Installation and Operation Manual
June 2020
ATEM Live
Production Switchers
English, 日本語, Français, Deutsch, Español, 中文,
한국어, Русский, Italiano, Português and Türkçe.
Welcome
Thank you for purchasing an ATEM switcher for your live production work!
If you’re new to live production switchers, then you’re about to become involved in the
most exciting part of the television industry and that’s live production! There is nothing like
live production and it’s so easy to become addicted to the adrenaline rush of editing in real
time while the live event unfolds before your eyes. It’s real television the way it should be!
Previously, broadcast quality live production has always been way too high in cost for most
people to afford, while affordable switchers lacked broadcast features and quality. The new
ATEM switchers change this and you can use them for the most amazing professional live
production results. We hope you get years of use from them and have lots of fun with your
live production!
This instruction manual should contain all the information you’ll need for installing your
ATEM Production Switcher. The ATEM switcher includes a software control panel which you
can run on your computer or you can purchase a hardware based broadcast control panel
separately. The computer and control panels connect to your ATEM switcher via a network
cable and you can directly connect them together without any extra equipment!
Please check the support page on our web site at
www.blackmagicdesign.com for the
latest version of software for your ATEM switcher. Simply connect your computer to
the ATEMswitcher and the ATEM broadcast control panel via USB to update software
so you get all the latest features! When downloading software, please register with
your information so we can keep you updated when new software is released. We are
constantly working on new features and improvements, so we would love to hear from you!
Grant Petty
CEO Blackmagic Design
English
Getting Started 6
Introducing ATEM 6
What is an M/E Switcher? 6
What is an A/B Direct Switcher? 8
Understanding the ATEM Switcher 9
Switcher Settings 17
Connecting to a Network 23
Changing the Switcher
Network Settings
24
Understanding ATEM Hardware
Panel Network Settings
24
Setup Workflow with ATEM
Constellation 8K
27
Updating the Software 29
How to update the ATEM Software 29
Connecting Video Outputs 31
Using the ATEM Constellation
8K Front Panel
33
Performing a Transition 33
Fading the Downstream Key 1 37
Fade to Black 37
Using the Lock Button 38
Using the LCD Menus 38
Using Talkback 39
The Call Button 39
Using ATEM Software Control 40
Preference Settings 40
Switcher Control Panel 41
Using Keyboard Hot Keys 42
Media Manager 42
Audio Mixer 43
Camera Control 44
Switcher Settings 44
Using the Software Control Panel 45
Processing Palettes 49
Media Players Tab 51
Using the Audio Mixer 51
Headphones Settings on
ATEM Constellation 8K
54
Shaping your Audio Mix using
Advanced Fairlight Controls
55
Using the 6 Band Parametric Equalizer 56
Dynamics Controls 58
Fairlight Controls Workflow Guide 61
Navigating the Browse Window
on the Media Page
62
ATEM Media Pool 63
Changing Switcher Settings 64
Using Camera Control 75
DaVinci Resolve
Primary Color Corrector
80
Using a DaVinci Resolve Micro Panel 82
HyperDeck Control 84
Introducing HyperDeck Control 84
Controlling HyperDecks with
ATEM Software Control
86
Controlling HyperDecks with
ATEM Advanced Panels
88
Using ATEM Hardware Panels 93
ATEM 1 M/E Advanced Panel 93
ATEM 2 M/E Advanced Panel 93
ATEM 4 M/E Advanced Panel 94
Performing Transitions using
ATEM Hardware Panels
102
Contents
4ATEM Live Production Switchers
Operating your ATEM Switcher 114
Internal Video Sources 114
Performing Transitions 116
Keying using ATEM Switchers 133
Understanding Keying 133
Luma Key 134
Linear Key 134
Pre multiplied Key 135
Chroma Key 138
Pattern Key 144
DVE Key 146
Performing Upstream Keyer
Transitions
149
Performing Downstream
Keyer Transitions
151
Using Adobe Photoshop with ATEM 152
Using Auxiliary Outputs 153
Using Macros 159
What is a Macro? 159
The Macros Window in
ATEMSoftware Control
159
Recording Macros using
ATEM Advanced Panel
165
Using ATEM Camera Control Panel 167
Powering the Panel 167
Connecting the Panel to
your Switcher
168
Changing Network Settings 169
Camera Control Panel Layout 170
Controlling Cameras 175
Using Tally 183
Sending Tally Signals via
aGPIand Tally Interface
183
Using Audio 186
Connecting other Audio Sources 186
Using Embedded SDI and HDMI
Audio Sources
187
Using MADI with ATEM
Constellation 8K
188
Using a Third Party Audio Mixer
Control Surface
190
Adapter Cables for Talkback
and Camera Control
192
Developer Information 193
Blackmagic SDI Camera Control
Protocol
193
Example Protocol Packets 200
Blackmagic Embedded Tally
Control Protocol
201
Visca Commands for
PTZcontrolvia SDI
203
Help 204
Regulatory Notices 205
Safety Information 206
Warranty 207
5
ATEM Live Production Switchers
Getting Started
Introducing ATEM
ATEM Production Studio Switchers are professional broadcast grade digital production
switchers capable of switching and processing a variety of video sources in live video
production and broadcast environments. The switcher uses the current and familiar M/E
(Mix Effects) based design with software and hardware control options that provides an intuitive,
fast and easy to use workflow for program/preview switching! If you’re used to the older A/B
direct switcher style, ATEM switchers also support A/B direct switching which makes it easy to
get started!
An ATEM production switcher only requires an ATEM production switcher and the included
software control panel to get started. Then you can optionally add one or more hardware
control panels if you need a more advanced solution.
Multiple control panels can be connected to control the same switcher by simple Ethernet
connections. The ATEM software control panel can be installed on as many computers as you
like at no extra cost.
You can build a custom ATEM live broadcast system to suit your individual requirements
What is an M/E Switcher?
If you have used low cost switchers before, then these might not have used the mix effects
style of operation that’s commonly called an M/E style of operation. If you have used an M/E
style switcher, then you might want to skip ahead to install and get working with your new
ATEM switcher!
When you’re starting out with a switcher for the first time, the ATEM can look a little intimidating
with all its buttons and knobs, however it’s all very logically laid out so it’s very simple to use!
ATEM is a true high-end broadcast switcher that operates using the M/E workflow standards
used in the broadcast industry. This means once you get familiar with how it works, you will feel
instantly at home on virtually any switcher used in broadcast today.
6Getting Started
The M/E style of operation has been developed over decades to help eliminate errors when
switching live events and is a broadcast standard. It’s extremely easy to see what’s going on at
any time so you don’t get confused and make mistakes. The M/E style of operation lets you
check the sources you are about to switch on air, as well as try effects before using them on air.
You can see buttons for each keyer and transition, so you instantly know what’s going on and
what’s about to happen.
The best way to learn about how your ATEM works is to grab your switcher and play with it
while referencing this manual! You might want to jump ahead and install your switcher before
reading the rest of this section!
To start, the most visible part of an M/E based control panel is the fader bar and the program
and preview rows of source buttons!
The program bus source select buttons are used to hot switch sources to the program output.
The source currently on air is indicated by a button that is illuminated red. Be careful when
selecting sources on this row, as they will instantly be switched on air!
A safer and more orderly way to do transitions is to select them on the preview row and then
use a transition to cut or transition them on air.
The bottom row of buttons is the preview bus source selection. This is where you will spend
most of your time selecting sources about to go on air. This selected source is sent to the
program output when the next transition occurs. The next transition can be triggered by
pushing the cut button, the auto button, or by toggling the fader bar. You can select between
amix, dip, wipe, DVE or other transition depending what you have selected in the transition
control section.
This is a very powerful way to use a switcher, because you can select your source on the
preview row and see it on the preview video output to confirm that you have the correct source
before you select the transition you want. You can see what’s happening at all stages so it’s
hard to make mistakes. Only the M/E style of operation allows you to keep track of
what’s going on.
You also might notice that once your transition is complete, the sources selected on the
preview and program rows swap over. This is because the source you selected on the preview
row is now the new on air source, so it becomes selected on the program row once the
transition is complete. Remember the program row always shows what’s on air.
You will also see both the program and preview buttons illuminate red when doing an auto
transition, as for a short time, they are both on air while the transition occurs.
The other concept that is important to know about M/E style switchers, including ATEM, is the
video on the program and preview rows is technically called the background video. This is
because the upstream (effects) keyers and downstream keyers will overlay on top of this
source. So you can load graphics into the keyers and see them with the preview video and
when keys are turned on, you will see the overlay on top of the program video. This is very
powerful and allows multiple layers to be built up.
Another great advantage of the ATEM M/E style of operation is you can tie keyers to the
transition. This means when you do a mix transition, you can also fade on or off keyers at the
same time. This allows you to build up a composition and then bring the whole lot on air at the
same time. This is what the next transition buttons do and you can select background for
normal transitions, or select one or more keyers to transition them on air.
7Getting Started
You can even press multiple buttons on the hardware control panel to tie multiple keys and
thebackground at the same time. There are also dedicated downstream key tie buttons to
tiedownstream keyers to the transition. Downstream keys also have dedicated cut and mix
buttons and so are very flexible. Downstream keyers are always layered over the top of
everything including the transition, so are a great place to key bugs and logos!
When your live production is finishing, it’s nice to have a dedicated fade to black (FTB) control
to fade everything to black! You can see the dedicated fade to black control on the right side
ofthe keyboard. This lets you fade everything to black and helps make sure you don’t miss a
layer. Fade to black is at the extreme end of the processing chain so you get a clean fade of
all sources.
The last part of an M/E style switcher is the select bus. This is above the program row and
simply allows sources to be selected for effects processing and other purposes, and there is a
label above this to show what you’re switching. The select bus is commonly used to select key
inputs, and aux outputs. It’s a clean switch, so when used to select aux outputs, you get a
clean cut.
As you can see by this quick overview, M/E style of operation allows confident live production
with good feedback on what’s going on and the state of your switcher and programming at any
point in your production. Once you learn the M/E style of operation, you can move between
models of production switchers with little retraining as they all work the same!
What is an A/B Direct Switcher?
If you have been using video switchers for a long time, then you might be used to older-style
A/B direct switchers and you can easily set your ATEM switcher to A/B direct switching in the
ATEM software preferences. See the Transition Control section of this instruction manual for
details about where to change this setting.
A/B direct switchers have an A bus and a B bus. One bus is the program bus which shows a red
button for the current program output. The other is the preview bus which has a green button
for the preview video. As you move the fader bar up and down, the buses switch so that the red
program button follows the fader handle. This is where A/B direct switching is really easy to use
as the buttons stay lit in the same positions and just switch color between green and red.
A/B direct switching becomes a little more confusing when the fader bar is not used to make
the switch. If you use a cut or auto transition button to bring your preview source on air, or if you
use more than one control panel connected to your switcher, the fader bar won’t have moved
on the control panel that you are using. The red program output always follows the fader bar
handle and, as you haven’t moved it, the red program light has to move to another button on
the same row and the green preview light has to move to another button in its row.
This can become quite confusing when sometimes using the fader bar to make switches, and
sometimes not, as the rows containing your preview and program buttons will sometimes switch
and sometimes stay where they are which has the potential to lead to mistakes.
This is why modern M/E style switching is preferable because you’ll always find your green
preview button in the row labelled Preview, and the red program button in the row labelled
Program. It’s always consistent and there are no surprises with M/E style switching.
8Getting Started
Understanding the ATEM Switcher
The ATEM switcher provides all the video processing as well as all video input and output
connectors, connection for control panels and power connections. You use the switcher by
connecting and using various types of control panels. This allows the switcher to be located
remotely, such as in machine rooms where it’s closer to the connected video devices, while
the control panel can be placed in a location from where it is easier to run production.
ATEM Constellation 8K is a switcher capable of switching up to 40 external Ultra HD inputs via
independent 12G-SDI connectors, or 10 8K inputs via quad link 12G-SDI. This switcher features
six 8K outputs plus an 8K multi view output, or 4 Ultra HD multi views. You can switch video
from HD 1080p59.94, Ultra HD 2160p59.94, all the way up to 8K 4320p59.94. The built in
control panel with LCD and talkback lets you switch directly from the front panel so you can
quickly confirm all your sources and test your production setup before going to air.
ATEM Constellation 8K
ATEM Production Studio 4K supports SD, HD and Ultra HD video and is capable of switching 8
external inputs from its SDI and HDMI connectors. The front panel keypad lets you select
instantly between auxiliary output sources and the small LCD gives you instant feedback on
the status of the auxiliary output.
ATEM Production Studio 4K
ATEM 1 M/E Production Studio 4K supports SD, HD and Ultra HD video and is capable of
switching 10 external inputs from its SDI and HDMI connectors. Input 1 is selectable between
the HDMI Input 1 and SDI Input 1 connector. The front panel keypad lets you select instantly
between 3 auxiliary output sources and the small LCD gives you instant feedback on the status
of the auxiliary outputs.
ATEM 1 M/E Production Studio 4K
9Getting Started
ATEM 2 M/E Production Studio 4K supports SD, HD and Ultra HD video and is capable of
switching 20 external inputs from its SDI and HDMI connectors. Input 1 is selectable between
the HDMI Input 1 and SDI Input 1 connector. The front panel keypad allows on-the-fly selection
of the 6 auxiliary output sources and the large LCD gives instant confirmation of your aux
output content.
ATEM 2 M/E Production Studio 4K
ATEM 4 M/E Broadcast Studio 4K supports HD and Ultra HD video and is capable of switching
20 external SDI inputs. Features include 4 media players, advanced chroma keying, Ultra HD
multi views and 12G-SDI support for Ultra HD frame rates up to 2160p59.94 on a single BNC
connector. The front panel keypad lets you select between 6 auxiliary output sources and you
can monitor the outputs on the large built in LCD.
ATEM 4 M/E Broadcast Studio 4K
NOTE If you have an ATEM 2 M/E Broadcast Studio 4K, you can update your
switcherto ATEM 7.3 or later and enable all the same features that are available on
ATEM 4 M/E Broadcast Studio 4K. This means you can update your ATEM 2 M/E
Broadcast Studio 4K switcher to an ATEM 4 M/E Broadcast Studio 4K simply by
updating the internalsoftware.
Plugging in Multi View Monitoring
The ATEM can be a little intimidating when first seen, especially since some models have no
controls to access, just lots of connectors! So the first step is to plug in power and a monitor and
see it working! ATEM switchers have a front control panel with a built in LCD so you only need
to connect power to see them working!
10Getting Started
A convenient way to check that your ATEM is powered on and working correctly is to plug an
HDMI television or SDI monitor into the multi view output on the right side of the rear panel.
You should see 8 video boxes at the bottom, and two larger boxes at the top, all bound by
white borders. Each box will have a label.
If you see this video output, then your ATEM is powered on and running fine! All you need to do
now is plug in some control panels and video sources so you can start using your switcher!
If you don’t see the multi view output on your television, check the connections and cables are
correct. You need to plug into the multi view connector on the rear of the ATEM. Next, check
if your television is compatible with the video standard set in the ATEM. If your television is not
compatible with the set standard, don’t worry, its easy to change once you connect your
computer to the ATEM.
If you still don’t see the multi view on your television, then double check your power connection
to make sure your ATEM is powered on.
Plugging in an ATEM Hardware Panel
If you have purchased an ATEM hardware panel, then you won’t want to wait to plug in your
computer, as it’s much more fun to plug in the hardware panel first!
Plugging in the hardware panel is simple, because it’s already set to the correct network
settings to plug into your switcher without any changes required.
1 Plug in the power to the hardware panel. For redundant power on ATEM Advanced
panels with built in power supplies, plug in a second IEC power cord.
TIP ATEM 1 M/E Advanced Panel has a 12v XLR input for portable field use
when powered by a battery, or for backup 12 volt power provided by an
alternative power source, such as a UPS.
2 Plug one end of an Ethernet cable into one of the hardware panel’s Ethernet ports.
Any of the ports will do, as there is an Ethernet switch inside the panel, so all ports
work the same.
3 Plug the other end of the same cable into the Ethernet port labeled Switcher Control on
the switcher.
11Getting Started
If everything is working fine, you should see the lights on the Ethernet port start to flicker, and
the advanced panel should come alive with buttons illuminated. The LCD will show the source
names for sources switched to the program and preview outputs, plus other settings.
If you don’t see this appear, then check that the switcher and the hardware panel are powered
correctly and/or power connectors are firmly plugged in.
If things are still not working, then you should make sure that your ATEM hardware panel is
connected directly to your switcher and not via a network. If this is correct, then the most likely
cause of the problem is the hardware panel and the switcher have IP addresses in different
ranges. In this case, you will need to check and set these as described later in this manual.
If you need to manually set the network settings, then you might need to get the assistance of a
technically minded friend who understands how to set IP addresses. By default, the switcher is
set to a fixed IP address of 192.168.10.240, and the ATEM advanced panels are set to a fixed IP
of 192.168.10.60. Go to the ‘Connecting to a Network’ section in this manual to see how to
check and set your switcher to these addresses. Then it should work OK with a direct
connection between the hardware panel and the switcher.
ATEM 1 M/E Advanced Panel rear connectors
ATEM 2 M/E Advanced Panel rear connectors
ATEM 4 M/E Advanced Panel rear connectors
Installing Blackmagic ATEMSoftware on Mac
Before installing any software you will need administrator privileges. It is also a good idea to
uninstall any previous versions of ATEM software present on your computer.
1 Ensure you have the very latest driver. Visit www.blackmagicdesign.com/support
2 Open the “Blackmagic ATEM Switchers” folder from the disc or downloaded disk image
and launch the “Blackmagic ATEM Switchers Installer Software”.
3 Click Continue, Agree and Install buttons and the software will be installed on
your system.
12Getting Started
4 Now restart your computer to enable the new software drivers.
Follow install prompts
Plugins and Applications that are Installed
The ATEM Switchers software installs the following components which are used by
ATEMSwitchers:
ATEM Software Control
Blackmagic ATEM Setup
Blackmagic ATEM Setup is used to configure network settings
including IP address, plus lets you update your ATEM switcher’s
internal software. You can also launch ATEM Software Control from
the setup utility by clicking onitsicon next to the settings icon.
13
Getting Started
On Mac, all the files needed to run your ATEM switcher will be installed into a folder called
Blackmagic ATEM Switchers in the Applications folder.
In the Blackmagic ATEM Switchers folder, you will see ATEM Software Control and Blackmagic
ATEM Setup. ATEM Software Control is the software control panel for your switcher, which also
allows loading graphics into the switcher media pool, changing settings, mixing audio,
recording macros and controlling Blackmagic cameras, including Blackmagic Studio Cameras,
Micro Studio Cameras and URSA Broadcast.
Blackmagic ATEM Setup is the setup utility that allows you to browse connected switchers,
add additional switchers that are not automatically detected via their IP address, change your
switcher IP address, and update the switcher and panel software.
Also included in this folder is the instruction manual and some example graphics. Use the
example graphics to explore the internal media pool and keying functionality.
Installing Blackmagic ATEMSoftware on Windows
It is a good idea to uninstall any previous version of ATEM software present on your
WindowsPC before installing the latest software.
1 Ensure you have the very latest driver. Visit www.blackmagicdesign.com/support
2 Open the “Blackmagic ATEM Switchers” folder and launch the “Blackmagic
ATEMSwitchers Installer”.
3 The software will now be installed on your system. An alert will appear: “Do you want to
allow the following program to install software on this computer?” Click Yes to continue.
4 You will see a dialog bubble saying “found new hardware” and the hardware wizard
will appear. Select “install automatically” and the system will find the required Desktop
Video drivers. You will then receive another dialog bubble saying “your new hardware
is ready for use.”
5 Now restart your computer to enable the new software drivers.
Follow install prompts
14
Getting Started
Once the computer has restarted, all the ATEM software applications will be installed and can
be accessed from Start > Programs > Blackmagic Design.
In the ATEM Switchers folder, you will see ATEM Software Control and Blackmagic ATEM Setup.
ATEM Software Control is the software control panel for your switcher, which also allows
loading graphics into the switcher media pool, changing settings, mixing audio, recording
macros and controlling Blackmagic cameras including Blackmagic Studio Camera, Micro Studio
Camera, and URSA Mini.
Blackmagic ATEM Setup is the setup utility that allows you to browse connected switchers,
addadditional switchers that are not automatically detected via their IP address, change your
switcher IP address, and update the switcher and panel software.
Also included in this folder is the instruction manual and some example graphics. Use the
example graphics to explore the internal media pool and keying functionality.
Plugging in your Computer
You can plug your computer directly into the ATEM switcher so you can control the switcher,
load the media pool with graphics and clips, and change switcher settings.
Connecting your computer is easy and after installing the ATEM Switcher software follow the
directions below:
1 Connect an Ethernet cable from the switcher Ethernet port labeled Switcher Control to
the Ethernet port of your computer.
TIP If you have a hardware panel installed and already connected to your
ATEM, then plug your computer into the second Ethernet port on your
hardware panel instead. Now the computer will talk via your panel to the
switcher, and both the hardware panel and this software control panel can be
operated in parallel.
2 Ensure your ATEM switcher is powered on.
3 Launch ATEM Software Control.
The setup dialog box will help you if you need to manually add your
switcher’s IP address when launching ATEM Software Control.
15Getting Started
When running ATEM Software Control for the first time after installation, you will be prompted
by a setup dialog box to set the language for the software, plus choose between ‘program/
preview’ or ‘A/B direct’ transition control. You can learn more about these transition controls
earlier in the ‘Getting Started’ section, under ‘What is an M/E Switcher?’ and ‘What is an A/B
Direct Switcher?’.
After you have made your selection, click ‘continue’. ATEM Software Control will remember
these settings the next time it is launched. The software will now automatically search for your
ATEM switcher. If an earlier version of your switcher’s internal software is detected, you will be
prompted to update. Simply follow the prompts, or refer to the ‘updating the software’ section
for more information.
After updating, or if the internal software is already up to date, the setup dialog box will
disappear and the switcher page will be enabled so you can start using your ATEM switcher
immediately!
If the setup dialog box remains visible, you will need to enter your switcher’s IP address.
Thedialog box provides a button to open Blackmagic ATEM Setup where you can quickly
locate your ATEM switcher’s IP address. Copy the IP address from Blackmagic ATEM Setup,
paste it into the dialog box’s ‘IP address’ setting, then click ‘save’.
In the rare case your ATEM switcher is still not found, don’t be concerned. The solution is
likely a network setting on your computer. Changing network settings is fast and will only
take a moment.
