedded Tally Control Protocol to their products or system. It describes the
protocol for sending tally information embedded in the non-active picture region of a digital
video stream.

Data Flow
A master device such as a broadcast switcher embeds tally information into its program feed
which is broadcast to a number of slave devices such as cameras or camera controllers. The
output from the slave devices is typically fed back to the master device, but may also be sent to
a video monitor.
The primary flow of tally information is from the master device to the slaves. Each slave device
may use its device id to extract and display the relevant tally information.
Slave devices pass through the tally packet on their output and update the monitor tally status,
so that monitor devices connected to that individual output may display tally status without
knowledge of the device id they are monitoring.

Assumptions
Any data alignment / padding is explicit in the protocol. Bit fields are packed from LSB first.

Blanking Encoding
One tally control packet may be sent per video frame. Packets are encoded as a SMPTE 291M
packet with DID/SDID x51/x52 in the active region of VANC line 15. A tally control packet may
contain up to 256 bytes of tally information.

Packet Format
Each tally status consists of 4 bits of information:
uint4
bit 0: program tally status (0=off, 1=on)
bit 1: preview tally status (0=off, 1=on)
bit 2-3: reserved (0x0)
The first byte of the tally packet contains the monitor device tally status and a version number.
Subsequent bytes of the tally packet contain tally status for pairs of slave devices. The
master device sends tally status for the number of devices configured/supported, up to a
maximum of 510.

Developer Information 198

struct tally
uint8
bit 0: monitor device program tally status (0=off, 1=on)
bit 1: monitor device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4-7: protocol version (0b0000)
uint8[0]
bit 0: slave device 1 program tally status (0=off, 1=on)
bit 1: slave device 1 device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4: slave device 2 program tally status (0=off, 1=on)
bit 5: slave device 2 preview tally status (0=off, 1=on)
bit 6-7: reserved (0b00)
uint8[1]
bit 0: slave device 3 program tally status (0=off, 1=on)
bit 1: slave device 3 device preview tally status (0=off, 1=on)
bit 2-3: reserved (0b00)
bit 4: slave device 4 program tally status (0=off, 1=on)
bit 5: slave device 4 preview tally status (0=off, 1=on)
bit 6-7: reserved (0b00)
...

Slave Device
(1)

Master Device Slave Device

(2)

Slave Device
Monitor Device
(3)

Byte 7 MSB 6 5 4 3 2 1 0 LSB

Version Version Version Version Reserved Reserved Monitor Monitor

0
(0b0) (0b0) (0b0) (0b0) (0b0) (0b0) Preview Program

Reserved Reserved Slave 1 Slave 1 Reserved Reserved Slave 0 Slave 0

1
(0b0) (0b0) Preview Program (0b0) (0b0) Preview Program

Reserved Reserved Slave 3 Slave 3 Reserved Reserved Slave 2 Slave 2

2
(0b0) (0b0) Preview Program (0b0) (0b0) Preview Program

3 ...

Developer Information 199

Visca Commands for PTZ control via SDI
Up 8x 01 06 01 VV WW 03 01 FF

Down 8x 01 06 01 VV WW 03 02 FF

Left 8x 01 06 01 VV WW 01 03 FF

Right 8x 01 06 01 VV WW 02 03 FF
VV:
UpLeft 8x 01 06 01 VV WW 01 01 FF Pan speed 01 to 18
WW:
UpRight 8x 01 06 01 VV WW 02 01 FF Tilt speed 01 to 17
YYYY:
DownLeft 8x 01 06 01 VV WW 01 02 FF
Pan position F725 to 08DB
Pan-tiltDrive
(center 0000)
DownRight 8x 01 06 01 VV WW 02 02 FF
ZZZZ:
Stop 8x 01 06 01 VV WW 03 03 FF Tilt position FE70 to 04B0
(image flip: OFF) (center 0000)
8x 01 06 02 VV WW Tilt position FB50 to 0190
AbsolutePosition
0Y 0Y 0Y 0Y 0Z 0Z 0Z 0Z FF (image flip: ON) (center 0000)

8x 01 06 03 VV WW
RelativePosition
0Y 0Y 0Y 0Y 0Z 0Z 0Z 0Z FF

Home 0Y 0Y 0Y 0Y 0Z 0Z 0Z 0Z FF

Reset 8x 01 06 05 FF

Reset 8x 01 04 3F 00 0p FF p:
Memory number (=0 to 5)
CAM_Memory Set 8x 01 04 3F 01 0p FF
Corresponds to 1 to 6 on the
Recall 8x 01 04 3F 02 0p FF remote commander.