To change network settings:
1 Open your computer’s network settings using the control panel in Windows, or via
‘preferences’ on Mac. Select the Ethernet connection for your switcher and set it
to ‘manual’.
2 In your computer’s network settings, set the ‘IP Address’ to 192.168.10.50 and confirm
the new setting. If you don’t see the switcher software enabled, try changing the last
two digits of the new IP address to another number, such as 51, and click ‘apply’.
After a brief pause, the setup dialog box should disappear and ATEM Software Control will
enable the ‘switcher’ page with buttons illuminated. You’re now ready to start using your
ATEMswitcher and your setup settings will be remembered the next time you launch ATEM
Software Control.
If you’re more technically minded and want to connect your ATEM switcher to your existing
network, then you will need to change the network settings on your ATEM switcher and control
panel. Information on how to do this is available in the next section. You will need to manually
set the IP address for the switcher as well as all control panels to match your network IP address
range. Your ATEM switcher defaults to a fixed IP address of 192.168.10.240 when shipped and,
by using the Blackmagic ATEM Setup, you can customize the IP address for your custom
network configuration.
16Getting Started
Manually setting the IP address for your Mac.
Manually setting the IP address for your Windows computer.
Switcher Settings
Now you have the software control working, you’ll need to apply your switcher settings.
Clickon the gear icon on the lower left side of the interface to open the settings window of the
ATEMSoftware Control.
Set the switcher video standard
You can set the video standard to suit the region in which you are broadcasting, such as
2160p29.97, 1080i59.94, 720p59.94 or 525i59.94 NTSC if you are broadcasting in NTSC based
countries. If you are broadcasting in PAL based countries, you can set your video standard to
formats such as 1080i50, 720p50 or 625i50 PAL.
17Getting Started
Set Video Standard
If you’re working with standard definition video equipment in the widescreen anamorphic 16:9
video format, select 525i59.94 16:9 for anamorphic NTSC or 625i50 16:9 for anamorphic PAL.
Make sure all your cameras and any connected HDMI devices are also set to the same video
standard, or they won’t be visible on the switcher video inputs. This is generally quite easy, as
countries have standards for their HD and Ultra HD broadcasts and all equipment sold in these
countries matches this standard or at the very least can be switched between standards.
Whenall video standards are matched, you should see connected devices show up in the
multi view video input windows.
Set Audio Preferences
The ‘audio’ tab lets you select which outputs to use for audio monitoring. You can also mute
incoming talkback on SDI inputs and outputs prevent a potential feedback loop in the
talkback channels.
Audio Settings
ATEM Television Studio HD, ATEM Television Studio Pro HD and ATEM Television Studio Pro 4K
models also feature mix minus settings on SDI outputs 5 to 8 so you can mute the
corresponding input from its program return output. All 10 8K inputs and all 40 HD and Ultra HD
inputs of ATEM Constellation 8K are mix minus capable. For more information, refer to the
section titled, ‘Setting the Audio Output Behavior’.
Mix minus settings in the audio tab let you mute the corresponding input
from its program return output on some ATEM switcher models
18
Getting Started
Set and Label Video Input Settings
Different models of ATEM switchers allow some inputs to share connections on the rear panel.
For example on the ATEM 1 M/E Production Studio 4K model, input 1 can be switched between
HDMI and SDI.
While you’re setting inputs, you might also want to change the input labels. These labels appear
on the multi view and the hardware panel. There are two labels to change: a short label that’s
limited to 4 characters used in ATEM software, and a longer name up to 20 characters used in
the advanced panel.
Set Video Inputs and Labels
Customize the Multi View
ATEM switchers have 10 input views in the multi view arranged as 2 large views and 8 small
views, and ATEM Constellation 8K has additional options for 4, 7, 13 or 16 input views. This lets
you select from a range of external and internal sources to display on these views. Click the
menus to select what you want on each view. If you don’t have enough cameras on your job
tofill all input views, you can select other sources such as media players or color generators.
It’sextremely flexible and you can also change the multi view layout to suit your preference.
Customize the multi view
If you are using ATEM 6.9 or newer and an Ultra HD model ATEM switcher, you can change
the position of the program and preview windows in the multi view. Simply click on the toggle
button located between the two windows in the multi view settings.
19Getting Started
ATEM Constellation 8K has flexible multi view layout options for 4, 7, 10, 13 or 16 views.
Thesemodes let you configure views from up to 16 sources per multi view, which is useful for
viewing a large number of sources such as cameras and Hyper Decks at the same time.
Because ATEM Constellation 8K has 4 multi views in HD and Ultra HD mode and each multi
view displays up to 16 views, you can show up to 64 views at the same time!
Customize the multi view for ATEM Constellation 8K.
Audio meters can be turned on or off within each source view, or all at once, by clicking on
the respective icons in each view or the ‘all on’ button, respectively.
You can also turn the safe area guides in the preview window on or off by clicking the
respective icon.
Connect a HyperDeck
If you are running ATEM 6.8 or newer, you can connect up to four HyperDeck disk recorders
to your ATEM switcher. This lets you use a HyperDeck as a high capacity media pool
or record your switcher’s output. Refer to the ‘HyperDeck Control’ section in this manual for
more information.
Connect a HyperDeck
20
Getting Started
Select the Control Panel
You can use ATEM Software Control’s M/E 1 Control Panel with any ATEM switcher. The panel is
compact enough to fit on smaller displays including on notebooks. If you have an ATEM 2 M/E
Production Switcher and a 1920 x 1080 or larger computer display, you can use the full size
M/E 2 Control Panel to see the full set of buttons at once. Simply maximise the control panel to
full screen, or resize the window until both panels are revealed.
Plugging in Cameras and Other Video Sources
Now you’re ready to plug in cameras! All you need to do is connect a cable from the camera
video output, either HDMI or SDI, and then connect it to an input on the ATEM switcher.
If you’re using ATEM 6.8 or newer, you can even plug in up to 4 Blackmagic HyperDeck Studio
model disk recorders and control them using the ATEM software control panel. This is a very
powerful feature that effectively gives you an entire videotape department at your fingertips.
HyperDecks are connected to your switcher via SDI or HDMI and controlled via Ethernet.
Fordetailed information about how to connect HyperDecks to your ATEM switcher and control
them using ATEM Software Control or by an ATEM hardware control panel, refer to the
‘HyperDeck control’ section of this manual.
Each connector on the switcher has an input label so you can see what camera or source is
what input when viewed on the multi view and the control panel. If all your cameras and sources
are using the same video standard as set in your switcher, you will see each of them appear as
you plug them in.
You don’t need to worry about genlock for your cameras and sources, because each input of
your ATEM switcher has a full frame resynchronizer. If the ATEM switcher detects that a video
source is out of sync, it will automatically enable the frame sync so the input is clean for use.
The frame sync function also allows consumer cameras to be connected to your ATEM,
andusing consumer cameras is a great way to get started because the latest HDMI based
consumer HD and Ultra HD cameras are now very affordable, and give quite acceptable
HDand Ultra HD. This lets you spend your money on more cameras, and then as you grow,
youcan start adding professional SDI based cameras.
You can control Blackmagic Studio Cameras and URSA Mini cameras
from your ATEM switcher via the SDI return feed
21Getting Started
ATEM switchers feature a ‘ref in’ connection to offer low latency synchronization of feeds
between compatible equipment. If you are using an external reference source such as
Blackmagic Sync Generator or Blackmagic HyperDeck Extreme 8K HDR, connect the reference
signal from your sync source to the ‘ref in’ BNC connector.
If you’re plugging a computer with HDMI compatibility into the HDMI inputs of an ATEM switcher,
then be sure that the monitor settings on the computer are set to the correct resolution and
frame rate. For example, if you are using 4320p video, then your monitor needs to be set to
4320 x 7680 resolution, and if using Ultra HD 2160p video then set your monitor to
3840 x 2160. For 1080i your monitor should be set to 1920 x 1080. Alternatively, if you are using
HD 720p video, then set your monitor to 1280 x 720. NTSC should be set to 720 x 486, and PAL
needs to be set to 720 x 576. The frame rates also need to match.
NOTE It’s important to know that HDMI cable quality can vary, so we recommend
buying good quality cables, and high end video resellers will stock a range of high
quality cables. Good quality cables will help eliminate unwanted sparkle or glitches in
HDMI video inputs.
If you don’t see video on a HDMI video input, even though you have a device connected,
thenyou might want to check if the HDMI device you have connected uses HDCP content
protection. This content protection actually encrypts the video data in the HDMI video cable,
sothe manufacturer does not allow the content to be seen on anything other than a television.
Youwon’t be able to see images from these devices. Devices with HDCP content protection
include DVD players, and set top boxes.
In general, cameras and computers don’t have content protection, so you should not have any
problems connecting these devices. Some gaming consoles don’t include HDCP content
protection, however generally these are only the developer versions of these gaming consoles.
Using the analog component input of a Mini Converter Analog to SDI or the analog component
input on an ATEM 1 M/E Production switcher to connect devices is a good work around in
thesesituations.
Always be sure you have copyright ownership before using or displaying content publicly.
On 1 M/E, 2 M/E and 4 M/E switcher models you can connect a remote camera head and control
it using pan, tilt and zoom controls with the joystick on an ATEM hardware control panel. Refer
to the ‘using ATEM hardware panels’ section in this manual for more information on setting up
PTZ control.
Plugging in Audio
Your ATEM switcher includes a built in audio mixer which allows the use of embedded
HDMIand SDI audio from your cameras as well as external audio from the dedicated analog
audio or MADI inputs. Depending on the ATEM switcher you are using, these may be XLR,
1/4” jacks, RCA or MADI BNC inputs. These audio inputs can be used for other audio sources
such as camera microphones and pre-recorded audio.
See ‘using audio’ for more on connecting additional audio sources.
22Getting Started
Connecting to a Network
If you want to connect your ATEM switcher to a larger Ethernet network, then you will most likely
need to change the network settings on your ATEM switcher. Most people simply plug their
computer and control panel direct to the switcher, however in some situations it can be very
powerful to connect via your network!
Your ATEM ships from the factory with settings to allow hardware control panels to simply be
connected directly with an Ethernet cable. Your ATEM supports full Ethernet IP protocols so you
can place your switcher and panel on your network or anywhere on the planet using
the internet.
It’s worth noting that if you use your ATEM on a network, then you’re also increasing the
complexity of the connection between your control panel and the switcher, so there is possibly
a greater chance of something going wrong. However, ATEM can be used when plugged into a
switch, and even via most VPNs and over the internet.
To allow communication over Ethernet, the IP addresses of the switcher, hardware panel and
any computer running ATEM Software Control needs to be configured correctly. The IP address
used for each device will depend on the IP address range of the network you’re plugging into.
The ATEM switcher always needs a fixed IP address so control panels have a stable location to
connect to. This means you need to find a free fixed IP address in the range of your network
that you can use.
The control panels can be set to DHCP or fixed IP addresses. Generally when used on a
network, the control panel would be selected to DHCP, so it is automatically assigned an
IPaddress when connected to the network.
For all devices to communicate, they must share the same IP address subnet, which typically
means the first 3 fields in the IP address need to be the same. Each device must also use a
unique IP address.
Please remember to set all devices to the correct IP address so they can all communicate.
Youwill need to set the IP address of the ATEM switcher via USB using Blackmagic ATEM
Setup. You will need to set the DHCP or fixed IP mode on the ATEM Advanced Panel and if
using a fixed IP set the IP address on the panel. You will also need to set the panel’s ‘switcher
address’ to the new IP address you have just set for the switcher.
Lastly, you need to ensure your computer is connected and working on your network.
Thenwhen you launch the ATEM Software Control application, you will be prompted
automatically to enter in an IP address for the switcher if ATEM Software Control cannot
communicate with the ATEM switcher. Use the IP address you just entered for the switcher.
Then the ATEM Software Control can find the switcher and communicate.
23Getting Started
Changing the Switcher Network Settings
The switcher network settings are changed using the Blackmagic ATEM Setup via USB.
Pleasefollow the steps below:
1 Connect the switcher via USB, to the computer running the setup utility software.
2 Launch Blackmagic ATEM Setup and select your switcher or hardware panel.
3 The switcher’s current IP address, subnet mask and gateway settings will be displayed
in ‘configure’ window. If you only want to check the IP address and not change it,
youcan simply quit the setup utility by clicking ‘cancel’.
4 To change the IP address or any other settings, simply edit the numbers and then
click ‘save’.
5 A dialog box will prompt you to power cycle your ATEM switcher. Turn the switcher’s
power off, turn it back on and then close the dialog box.
Change network setting using the ‘configure’
tab in Blackmagic ATEM Setup.
Understanding ATEM Hardware Panel Network Settings
The hardware panel’s network settings are configured from the network setup menu in the
hardware panel’s system control. Along with its own IP address, the hardware panel also needs
to be configured with the network location of the switcher, so that communication between the
two devices can be established over the Ethernet connection. If the hardware panel’s network
settings are correctly configured, you will see the panel light up and buttons turn on so you can
control the switcher.
If the hardware panel is displaying a message looking for the switcher, then you will need to
set the hardware panel’s network settings so that the panel and switcher share the same
subnet, and the network location to which the hardware panel is trying to connect, matches the
switcher’s IP address.
24Getting Started
Setting the Switcher IP Location
To set the network location of the switcher on the hardware panel, so the panel can find the
switcher and communicate, follow these steps:
Changing the IP location on an ATEM advanced panel
1 When there is no communication with the switcher, the LCD will say ‘connecting’
and notify you of the IP address it is searching for. If the panel can’t find the switcher,
the connection will time out and a notification will ask you to check the IP address.
Press the ‘network’ soft button above the LCD to open the network settings.
2 In the network settings, press the right arrow in the system control buttons next to the
LCD to move to the ‘switcher IP address’ setting.
3 Now use the corresponding LCD soft control knobs to set the correct IP address for
your switcher.
4 Press the ‘save changes’ soft button to confirm the setting.
Your panel will now connect with your switcher.
On the ATEM Advanced Panel, press the ‘network’ LCD soft
button to open the network settings on the LCD, then use the
system control arrow buttons to navigate to the switcher IP
address setting. Use the soft controls to set the network IP
address for your switcher, and don’t forget to save the changes.
NOTE Changing the switcher IP address on your panel does not change the
IP address of the switcher itself. It just changes where the control panel is looking to
find the switcher. If the control panel cannot find the switcher, then you might need to
check the switcher to see if it’s been set correctly. To change the IP address of the
switcher, connect the switcher via USB to a computer and run Blackmagic ATEM Setup
as described previously in this manual.
25Getting Started
Changing the Hardware Panel Network Settings
Because the hardware panel is also on the network and communicating with the switcher,
italso has network settings so it can connect to the network. These settings are different to
theswitcher IP address, which is just where the panel is looking to find the switcher. The panel
network settings can be changed by following the steps below:
Changing Network Settings on ATEM Advanced Panel
Change network settings using the system control buttons and LCD soft controls
1 Press the ‘home’ button in the system control buttons to open the LCD home menu.
2 In the home menu, press the ‘network’ soft button to open the network settings.
3 The next step is to decide if you want the panel to use a fixed IP address or to be
automatically assigned an IP address from a DHCP server. Set DHCP on or off by
pressing the corresponding DHCP ON/OFF soft button.
NOTE If you’re connecting direct to a switcher without a network, then you
won’t have a DHCP server to assign an IP address automatically, so you will
want to select ‘DHCP off’. ATEM Advanced Panels are delivered with a fixed IP
address set to 192.168.10.60 for a direct connection.
However, if your network has lots of computers that automatically assign IP
addresses via DHCP, then you can also select ‘DHCP on’ so the panel can get
its network information automatically. This is possible on the panel, and it’s
only the switcher itself that always requires a fixed IP, as the switcher needs to
be found by the control panels at a known fixed address on your network.
If you select ‘DHCP on’, your network settings will be complete because the
panel network settings will be obtained from the network automatically.
26Getting Started
4 If you have elected to use a fixed IP address, you now need to set this IP address by
adjusting the corresponding soft control knobs for each field of the IP address.
You can also use the numeric keypad. Changing this IP address may cause the panel
to lose communication.
5 If the subnet mask and gateway address need to be set, then press the right arrow
button in the system control buttons to progress through each setting menu, and use
the knobs or the numeric keypad to edit. If at any time you want to cancel the changes,
press ‘undo’.
6 When you are happy with your settings, press the ‘save changes’ soft button to confirm
When you are happy with your network settings,
press the ‘save changes’ button to confirm them
Setup Workflow with ATEM Constellation 8K
If you are using an ATEM Constellation 8K, your switcher has a built in control panel. This means
when setting up your production, you can check all your sources and control the switcher
directly from the front panel. This is a practical way to establish everything is set up correctly
from the switcher, being the heart of the production chain.
This section provides a basic example of how to use your switcher’s front panel when setting
upyour production.
1 Confirm all your sources are working. These may be cameras or other sources,
forexample graphics from a computer, or video clips from a HyperDeck.
You can check all your sources by switching them to the program output. To do this,
press an input button. It will illuminate green, indicating it is switched to the preview
output. Pressing the ‘cut’ or ‘auto’ button will cut or transition the preview source to the
program output. This is also a good opportunity to test any custom transitions.
2 Once you have confirmed that all sources are present, check that each of them are
sending the format and frame rate your switcher is set to. If that isn’t always possible,
your switcher will automatically convert the inputs. However, it’s worth mentioning that
720p and 1080i is not up converted to 8K.
27Getting Started
3 The next step is to check that talkback is working properly.
On ATEM Constellation 8K you have the option to communicate with both production
and engineering teams. Both have a unique talkback button on the front panel. Press
and hold the talkback buttons to communicate. If you want to lock the mic open so it
stays on indefinitely, double press to enable ‘lock to talk’ mode. Double press again to
return to ‘press to talk’ mode.
If you can communicate successfully with your camera operators and engineering
personnel, you can then adjust the headset monitoring levels to your preference. This is
achieved by pressing each talkback channel to activate it, for example ‘Prod Talk’ and
then pressing the channel volume up and down arrows to adjust its monitoring level.
This lets you mix the levels so you can comfortably hear exactly what you need to hear.
4 After you have confirmed talkback functionality, it’s a good idea to check that tally is
working on all cameras.
To do this, press an input source button to switch it to the preview output. This will
engage the green tally light on supported Blackmagic Design cameras. Pressing the
‘cut’ or ‘auto’ button will cut or transition the source to the program master output and
the camera’s tally light will illuminate red indicating the camera is on air.
If you are not seeing the tally lights illuminate, check the camera numbers are set
correctly according to the switcher’s corresponding input number. This can be set in the
camera’s menu settings.
5 With your sources set up and talkback and tally working, you’re all set! Now you can
press the ‘call’ button. This sends a signal to all Blackmagic Design cameras via their
SDI return feeds, simultaneously activating their tally lights. It’s a great way to engage
the operators’ attention, letting them know you are about to go to air!
28Getting Started
Updating the Software
How to update the ATEM Software
From time to time Blackmagic Design will release new software for your ATEM switcher and
hardware panel, withnew features, bug fixes, and increased compatibility with third party
software and video devices.
To update your ATEM switcher with new software, you need to use Blackmagic ATEM Setup to
connect to the ATEM switcher and hardware panels. Blackmagic ATEM Setup will check your
switcher’s internal software and will ask if you wish to update if you have a newer version
installed on your computer.
Always update all your equipment at the same time so it’s all running the same version
of software.
ATEM Software Installer
To perform an update, you can directly connect your ATEM switcher or advanced panel
tothecomputer via USB.
Alternatively, if you already have yourswitcher connected to your computer via Ethernet, you
can simply update via the Ethernetconnection.
First, download the latest Blackmagic ATEM Switcher software and install it on your Mac or PC
using the instructions listed previously in the Installing Software section of this manual.
Onceinstalled, the new software for your ATEM switcher and advanced panel will be included
in the ATEM setup utility.
29Updating the Software
Updating the Switcher Software
1 Connect the switcher via the USB port.
If you already have your switcher connected to your computer via Ethernet, you can
update via the Ethernet connection.
When upgrading software via USB, make sure the switcher is the only ATEM device
connected via USB to the computer running the setup utility software. If more than one
ATEM device is connected, the switcher may not be recognized.
2 Launch Blackmagic ATEM Setup.
3 If the switcher software requires updating, you will be prompted by a window asking
if you would like to update the software. Click ‘update’ to initiate the update process,
which may take a few minutes. It’s important you don’t unplug the power from the
switcher during the software update.
4 Once the software update is complete, a window will prompt you to cycle power on the
switcher. Turn your switcher off and on, then ‘close’ the dialog box.
Updating an ATEM Hardware Panel
1 Connect the ATEM hardware panel to your computer via USB. If you already have
your panel connected to your computer via Ethernet, you can update via the Ethernet
connection.
NOTE When upgrading software via USB, make sure the advanced panel is
theonly ATEM device connected via USB to the computer running the setup
utility software. If more than one ATEM device is connected, the panel may
notberecognized.
2 Launch Blackmagic ATEM Setup.
3 If the panel requires updating, you will be prompted by a window asking if you would
like to update the software. Click ‘update’ to initiate the update process. It’s important
you don’t unplug the power from the panel during the software update.
4 Once the software update is complete, the advanced panel will power cycle
automatically.
Updating via Ethernet
Updating your ATEM switcher or advanced panel via Ethernet is generally faster and easier,
however there are some instances, such as those below, where it may not be possible and you
will need to update via USB:
Updating the internal software for the first time.
Your ATEM network settings are already configured to work straight away, however if
your are connecting to a network with other video equipment, there may be potential
IPaddress conflicts which may prevent communication between your computer and
your switcher. Network settings can only be set via USB.
30Updating the Software
Connecting Video Outputs
Video Outputs
There are multiple video outputs on your ATEM switcher which can be used to connect to
awide range of video equipment. ATEM Constellation 8K supports HD, Ultra HD and 8K.
ATEMProduction Studio 4K and Broadcast Studio 4K models include Ultra HD, HD and SD
viaSDI. HDMI is also supported on ATEM Production Studio 4K models. Descriptions of each
output connection are listed in this section.
It’s important to note that on ATEM Constellation 8K, the outputs are not dedicated with specific
labels like they are on other ATEM switchers and that’s because you can route any source to
them. For example, on an 8K production you may want the program output on output 1, a clean
feed on output 2 and route camera sources to the other 4 outputs for ISO recording. This gives
you more flexibility to switch any source to any output fast.
Plug in Ultra HD outputs via the 24 12G-SDI connectors on the rear panel. When the switcher
has 4320p set as the video format, the 24 connectors are automatically configured as 6 quad
link outputs.
SDI Program Output
This SDI output switches between Ultra HD, HD and SD. It outputs the main program video
output of your ATEM switcher and can be connected to any SDI based video device. The audio
on this output can use embedded HDMI and SDI audio from your cameras as well as external
audio via the switcher XLR inputs. ATEM Production Switcher models include a breakout cable
for external audio.
HDMI Program Output
Similar to the SDI program output, this output switches between Ultra HD, HD and SD. It outputs
the main program video output of the switcher and can be connected to televisions, video
projectors or even Blackmagic Design’s H.264 Encoder or HyperDeck disk recorders. The
audio on this output can use embedded HDMI and SDI audio from your cameras as well as
external audio via the switcher XLR inputs.
Multi View SDI and HDMI Output
The multi view outputs on all ATEM switchers are HD except for ATEM 4 M/E Broadcast Studio
4K, which are HD or Ultra HD, and ATEM Constellation 8K, which are HD, Ultra HD or 8K. You
can choose from a selection of multi view output formats and frame rates. This feature increases
compatibility with a wider range of monitors, plus you can output your multi view in Ultra HD
even if you are working in regular HD. Refer to the ‘using ATEM Software Control’ chapter, multi
view settings section for more information.
Some models of ATEM switchers include a single multi view, while bigger models include
2independent multi views so you can monitor more switcher sources. Each multi view includes
8 video input views, with preview and program views. ATEM Constellation 8K has four multi
view outputs for HD and Ultra HD viewing and one 8K multi view when the switcher is
in 8K mode.
Tally is included with red for sources on air, and green for preview. You can connect this output
to televisions and computer monitors with SDI or HDMI connections.
Down Converted SDI Program Output
Many ATEM 4 M/E Broadcast Studio 4K and ATEM2M/E Production Studio 4K models have a
dedicated HD-SDI program output.
31Connecting Video Outputs
Auxiliary SDI Outputs
ATEM switchers have auxiliary SDI connections that output the same video format in use.
The number of auxiliary outputs vary between models:
ͽ ATEM Production Studio 4K has 1 auxiliary output
ͽ ATEM 1 M/E Production Studio 4K has 3 auxiliary outputs
ͽ ATEM 2 M/E Production Studio 4K has 6 auxiliary outputs
ͽ ATEM 4 M/E Broadcast Studio 4K has 6 auxiliary outputs
Auxiliary outputs can use any internal and external video sources. For example, program feeds
if you need more program outputs, or clean feeds without down stream keying, or even specific
video inputs. Aux outputs are perfect for driving video screens on stage, or feeds where you
can independently control what the viewers see. Aux outputs switch cleanly and can be used
as cut only switchers independent of the main program outputs. The audio on these outputs is
embedded SDI program audio.
It’s important to note that all outputs on ATEM Constellation 8K can have any source routed to
them, which gives you the flexibility to use any output like it’s an aux output.
Preview SDI Output
On switchers with a preview output, this shows the source selected on the preview bus on the
switcher, as well as preview transitions. This output is perfect when you want to use a full
resolution preview monitor. Theaudio on this output is embedded SDI program audio.
M/E Output
ATEM 2 M/E Production Studio 4K and ATEM 4 M/E Broadcast Studio 4K have a dedicated SDI
preview output for M/E 1, as well as HD and Ultra HD SDI program outputs for M/Es 1 and 2.
These can be used as additional preview or program outputs for mix effects blocks 1 and 2.
ATEM 4 M/E Broadcast Studio 4K has 4 M/Es. M/E 3 and M/E 4 are typically routed back through
M/E 1 or 2 to create complex layered scenes. You can, also output a feed from M/E 3 or M/E 4
by assigning them to auxiliary SDI outputs.
NOTE SDI outputs for ATEM Constellation 8K can have any source routed to them.
For maximum flexibility, you can route any internal or external video source to any of its
24 HD or Ultra HD outputs, or any of its six 8K outputs. Video sources can include
program, clean feed, preview, M/E output, as well as cameras and other
external equipment.
8K SDI inputs and outputs on ATEM Constellation 8K use the two sample interleave
technique, also known as 2SI. It is important to connect your quad link SDI cables in
the correct order.
Audio for ATEM Constellation 8K outputs is embedded in the SDI stream, or you can
route it to the analog audio out channels or MADI outputs.
32Connecting Video Outputs
Using the ATEM Constellation 8K
Front Panel
ATEM Constellation 8K includes a fully functioning front panel that lets you operate the switcher
from the front panel. While you can easily use the front panel for live switching, its intended
purpose is for initially testing your production setup before going to air. For example, the control
panel lets you quickly test keyers, switch sources and generally confirm everything is working
fine before settling into the main production. This is why we added a lock button so once you
are happy that everything is working fine, you can lock the panel and make sure there are no
accidental changes to air.
This section shows you how to use all the features on your switcher’s front panel for setup
and testing.
Performing a Transition
When checking your setup, the first step you may want to try is to perform a transition. The
group of 40 large buttons represents the inputs into the switcher. All 40 buttons are active in
HD and Ultra HD mode and the first 10 buttons control the 10 quad link 8K inputs in 8K mode.
When you first turn on the switcher, you will see input 1 is the button illuminated red. This means
that input 1 is on air and if you have a video source connected to input 1 it will appear on the
program output.
Unlike a standard program/preview switcher control panel, these buttons on
ATEMConstellation 8K serve as both preview and program source buttons and will illuminate
green and red to indicate which source. This section shows how to use the buttons to switch
content to the preview and program outputs.
In this example, we have input 1 on air and we want to transition to input 4.
In program/preview mode with input 1 on air and input 4 on preview
To perform a transition:
1 Select the next source by pressing button 4. The button will now illuminate green to
show it’s selected on the preview bus.
2 Press the cut or auto buttons.
If you press cut, button 4 will now illuminate red as it’s on air. Input 4 will also be switched to the
program output. If you select auto, then the currently selected transition will be triggered. While
the transition is occurring, you will see both buttons illuminated red because both sources are
on air during the transition.
Press the ‘auto’ button to perform an auto transition.
33Using the ATEM Constellation 8K Front Panel
That’s all there is to it! If you would like to change the transition type, then you can do this in
theLCD menus or the four dedicated transition selection buttons on the front panel. You can
choose from Mix, Dip, Wipe and DVE transitions with the touch of a button.
To change the transition type:
1 Press the menu button to display the menus.
2 Scroll with the knob through the menus to the ‘transition’ menu.
3 Press the set button and you will see the transition menu page will be selected.
4 Scroll down the list of items in the transition menu until you get to the transition item.
5 Press the set button and scroll through the list of options. Let’s select the
DVEtransition.
6 Press ‘set’ to select it. You can press the ‘menu’ button to back out of the menus back
to the main video preview screen.
Use the LCD menu to select the transition type and you can also
set the transition duration in the transition settings.
While in the menu, you can press the ‘auto’ button to try the different types of transitions
available to you. Each one of the transition types listed in the LCD menus can also be selected
in ATEM Software Control or a hardware control panel if you have one.
As well as the group of main input buttons, the front panel has other sources labeled ‘mp1’ and
‘mp2’. These are media player 1 and media player 2. If you have graphics in your switcher, such
as a graphic or title slide, then you can select the media players as sources and then cut or
transition to them. ATEM Constellation 8K has one media player in 8K mode and four media
players in HD and Ultra HD mode.
Selecting Other Sources
You can select other sources in the switcher that are not on the front panel from the
LCD menus.
To select an alternative program source:
1 Press the menu button to display the menus.
2 Scroll with the knob through the menus to the ‘program source’ menu.
3 Press the ‘set’ button and you will see the program source menu page will be selected.
4 Scroll down the list of sources in the ‘program source’ menu until you get to the one
you want. In this example, let’s select color bars.
5 Press ‘set’ to select it.
6 Press the menu button to back out of the menus back to the video preview screen.
34Using the ATEM Constellation 8K Front Panel
You will see color bars appear on the program output and notice that the ‘bars’ button on the
front panel is illuminated red. If you have a source on the front panel selected on preview, you
will still see that button illuminated green. You can press cut or auto to transition between the
color bars and the preview source.
A safe way to preview sources before switching them
to air is to use the LCD menu to select sources to the
preview output and monitor them on the multi view
Changing to Cut Bus Switching
By default, the control panel works in program/preview mode, which is more like a traditional
switcher and means changing sources is a two step process where you select the next source
on the preview bus and then select cut or auto. However, in many cases you might like to have
the switch to the new source happen immediately when you select it. This mode is called cut
bus switching and you can change the mode in the LCD menus.
To change to cut bus mode:
1 Press the menu button to display the menus.
2 Scroll with the knob through the menus to the ‘Settings’ menu.
3 Press the set button and you will see the settings menu page will be selected.
4 Scroll down the list to the mode menu and select it by pressing the set button.
5 Scroll to the cut bus mode and select it by pressing set.
6 Press the menu button to back out of the menus back to the video preview screen.
Now the front panel will have changed how it works and switching is performed the instant you
select a source. For example, try selecting a different source using the main input buttons and
you can see that it’s immediately selected and the button is illuminated red. You will notice that
there is no green button highlighted now and that’s because there is no preview bus to select
the source as the source is simply selected the moment you push the button and it’s on air
instantly. That’s why all buttons are now illuminated red.
However, there is another change to the front panel in cut bus mode and that’s the behavior of
the cut and auto buttons. Now the inputs are selected the instant you press them, the cut and
auto buttons don’t trigger the transition anymore. What they are now used for is to select the
type of transition you want when you press the input buttons.
In cut bus mode, any input button you press switches directly to the program output
35
Using the ATEM Constellation 8K Front Panel
For example if you want cuts when you select sources, then select the cut button. It will be
illuminated and now when you select sources you will see a cut. If you want to do transitions
now, then press the auto button. It will illuminate and now when you select sources, you will see
that each transition will use your currently selected transition. Use the same process as shown
in the previous examples to select the type of transition you want in the LCD menus.
In Case of Strange Behavior!
It’s important to note that anything you change on the front panel buttons or in the LCD menus
here will also be reflected on the software and hardware panel. What this means is if the front
panel does not behave in a normal way and seems to be doing strange things that are
unexpected, then it could be that another user has selected a mode that you cannot easily see
on the front panel. For example, another user could have a keyer selected and no background,
so when you press the auto button you are actually selecting a keyer. If you see this happen,
it’sa good idea to check the LCD menus or use the software control panel to clear these
settings back to normal.
This is very important if someone selects a specific switcher feature and then saves the
switcher state! It could mean you turn on the switcher and the front panel does not do what
you expect!
Audio Levels
The function of the knob on the front panel is primarily for audio level adjustment, although it is
used for menu selection when you are in the LCD menus. Normally it’s used for audio level
control and you can tell what it’s controlling by looking at the LCD. The label on the LCD will tell
you what the knob is adjusting.
Normally, the LCD has the label ‘master’ and this means the knob is adjusting the main audio
mixer master output. Adjusting the knob will lower the whole program audio levels and you can
see the effect on the main audio meters in the LCD that are superimposed on the
video preview.
Use the knob to adjust the master audio level and you
can see the effect on the main audio meters in the LCD
If you want to adjust the audio for each of the SDI inputs, you can view and adjust the audio
levels individually through the menus on the LCD. This is a useful way to identify when the main
audio level is too high because single input is too high level. In this case you don’t want to
adjust the master audio level because all the other inputs will now become too low. You really
want to select the input audio level and adjust just that single audio level.
To adjust an input audio level, for example on input 4:
1 Select the input 4 button. This is easier when using program/preview mode as you can
just select it on the preview source.
2 The label on LCD will change to that input, for example input 4, to show you’re adjusting
the level for that specific input.
3 Adjust the knob and you will see the audio meter on the LCD will reduce in level.
36Using the ATEM Constellation 8K Front Panel
If this input is on air, the master audio output will be reduced because this input is being
lowered in level.
To go back to the master audio level:
1 Press the set button on the right side of the control panel and it will go back to master
immediately. If you don’t press ‘set’, the front panel will automatically switch itself back
to master after a few moments.
2 Now adjusting the knob will be adjusting the master audio output and the LCD has
master displayed.
This is a quick way to test audio channels when you setup your ATEM Constellation 8K. For fine
control of individual audio channel parameters during production, we recommend you use
ATEM Software Control.
Fading the Downstream Key 1
You can trigger the downstream key 1 from the front panel by using the DSK 1 MIX button. This
can be useful when you have a logo or bug and you want to bring it on and off again regularly.
For example you could have a ‘live’ logo that you want to fade on from time to time. You can set
up the logo in the downstream key 1 and then use the DSK 1 MIX button to bring it on and off air.
The duration of the transition when pressing the button will be set in the downstream key LCD
menu, or on a control panel.
You can feed a keyer with an input or a media player. This can be set up in the LCD menus or
on a control panel. If your switcher is new then you can use the software control panel to load
the media pool with some graphics or logos so you have sources to use.
Press the DSK 1 MIX button to fade the downstream key 1 on and off air
Fade to Black
When you start or finish a program, you want to be able to fade to black without worrying about
leaving a logo on the screen by accident. Your ATEM switcher has a lot of powerful features and
lots of layers that you can enable for transitions. What this means is you could have a complex
setup on the switcher with many layers but you really just want a single button to start your
program. This is what the FTB or fade to black button does.
If you press the FTB button, the whole program output of the switcher will fade to black. The
button will flash to indicate to you that it’s active. You can set the duration for the fade to black
transition in the LCD menu or on a software or hardware control panel.
37Using the ATEM Constellation 8K Front Panel
Press the fade to black or FTB button to perform a
fade to black on the whole program output, including
any graphics or keyers that may be in use
Using the Lock Button
The lock button prevents accidental switching and changes to settings for transitions and
mediaplayers. When the front panel is locked, the ‘lock’ button glows a dim red and if a button
is pressed it is ignored and the ‘lock’ button flashes bright red. The ‘lock’ button doesn’t affect
theLCD menus or the comms buttons such as ‘prod talk’ and ‘eng talk’.
To unlock the front panel, press and hold the ‘lock’ button for one second.
To lock the front panel, press and hold the ‘lock’ button for two seconds.
TIP It’s a good practice to lock the front panel of ATEM Constellation 8K while it’s on
air to prevent accidental switching.
Using the LCD Menus
The LCD menus make almost the entire operation of the switcher available. In the examples
inthis section, we used the menus and it’s a good idea to explore the menus to see what’s
available. Ifyou have used the software control panel on an ATEM switcher in the past, then
youwill see that each menu is like a palette on the software control panel and each palette on
the software control panel has a menu page on the LCD. There are a few extra LCD menus for
configuring SDI outputs and the audio mixer and there is also a settings page for setting up
your ATEM Constellation 8K.
To use the menus:
1 Press the ‘menu’ button to display the menus.
2 Scroll with the knob through the menus to the menu you want.
3 Press the ‘set’ button and you will see the menu page will be selected to use.
4 Scroll down the list to the specific menu setting you want to change.
5 Select it by pressing the set button.
6 Scroll through the list of options for this menu item.
7 Press set when you want to make the desired setting active.
8 Press menu a few times to go back to the main video preview screen.
38Using the ATEM Constellation 8K Front Panel
Press the menu button to enter the LCD menu.
Use the knob to navigate through the settings
and make adjustments, for example selecting the
audio for input 4 and adjusting the audio level
Using Talkback
ATEM Constellation 8K features push to talk ‘prod talk’ and ‘eng talk’ buttons so you can
converse with production and engineering teams. Plug an intercom headset equipped with a
microphone into the 5 pin XLR socket on the front panel. If you double press one or both of the
‘prod talk’ or ‘eng talk’ buttons, the mic stays on and the button illuminates white until you
double press the button again.
Next, mix the levels in your headphones for production talkback, engineering talkback and
program mix using ATEM Software Control or the front panel. The selected button is lit red,
meaning you can adjust its level with the up and down buttons.
The back panel of ATEM Constellation 8K has a ‘talkback’ connector for for routing engineering
talkback and production talkback. For information on how to make your own talkback adapter
cable, see the ‘Talkback Pin Connections’ section.
The Call Button
Holding down the ‘call’ button will flash the tally light on all connected cameras. This is a helpful
way of seeking the camera operators’ attention, or to let your operators know you are about
to go live.
NOTE ATEM Constellation 8K’s front control panel can be used to operate almost all
of your switchers features, so it can serve you well as an alternative control panel in
the event of an emergency.
39Using the ATEM Constellation 8K Front Panel
Using ATEM Software Control
The ATEM Software Control is included with your ATEM switcher, and allows you to control
yourswitcher in a similar way to a full hardware control panel. However instead of menu
buttons, it uses a range of palettes on the right side that shows you all processing features of
your production switcher and allows settings to be easily made.
You can also use the ATEM Software Control to configure your switcher settings as well as
upload graphics and manage the media pool.
Preference Settings
The preferences settings are arranged as ‘general’ preferences and ‘mapping’ preferences.
Thegeneral preferences contain network settings, transition control and language
selection options.
General Preferences
ATEM Software Control can be set to display in English, German, Spanish, French, Italian,
Japanese, Korean, Portuguese, Russian, Turkish and simplified Chinese languages.
When running ATEM Software Control for the first time after installation, a setup dialog box will
prompt you to set the language for the software, but you can change the language of the
software at any time.
To change the language:
1 Go to the menu bar at the top of your screen, select ‘ATEM Software Control’ and open
the ‘preferences’.
2 Select your desired language from the drop down menu in the ‘Software Control
Language’ in general settings.
A warning will appear asking you to confirm the action. Click ‘change’.
ATEM Software control will now close and restart in your selected language.
You can change the language for ATEM Software
Control in the ATEM Software Control preferences.
40
Using ATEM Software Control
Button Mapping
In the mapping preferences, you can assign inputs to specific buttons on the preview and
program rows. The camera drop down menu lets you select a ‘Blackmagic SDI’ camera for
eachinput, or you can select ‘none’ if you don’t have a camera connected to the input.
ATEM software and hardware control panels support button mapping so you can assign your
most important sources, especially cameras, to the most accessible buttons in the program and
preview rows. Occasional sources can be assigned to less prominent buttons. Button mapping
is set independently for each control panel so button mapping set on a software control panel
will not affect the button mapping set on a hardware control panel.
You can assign a camera from the drop down menu
Switcher Control Panel
The software control panel has four main control windows: Switcher, Audio, Media and Camera.
You can open these windows by selecting the buttons at the bottom of the interface or by
pressing the Shift and left/right arrow hot keys. A general settings window can be opened by
selecting the gear icon at the lower left of the interface. The switcher, media, audio and camera
windows all contain unique settings for the switcher, which can only be made from the software
control panel.
Switcher Panel
When first launched, the switcher screen is selected, which is the main control interface for the
switcher. The software control panel must be connected to a switcher to run.
41Using ATEM Software Control
Mouse or Trackpad Operation
The virtual buttons, sliders and fader bar on the Software Control Panel are operated using your
computer mouse or a trackpad if you’re using a laptop.
To activate a button, click once with the left mouse button. To activate a slider, click and hold
down the left mouse button while dragging. Similarly, to control the fader bar, click and hold
down the left mouse button on the fader bar handle and drag up or down.
Using Keyboard Hot Keys
Hot keys can be used allowing convenient control of some switcher functions using a standard
QWERTY keyboard as shown in the following table:
Hot Keys Function
<1> - <0> Previews source on switcher Inputs 1 - 10. 0 = input 10.
<Shift> <1> - <0> Previews source on switcher Inputs 11 - 20. Shift 0 = input 20.
<Control> <1> - <0> Hot switches source on switcher Inputs 1 - 10 to Program output
Press and release
<Control>, then <1> - <0>
Hot switches source on switcher Inputs 1 - 10 to Program output.
Hot switching remains on and the CUT button is lit red.
<Control> <Shift> <1> - <0> Hot switches source on switcher Inputs 11 - 20 to Program output
Press and release <Control>, then
<Shift> <1> - <0>
Hot switches source on switcher Inputs 11 - 20 to Program output.
Hot switching remains on and the CUT button is lit red.
<Control> Turns off hot switching if currently on. The CUT button is lit white.
<Space> CUT
<Return> or <Enter> AUTO
More information on how to use the switcher control panel is included in the next sections.
Media Manager
The media manager allows you to upload graphics and image sequences to the media pool in
the ATEM switcher. Each ATEM switcher model has memory for graphics that’s called the media
pool. This memory varies in size between different ATEM models and holds images with an
alpha channel that can be assigned to a media player for use in the production.
ATEM Switcher Model Still Graphics Video Clips
ATEM Constellation 8K
HD 64 4
Ultra HD 64 4
8K 24 2
ATEM 4 M/E Broadcast Studio 4K 64 2
ATEM Production Studio 4K 20 2
ATEM 2 M/E Production Studio 32 2
ATEM 1 M/E Production Studio 32 2
42Using ATEM Software Control
For example, your ATEM 4 M/E Broadcast Studio 4K could have the maximum 64 still graphics
and 2 clips loaded that will be used on your live production and then you can assign each of
the media players to various stills as you work. As you take a graphic off air, you can change the
media player graphic to the next graphic you want, and then you can put that media player back
on air with the new graphic. ATEM Constellation 8K holds clips up to 100 frames long and has
onemedia player in 8K mode. In HD and 4K Ultra HD mode it has 4 media players and the
media pool is shared between media players. For more information about clip lengths for
different models and video formats, see ‘Clip Length Table’.
When a still or clip is loaded into the media pool, the alpha channel is loaded automatically if
one is included in the image. When a still or clip is loaded into a media player, the output of the
media player will include both key and fill outputs. If you select a media player as a key source,
for example Media Player 1, both the fill and the key are automatically selected so you don’t
have to select them separately. However the key can still be routed separately so you can use
a different key source if you wish.
Audio Mixer
The Audio tab in ATEM Software Control contains an audio mixer interface which becomes
active when controlling any ATEM switcher.
ATEM switchers include a built-in audio mixer that lets you use the embedded HDMI and
SDIaudio from your cameras, media servers and other inputs without the need for an external
audio mixer. This is perfect when using an ATEM switcher on location or in small spaces within
modern OB vehicles as you don’t have to find room for an external audio mixer. The audio is
mixed in the Audio tab of ATEM Software Control and output via the SDI and HDMI
program outputs.
Your ATEM switcher features built in XLR and RCA inputs for mixing external audio. Mixed audio
can also be output via the XLR outputs and the audio mixer contains independent controls for
setting the audio level and also for selecting solo audio monitoring.