Compatible motorized heads include the following:

‚ KXWell KT-PH180BMD
‚ PTZOptics PT-Broadcaster
‚ RUSHWORKS PTX Model 1

Visca Commands for PTZ control via SDI 200

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 ATEM switcher.

Blackmagic Design online support pages

The latest manual, software and support notes can be found at the Blackmagic Design support
center at www.blackmagicdesign.com/support.

Contacting Blackmagic Design support

If you can’t find the help you need in our support material, please use the “Send us an email”
button on the support page to email a support request. Alternatively, click on the “Find your
local support team” button on the support page and call your nearest Blackmagic Design
support office.

Checking the version currently installed

To check which version of ATEM software is installed on your computer, open the About
ATEM Software Control window.
‚ On Mac, open ATEM Software Control from the Applications folder. Select About
ATEM Software Control from the application menu to reveal the version number.
‚ On Windows, open ATEM Software Control from your ‘start’ menu. Click on ‘help’ in the
menu bar and select ‘about’ to reveal the version number.

How to get the latest updates

After checking the version of ATEM software installed on your computer, please visit the
Blackmagic Design support center at www.blackmagicdesign.com/support to check for the
latest updates. While it is usually a good idea to run the latest updates, it is a wise practice to
avoid updating any software if you are in the middle of an important project.

Help 201
Regulatory Notices
Disposal of Waste of Electrical and Electronic Equipment Within the European Union.
The symbol on the product indicates that this equipment must not be disposed of with other
waste materials. In order to dispose of your waste equipment, it must be handed over to a
designated collection point for recycling. The separate collection and recycling of your waste
equipment at the time of disposal will help conserve natural resources and ensure that it is
recycled in a manner that protects human health and the environment. For more information
about where you can drop off your waste equipment for recycling, please contact your local
city recycling office or the dealer from whom you purchased the product.

This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable
protection against harmful interference when the equipment is operated in a commercial
environment. This equipment generates, uses and can radiate radio frequency energy and,
if not installed and used in accordance with the instructions, may cause harmful interference
to radio communications. Operation of this product in a residential area is likely to cause
harmful interference, in which case the user will be required to correct the interference at
personal expense.
Operation is subject to the following two conditions:
1 This device may not cause harmful interference.
2 This device must accept any interference received, including interference that may cause
undesired operation.

MSIP-REM-BMD-ATEM1MEPS4K, MSIP-REM-BMD-ATEM2MEPS4K,
MSIP-REM-BMD-201602001, MSIP-REM-BMD-201602001, R-REM-BMD-201805002,
MSIP-REM-BMD-PStudio4K, R-REM-BMD-201803001, MSIP-REM-BMD-201410016,
R-REM-BMD-201804001, KCC-REM-BMD-ATEMCameraConv, MSIP-REM-BMD-201602002,
KCC-REM-BMD-ATEMStudioConv, R-R-BMD-201911001, R-R-BMD-201906002,
R-R-BMD-20220726001, R-R-BMD-20220726002

ISED Canada Statement

This device complies with Canadian standards for Class A digital apparatus.
Any modifications or use of this product outside its intended use could void
compliance to these standards.
Connection to HDMI interfaces must be made with high quality shielded HDMI cables.
This equipment has been tested for compliance with the intended use in a commercial
environment. If the equipment is used in a domestic environment, it may cause radio
interference.

Regulatory Notices 202

Safety Information
For protection against electric shock, the equipment must be connected to a mains socket
outlet with a protective earth connection. In case of doubt contact a qualified electrician.
To reduce the risk of electric shock, do not expose this equipment to dripping or splashing.
Product is suitable for use in tropical locations with an ambient temperature of up to 40°C.
Ensure that adequate ventilation is provided around the product and that it is not restricted.
When rack mounting, ensure that the ventilation is not restricted by adjacent equipment.
No operator serviceable parts inside product. Refer servicing to your local Blackmagic Design
service center.

Use only at altitudes not more than 2000m above sea level.

State of California statement

This product can expose you to chemicals such as trace amounts of polybrominated biphenyls
within plastic parts, which is known to the state of California to cause cancer and birth defect
or other reproductive harm.
For more information go to www.P65Warnings.ca.gov.

European Office
Blackmagic Design B.V, Amsterdam Sloterdijk Teleport Towers
Office 2.17, Kingsfordweg 151, Amsterdam, 1043GR.

Warning for Authorized Service Personnel

Disconnect power from both power inlets before servicing!

Caution — Double Pole/ Neutral Fusing

The power supply contained in this equipment has a fuse in both line and neutral conductors
and is suitable for connection to the IT power distribution system in Norway.

Safety Information 203

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 DESIGN’S 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 2022 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.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

Warranty 204
2022年8月
インストール/オペレーションマニュアル

ATEM
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