43Using ATEM Software Control
All ATEM production and broadcast studio switchers, except for ATEM Production Studio 4K,
mix audio from the switcher’s built in media players. ATEM Production Studio 4K does not mix
audio from the media players because this model supports still frames only in the media pool
and does not support motion clips.
If you prefer to use an external audio mixer, it’s easy to disable the audio for all inputs and you
only need to leave the external audio active in the audio mixer interface. More information on
how to use the audio mixer is included in the next sections.
Camera Control
The Camera tab in the software is where you can control cameras remotely, in a similar way to
how traditional external camera control units can control cameras, however with ATEM switchers,
this functionality is built into the software so it’s always available. Settings suchas iris, gain,
focus, detail and zoom control are easily adjusted using compatible lenses, plus you can color
balance cameras and create unique looks using the DaVinci Resolve primary color corrector
that’s built into the Blackmagic cameras running software v1.8.1 or later.
For detailed information on how to use the powerful camera control features, refer to
‘UsingCamera Control’ in the ‘Using ATEM Software Control’ section of this manual.
The ATEM Camera Control lets you
control Blackmagic Design cameras
Switcher Settings
Click on the settings cog icon to open the settings window which allows you to change the
video input selections and labels. Setting labels are important, and they are visible in the multi
view output as on-screen labels and on the ATEM Advanced Panel.
44Using ATEM Software Control
In the settings window, you can also set the switcher video standard. This is the master video
standard that the whole switcher operates at, and it’s very important you set this to the same
video standard as your video inputs. More details on setting the video standards are included
later in this manual.
The switcher settings also let you customize your multi view. The arrangement of the multi view
screen can be changed by clicking on the presets at the bottom right of the M/E 1 Control Panel,
or the right side of the Settings window on the M/E 2 Control Panel. On all ATEM production
and broadcast studio switchers, the arrangement for the 8 smaller video views are fully routable
allowing you to view any source in the switcher. ATEM Constellation 8K is even more flexible,
giving you the option to customize the multi view to show any combination of 4, 7, 10, 13 or 16
sources in the switcher.
This lets you monitor cameras, internal sources, media players and even aux outputs on a
single monitor. Multiview saves space when doing portable location based events because you
only need a single monitor.
If you are connecting Blackmagic HyperDeck disk recorders to your switcher, you can use the
switcher settings to enter their IP address, view their connection status, and change the frame
offset and auto roll settings so you can switch cleanly to a HyperDeck video source. For more
information about using HyperDeck disk recorders with your ATEM switcher, refer to the
‘HyperDeck control’ section of this manual.
You can also set your switcher’s remote behaviour using the ‘remote’ tab. This allows you to use
the RS-422 port on your switcher to control pan, tilt, zoom heads or legacy GVG100 hardware
such as linear edit suites.
Switcher settings are explained in detail in ‘Changing Switcher Settings’ of ‘Using
ATEMSoftware Control’ section of this manual.
Using the Software Control Panel
The switcher window is the main control interface for the switcher. During live production,
theswitcher window can be used to select sources and take them to air.
You can select the transition style, manage upstream/downstream keyers and turn on/off the
fade to black. The palettes on the right hand side of the interface are where you adjust
transition settings including transition rates, adjust color generators, control media players,
andadjust the upstream and downstream keyers as well as control fade to black rate.
Mix Eects
The Mix Effects block of the switcher tab contains all the source select buttons for the program
and preview buses, allowing external inputs or internal sources to be selected for next
transition previewing or switching to air.
If your switcher has 2 Mix Effects panels, you can optimize the interface to show both, or select
each panel by clicking on the Mix Effects 1 or Mix Effects 2 buttons at the top of the interface.
When both panels are visible, the Mix Effects 1 or 2 buttons will move to the
processing palettes.
45Using ATEM Software Control
ATEM Mix Effects
Program Bus Source Select Buttons
The program bus source select buttons are used to hot switch background sources to the
program output. The source currently on air is indicated by a button that is illuminated red.
Preview Bus Source Select Buttons
The preview bus source select buttons are used to select a background source on the preview
output, this source is sent to the program bus when the next transition occurs. The currently
selected preview source is indicated by a button that is illuminated green.
The source select buttons for the Program bus match the Preview bus.
INPUTS
Input buttons match the number of external switcher inputs.
BLACK
Color black source internally generated by the switcher.
SUPERSOURCE
This feature is active on all ATEM switchers with more than 1 M/E.
Shift select for Bars.
BARS
Color bars source internally generated by the switcher. This is a
dedicated button when using single Mix Effects switchers.
COLOR 1
Color sources internally generated by the switcher. Shift select
for Color 2.
MEDIA 1 and 2
Internal media players that display stills or clips stored in the switcher.
When using an ATEM switcher with more than 2 media players, hold the
shift button down on your keyboard to reveal the additional media
player buttons on the preview and program rows.
PGM 2
This button is only present on 2 M/E switchers and allows a Mix Effects
2 setup to be instantly brought to air or previewed. On ATEM 4 M/E
Broadcast Studio 4K you can also select M/E 3 and 4.
46Using ATEM Software Control
Transition Control and Upstream Keyers
CUT
The CUT button performs an immediate transition of the program and preview outputs,
overriding the selected transition style.
Transition Control
AUTO/RATE
The AUTO button will perform the selected transition at the rate specified in the ‘rate’ display.
The transition rate for each transition style is set in the transition palette for that style and is
displayed in the ‘rate’ window of the transition control block when the corresponding transition
style button is selected.
The AUTO button illuminates red for the duration of the transition and the ‘rate’ display updates
to indicate the number of frames remaining as the transition progresses. If an ATEM advanced
panel is connected, the fader bar indicator on the panel updates to provide visual feedback on
the progress of the transition.
Fader Bar
The fader bar is used as an alternative to the AUTO button and allows the operator to manually
control the transition with a mouse. The AUTO button illuminates red for the duration of the
transition and the ‘rate’ display updates to indicate the number of frames remaining as the
transition progresses. If an ATEM advanced panel is connected, the fader bar Indicator on the
panel updates to provide visual feedback on the progress of the transition.
Transition Style
The transition style buttons allow the operator to select one of five types of transitions; mix, dip,
wipe, DVE, and stinger. The available transitions depend on your switcher model. For example,
ATEM Production Studio 4K does not have DVE and stinger transitions. The selected transition
style is indicated by a yellow illuminated button. Selection of these buttons will be reflected by
the corresponding tab in the Transitions processing palette. For example, when you have the
transitions processing palette open and click on a transition style button, the Transitions palette
will match your selection so you can quickly adjust the settings.
PREV TRANS
The PREV TRANS button enables the preview transition mode, allowing the operator to verify a
mix, dip, wipe or DVE transition by performing it on the preview output using the fader bar.
When the PREV TRANS is selected you will see the preview output match the program output,
and then it’s simple to practice your selected transition with the fader bar to confirm you are
going to get what you want. This is a very helpful feature to avoid mistakes on air!
47Using ATEM Software Control
Next Transition
The BKGD, KEY 1, KEY 2, KEY 3, KEY 4 buttons are used to select the elements which will
transition on air or off air with the next transition. The number of available keyers depends on
your switcher model. All keys can be faded on and off when the main transition occurs, or you
can select just keys to transition individually, so the main transition control can be used to fade
keys on and off.
When selecting the elements of the next transition, the switcher operator should look at the
preview video output because it provides an accurate representation of what the program
output will look like after the transition is completed. When only the BKGD button is selected, a
transition from the current source on the program bus to the source selected on the preview
bus will occur without any keyers. You can also select only keyers to transition, leaving the
current background live throughout the transition.
ON AIR
The ON AIR indicator buttons indicate which of the keys are currently on air and can also be
used to immediately cut a key on or off air.
Downstream Keyers
TIE
The TIE button will enable the DSK on the preview output, along with the next transition effects,
and tie it to the main transition control so that the DSK can be taken to air with the next
transition.
The DSK will transition at the rate specified in the RATE display of the transition control block. If
the DSK is tied, the signal routing to the clean feed 1 is unaffected.
ON AIR
The ON AIR button is used to cut the DSK on or off air and indicates whether the DSK
is currently on or off air. The button is illuminated if the DSK is currently on air.
AUTO
The AUTO button will mix the DSK on or off air at the rate specified in the DSK RATE window.
This is similar to the main AUTO rate on the transition control block, however it’s limited only to
the specific downstream keyer. This can be used to fade up and down bugs and logos, such as
live or replay bugs during production, without interfering with the main program production
transitions.
Fade to Black (FTB)
The FTB button will fade the whole program video output to black at the rate specified in the
fade to black RATE window. Once the program output has been faded to black, the FTB button
will flash red until it is pressed again. Doing so will fade up from black at the same rate, or you
can enter a new rate in the Fade to Black palette in the Switcher window. Fade to black is
mostly used at the start of your production, and at the end of your production, or when cutting
to commercial breaks. It ensures all layers in the switcher are faded down together. A fade to
black cannot be previewed. You can also set the audio mixer to fade the audio with your fade to
black by selecting the AFV button on the master audio output fader.
48Using ATEM Software Control
Downstream Key and Fade to Black
Processing Palettes
The software control panel features tabs for the processing palette, media player, and capture
options. The following processing palettes are available. These change based on the model
you’re connected to, and are an easy way to see what processing is available in the switcher.
Different ATEM models will have different features, so the palettes can change. The palettes
also show the order of the processing in the switcher. You can expand and minimize palettes
to save space and scroll them up and down to get the adjustments you need to set.
Processing Palettes
49
Using ATEM Software Control
Palettes Tab
The Palettes tab contains the following processing controls.
Color Generator 1 and 2
The ATEM switcher has two color matte generators which can be configured from the color
generator palette using a color picker or by setting hue, saturation, and luminance levels.
SuperSource
ATEM switchers with more than 1 M/E include a feature referred to as SuperSource (Picture in
Picture orPIP) that will allow you to arrange multiple sources on the monitor at one time. For
more information refer to the section ‘Using SuperSource (Picture in Picture)’ later in this manual.
Upstream Keys
Depending on the switcher model, ATEM has up to four upstream keyers per M/E which can be
configured from the upstream key palettes. Each keyer has its own palette. Within each palette
the keyer can be configured as a luma key, chroma key, pattern key or DVE. The type of key
available will also depend on the switcher model and if the DVE is available. The selected
palette will display all the parameters that are available to configure the keyer. More information
on how to use upstream keyers is included later in this manual.
With ATEM switchers that have 1 M/E, these keyers are all labeled as being for M/E 1. On ATEM
2 M/E and 4 M/E model switchers, the labels will show which M/E these keys are connected to.
Transitions
The transitions palette is where you can configure the parameters of each transition style.
Forexample, for the dip transition the palette has a drop down menu where you can select the
dip source and for the wipe transition the palette displays all the available wipe patterns. There
are lots of variations of transitions, and a large number of transitions can be created by
combining settings and features in the transitions palette.
NOTE It’s worth noting that simply selecting a specific style of transition in this palette
will only adjust the settings for these transitions, and you still need to select the style
of transition you want to perform in the transition control section on the software or
hardware control panel. For ease of use, some people like to use the hardware based
panel for switching, while using the software panel palettes for setting up the
transition. The software and hardware panels work together and mirror all settings, so
you can use any combination you like!
Downstream Key 1 and 2
The ATEM has two downstream keyers which can be configured from the downstream keys
palette. The palette has drop down boxes for selecting the fill and key signals to the keyer,
sliders to set the clip and gain values, pre-multiplied, and mask settings.
Fade to Black
The Fade to Black palette is where you can set the fade to black transition rate. An Audio
Follow Video checkbox is also provided as a shortcut for the audio mixer’s master fader AFV
button. Selecting this feature lets you fade your audio with your fade to black.
50Using ATEM Software Control
Media Players Tab
The Media Players tab contains controls for your ATEM Switcher’s media players and connected
HyperDecks.
Media Players
Your ATEM switcher has media players which play back the clips and stills that are stored in the
media pool memory built into the switcher. The drop down list is used to select the still or clip
that will be played or made available on the media player input to the switcher. When a clip is
selected, the transport controls in the media player can be used to play, pause and loop the
clip. Controls are also provided to step forward and backward through frames of the clip. Most
ATEM switchers have 2 media players. ATEM2 M/E Broadcast Studio 4K has 4 media players.
Hyperdecks
If you are running ATEM switchers 6.8 or newer, you can connect up to 4 Blackmagic
HyperDeck Studio model disk recorders and control them using ATEM Software Control’s
HyperDecks palette. For more information refer to the ‘HyperDeck Control’ section of
this manual.
TIP The ‘capture’ tab supports legacy ATEM Production Switcher models with
USBcapture features.
Using the Audio Mixer
The audio tab is used to mix audio sources connected to any ATEM switcher via HDMI, SDI,
external audio and also from the built-in media players in ATEM 1 M/E, 2 M/E, and 4 M/E
switcher models.
Cameras, media players and external audio sources are listed along the top of the audio mixer
along with the master audio output for the program outputs of the switcher.
Below each audio source is an audio level meter, a fader for setting the maximum audio level,
and a knob for setting the left/right audio channel balance. The master fader on the right side of
the audio mixer is used to set the gain on the audio level on the SDI and HDMI program outputs
and has its own audio level meter. The monitor fader and buttons appear below the master
fader and set independent audio levels and also allow solo monitoring on the audio outputs.
The buttons below each audio level meter determine whether audio is always available for
mixing or only when the source is on air. The solo, or headphones, button determines whether
the audio source should be used for solo audio monitoring. You can monitor through the
switcher’s XLR monitor output on the rear panel of ATEM Production Studio switchers or
ATEMBroadcast Studio switchers.
51Using ATEM Software Control
The audio mixer displays tally lights for any audio sources that are
currently on air or when AFV is selected, as well as audio level, audio
balance and buttons for selecting which audio should be used.
Tally
Any source whose audio is on air is lit with a red tally light in the software. External audio is on
air by default so the EXT tally light is usually lit red. In the example on this page, Cam4 and
Cam7 are lit because their audio is set to be always on. The tally light will be illuminated dull
yellow when AFV is selected and the channel’s associated camera is off air. This also applies to
the master fader tally light when the master fader AFV button is selected. When FTB is
activated, the master fader tally light will blink red.
Audio Level
Drag the audio level fader to set the gain on the audio level for each camera and audio source.
The green number under each audio level meter shows the maximum audio level set by
the fader.
The number above the audio meter shows the peak audio level reached by the audio source.
Agreen number represents low to medium audio levels. If the audio meter is regularly showing
red, and the red number above it is not changing, then you should reduce the audio level to
avoid audio distortion. After adjusting the audio level, you may wish to reset the red number by
clicking on it once. Observe the new number to make sure it changes for a while and does not
immediately shoot up and become stuck on a red number. If it does, you may need to reduce
the audio level even further.
Audio Balance
The audio mixer supports stereo audio from each audio source. If you wish to change the left/
right audio channel balance for a camera or other audio source, adjust the knob to the desired
balance point.
52Using ATEM Software Control
If you are operating a 2 M/E or 4 M/E
ATEM switcher, and notice the solo and
monitor settings aregrayed out, you have
program audio selected for the audio
out setting in the settings window.
The audio meter for Cam1 is shown in gray
to indicate that its audio will not be used as
neither of its ON or AFV buttons are enabled.
Cam2 has AFV selected but its audio is not
currently being used as the camera is not on
air as is indicated by its dull yellow tally light.
Cam4 and Cam7 have their direct mix set to
ON so their mixed audio is always used, and
their tally lights remain lit, even if another
camera is currently on air. The audio level
meters for Cam3, Cam5, Cam6 and Cam8 show
that no audio is present on these cameras.
Audio Source Selection
Below each audio level meter, you will find the ON and AFV buttons that select which audio
sources are sent to the program output of the switcher.
ON
Selecting the direct mix to ON allows an audio input to be permanently mixed into the program
output, even when the associated video source is not on air. The red tally light will always be lit
because the audio is always on air. Selecting this option automatically disables AFV.
AFV
Audio-follow-video (AFV) allows audio to crossfade when inputs change. Theaudio will only be
sent to the program output when the input is on air, lighting the red tally light above. When off
air, the tally light is lit dull yellow. Selecting this option automatically disables the direct mix ON
setting.
SOLO
ATEM Production Studio switchers and ATEM Broadcast Studio switchers can use the XLR audio
output via the switcher’s rear panel.
Selecting solo exclusively outputs that single audio source to the monitor output so you can
listen clearly to any single input when required. Thisis an important feature which lets you
confirm audio content before putting it to air and without affecting the program output audio.
When solo is deselected the audio output will return to its original state.
53Using ATEM Software Control
Master Audio Level Output
The master fader on the right side of the audio mixer is used to set the gain on the audio level
on the SDI and HDMI program outputs and has its own audio level meter. Select the AFV button
on the master audio output fader to enable the AFV fade to black feature. This lets you fade
your master audio when you click on the Fade to Black button.
Audio Mixer Monitor
The monitor volume knob and buttons appear below the master fader and control the
monitoring audio output behavior. You can use these settings to set independent audio levels
for monitoring the audio mix without affecting the program output audio. If you’ve selected a
solo input that you want to monitor, these settings let you control the audio monitor levels for
the single input without affecting the program output audio. You can enable these settings by
going to the settings window and selecting the audio out setting to “monitor audio”.
AFV
Select ON to enable audio monitoring via the monitor XLR output. Deselect ON to disable all
audio via the monitor XLR output.
DIM
Select DIM to temporarily reduce the monitor audio level without having to adjust the fader.
Select DIM again to return to your preferred listening level.
The monitor volume knob and buttons set
independent audio levels and allow solo
monitoring on the monitor XLR output
Headphones Settings on ATEM Constellation 8K
On ATEM Constellation 8K, the headphones settings are used to adjust the audio mix for the
headphones output. ATEM Constellation 8K features a control panel with talkback controls.
Aheadset can be connected via the 5 pin XLR connector on the front panel for communicating
with camera operators. However, the headset is not just limited to talkback use as you can also
use the headset microphone for doing voice overs and you can use the headset headphones
for program audio monitoring.
These controls for ATEM Constellation 8K are different to ATEM Production Studio switchers
and ATEM Broadcast Studio switchers that have ‘monitor’ XLR outputs. Instead, your
headphones monitor master, talkback and sidetone audio.
54Using ATEM Software Control
Headphones settings on ATEM Constellation 8K let you mix the levels of each monitoring
output. For example, you may want to increase or decrease the level of the talkback audio
against the program audio.
Master
Adjust the master level slider to set the program audio level in the headset and if you
don’t want to listen to program audio, then slide this control fully to the left.
Talkback
The talkback level slider sets the audio level of camera operators who are talking to
you and by setting the master and talkback sliders you can get your preferred balance
of talkback and program audio into your headset.
Sidetone
The sidetone level slider lets you mix your voice from your headset mic into the monitor
output. This is helpful when wearing a headset that supports noise canceling.
Shaping your Audio Mix using Advanced Fairlight Controls
ATEM Constellation 8K has advanced Fairlight audio controls that let you enhance andrefine
the quality of sound on each input and master output, including input level controls, a6 band
parametric equalizer and powerful dynamics settings. This section of the manual shows the
different Fairlight audio controls you can use to shape and optimize the audio mix inyour
liveproduction.
Input Level
Generally, when setting up your audio mix, the first step is to normalize all your inputs. This
means adjusting the input level knob on each input so you can optimize all the levels to their
highest strength without clipping.
This control is at the top of each track under the tally light. Change the level by clicking on the
knob and dragging left to decrease the level, or right to increase. By setting the input control,
itbrings all the inputs up to a common signal strength so they are all at their strongest without
clipping. Then you can start making advanced changes and refinements.
55Using ATEM Software Control
After you have normalized all your input levels, you can now begin optimizing and shaping the
qualities in each audio input using the 6 band parametric equalizer and dynamics controls.’
Using the 6 Band Parametric Equalizer
Each input and the master output, has a 6 band parametric equalizer which can be used to
control specific frequencies. This could include reducing low frequency hum or noise on a
microphone input, or boosting the low frequencies on a thin sounding track, or even to add
uniqueness to each input so they are more distinct in the final mix. You have many
creative options.
Parametric Equalizer
To open the parametric equalizer for an input or the master output, click on the corresponding
equalizer indicator.
Click on an input’s equalizer indicator to
open a 6 band parametric equalizer
The first item you will notice is the graph along the top of the window with numbered indicators
from 1 to 6. These numbered indicators are adjustable handles that correspond to bands 1 to 6.
Each band of the 6 band parametric equalizer has a column of settings. These settings will
differ based on which band you are controlling and what filter type you are using.
Each audio input has its own 6 band parametric equalizer
If you want to make changes to a setting, you will first need to make sure the band is enabled.
Click on a band label to enable it. When enabled, the button label is illuminated blue. Now you
can change the settings for that band, or click and drag the handles to make fast adjustments.
TIP You can learn more about band filters later in this section.
56Using ATEM Software Control
Handles
Each band handle is positioned along the line curve displayed in the graph. You can click and
drag each handle to choose the frequency you wish to adjust for that band and the gain you
want to set. When moving a handle with your mouse, both the frequency and gain settings are
affected simultaneously, which gives you a fast way to make quick adjustments to each band
across the entire range of frequencies.
NOTE To make changes using a handle, ensure the band is enabled. Simply click on
the band you want to adjust. The band label will illuminate blue when enabled.
As you drag a handle left or right, you will notice the frequency and decibels update in the band
settings. This will also be reflected by the frequency range preset buttons for low, medium low,
medium high and high.
Frequency Knobs
Alternatively, you can use the frequency knobs for each band to select a specific frequency
to adjust.
Range Presets
The frequency range for each band is defined by the range preset buttons. For example, low is
labeled ‘L’ and covers the frequency range from 30 to 395 Hz.
As a quick example of how the range presets define the frequency range, select a notch filter
from the band filter dropdown list and then click on each range preset. You will see the filter
effect move to a position along the graph curve that corresponds to the range preset you
choose. This lets you quickly define aspecific range of frequencies you want the filter to affect.
Below is a table showing the range of frequencies for each range preset setting.
Range Preset Frequency Range
Low 30 Hz to 395 Hz
Mid Low 100 Hz to 1.48 kHz
Mid High 450 Hz to 7.91 kHz
High 1.4 kHz to 21.7 kHz
Gain Knobs
Click and drag the gain knob left or right to decrease or increase the volume level for the
selected frequency.
Q Factor
The Q factor control is available when the bell filter is applied to bands 2, 3, 4 and 5. This sets
the range of frequencies the filter will affect. For example, setting the minimum will allow the
filter to affect a wide range of surrounding frequencies and the maximum setting will narrow
theeffect down to a tiny point. This is important if you have sound qualities in surrounding
frequencies that you want to either include or exclude from the change you are making.
As you adjust the Q factor, watch the shape of the effect on the line curve change from a broad,
rounded edge to a sharp point. This is a visual representation showing how the regions of
frequencies surrounding the target frequency are affected.
57Using ATEM Software Control
TIP Compare the audio with changes against the original unaltered audio by clicking
on the bypass button at the very top of the equalizer window. This lets you turn the
equalizer on or off.
Band Filters
There are six different types of band filters you can choose from. These filters include bell,
highshelf, low shelf, notch, high pass and low pass. These filters let you control specific zones
within the frequency range. For example, a low shelf filter lets you increase or decrease the
level of volume for lower frequencies on the graph, and a high shelf filter controls the higher
frequencies.
Try setting a low shelf filter to band 3 and make changes to the gain setting. You will see the
changes are weighted towards the low end frequencies on the graph.
A description for each filter type is provided below.
Bell High Shelf Low Shelf
This filter is used to increase
or decrease a range of
frequencies surrounding
adefined frequency.
Lets you increase or decrease
the level of volume for higher
frequencies along the graph.
Lets you increase or decrease
the level of volume for lower
frequencies along the graph.
Notch High Pass Low Pass
This filter lets you remove,
orcut, a defined frequency.
Smoothly removes extreme
low end frequencies, allowing
the high end frequencies to
pass unaffected.
Smoothly removes extreme
high end frequencies,
allowing the low end
frequencies to pass
unaffected.
TIP It’s not uncommon to have filters on each band overlapping on the graph curve
with adjustments working together. For example, you may have a low shelf filter
applied to band 4 and a notch filter on band 5 reducing a frequency within the
samerange.
Dynamics Controls
In addition to the 6 band parametric equalizer, you can also enhance and finesse the input
andmaster output audio using dynamics controls. Where the equalizer lets you control the
frequencies within a signal, dynamics controls let you set how various levels behave. Levels
within the signal can be adjusted including expanding the dynamic range between low levels
and high levels, gating an input so you can choose what is stronger or softer within a signal,
oryou can even use the compressor and limiter so that audio can be generally lifted and made
stronger without clipping.
58Using ATEM Software Control
Combined with equalizer controls, these features are extremely powerful, giving you the ability
to precisely shape and define the audio to generally optimize the sound of the master output.
This section describes the expander, gate, compressor and limiter controls.
The dynamics controls can be opened for
each input and the master output by clicking
on its corresponding dynamics indicator
Common Dynamics Settings
The expander/gate, compressor and limiter share common settings that let you shape
how each function affects the audio. For example the level at which the function
initiates, how long the function is applied, the strength of the function, etc. The settings
available differ depending on the dynamics control you are using.
Threshold Sets the sound level at which the function activates. For example, setting
the threshold for the compressor to -20dB tells your switcher to activate
compression when the signal rises above -20dB. Alternatively, setting
the expander to -40dB means the switcher will only initiate the expander
once the signal level drops below -40dB.
Range This setting defines the range of decibels affected by the function.
Ratio Defines the maximum strength of the function once initiated.
Attack Sets the smoothness of the function when it initiates. For example,
a long attack will allow the function to fade into the signal, blending in
better without drawing too much attention, whereas a short attack may
be better for complex sound activity with many quick variations where a
longer attack may cause artifacts.
Hold Sustains the dynamics function over an adjustable period of time.
Release Similar to attack but occurs at the end of the function activity.
For example, lets the dynamics function ease out gradually, or fall away
rapidly, once the level moves out of the threshold.
Expander/Gate
The first set of dynamics parameters can be switched between expansion and gating.
Expansion emphasizes differences in volume by lowering the level of soft parts of the signal
relative to the level of louder parts. You can use an expander to emphasize the differences
between quiet and loud parts of a track, or to increase the dynamic range of a signal and
minimize unwanted noise.
59Using ATEM Software Control
Gating is like an exaggerated expander, reducing the level or even silencing parts of a signal
that fall below a certain level in order to reduce or eliminate noise in quiet parts of a recording.
For example, a range of 15 to 20 dB can reduce breathing in a vocal track but leaves just
enough to sound natural.
Gating is extremely effective, but it’s also very powerful so requires careful attention. If the gate
threshold is set too high it can cause artifacts, such as cutting off the start of a syllable or the
quiet end of a word. You can compensate by reducing the threshold slightly, or by increasing
the attack or release time.
Compressor
Compression lets you reduce peaks in an audio signal, reducing the dynamic range of a signal,
so you can boost the overall level without clipping. This is helpful when you want to make sure
the loud elements in a signal don’t diminish the strength of quieter sounds, or to smoothen
changes in audio levels within the signal.
TIP It’s a good idea to apply the compressor after you have set the EQ controls.
Make Up
The make up setting lets you increase the overall signal in combination with compression
settings. With loud parts of the audio reduced using compression, you can now use the make
up control to boost the overall sound without clipping.
Limiter
The limiter prevents peaks of the signal from exceeding a set maximum level. A limiter is helpful
to prevent hard clipping. For example, if you set the limiter to -8 dB, the input signal will never
exceed that level. Adjusting the attack, hold and release settings will set how gentle the limiter
affects the signal.
Dynamics Controls Characteristics
Control Minimum Default Maximum
Expander/Gate
Expander Controls*
Threshold -50dB -45dB** 0dB
Range 0dB 18dB 60dB
Ratio 1.0:1 1.1:1 10:1
Attack 0.5ms 1.4ms 30ms
Hold 0.0ms 0.0ms 4s
Release 50ms 93ms 4s
Gate Controls*
Threshold -50dB -45dB** 0dB
Range 0dB 18dB 60dB
Attack 0.5ms 1.4ms 30ms
Hold 0.0ms 0.0ms 4s
Release 50ms 93ms 4s
60Using ATEM Software Control
Control Minimum Default Maximum
Compressor
Compressor Controls
Threshold -50dB -35dB 0dB
Ratio 1.0:1 2.0:1 10:1
Attack 0.7ms 1.4ms 30ms
Hold 0.0ms 0.0ms 4s
Release 50ms 93ms 4s
Limiter
Limiter Controls
Threshold -50dB -12dB 0dB
Attack 0.7ms 0.7ms 30ms
Hold 0.0ms 0.0ms 4s
Release 50ms 93ms 4s
* Master Dynamics expander/gate controls are unused in Master Dynamics.
** Master Dynamics expander/gate threshold default is -35dB. Mic Dynamics
and XLR Dynamics expander/gate threshold default is -45dB.
Fairlight Controls Workflow Guide
This section describes a basic workflow to help you get started using the Fairlight controls to
refine and enhance your audio mix.
1 Generally, the first step to optimizing your mix is to normalize all the inputs so they are
all at their maximum strength without clipping. This is normally done by increasing or
decreasing the input gain level for each input so their signal peaks just below 0dB on
the channel strip’s level indicator.
2 If you want to split any mono inputs into two separate channels for stereo output, go to
the general switcher settings and navigate to the audio tab. Enable the checkboxes for
the mono inputs you want to change to stereo. Click ‘done’.
TIP If you want to split mono inputs into two separate channels, it’s best to
dothis before normalizing the input as described in step 1, so that you can
normalize both channels after they have been split.
3 Now, click on the EQ indicators below input level controls and make equalization
changes to each input. You can move the windows into a better position, or close them
if needed.
4 After setting EQ, open the dynamics controls for each input by clicking on their
respective dynamics indicator. Make the required dynamics changes to generally
improve and refine the input audio.
5 With EQ and dynamics set for each input, you can now open the EQ controls for the
master output and sweeten the final audio mix.
6 Now open the master output’s dynamics controls and make any required changes to
improve the final output.
61Using ATEM Software Control
Once all the Fairlight controls are set, you can then increase or decrease the faders on the
audio mixer to set them at their best levels for the live mix and make adjustments where
necessary during the production. You can also go back to any of the settings and make further
adjustments if needed, but it’s best to follow the same order as described above to get the best
results from each function. For example, it’s important to set EQ controls before making
dynamics changes as the processing chain in your switcher applies dynamics to the audio
afterequalization.
Most important of all is to apply the effects carefully so your audio still sounds natural but
exciting too!
Navigating the Browse Window on the Media Page
The browse window is a simplified file browser that lets you navigate your computer to look for
graphics files. All attached drives on your computer are displayed and you can select folders
from them. View sub folders by clicking on the arrows next to each folder.
The Preview window will show any selected graphics files.
Browse window
Browsing and loading files
Loading a still is as easy as dragging it from the browse window and dropping it into an empty
slot in the Media Pool. To load a motion clip, you’ll need to load a sequence of still images.
Toselect a sequence, click on the first file in the sequence, scroll down and shift click on the
last file in the sequence. Now the highlighted file sequence can be dragged into any of the two
clip slots in the media pool. You can load audio files to accompany your clip, for example when
playing a stinger transition, by dragging the audio file from the browser and dropping it into the
audio slot next to the clip slot. You can identify the audio slot by its audio icon.
62Using ATEM Software Control
When dropping a still, clip or audio file into a slot, a progress indicator will show the loading
status. You can drop multiple files into the media pool, even if the first images have not yet
completed loading, as they will continue to load one after the other. If a clip or still is dropped
into a window which already has content loaded, the existing content will be replaced.
The ATEM media pool supports PNG, TGA, BMP, GIF, JPEG and TIFF still image formats.
Audiofiles must be WAV, MP3 or AIFF.
ATEM Media Pool
When files have been loaded into the media pool, the still and clip slots will show a thumbnail
image. Clip slots will display the image from the middle of its loaded sequence. Above the clip
slots you’ll see information showing the number of frames in a loaded clip, plus the maximum
number of frames that can be loaded for your selected video format. Stills are marked with a
slot number so you can identify them when assigning a still image to the media player using a
hardware panel.
The file name for each loaded still or clip is displayed underneath the slot so you can keep track
of stills and clips you have loaded. This is very useful, as in the media player palette in the
switcher tab, as well as the Photoshop plug-in, you will see a list of media pool still and clip
numbers as well as the file name.
Numbers are displayed on slots in the media pool to clearly show which slots are assigned to
the relevant media players. When a media player slot is switched to the program output, the
media player number on the slot changes to red to indicate the slot is on air. When a slot is on
the preview output, the media player number changes to green. When using an ATEM switcher
with more than 2 media players, hold the shift button down on your keyboard to reveal the
additional media player buttons on the preview and program rows of the software control panel.
ATEM Media Pool
You can change the media player assignment from the media tab by selecting your desired clip
or still from the ‘media’ dropdown list. Simply click on the arrow in the player ‘media’ list to
select from a list of media pool slots.
You can also assign media players to stills or clips from the hardware based ATEMadvanced
panels, or in some cases from the Photoshop plug-in when downloading stills.
63Using ATEM Software Control
Changing Switcher Settings
Clicking on the switcher settings ‘gear’ icon will open the settings window where you can
change general switcher settings, Multi View, label, HyperDeck and remote settings. These
settings are divided into tabs.
General Settings
Setting the Switcher Video Standard
The video setting is used to select the operating video standard of the ATEM switcher and this
must be set to the same video standard as the video sources you are plugging into the ATEM
switcher. If they don’t match, the inputs won’t appear correctly and will most likely remain black.
A good way to work out the video standard you should use is to check cameras and and then
set the switcher video standard to the same format.
Change switcher settings
Set video standard
64
Using ATEM Software Control
ATEM currently supports the following video standards:
ATEM
Constellation 8K
ATEM
4 M/E Broadcast Studio 4K
ATEM
Production Studio 4K Models
– – 525i59.94 NTSC 4:3
– – 625i50 PAL 4:3
– – 252i59.94 NTSC 16:9
– – 625i50 PAL 16:9
720p50 720p50 720p50
720p59.94 720p59.94 720p59.94
1080i50 1080i50 1080i50
1080i59.94 1080i59.94 1080i59.94
1080p23.98 1080p23.98 1080p23.98
1080p24 1080p24 1080p24
1080p25 1080p25 1080p25
1080p29.97 1080p29.97 1080p29.97
1080p50 1080p50 1080p50
1080p59.94 1080p59.94 1080p59.94
2160p23.98 2160p23.98 2160p23.98
2160p24 2160p24 2160p24
2160p25 2160p25 2160p25
2160p29.97 2160p29.97 2160p29.97
2160p50 2160p50 –
2160p59.94 2160p59.94 –
4320p23.98 – –
4320p24 – –
4320p25 – –
4320p29.97 – –
4320p50 – –
4320p59.94 – –
To set the video standard, select the video standard from the menu and then select the set
button. Any time the video standard is changed, it will erase any frames you have loaded into
the media pool.
Setting the Multi View Video Standard
Use this dropdown menu to select the video standard on ATEM switchers that can support
UltraHD multi view output, such as ATEM 4 M/E Broadcast Studio 4K or ATEM Constellation 8K.
65Using ATEM Software Control
The multi view output on ATEM Constellation 8K supports four 4K Ultra HD or HD outputs or
one 8K output up to 4320p59.94 so you can monitor at higher quality when you connect an 8K
monitor or television. ATEM 4M/E Broadcast Studio 4K supports up to 2160p59.94. If you set
your ATEM to 2160p50 or 2160p59.94 video, the multi view will be automatically displayed
using 2160p25 or 2160p29.97 respectively so you can use a wider range of Ultra HD
televisions. However if you want to use a standard HD television, then you can also set the multi
view outputs to be down converted to HD for even greater monitor compatibility.
For example if your ATEM is selected to run at 2160p59.94 then the multi view will output at
2160p29.97 when the multi view setting is selected to Ultra HD, or you can choose to output
1080i59.94, 1080p29.97 or 1080p59.94 when the multi view output is selected to regular HD.
Set Multi View video standard
For all other switcher models the multi view output is always HD even when running in standard
definition so you can see all your sources in higher resolution. When switching Ultra HD video
at 59.94 or 50 frames per second, the multi view will display HD video at 29.97 or 25 frames
per second respectively.
Setting the Down Converter Outputs
When running ATEM Production Studio 4K models in Ultra HD, the HD-SDI program output
always outputs down converted high definition 1080i video for connection to HD-SDI
equipment. High definition or standard definition video inputs are always output as HD or
SDvideo respectively.
ATEM 4 M/E Broadcast Studio 4K has 1 down converted program output that will
defaultto1080p29.97 when switching Ultra HD video at 2160p59.94, or 1080p25
whenswitching 2160p50.
When running the ATEM 1 M/E and 2 M/E production switchers in high definition, the HD signal
is permanently down converted to SD via SDI and composite video outputs for connection to
older devices. 720p50 and 1080i50 down converts to 625i50 PAL. 720p59.94 and 1080i59.94
down converts to 525i59.94 NTSC.
Down conversion provides the following aspect ratios:
Center Cut Crop left and right side making a 4:3 image.
Letterbox Scales the video down with black bars to top and bottom.
Anamorphic
Horizontal scale (squeeze) to make 16:9 image fit 4:3. Requires an anamorphic or
16:9 monitor or television to correct the aspect ratio.
Setting the down converter standard
66Using ATEM Software Control
Set 3G SDI Output Level
If you’re outputting HD video to equipment with 3G-SDI inputs, you may need to toggle
between level A and B 3G-SDI output standards to maintain compatibility with equipment that
can only accept level A or B 3G-SDI video. Level B is the default setting that works with most
equipment, but you can switch to Level A by clicking the ‘level A’ radio button.
Setting 3G-SDI Output Level
Setting the Audio Output Behavior
The ‘audio’ tab lets you control the audio monitoring settings, such as selecting the program
audio or monitor audio via the XLR outputs. Instead of XLR monitor outputs on
ATEMConstellation 8K, you can use the MADI out BNC connectors.
Program audio is the same audio that the audio mixer sends to the SDI and HDMI program
outputs. Monitor settings and solo monitoring are disabled in the audio mixer when program
audio is selected.
Monitor audio allows you to listen to the program audio mix of all inputs, or just a solo input,
atyour preferred volume level and without affecting the audio on the program output. You can
monitor the solo audio source even if it is not on air.
These monitor settings are only available to the audio mixer when monitor audio is selected for
the audio out setting in the settings window.
Set the audio output behavior
SDI Audio Channels 15 and 16
You may want to loop one of your ATEM’s outputs to an input to achieve a desired effect.
Insome cases this can cause a feedback loop in SDI audio channels 15 and 16. If this occurs,
you can mute SDI channels 15 and 16 by clicking the ‘mute’ checkbox in the audio options
located in the general switcher settings.
Talkback on ATEM Constellation 8K is embedded in SDI channel 13, 14, 15 and 16.
If you’re using Blackmagic Design products for talkback, such as ATEM Talkback Converter 4K
and ATEM Camera Converters, muting SDI channels 15 and 16 from your switcher will not affect
talkback functionality.
Mix Minus Settings
The mix minus settings on SDI outputs let you mute the audio from their return program feed.
For example, when doing live crosses there can be a delay in the audio which may be
distracting when the presenter can hear his or her own voice delayed on the program return
feed. Enabling mix minus for an input will output all program audio in the mix, minus that
particular input.
67Using ATEM Software Control
TRS Inputs
If you are plugging in an audio source via RCA using an RCA to TRS adapter, then you can
change the input level on the TRS input from TRS to RCA. This boosts the signal at the input to
compensate for the lower output levels from equipment using RCA connectors, for example
HiFi audio equipment.
Split Audio
On ATEM Constellation 8K you can split a mono input signal into two separate mono channels.
Thisis helpful for mixing a mono input into both channels on the stereo master output.
Click on the desired input checkbox to split the channels for that input.
Adjusting the Media Pool Clip Length
For models that support media clips, the media pool features two clips that share the same
poolof memory. ATEM Constellation 8K can store two 8K clips and four HD or Ultra HD clips.
Bydefault, each clip receives equal amounts of the available memory which determines the
maximum number of frames. If you need a clip to be longer, adjust the balance of frames.
It’sworth remembering that lengthening one clip will shorten the other.
Setting the Media Pool Clip Length
Clip Length Table
ATEM Switcher Video Format Clip Length
ATEM Constellation 8K
720p 3200 frames
1080i, 1080p 1600 frames
2160p 400 frames
4320p 100 frames
ATEM 4 M/E Broadcast Studio 4K
720p 3200 frames
1080i, 1080p 1440 frames
2160p 360 frames
ATEM 1 M/E and 2 M/E Production Studio 4K
SD 900 frames
720p 360 frames
1080i 180 frames
Camera Control Auxiliary Output
If your switcher features auxiliary outputs, you can select which one will monitor the
ATEMCamera Control output. Set your desired aux output by opening ‘settings’, then selecting
from the ‘auxiliary for camera control output’ drop down menu. Auxiliary output buttons can also
be renamed in settings by adjusting the input labels. With ATEM Constellation 8K, you can
select any SDI output for camera control.
You can output the camera control via any of your switcher’s auxiliary outputs.
68Using ATEM Software Control
Multi View Settings
The multi view settings allow you to set the multi view orientation. The 8 smaller windows are
fully routable so you can monitor any switcher source. By default, external inputs 1 - 8 are routed
to multi view source windows 1 to 8, but click the menus to select what sources are viewed on
each window!
ATEM Constellation 8K has one 8K multi view, or four multi view outputs in HD or UltraHD.
The8K multi view lets you choose configurations of 4, 7, 10, 13 or 16 views. You also have the
option of replacing both of the large preview and program views with an extra 8 small and fully
routable views to create a 16 view layout.
If you are using ATEM 6.9 or newer, you can swap the position of the multi view preview and
program views by clicking on the toggle button located between them.
The multi view settings also include the option to turn the safe area indicators inside the views
on or off. Simply click on the safe area icon in the preview window.
Audio meters can be turned on or off for all the switcher sources and program view by enabling
the ‘All On’ button in the multi view settings, or you can turn them on or off individually by
clicking the audio meter icon in each view.
The multi view also includes a tally feature, so if any of the sources in the multi view are used in
a layer on the program or preview outputs, they will be highlighted red or green. A white border
means your source is not currently on the preview output, or on air on the program output.
Ared border indicates the source is used on the program output and a green border indicates
a source is selected on the preview output.
The preview window on the multi view output features safe area markers so you can make
sure your program will look great on any monitor. In HD, the outer border represents the 16:9
graphics safe area and the inner border represents the 4:3 graphics safe area. In SD, the single
border represents the action safe area. You can also change the orientation of the multi view
windows by selecting one of four different layouts using the icons at the bottom of the multi
view settings window.
Customizing the Multi View
69Using ATEM Software Control
Multi View layout options for ATEM Constellation 8K.
Labels Settings
The video input settings are used to select the inputs and change labels. Depending on your
ATEM switcher model, some video inputs can select between different video sources, such as
HDMI or SDI. You can identify switchable connections on the rear of the switcher because all
inputs are numbered and any inputs that can switch will have the same input number on
their label.
Label settings
For example, ATEM 1 M/E Production Studio 4K shares the Input 1 setting between an HDMI and
SDI connector, which are both labelled Input 1 on the back panel. In the ‘video inputs’ window,
click input 1 to select between HDMI and SDI.
70Using ATEM Software Control
Inputs can have customized labels and these labels appear on ATEM advanced panels and on
the multi view. Long and short labels need to be entered.
A short 4 character name is used to identify the video input on the source names display of the
software control panel. The longer names support up to 20 characters and are displayed in
various dropdown source selection boxes on the software control panel, the multi view
windows on screen labels and on the advanced panel.
To change an input name, click in the text field, enter the text and select set. The input name
will be updated on the multi view, software control panel and advanced panel if one is
connected. It’s a very good idea to change both the short and long labels at the same time,
sothey match. For example Camera 1 would be entered in as a long label and CAM1 as the
short label.
HyperDeck Settings
HyperDeck settings
Connect up to 4 Blackmagic HyperDeck Studio disk recorders and control them using ATEM
Software Control. When connecting HyperDecks, use these settings to configure the IP
Address, select the inputs your HyperDecks are connected to, turnthe auto roll feature for each
deck on or off and set their frame offset settings so they can switch cleanly.
Status indicators appear above and below each deck so you can see if they are successfully
connected and if their remote buttons are active.
For detailed information on setting up Blackmagic HyperDecks with your ATEM switcher and
setting the ‘HyperDeck’ configuration settings, refer to the ‘HyperDeck Control’ section of
this manual.
Remote Settings
If your switcher has an RS-422 port, you can select how it is used with the ‘remote’ checkbox.
The options are disabled, VISCA and GVG, where GVG sets it to use GVG100, a common
legacy interface for communicating with equipment such as linear editing suites.
71Using ATEM Software Control
Set the RS-422 remote port to disabled, VISCA and GVG
Controlling Auxiliary Outputs
Auxiliary outputs are separate SDI outputs on some ATEM switcher models that can have
various inputs and internal sources routed to them. They are very similar to router outputs and
all video inputs, color generators, media players, program, preview and even color bars can be
output. MostATEM models provide for 1 - 6 auxiliary outputs.
TIP On ATEM Constellation 8K, dedicated auxiliary outputs are not required as any
source can be routed to any output.
Auxiliary Outputs Control Menus on Mac
Routing Auxiliary Outputs
Each aux output has a menu for selecting the source to output on the aux video output.
Simplyselect the menu, then scroll the list for the source you want to output. When selected,
the output on the selected aux will change immediately. You can see the current source with a
tick in the menu item. ATEMConstellation 8K has general purpose outputs instead of dedicated
aux outputs, so ATEMSoftware Control provides an ‘outputs’ menu. This lets you select from
24HD or Ultra HD outputs or six 8K outputs and then select the source you want routed to
that output.
There is a range of sources available, including black, all video inputs, color bars, media players
fill and media player key outputs, program, preview and clean feeds.
More information about Auxiliary outputs and how to use them is explained in the Using
Auxiliary Outputs section. Aux outputs are extremely powerful and allow many exciting
possibilities like alternative switcher outputs, or they are very commonly used for driving video
projectors and video walls on stage during concerts and live performances. Most modern live
performances have complex multi media aspects to them and the aux outputs are designed to
allow you to control all these displays from your ATEM!
Program/Preview and A/B Direct Transition Control
When you first receive your ATEM switcher, it will be set to program/preview switching which is
the current standard for an M/E switcher. You can change this preference to A/B Direct if you
wish to use older style A/B switching. You’ll find the ‘transition control’ options in the
preferences window of ATEM Software Control.
72Using ATEM Software Control
Saving and Restoring Switcher Settings
ATEM Software Control lets you save and restore either specific settings, or all of the switcher
settings you have created. This powerful feature is incredibly time saving on live productions
where regular settings are used. For example, you can immediately restore saved camera
settings, lower third graphics and detailed key setups from a laptop or USB drive.
Saving settings menu.
Saving your Settings
1 Go to the menu bar in ATEM Software Control and select File>Save As.
2 A window will open asking for a file name and destination folder. After you have made
your selection, click Save.
3 You’ll now see the Save Switcher State panel containing checkboxes for all the
available settings on each block of your ATEM switcher. The Select All checkbox
is enabled by default. If you save with Select All enabled, ATEM Software Control
savesyour entire switcher settings. If you want to choose specific settings to save,
you can deselect settings individually, or to remove all settings click Select All once to
deselectthem. Now you can select specific settings you want to save.
4 Click Save.
ATEM Software Control saves your settings as an XML file together with a folder for
ATEMMedia Pool contents.
After you have saved your settings you can quick save at any time by selecting File>Save, or by
pressing Command S for Mac, or Ctrl S for Windows. Doing so will not overwrite your previous
save, but will add a new XML file to your destination folder which is clearly identified with a time
and date stamp. This means you can always restore a previous save if necessary.
With ATEM Software Control you can save and restore all your switcher settings for your
liveproduction, including key settings, transition styles, media pool contents and more
73Using ATEM Software Control
Restoring your Settings
1 Go to the menu bar in ATEM Software Control and select File>Restore.
2 A window will ask for the file you want to open. Select your save file and click Open.
3 You’ll now see a window containing active checkboxes for your saved settings on
each block of your ATEM switcher. Leave Select All enabled to restore all your saved
settings, or select only the checkboxes for the settings you want to restore.
4 Click Restore.
If your switcher settings are saved on a laptop, it’s easy to take all your settings with you on
location. Connect your laptop to any ATEM switcher and quickly restore your switcher settings.
Live production can be a busy and exciting time and you’re always working in the moment,
which means you can easily forget to back up your saved files when the production is over.
Ifyou have settings you want to keep, save them to your computer and an external drive,
suchas a USB drive. This means you can carry your settings with you and have a back up in
case your settings are accidentally deleted on your computer.
Saving your Startup State
If you have your switcher set up the way you want it, you can easily save your entire switcher
state as your default startup state. Go to the ‘file’ menu in ATEM Software Control and select
‘save startup state’. Now whenever you restart your switcher, it will start up with your saved
settings by default. If you want to clear the startup state and revert to the factory settings on
restart, go to the ‘file’ menu and select ‘clear startup state’.
Saving your switcher settings on a laptop gives you the portability to restore your settings on any
ATEM switcher. Saving to a USB drive means you can even carry your settings in your pocket.
74
Using ATEM Software Control
Using Camera Control
Clicking on the ‘camera’ button in ATEM Software Control opens the camera control feature that
lets you control Blackmagic Studio Cameras, Micro Studio Cameras, URSA Mini or URSA
Broadcast from your ATEM switcher. Blackmagic camera settings such as iris, gain, focus, detail
and zoom control are easily adjusted using compatible lenses, plus you can color balance
cameras and create unique looks using the DaVinci Resolve primary color corrector that’s built
into the camera.
When controlling cameras, the ATEM switcher control works by broadcasting camera control
packets via all the non down converted SDI outputs of your ATEM switcher. So this means you
can connect an SDI output of your ATEM switcher to the camera’s video inputs and the camera
will detect the control packets in the SDI link and allow you to control features in the camera
itself. You can control cameras via both regular SDI or optical fiber SDI connections when an
optional SFP module is installed in a Blackmagic Studio Camera.
ATEM Camera Control.
Connecting via SDI
1 Connect your Blackmagic camera’s SDI output to any SDI input on your ATEM switcher.
2 Connect any one of your ATEM switcher’s SDI outputs, except down converted or multi
view outputs, to your camera’s program SDI input. Camera control signals are not sent
via the multi view and down converted SDI outputs.
3 In your camera’s settings, set the camera ID number to match your switcher input.
Forexample, if studio camera 1 is connected to ‘cam 1’ on your ATEM switcher, the
camera number in your camera settings must also be set to 1. This ensures tally is sent
to the correct camera.
Connect a Blackmagic Studio Camera to any of your ATEM switcher’s SDI inputs.
75Using Camera Control
Connecting via Optical Fiber
1 Connect the Blackmagic Camera’s optical out/in to the optical out/in on an ATEM
Studio Converter or Talkback Converter 4K. You’ll need to have SMPTE compatible
optical fiber SFP modules installed in your Studio Camera and ATEM converter to
connect via optical fiber.
2 Connect a suitable SDI out from your ATEM converter to any SDI input on your
ATEM switcher.
3 Connect any one of your ATEM switcher’s SDI outputs, except down converted or multi
view outputs to your ATEM Converter’s ‘SDI in’. Camera control signals are not sent via
the multi view and down converted SDI outputs.
4 On the Blackmagic camera, open the LCD menu and set the camera number to to
match your switcher input. For example, if studio camera 1 is connected to ‘cam 1’ on
your 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 your switcher’s button mapping to make sure
you are switching the right camera with correct tally. With a video connection from your switcher
to a Blackmagic camera, you can also get the advantage of live tally indicators, as well as the
camera operators being able to view the program feed of your switcher by pressing the
camera’s ‘pgm’ button.
Connect multiple Blackmagic Studio Cameras via optical fiber using anATEM Studio Converter. You’ll
need to have an optional SFP module installed in your Studio Camera to connect via optical fiber.
Camera Control Panel
Launch ATEM Software Control and click on the ‘camera’ button located at the bottom of the
software window. You’ll see a row of labeled Blackmagic camera controllers containing tools to
adjust and refine each camera’s image. The controllers are easy to use. Simply click the buttons
using your mouse, or click and drag to adjust.
Camera Control Selection
The button row at the top of the camera control page lets you select the camera number you
would like to control. If you have more cameras that fit onto the window size, or you are running
the color corrector window, then you can use these buttons to select between which camera
you would like to control. If you are using an Aux output for monitoring your camera control,
pushing these buttons to change the camera to control will also send that camera’s video
output to the Aux output setup in the switcher preferences.
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.
76Using Camera Control
Camera Settings
The camera settings button near the bottom left of the master wheel lets you turn on the color
bars feature in Blackmagic Studio Cameras, Micro Studio Cameras and URSA mini, plus adjust
detail settings for each camera’s picture signal.
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.
Show/Hide Color Bars
Blackmagic cameras have a color bars feature built in which you can turn on or off by
selecting ‘show’ or ‘hide’ color bars. This feature can be very useful for visually identifying
individual cameras while setting up for your live production. Color bars also provide an
audio tone so you can easily check and set the audio levels from each camera.
Detail
Use this setting to sharpen the image from your cameras live. Decrease or increase the
level of sharpening by selecting: Detail off, detail default for low sharpening, medium
detail and high detail.
Color Wheel
The color wheel is a powerful feature of the DaVinci Resolve color corrector and used
to make color adjustments to each YRGB channel’s lift, gamma and gain settings.
Youcan 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 bottom 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 bottom 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,
orall cameras at once for a unified look. Iris, focus, coarse and pedestal settings are
not affected by the Paste feature. When applying Paste to all, a warning message will
appear asking you to confirm your action. This is so you don’t accidentally paste new
settings to any unlocked cameras that are currently on air.
When applying ‘paste to all’, a warning message will appear asking
you to confirm your action. This is so you don’t accidentally paste
new settings to any unlocked cameras that are currently on air.
77
Using Camera Control
Iris/Pedestal Control
The iris/pedestal control is located within the cross hairs of each camera controller.
Thecontrol illuminates red when its camera is on air.
To open or close the iris, drag the control up or down. Holding the shift key allows only
iris adjustments.
To darken or lift the pedestal, drag the control left or right. Holding the command key
on a Mac, or the Control key on Windows, allows only pedestal adjustments.
The iris/pedestal control illuminates red
when its respective camera is on air.
Zoom Control
When using compatible lenses with an electronic zoom feature, you can zoom your lens
in and out using the Zoom control. The controller works just like the zoom rocker on a
lens, with telephoto on one end and wide angle on the other. Click on the zoom control,
located above the Coarse slider and drag up to zoom in, or drag down to zoom out.
Coarse Setting
The coarse setting is located to the right of the iris/pedestal control and is used to limit
the iris range. This feature helps you prevent over exposed images from going to air.
To set your coarse threshold, completely open the iris using the iris control, then drag
the coarse setting up or down to set optimum exposure. Now when you adjust the iris,
the coarse threshold will prevent it from going above optimum exposure.
Iris Indicator
The iris indicator is located to the left of the iris/pedestal control and displays a visual
reference so you can easily see how open or closed the lens aperture is. The iris
indicator is affected by the coarse setting.
Auto Focus Button
The auto focus button is located at the bottom right corner of each camera controller.
Press to automatically set the focus when you have an active lens that supports
electronic focus adjustments. It’s important to know that while most lenses support
electronic focus, some lenses can be set to manual or auto focus modes and so you
need to ensure your lens is set to auto focus mode. Sometimes this is set by sliding the
focus ring on the lens forward or backward.
78Using Camera Control
Click on the auto focus button or drag the manual focus
adjustment left or right to focus a compatible lens.
Manual Focus Adjustment
When you want to adjust the focus on your camera manually, you can use the focus
adjustment located at the bottom of each camera controller. Drag the wheel control
left or right to manually adjust focus while viewing the video feed from the camera to
ensure your image is nice and sharp.
Camera Gain
The camera gain setting allows you to turn on additional gain in the camera. This is
important when you are operating in low light conditions and need extra gain in the
front end of the camera to avoid your images being under exposed. You can decrease
or increase gain by clicking on the left or right arrows on the dB gain setting.
You can turn on some gain when you need it, such as outdoor shoots when the light
fades at sunset and you need to increase your image brightness. It’s worth noting that
adding gain will increase noise in your images.
Shutter Speed Control
The shutter speed control is located in the section between the color wheel and the
iris/pedestal control. Decrease or increase the shutter speed by hovering your mouse
pointer over the shutter speed indicator and then clicking on the left or right arrows.
If you see flicker in lights you can decrease your shutter speed to eliminate it.
Decreasing shutter speed is a good way to brighten your images without using camera
gain because you are increasing the exposure time of the image sensor. 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.
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.
Hovering your mouse pointer over the gain, shutter
speed and white balance indicators reveal arrows you
can click on to adjust their respective settings.
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Using Camera Control
DaVinci Resolve Primary Color Corrector
If you have a color correction background, then you can change your camera control from a
switcher style CCU interface to a user interface that’s more like a primary color corrector on a
post production color grading system.
Blackmagic cameras feature a DaVinci Resolve primary color corrector built in. If you have used
DaVinci Resolve, then creatively, grading in the Blackmagic camera will be identical so you can
use your color grading experience for live production. The color corrector panel can be
expanded out of any camera controller and provides expanded color correction control with
extra settings and a full primary color corrector interface.
Click on the DaVinci Resolve primary color corrector button to expand
the color correction window and adjust settings.
You have color wheels and settings such as saturation available and you can see shadows,
midtones and highlight settings all at the same time. Simply switch between cameras using the
camera selection controls at the top of the window as you need.
Lift, gamma and gain color wheels in the color corrector panel.
Color Wheels
Click and drag anywhere within the color ring
Note that you don’t need to drag the color balance indicator itself. As the color balance
indicator moves, the RGB parameters underneath change to reflect the adjustments being made to
each channel.
Shift-Click and drag withinthe color ring
Jumps the color balance indicator to the absolute position of the pointer, letting you make faster and
more extreme adjustments.
80Using Camera Control
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 masterwheel.
Master Wheels
Use the master wheels below the color wheels to adjust each YRGB channels’ lift, gamma and
gain controls.
Adjust the master wheels by dragging
the wheel control left or right.
To make adjustments using the master wheel:
Drag the master wheel left or right
Dragging to the left darkens the selected parameter of the image, dragging to the right lightens
that parameter. As you make an adjustment, the YRGB parameters underneath change to reflect the
adjustment you’re making. To make a Y-only adjustment, hold down the ALT or Command key and
drag left or right. Because the color corrector uses YRGB processing, you can get quite creative and
create unique affects by adjusting the Y channel only. 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%.
Saturation Setting
The Saturation setting increases or decreases the amount of color in the image. The default
setting is 50%.
Hue Setting
The Hue setting rotates all hues of the image around the full perimeter of the color wheel.
Thedefault 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.
81Using Camera Control
Lum Mix Setting
The color corrector built into Blackmagic cameras is based on the DaVinci Resolve primary
color corrector. DaVinci has been building color correctors since the early 1980’s and most
Hollywood films are color graded on DaVinci Resolve than any other method.
This means that your color corrector built into the camera has some unique and creatively
powerful features. The YRGB processing is one of those features.
When color grading, you can choose to use RGB processing, or YRGB processing. High end
colorists use YRGB processing because you have more precise control over color and you can
independently adjust the channels with better separation and more creative options.
When the Lum Mix control is set to the right side, you have the 100% output of the YRGB color
corrector. When you have the Lum Mix control set to the left side, you get 100% output of the
RGB corrector. You can set the Lum Mix to any position between the left and right to get a blend
of output from both the RGB and YRGB correctors.
Which is the correct setting to use? That’s up to you, as color correction is a pure creative
process and there is no right and wrong. The best setting is what you like the most and what
you think looks good!
Drag the sliders left or right to adjust Contrast,
Saturation, Hue and Lum Mix settings.
Synchronizing Settings
When connected, camera control signals are sent from your ATEM switcher to the Blackmagic
camera. If a setting is accidentally adjusted from your camera, camera control will automatically
reset that setting to maintain synchronization.
Using a DaVinci Resolve Micro Panel
The DaVinci Resolve primary color corrector in each camera controller can be controlled using
a DaVinci Resolve Micro panel. This lets you make fast and precise color adjustments using a
hardware control panel.
TIP For the DaVinci Resolve Micro Panel to communicate with your ATEM switcher,
make sure you have installed DaVinci Resolve 12.5.5 or later and ATEM switchers 7.1
or later.
To set up a DaVinci Resolve Micro Panel with your ATEM switcher
1 Connect the DaVinci Resolve Micro Panel to your computer via USB-C and launch
ATEM Software Control.
2 Click on the ‘camera’ tab and select a camera by clicking anywhere in the desired
camera controller.
3 On the DaVinci Resolve Micro Panel, rotate the trackballs and turn the knobs to adjust
the corresponding controls in the primary color corrector.
82Using Camera Control
Making Color Correction Adjustments
The DaVinci Resolve Micro panel is primarily designed for use with DaVinci Resolve software,
but you can also use it to make adjustments in the color corrector panel of ATEM Software
Control in the following way:
The Trackballs
The three trackballs control the lift, gamma and gain color wheels in the color corrector panel.
The ring surrounding each trackball adjusts the corresponding master wheels beneath the
color wheels.
DaVinci Resolve Micro Panel
Control Knobs
As you change settings with the hardware panel, you will see the corresponding settings on the
software panel change as well. Use the following control knobs to make adjustments.
Y Lift Allows you to modify image contrast via a Y-only adjustment for the black level.
Y Gamma Allows you to modify image contrast via a Y-only adjustment for gamma.
Y Gain Allows you to modify image contrast via a Y-only adjustment for highlights.
Contrast Rotate clockwise to increase contrast and counterclockwise to reduce contrast.
Highlights
The ‘highlights’ knob controls the iris on your selected camera. Rotate the knob
clockwise to open the iris and counterclockwise to close.
Saturation Rotate clockwise or counterclockwise to increase or decrease color saturation.
Hue
Adjust the hue along the hue distribution as seen on a color wheel by rotating the
‘hue’knob clockwise or counterclockwise.
Lum Mix
Rotate clockwise or counterclockwise to set the output blend between the RGB
and YRGB correctors.
Control Buttons
Left Arrow Select the previous camera number
Right Arrow Select the next camera number
For more information on how each control affects the image, refer to the details provided earlier
in this section.
83Using Camera Control
HyperDeck Control
Introducing HyperDeck Control
If you are running ATEM Switchers software 6.8 or newer, you can connect up to 4 Blackmagic
HyperDeck Studio disk recorders to your switcher and control them using the HyperDecks
palette in ATEM Software Control, or from the system control buttons on an ATEM advanced
panel. This is a very powerful feature! With four HyperDecks connected to your switcher, it’s like
having a portable videotape department able to record outputs from your switcher, play back
graphics, or you can even set your switcher to roll prerecorded segments at the press
of a button!
Transport controls are located in the HyperDecks palette in ATEM Software Control, or in the
system control menu on an ATEM advanced panel, which lets you play back video, jog and
shuttle, skip clips, pause and more. You can also record video.
When you combine this feature with ATEM’s powerful macros feature, it opens up a world of
creative possibilities that can really enhance your live production!
HyperDeck Extreme 8K HDR and HyperDeck Extreme Control
Connecting HyperDecks
Connecting Blackmagic HyperDecks to your switcher is very similar to connecting cameras and
other video sources via your switcher’s SDI or HDMI inputs. The only additional connection is
Ethernet which lets your ATEM switcher communicate with the HyperDeck disk recorder.
1 Using the Ethernet connector, connect your HyperDeck disk recorder to the same
network your ATEM switcher is connected to.
2 Press the remote button marked ‘REM’ on the HyperDeck’s control panel. The ‘REM’
button will illuminate which means the HyperDeck has remote control enabled.
If you are using a HyperDeck Studio Mini, turn remote on via the settings tab on
the LCD menu.
3 Plug the SDI or HDMI output of your HyperDeck into the SDI inputs of your
ATEM switcher, or the HDMI inputs if available. If you are using quad link SDI,
it’s important to connect each input and output in the correct order.
4 If you want to record your ATEM switcher’s program output with your HyperDeck,
plugone of the switcher’s SDI auxiliary outputs into the SDI input of your HyperDeck.
With ATEM Constellation 8K, you can connect any SDI output to the SDI input of your
HyperDeck.
5 Repeat the process for each HyperDeck you want to connect.
84HyperDeck Control
Plugging the 8K quad link SDI output of a Hyperdeck Extreme 8K HDR
into the SDI input of an ATEM Constellation 8K.
Now all you have to do is tell your ATEM software or ATEM hardware panel which input and
IPaddress each HyperDeck is using. You can do this in the HyperDeck tab in ATEMSoftware
Control switcher settings, or using the system control soft buttons on an ATEMadvanced panel.
HyperDeck Settings
HyperDeck connection settings are located in the ‘HyperDeck’ tab of the ATEM Software
Control switcher settings. Here you’ll see setup options for up to four HyperDecks.
Entering the necessary details is as easy as typing in your HyperDeck’s IP address in the
‘IPAddress’ box and choosing the source it’s plugged into from the ‘input’ dropdown menu.
Click ‘connect’ and your HyperDeck is ready to be controlled.
Status indicators appear above and below each HyperDeck icon to let you know the
connection status. A green tick means your HyperDeck is connected, in remote and
ready to go.
If your HyperDeck is connected and recognized, but does not have its remote button enabled,
you will see an indicator letting you know remote is not active.
If your HyperDeck is not recognized, you will see a ‘failed to connect’ indicator. If you see this
indicator, check the HyperDeck’s Ethernet port is connected to your network and the
IPaddress is entered correctly.
85HyperDeck Control
Auto Roll
You can set a HyperDeck disk recorder to automatically roll video when it is switched to the
program output. For example, you can cue a HyperDeck to the point you want your source to
begin, then roll the source by pressing its input button on the mix effects program row.
As HyperDecks must buffer a couple of frames before commencing playback, the actual cut
will be delayed a preset number of frames to ensure a clean transition. This is just like setting a
preroll on a videotape machine. You can adjust the length of this delay by changing the number
in the ‘offset’ box. We’ve found that five frames usually ensures a clean cut.
If you want to cue to a still frame of video or manually trigger video playback on your
HyperDeck, you can also deselect the ‘auto roll’ feature.
Controlling HyperDecks with ATEM Software Control
To control the HyperDecks connected to your switcher, click the ‘media players’ tab in the
software control panel and choose the ‘HyperDecks’ palette.
Here you can choose between each of the HyperDecks connected to your system by clicking
one of the four buttons along the top of the panel. These are named according to the labels
entered in ATEM settings. Available HyperDecks are shown with white text, while the
HyperDeck you are currently controlling is shown in orange.
Choose from up to four HyperDecks by clicking their
selection buttons in the HyperDecks palette.
In addition to the text color, each HyperDeck’s selection button also has a tally indicator.
Green Outline Indicates a HyperDeck that is currently switched to the preview output.
Red Outline Indicates a HyperDeck that is currently switched to the program output, meaning
it is currently live to air. You may also see one of the following status indicators
above the selection buttons for your HyperDecks.
86HyperDeck Control
Ready HyperDeck is set to remote and a disk is inserted. It is ready for playback and
recording if space is available.
Record HyperDeck is currently recording.
No Disk HyperDeck has no disk inserted.
Local HyperDeck is not set to ‘remote’ and cannot currently be controlled by your
ATEM switcher.
When you select a HyperDeck, you’ll see information about the currently selected clip such
as the name and length, as well as time elapsed and time remaining. Below this you’ll see the
control buttons.
Record
Click on this button to start recording on your HyperDeck. Click again
to stop recording.
Previous Clip
Moves to the previous clip in your HyperDeck’s media list.
Play
Clicking ‘play’ once initiates playback, clicking it again stops playback. If you
have ‘auto roll’ enabled in your HyperDeck settings, playback will commence
automatically when your HyperDeck is switched to the program output.
Next Clip
Moves to the next clip in your HyperDeck’s media list.
Loop
Click ‘loop’ once to loop the currently selected clip and again to loop all of the
clips in your HyperDeck’s media list.
To move through a clip use the shuttle/jog slider underneath your HyperDeck’s control buttons.
This lets you move quickly, or shuttle through a selected clip, or jog frame by frame. You can
switch between these modes with the buttons next to the shuttle/jog slider.
Choose between shuttle and jog transport controls with the
buttons to the left of the transport slider. Adjust the slider left
and right to move forward or backwards through your clip.
The clip list below the transport control shows all of the clips currently available on the selected
HyperDeck. You can expand or collapse the list by pressing the arrow to the right of the clip list.
Playback
Playing media on your Hyperdeck is easy. Switch your HyperDeck to the preview output and
select the clip you want to show. Use the transport controls to cue to the preferred point in your
clip. When you switch your HyperDeck to program output, the ‘auto roll’ feature will
automatically start playback from this point.
87HyperDeck Control
If you want to manually trigger the playback, for example holding on a still frame then rolling,
disable the respective HyperDeck’s auto roll checkbox in the ’HyperDeck’ tab in ATEM
software’s ‘settings’ menu.
Recording
To record to a HyperDeck with a formatted disk inserted, press the ‘record’ button in the
HyperDeck palette transport controls. The ‘time remaining’ indicator in the HyperDeck palette
will let you know the approximate recording time remaining in the SSD.
Controlling HyperDecks with ATEM Advanced Panels
If you are using an ATEM advanced panel, you can control any connected HyperDecks using
the hardware panel. Once you have connected your HyperDecks to your switcher as described
in the ‘connecting HyperDecks’ section, you can use the system control buttons and LED menu
on your panel to set up and control each HyperDeck.
HyperDeck Setup with ATEM Advanced Panel
Once you have connected your HyperDeck to your switcher, as detailed in the ‘connecting
HyperDecks’ section, use ATEM Advanced Panel’s system control and LCD soft buttons to
setup and control your HyperDecks.
To begin, press the system control ‘settings’ button.
You’ll notice that ATEM Advanced Panels display four setup options along the top of the LCD
screen. These include ‘switcher,’ ‘panel,’ ‘HyperDecks,’ and ‘button mapping.’ Each corresponds
to a setup menu. Press the LCD soft button above ‘HyperDecks’ to enter the ‘HyperDeck
settings’ menu.
The HyperDeck settings menu has three pages on ATEM 1 M/E Advanced Panel and four pages
on ATEM 2 M/E and 4 M/E Advanced Panels. Navigate between the pages by using the ‘left’
and ‘right’ arrow buttons in the system control panel, or by pressing the ‘1’, ‘2’, ‘3’ and ‘4’ buttons
on your ATEM Advanced Panel’s numerical keypad.
Assigning an input to a HyperDeck
In the first menu page, you’ll see the ‘HyperDeck’ indicator in the bottom left corner and an
‘input’ indicator.
Use the control knob under the ‘HyperDeck’ indicator to cycle through the available
HyperDecks.
88HyperDeck Control
Once you have selected a HyperDeck, rotate the knob under the ‘input’ indicator to select
which input that HyperDeck is connected to on your switcher. For example, if HyperDeck 1 is
connected to SDI In 4 on your switcher, rotate the knob under the ‘input’ indicator to select
‘camera 4.’ Press the ‘input’ knob to confirm your selection.
Repeat this process for any additional HyperDecks you have connected to your switcher by
assigning inputs to HyperDeck slots 1, 2, 3 and 4, if required.
Assigning an IP Address
Once you’ve assigned an input to a HyperDeck, you’ll need to enter its IP address. This allows
ATEM Advanced Panel to control the HyperDeck via Ethernet.
To enter a HyperDeck’s IP address, navigate to the third HyperDeck settings page with the ‘left’
or ‘right’ arrow buttons, or pressing ‘3’ on the numeric keypad while in the HyperDeck
settings menu.
In this page, you’ll see an IP address for the currently selected HyperDeck. Each IP address
number corresponds to a rotary knob below it. To change these numbers, you can rotate the
corresponding knob, or press the knob once and enter a number using the numeric keypad.
Do this for each number in the IP address.
Once you’ve entered the IP address for your HyperDeck, press the soft button corresponding
to the ‘save changes’ indicator to confirm the address. To cancel, press ‘undo’.
To enter the IP address for subsequent HyperDecks, you’ll need to select the HyperDeck using
the first page of the HyperDeck settings menu.
89HyperDeck Control
Auto Roll
You can toggle your HyperDeck’s auto roll function from the second screen of the HyperDeck
settings menu. While in the HyperDeck settings menu, use the ‘left’ or ‘right’ arrow buttons in
the system control panel to navigate to this screen.
While in this menu, press the LCD soft button above the ‘auto roll’ indicator to turn the auto roll
feature on. The indicator text will illuminate blue when auto roll is on.
The auto roll feature lets you set a HyperDeck disk recorder to automatically roll video when it
is switched to the program output. For example, you can cue a HyperDeck to the point you
want your source to begin, then roll the clip by pressing the HyperDeck’s input button on the
program row.
As HyperDecks must buffer a couple of frames before commencing playback, the actual cut will
be delayed a preset number of frames to ensure a clean transition. This is just like setting a
preroll on a videotape machine. You can adjust the length of this delay by changing the ‘offset’
frames number using the control knob under this indicator. Press the soft button above the
‘save changes’ indicator to confirm your change.
Controlling HyperDecks with ATEM Advanced Panels
HyperDeck controls are available in the ‘media players’ menu in your ATEM 1 M/E Advanced
Panel. To access this menu, press the ‘media players’ control panel button and press the soft
button above the ‘HyperDecks’ indicator to access HyperDeck control. If your switcher has
more than two media players, you may need to navigate to the next menu page to access
HyperDeck controls.
You can now use the rotating knobs below the ‘hyperdeck,’ ‘clip,’ ‘jog’ and ‘shuttle’ indicators to
select HyperDecks, select clips and jog and shuttle these clips.
90HyperDeck Control
The text in the center of the HyperDeck control menu will change to reflect the HyperDeck and
clip that you have selected.
Use the third and fourth pages of the ‘media players’ LCD menu for more HyperDeck controls,
including play, stop, loop playback and forward and reverse skip for moving between clips.
TIP To play all clips, hold down the shift button and press the ‘play’ softbutton.
In the fourth menu page, press the ‘record’ button to record the program output of your
switcher to your HyperDeck. Use the ‘jog’ and ‘shuttle’ commands to scrub through
recorded footage.
91HyperDeck Control
Controlling HyperDecks with ATEM 2 M/E and 4 M/E Advanced Panels
ATEM 2 M/E and 4 M/E Advanced panels feature up to three banks of dedicated transport
controls so you can operate up to three HyperDecks directly from the panel buttons. To set up
your HyperDecks with ATEM 2 M/E or 4 M/E Advanced Panel, press the ‘settings’ control panel
button and press the ‘panel’ soft control knob.
Using the right arrow button, navigate to the 4th page for transport controls.
Using the rotating soft control you can set your HyperDeck to a set of transport controls.
It’sworth noting that ‘transport 1’ are the buttons at the bottom of the panel closest to the
operator, and ‘transport 3’ on ATEM 4 M/E Advanced Panel are closest to the LCD display.
Once you’ve allocated your HyperDeck to a set of transport controls, use them to control
playback including play, skip and cue.
92HyperDeck Control
Using ATEM Hardware Panels
ATEM hardware panels are ‘hands on’ control panels for ATEM switchers that plug into your
switcher using an Ethernet connection. The keyboard has similar functions to the software
panel and the main buttons are laid out in a similar ME style, so it’s easy to move between the
hardware and software interfaces.
If fast and critical live switching is being done, then the ATEM hardware panel is an incredibly
fast and robust control solution. There’s nothing like pushing high quality buttons on a panel to
ensure fast and accurate switching!
When using a hardware advanced panel and the software panels together, any change on one
panel will be reflected on the other and you can use both panels at the same time. You can also
plug in more than one hardware panel if you need a more advanced solution.
This section shows how to use the different ATEM panels that are available should you need a
hardware panel for your live production.
ATEM 1 M/E Advanced Panel
The ATEM 1 M/E Advanced Panel is designed for switchers with one mix effects panel, or if you
need a hardware panel to control a mix effects panel on a larger ATEM switcher with more than
one ME. This panel features an advanced chroma keyer and the ability to control up to 4 M/Es
from the one panel. System control is generally faster and more convenient using a centralized
LCD menu with soft buttons and controls.
ATEM 2 M/E Advanced Panel
The ATEM 2 M/E Advanced Panel is designed for switchers with one mix effects panel,
orifyouneed a hardware panel to control a mix effects panel on a larger ATEM switcher
withmorethan one ME.
93Using ATEM Hardware Panels
ATEM 4 M/E Advanced Panel
The ATEM 4 M/E Advanced panel can control ATEM switchers with up to four mix effects
panels, such as ATEM Constellation 8K.
Using the Control Panel
Mix Effects
The program bus, preview bus and source names display are used together to switch sources
on the program and preview outputs.
ATEM Mix Effects
Source Name Displays
The source name displays use labels to represent the switcher’s external inputs or internal
sources. Labels for the external inputs can be edited on the settings window of the software
control panel. Labels for the internal sources are fixed and don’t need to be changed.
The displays show the labels for each row of button in the source select row, program row and
preview row.
Pressing the SHIFT button will change the source names display to show extra sources, called
shifted sources, allowing selection of up to 20 different sources.
Simultaneously pressing both SHIFT buttons next to the source select and program rows will
change the source names display to show protected sources and these are available in the
source select row for keyers and routing to auxiliary outputs. Protected sources are program,
preview, clean feed 1 and clean feed 2.
Program Bus
The program bus is used to hot switch background sources to the program output. The source
currently on air is indicated by a button that is illuminated red. A blinking red button indicates
that the shifted source is on air. Pressing the SHIFT button will display the shifted source.
94Using ATEM Hardware Panels
Preview Bus
The preview bus is used to select a source on the preview output. This source is sent to
program when the next transition occurs. The selected source is indicated by a button that is
illuminated green. A blinking green button indicates that a shifted source is on preview.
Pressing the SHIFT button will display the shifted source.
SHIFT
The SHIFT button provides a global shift and is used to shift the program, preview and select
busses along with the label. It also provides a shift for the transition type and joystick and other
menu functions.
Double-pressing buttons in the preview and select busses, as well as the transition type
buttons, is the same as shift-selecting them and can be a faster way to shift-select buttons.
Double-pressing is not implemented for the program bus as it would cause the program output
to momentarily show the wrong source.
Source Select Bus
The source select bus works in conjunction with the source names display and is used to assign
sources to auxiliary outputs and keyers. When the macro button is enabled, this row of buttons
is also used for loading and running macros recorded to the corresponding slots. The buttons
will illuminate blue when the macro button is enabled.
The destination display and select bus together show you the routing of sources to keys and
auxiliary outputs. The currently selected source is indicated by an illuminated button. A blinking
button indicates a shifted source. A green illuminated button identifies a protected source.
Protected sources are program, preview, clean feed 1 and clean feed 2.
Transition Control and Upstream Keyers
Transition Control and Upstream Keyers
CUT
The CUT button performs an immediate transition of the Program and Preview outputs,
regardless of the selected transition type.
AUTO
The AUTO button will perform the selected transition at the rate specified in the auto rate
setting located in the LCD ‘home’ menu. The transition rate for each transition type is set in
the LCD menu and is displayed when the corresponding transition style button is selected.
95Using ATEM Hardware Panels
The AUTO button illuminates red for the duration of the transition and the fader bar indicator
illuminates with sequential LEDs to indicate the progress of the transition. If the software control
panel is active, the virtual fader bar also updates to provide visual feedback on the progress
of the transition.
Fader Bar and Fader Bar Indicator
The fader bar is used as an alternative to the AUTO button and allows the operator to manually
control the transition. The fader bar Indicator next to the fader bar provides visual feedback on
the progress of the transition.
The AUTO button illuminates red for the duration of the transition and the fader bar indicator
updates to indicate the progress of the transition. If the software control panel is active, the
virtual fader bar updates simultaneously.
Transition Type Buttons
The transition type buttons allow the operator to select one of five types of transitions; mix,
wipe, dip, DVE and stinger, labelled STING. Transition types are selected by pressing the
appropriately labeled transition type button. The button will illuminate when selected.
When a transition type is selected, the LCD menu shows the transition rate and provides instant
access to all the corresponding settings for that transition type. Use the soft buttons and knobs
to navigate through the settings and make changes.
The button marked ARM is currently disabled and will be enabled in a future update.
PREV TRANS
The PREV TRANS button enables the preview transition mode allowing the operator to verify a
transition by performing it on the preview output using the fader bar. Once you press this button
the preview transition feature is enabled and you can preview your transition as many times as
you like. This lets you test the transition before going to air and make changes and corrections
as needed. You can even preview stinger transitions! Once adjusted, press the button again to
disable the feature and you are ready to send your transition on air.
Next Transition
The BKGD, KEY 1, KEY 2, KEY 3, KEY 4 buttons are used to select the elements which will
transition on air or off air with the next transition. Any combination of background and keys can
be selected by pressing multiple buttons simultaneously. Double pressing the BKGD button
selects all of the next transition upstream keyers that are currently on air and copies them to
the Next Transition buttons.
Pressing any of the next transition buttons will clear selection of all others. When selecting
the elements of the next transition, the switcher operator should look at the preview output
because it provides an accurate representation of what the program output will look like after
the transition is completed. When only the BKGD button is selected, a transition from the
current source on the program bus to the source selected on the preview bus will occur.
Transition Control Upstream Keyers
96Using ATEM Hardware Panels
ON AIR
The ON AIR indicator buttons above each keyer are labelled ON and indicate which of the
upstream keys are currently on air. These can also be used to immediately cut a key on
or off air.
MACRO
The macro button is used to enable the macro feature which changes the source select row
of buttons to macro buttons corresponding to macro slots.
TIP There are ten macro buttons in the source select row, so if you have macros
recorded to slots greater than ten, you can access these by opening the macro
settings in the LCD menu and changing the macro group using the control knob.
For more information on how to record and run macros using the advanced panel, refer to the
‘Using Macros/Recording Macros using an ATEM 1 M/E Advanced Panel’ section.
Downstream Keyers
DSK TIE
The DSK TIE button will enable the DSK on the preview output, along with the next transition
effects and tie it to the main transition control so that the DSK can be taken to air with the
next transition.
Because the tied downstream keyer is now tied to the main transition, the transition will happen
at the rate specified in the auto rate setting in the LCD ‘home’ menu. When the DSK is tied,
the signal routing to the clean feed 1 is unaffected.
DSK CUT
The DSK CUT button is used to cut the DSK on or off air and indicates whether the DSK is
currently on or off air. The button is illuminated if the DSK is currently on air.
DSK AUTO
The DSK AUTO button will mix the DSK on or off air at the rate specified in the DSK rate
LCD menu setting.
Downstream Keyers and Fade to Black
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Using ATEM Hardware Panels
M/E Buttons
As some ATEM switchers have multiple M/Es you can select which one you want to control
using the M/E buttons. When an M/E is selected, the LCD menu will change to show the settings
that correspond to that M/E panel.
Fade to Black
The FTB button will fade the program output to black at the rate specified in the FTB rate LCD
menu setting. Once the program output has been faded to black, the FTB button will flash red
until it is pressed again, fading the program output up from black at the same rate. A fade to
black cannot be previewed.
You can also set your switcher to fade audio together with the fade to black by navigating to the
FTB LCD menu and setting AFV to ‘on’. This sets the switcher to fade the audio to silence at the
rate set for the fade to black. If you want audio to remain on during and after the fade to black,
set AFV to ‘off’.
System Control Menu Buttons
The buttons on the top left side of your panel, combined with the LCD and its four soft buttons
are called the system control. When you press a system control button, for example the ‘home’
button, the LCD will change accordingly to show the relevant controls and settings. Use the soft
buttons and knobs above and below the LCD to make changes.
If there are small dot icons on the LCD menu, this means there is more than one page of
settings and you can move through the pages by pressing the left and right arrow buttons.
For example, to change the border softness on a wipe transition
1 Press the ‘wipe’ button.
2 Press the right arrow button next to the LCD to move to the third page of settings.
3 Rotate the control knob under the ‘softness’ setting to change the softness of the wipe
transition border.
If you want to change the direction of the wipe transition
1 Press the arrow buttons to navigate back to the first page of wipe transition settings,
orpress the ‘wipe’ button to return to the first page.
2 Press the ‘reverse direction’ soft button at the top of the LCD to change the direction.
3 Once you are satisfied with the setting, press the ‘home’ button to return to the
home page.
TIP When changing the border softness, you can visually monitor your adjustments in
real time. Simply press the PREV TRANS button and move the fader bar while
watching the preview output on the multi view to visually monitor your settings.
Remember to press PREV TRANS again to disable the transition preview when you’re
happy with thesettings.
The system control buttons and LCD menu are used to access all the settings for your panel
and you can even set general switcher settings directly from the panel. For example, if you
need to change the switcher’s video format, aspect ratio, or configure VISCA control on the
remote port.
98Using ATEM Hardware Panels
System Control
Joystick and Numeric Keypad
The number pad is used to enter numerical data. For example, the number pad can be used
to enter a numerical value for transition duration. When entering data using the number pad,
the soft buttons below each parameter are used to apply the entered data to that parameter.
The Joystick is a 3-axis joystick that is used to size and position keys, DVEs and other elements.
You can also use the joystick to control VISCA PTZ remote cameras.
Joystick Control
Controlling Cameras using the Joystick
The joystick can also be used to control a remote camera head using the common VISCA
protocol when connected to your switcher.
PTZ, or ‘pan, tilt, zoom’, control is an extremely powerful tool for controlling pan, tilt and zoom
on remote cameras. You can easily control a bank of cameras one at a time by pressing the
camera control button and then selecting each camera via the numbered buttons on the
numeric keypad. Make your pan and tilt adjustments with the joystick.
You can also choose the tilt direction of your joystick by selecting ‘inverted’ or ‘normal’ in the
‘VISCA control settings. Selecting ‘inverted’ will reverse the tilt action of your joystick.
Connecting a Remote Head
Your ATEM Advanced Panel communicates with remote heads via your ATEM switcher’s RS-422
port labeled ‘remote’ or ‘RS-422 serial out’. After connecting your ATEM Advanced Panel to
your ATEM switcher via Ethernet, connect your ATEM switcher to the RS-422 input on the
remote camera head. RS-422 ports are typically DB-9/DE-9 serial ports, or RJ12 connectors that
look similar to a standard landline phone connector.
You’ll also need to make sure the remote behavior for your switcher’s RS-422 port is set to
‘PTZ in the ‘settings’ LCD menu.
99Using ATEM Hardware Panels
When connecting more than one remote head, they will normally be daisy chained together via
the RS-422 outputs/inputs between each head.
Connect a remote camera head to your ATEM switcher via the
RS-422 port labelled ‘remote’ on the rear panel
PTZ Setup for Remote Heads
All PTZ setup options are set using the ‘settings’ LCD menu. Press the arrow buttons to move to
the last page of switcher settings and set the remote port to VISCA. Set the baud rate to match
the rate used by your PTZ camera. Refer to your camera’s support documentation to confirm
the appropriate baud rate.
Pressing the camera control button opens the camera settings, where you can select VISCA
control and choose the camera you want to adjust. But first, you will need to make sure the
connected cameras are detected.
To detect the connected devices:
1 Press the VISCA soft button to select VISCA control.
2 Press the ‘detect’ soft button.
The first camera connected to your switcher will appear on the LCD as ‘camera 1’. If you have
more than one camera connected, they can each be selected by turning the ‘camera’ soft
control knob. Camera numbering is based on consecutive order from the first remote head
connected, through to the last in the chain.
If the number of connected cameras that appear on the LCD menu don’t match the physical
number you have connected, check that all your camera heads are powered and their RS-422
ports are plugged in correctly. Once all your camera heads are visible on your ATEM advanced
panel, select each camera using the soft control knob or numeric keypad and make some quick
adjustments with the joystick to check they are all working properly.
To use VISCA PTZ control, press the ‘camera control’ button
and select VISCA by pressing the VISCA soft button.
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Using ATEM Hardware Panels
Select the camera you want to control and use the joystick to pan, tilt and zoom
TIP Camera control defaults to SDI for general camera control via SDI, so when using
VISCA control, make sure you press the VISCA soft button to access VISCA
PTZcameras.
PTZ Control via SDI
You can also control PTZ camera heads via SDI. For example, by connecting the program return
feed from your switcher to a Blackmagic Micro Studio Camera, then connecting the SDI output
from the camera’s expansion cable to your PTZ head, you can control the head via the
SDI signal.
For more information on PTZ control using a Blackmagic Micro Studio Camera refer to the
Blackmagic Studio Cameras manual. This manual can be downloaded from the
Blackmagic Design support center at
www.blackmagicdesign.com/support
Joystick PTZ Controls
Joystick PTZ controls are very intuitive. Turn the joystick knob clockwise or counter clockwise
to zoom in and out. Push up and down to tilt the camera and push left and right to pan. The
controls are sensitive to the degree of movement of the joystick, letting you ease in and out of
your camera moves. The amount of sensitivity may vary between remote heads.
If you want to wire a custom built PTZ unit using a standard RS-422 port DB-9 connector,
refer to the section labeled ‘Serial Port Pin Connections for Control Cables’.
Button Mapping
ATEM software and hardware control panels support button mapping so you can assign your
most important sources, especially cameras, to the most accessible buttons in the program and
preview rows. Occasional sources can be assigned to less prominent buttons. Button mapping
is set independently for each control panel so button mapping set on a software control panel
will not affect the button mapping set on a hardware control panel.
ATEM Advanced Panel Button Mapping and Button Brightness Level
To access the button mapping settings, press the ‘settings’ button to open the general switcher
settings LCD menu, then press the ‘button mapping’ soft button.
Use the control knobs under each LCD setting to select the button you want to map and the
input you want to change it to. You can also change the button color and label color that is
displayed on the panel if you want to highlight specific sources. For example, you may want to
highlight your playback sources a different color so you can instantly identify them on the panel.
The button will illuminate on both the preview and program rows until the source is switched to
the preview or program output, where it will change to green or red respectively.
101Using ATEM Hardware Panels
Once you have changed the setting, the change is made instantly and you don’t have to worry
about saving. Press the ‘home’ button to return to the home menu.
If you want to change the brightness of the buttons, press the ‘settings’ button to open the
general switcher settings LCD menu, then press the ‘panel’ soft button to reveal the
panel settings.
Rotate the settings knob under each setting until you see the desired brightness level.
Once you have configured all the button settings, press the ‘home’ button to return to the
home menu.
Performing Transitions using
ATEM Hardware Panels
Performing transitions on ATEM hardware panels is part of the fun and excitement of switching
a live broadcast! The buttons and knobs on the ATEM Advanced Panels follow the same M/E
layout, plus the system control blocks share the same functions. This means controlling your
switcher is intuitive when working with advanced panels because they operate your switcher in
exactly the same way.
The large LCD screens with soft control knobs and buttons which lets you adjust settings
dynamically as you control your switcher. This is a fast and convenient way of working with
your panel.
This section describes how to perform the various transition types on your switcher using an
ATEM hardware panel.
Cut Transitions
The cut is the most basic transition that can be performed on the switcher. In a cut transition the
program output is immediately changed from one source to another.
Program output for a cut transition.
A cut transition can be performed directly from the program bus, or using the CUT button in the
transition control block.
Program Bus
When a cut transition is performed from the program bus, only the background will be changed
and all upstream and downstream keys will maintain their current state.
To perform a cut transition from the program bus
On the program bus, select the video source that you want on the program output. The
program output will immediately change to the new source.
Press any of the source buttons on the program row to perform a cut transition from the program bus
102
Performing Transitions using ATEM Hardware Panels
CUT Button
When a cut transition is performed using the CUT button, any upstream keys that were selected
in the next transition and any downstream keys that were tied to the transition control will also
change state. For example, a downstream key tied to the transition control will cut ON if off air,
or cut OFF if on air. Similarly, any upstream keys selected in the next transition will be cut on if
they were off air, or cut off if they were on air.
To perform a cut transition using the CUT button
1 On the preview bus, select the video source that you want on the program output.
The program output will remain unchanged.
2 In the transition control block, press the CUT button. The sources selected on the
program and preview buses are exchanged to indicate that the video source that was
on preview is now on program and vice versa.
TIP It’s recommended to use the transition control block to perform transitions
because it provides the opportunity to verify the video content on the preview output
before sending it to the program output, for example to verify that a camera is in focus.
Press the button marked CUT in the transition control block to perform a cut transition
Auto Transitions
An auto transition allows you to automatically transition between program and preview sources
at a predetermined rate. Any upstream keys that were selected in the next transition and any
downstream keys that were tied to the transition control will also change state. Auto transitions
are performed using the auto button in the transition control block. Mix, dip, wipe, DVE and
stinger transitions can all be performed as an AUTO transition.
Transition types, for example dip, mix and wipe,
have their own independent selection button.
103
Performing Transitions using ATEM Hardware Panels
To perform an auto transition
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the transition type buttons in the transition
control block.
3 On the LCD menu use the control knobs to set the transition rate and adjust any other
parameter for the transition as needed.
4 Press the AUTO button in the transition control block to initiate the transition.
During the transition, the red and green buttons on the program and preview buses both turn
red to indicate that you are in the middle of a transition. The fader bar or transition slider
indicator displays the position and progress of the transition and the transition rate display
updates to indicate the number of frames remaining as the transition progresses.
At the end of the transition, sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program and
vice versa.
Each transition type has its own independent transition rate allowing you to perform faster
transitions by selecting the transition type and pressing the AUTO button. The previously used
transition rate is remembered for that transition type until it is changed.
A production switcher provides multiple methods of transitioning from one shot to another.
Generally, you use a simple cut transition to move from one background source to another.
Mix, dip, wipe and DVE transitions allow you to transition between two background sources
by gradually phasing out one and phasing in another. Stinger and Graphic Wipe are special
transitions which will be covered in a later section. Mix, dip, wipe and DVE transitions are
performed as an auto transition or manual transition using the transition control block.
Transition types, for example dip, mix and wipe,
have their own independent selection button.
Mix Transitions
A mix is a gradual transition from one source to another and is achieved by interpolating
gradually between two sources, effectively overlapping the sources for the duration of the
effect. The length of the transition or length of the overlap can be adjusted by changing
the mix rate.
Program output for a mix transition.
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Performing Transitions using ATEM Hardware Panels
To perform a mix transition on an ATEM advanced panel
1 On the preview bus, select the video source that you want on the program output.
2 Press the MIX button to select the mix transition type. The LCD menu will automatically
display the transition settings.
3 In the transition settings, use the corresponding LCD control knob to adjust the mix
rate. You can also enter a rate duration using the number pad.
4 Perform the transition as an auto transition or manual transition from the transition
control block.
Press the ‘mix’ button
and set the transition rate
using the LCD menu
Dip Transitions
A DIP is similar to a mix in that it is a gradual transition that transitions from one source to
another. However, a dip transition gradually mixes through a third source, the dip source.
For example, the dip transition can be used for a transition that calls for a white flash or a
transition that quickly flashes the sponsor logo. The length of the dip transition and the dip
source can both be customized.
Program output for a dip transition.
To perform a dip transition on an ATEM advanced panel
1 On the preview bus, select the video source that you want on the program output.
2 Press the DIP button to select the dip transition type. The LCD menu will automatically
display the transition settings.
3 In the transition settings, use the corresponding LCD control knob to adjust the dip rate.
You can also enter a rate duration using the number pad. Select a dip source.
4 Perform the transition as an auto transition or manual transition from the transition
control block.
105Performing Transitions using ATEM Hardware Panels
Press the ‘dip’ button
in the transition
control block, then
set the dip source
and transition rate
using the LCD menu
Dip transition parameters
Rate The dip transition rate in seconds and frames.
Dip Source The dip source is any video signal in the switcher that will be used as the
intermediate picture for the dip transition, usually a color generator or media player.
Wipe Transitions
A wipe is a transition from one source to another and is achieved by replacing the current
source by another source with a pattern that forms a shape. For example an expanding circle
or diamond.
Program output for a wipe transition.
To perform a wipe transition on an ATEM advanced panel
1 On the preview bus, select the video source that you want on the program output.
2 Press the WIPE button to select the wipe transition type. The LCD menu will
automatically display the transition settings.
3 Press the desired wipe pattern button on the control panel.
4 In the transition settings, use the corresponding LCD control knobs to adjust the border
parameters, the wipe rate and wipe direction. You can also enter a rate duration and
specific setting values using the number pad.
5 Use the select bus to select the border source.
6 Perform the transition as an auto transition or manual transition from the transition
control block.
106Performing Transitions using ATEM Hardware Panels
Press a source button in the
source select row to select a
source for the wipe border. Hold
the shift button down to select
a shifted source, such as a color
generator or media player.
Press a source button in the source select row to select a source for
the wipe border, such as a camera or media player.
Hold the shift button down to select a shifted source,
such as color bars or a color generator.
TIP The border source used in a wipe transition can be any source in the switcher.
Forexample, a thick border with the media player as its source can be used for
sponsorship or branding.
Wipe transition parameters
Rate The length of the wipe transition in seconds and frames.
Symmetry Symmetry can be used to control the aspect ratio of the pattern. For example,
adjusting the symmetry will allow you to change a circle into an ellipse. On the
advanced panel symmetry can be adjusted using the z axis of the joystick.
Position If the wipe pattern has positioning then the joystick on the advanced panel or
the x position: and y position: boxes in the transition palette of the software
control panel can be used to move the center of the pattern. Moving the joystick
dynamically updates the x and y position display in the software control panel.
107Performing Transitions using ATEM Hardware Panels
Reverse
Direction
Reverse changes the progression of closed patterns such as circles, diamonds and
boxes so that the pattern closes in from the edges of the screen toward the center.
When selected the text will illuminate orange.
Flip Flop When FlipFlop mode is toggled on, the transition changes between normal to
reverse every time the transition is executed.
Width Width of the border.
Softness The edges of the wipe pattern can be adjusted between sharp and fuzzy by
adjusting the softness parameter.
DVE Transitions
Your ATEM switcher includes a powerful digital video effects processor for DVE transitions.
A DVE transition displaces the image in various ways to transition from one picture to another.
For example, a DVE transition can be used to squeeze the current picture off screen revealing a
new video under it.
To perform a DVE transition on an ATEM advanced panel
1 On the preview bus, select the video source that you want on the program output.
2 Press the DVE transition type button to select the DVE transition. The DVE settings will
appear on the LCD menu.
NOTE If the DVE is already being used in an upstream key, the DVE transition
type will not be available for selection until the key is taken off air and off next
transition. Refer to ‘sharing DVE resources’ later in this section for
moreinformation.
3 In the DVE LCD menu, use the soft control knobs and buttons to configure the DVE
parameters. For example, select the DVE pattern, movement, direction and adjust the
DVE transition rate.
4 Perform the transition as an auto or manual transition using the auto button or fader bar.
DVE transition parameters
DVE Rate The duration of the DVE transition in seconds and frames. Rotate the DVE rate
knob to adjust the DVE transition rate. The new rate is immediately displayed in the
transition rate window in the transition control block.
Symmetry Symmetry can be used to control the aspect ratio of the pattern.
For example, adjusting the symmetry will allow you to change a circle into an
ellipse. On the advanced panel symmetry can be adjusted using the z axis of
thejoystick.
Position If the wipe pattern has positioning then the joystick on the advanced panel or
the x position: and y position: boxes in the transition palette of the software
control panel can be used to move the center of the pattern. Moving the joystick
dynamically updates the x and y position display in the software control panel.
Normal The normal direction for closed patterns such as circles, diamonds and boxes is to
grow from the center of the screen and progress outward.
108Performing Transitions using ATEM Hardware Panels
DVE key parameters
Enable key Enables/disables the DVE key. The DVE key is enabled when the button is
illuminated.
PreMult Select the DVE key as a pre-multiplied key.
Clip The clip level adjusts the threshold at which the key cuts its hole. Decreasing the
clip level reveals more of the background. If the background video is completely
black then the clip value is too low.
Gain The gain adjustment electronically modifies the angle between on and off thereby
softening the edges of the key. Adjust the gain value until the edge softness is
desirable but the background video luminance (brightness) is not affected.
Inverse When the key is not pre-multiplied, inverts the key signal.
Sharing DVE resources
ATEM features a DVE channel which can be used to perform DVE transitions or used in an
upstream keyer. When you select a DVE transition, if the DVE is used elsewhere in the system,
the DVE transition type will not be available and a DVE unavailable message will be displayed.
In order to use the DVE transition you must free the DVE from where it is currently used. Verify
that the upstream keys currently on program or preview are not DVE keys and do not have
flying key enabled. To free DVE from the upstream keyer, change the key type to anything
other than DVE or disable flying key. The DVE will be released and therefore available for use
as a DVE transition.
The logo wipe transition is a popular transition that uses the DVE and moves a graphic across
the screen over a background transition. For example, the logo wipe moves a graphic over a
horizontal wipe, essentially replacing the wipe border. A logo mix spins the graphic across the
screen over a mix transition. Logo transitions are perfect for wiping the station logo or spinning
a football across the screen revealing a new background. Logo transitions use a special keyer
built into the transition block, leaving all of the upstream and downstream keyers available for
compositing the output. The following section explains how to build and perform
logotransitions.
The above image sequence provides an example of the program output for a graphic wipe transition.
Performing a Graphic Transition
To perform a graphic transition on an ATEM advanced panel
1 Press the DVE transition type button in the transition control block. The DVE settings
menu will appear on the LCD.
If the DVE is already being used in an upstream key, the DVE transition type will not be
available for selection until the key is taken off air and off next transition. Refer to
‘sharing DVE resources’ later in this section for more information.
2 Press the ‘effect’ soft button in the LCD menu to open the effect settings and set
the effect to a graphic wipe by selecting the graphic wipe icon using the ‘effect’ soft
control knob.
The default direction is left to right, but you can change the direction by selecting
‘reverse direction’. You can also enable ‘flip flop’ which will let the effect move forwards
and backwards with each performance of the transition, rather than repeating the same
movement direction.
109Performing Transitions using ATEM Hardware Panels
3 Press the right arrow in the system control buttons to adjust the key settings. Enable
the key and select the fill and key source. If you need to make adjustments to the key,
for example adjusting clip and gain settings, press the right arrow in the system control
buttons to access the key parameters.
TIP Typically, for a graphic transition, the source would normally be a graphic
loaded in a media player. By default, when you select a media player for the
fillsource, the key source will automatically select the media player key
channel and set pre multiplied key to ‘on’. This means a graphic with a key
matte embedded in the alpha channel will automatically be selected by the
switcher. You can disable pre multiplied key and change the key source if you
want to use a separate media file on a different media player, or a different
input source.
4 Press the auto button to perform the transition as an auto transition, or use the fader
bar for a manual transition.
Graphic wipe parameters
Rate
Rate specifies the length of the transition in seconds and frames.
The rate can be adjusted using the rate knob or by entering a number on the
number pad and pressing the set rate button.
Normal
The normal direction moves the graphic from left to right.
Reverse
Reverse changes the direction so that it moves the graphic from right to left.
FlipFlop
When FlipFlop mode is toggled on, the transition changes between normal and
reverse every time the transition is executed. The ‘Normal’ or ‘Reverse’ light
indicates the direction of the next transition.
Fill Source
The fill signal is the graphic used to move across the top of the transition.
Key Source
The key signal is a grayscale image that defines the region in the graphic that will
be removed so that the fill signal can be correctly stacked on top of the wipe.
Graphic wipe images
The graphic wipe feature requires a static graphic that is used as a moving border for a
horizontal wipe. This graphic should be a vertical ‘banner’ type graphic that is no more than
25% of the total screen width.
110Performing Transitions using ATEM Hardware Panels
Graphic wipe screen width requirements
4320p
If the switcher is operating at 4320p then the graphic should be no wider than 1920 pixels.
2160p
If the switcher is operating at 2160p then the graphic should be no wider than 960 pixels.
1080i
If the switcher is operating at 1080i then the graphic should be no wider than 480 pixels.
720p
If the switcher is operating at 720p than the graphic should be no wider than 320 pixels.
SD
If the switcher is operating in Standard Definition then the graphic should be no wider then
180 pixels.
Manual Transitions
Manual transitions let you manually transition between program and preview sources using the
fader bar in the transition control block. Mix, dip, wipe and DVE transitions can all be performed
as a manual transition.
To perform a manual transition
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the transition type buttons in the transition
control block.
3 Manually move the fader bar or transition slider from one end to the other to execute
the transition. The next move on the fader bar or transition slider will begin a
newtransition.
4 During the transition the red and green buttons on the program and preview buses
both turn red to indicate that you are in the middle of a transition. The LED indicator
on the fader bar or transition slider also displays the position and progress of
thetransition.
TIP You will also see the ATEM software control panel mirror the move on the
hardware panel.
5 At the end of the transition, sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program
and vice versa.
111Performing Transitions using ATEM Hardware Panels
Saving user profiles on ATEM Advanced Panel
ATEM Advanced Panels allow you to save up to ten profiles. This means you can save
allyourpreferred panel settings and macros and then reload them the next time you
are using the panel, perfect for when a panel will be used by more that one user.
To save a user profile:
1 Once you have set up the panel with all your preferred settings, press on the soft
‘profiles’ button above the LCD screen to open the user profiles settings.
2 Press the right arrow button in system control to navigate to the profile page.
3 Using the soft control knob, select an empty profile slot.
4 Press the soft ‘save’ button above the LCD to save the profile.
Now your profile is saved to the panel. The next time you want to use the panel, you simply
need to restore your profile.
To restore a user profile:
1 Press the soft ‘profile’ button above the LCD screen to open user profiles and press the
right arrow control panel button.
2 Using the soft control knob, navigate to the user profile you want to restore. If the text
above your profile slot is orange, that means that profile is currently in use.
3 Press the soft ‘restore’ button above the LCD to load the profile.
112Performing Transitions using ATEM Hardware Panels
All the panel settings for that user profile will now load.
If a user profile is no longer needed, you can also clear it via the profiles menu.
To clear a user profile:
1 Press on the soft ‘profiles’ button above the LCD screen and press the right arrow
control panel button to select the second page.
2 Using the soft control knob, navigate to the user profile you want to overwrite. If the
user profile is currently in use, the text above the profile number will be orange.
3 Press the soft ‘clear’ button. The profile number will now become ‘empty’.
TIP If you try to save over an existing profile with new settings, you will be given
theoption to either overwrite the profile or create a new one when you press the
soft‘save’ button.
113Performing Transitions using ATEM Hardware Panels
Operating your ATEM Switcher
Internal Video Sources
In addition to the SDI and HDMI inputs, the switcher also has 8 internal sources that can be
used in a production. The internal source names are represented on the software control panel
using both long and short names. On the advanced panel, a long name is used to represent the
internal sources and the labels represent what the sources are, so they are easy to understand.
Black
Internally generated black is available as a source and can be used as a
black matte in the production.
Color Bars
Internally generated color bars are available as a source. Color bars can
be useful for verifying signals going out of the switcher and can also be
useful when setting up a chroma key with a vectorscope monitor.
Color Generators
ATEM switchers have two color sources that can be customized to
generate any color matte for use in the production. Color sources can be
used to add color borders for wipe transitions or as dip through colors
for a dip transition such as dip through white.
To adjust a color source on the software control panel, simply go to the color palette and click
the color chip and the color picker will appear and you can select colors. On the advanced
panel, select color on the system control and adjust hue, saturation and luminance.
It’s important to know that the deepest colors are set at 50% luminance.
ATEM switchers have two color sources that can be customized to
generate any color matte for use in the production.
Media Players
Most ATEM switchers have 2 media player sources, except for ATEM 4 M/E Broadcast Studio 4K
which has 4 media player sources. ATEM Constellation 8K has 4 media players in HD and
UltraHD and one media player in 8K. Each media player source has a fill and key (cut) output.
Media player fill sources are called media player 1, 2, 3 or 4. Media player key sources are
called media player 1 key, media player 2 key, etc.
If you are using an ATEM switcher with more than 2 media players, media players 3 and 4
canbe accessed in ATEM Software Control by holding down the shift button on your
computerkeyboard.
114Operating your ATEM Switcher
To select media players 3 and 4 on the front panel of ATEM 4 M/E Broadcast Studio 4K,
doublepress ‘mp1’ to select media player 3, or double press ‘mp2’ for media player 4. Apply the
same double press method using the ‘mp 1 key’ and ‘mp 2 key’ buttons to select media player
3key and media player 4 key. The buttons will flash to indicate you have the additional media
players selected.
The media player sources are used to play stills and clips from the media pool. The fill
sourcesshow the color channels of the selected clip or still while the key sources show the
black and white alpha channel of the selected clip or still. Media players can be used in
manyparts of the production.
Controlling media players on the software control panel:
1 From the switcher window, select the media player palette.
2 Use the select media drop down list to select a clip or still from the media pool.
3 If you have selected a motion clip, the begin, step back, play/pause, step forward and
loop transport controls will be enabled for controlling the clip. If you want to loop a clip,
then select the loop button and press play. The media player will keep looping until
selected to stop.
Media players showing a clip loaded
into each on ATEM software control.
Controlling media players on ATEM advanced panel:
1 From the system control menu buttons, navigate to the Media Player menu by pressing
the ‘media players’ button.
2 Select the media player you want to control from the soft buttons above the LCD.
3 Use the control knob to select the clip or still from the media pool.
4 If you have selected a motion clip, press the right arrow button twice. The play/stop,
loop, step back and frame controls will be enabled for controlling the clip.
115Operating your ATEM Switcher
Performing Transitions
One of the primary functions of a broadcast switcher is performing transitions from one video
source to another. The combinations of transition effects and styles provide endless creative
options that can enhance your production in just the right way for the right moment.
You can perform transitions using ATEM Software Control or an ATEM Advanced Panel.
This section shows you how to perform the various transitions available on your switcher.
Cut Transitions
The cut is the most basic transition that can be performed on the switcher. In a cut transition the
program output is immediately changed from one source to another.
Program output for a cut transition.
A cut transition can be performed directly from the program bus, or using the CUT button in the
transition control block.
Program Bus
When a cut transition is performed from the program bus, only the background will be changed
and all upstream and downstream keys will maintain their current state.
To perform a cut transition from the program bus on the software control panel:
On the program bus, select the video source that you want on the program output next. The
program output will immediately change to the new source.
To perform a cut transition on the software control panel using a keyboard:
1 Enable <caps lock> or press and hold the <shift> key.
2 Press the number key on the keyboard corresponding to the video source that you
want on the program output. The program output will immediately change to the
new source.
To perform a cut transition from the program bus on an ATEM advanced panel:
On the program bus, select the video source that you want on the program output.
The program output will immediately change to the new source.
Press any of the source buttons on the program row to perform a cut transition from the program bus
116
Operating your ATEM Switcher
CUT Button
When a cut transition is performed using the CUT button, any upstream keys that were selected
in the next transition and any downstream keys that were tied to the transition control will also
change state. For example, a downstream key tied to the transition control will cut ON if off air,
or cut OFF if on air.Similarly, any upstream keys selected in the next transition will be cut on if
they were off air, or cut off if they were on air.
To perform a cut transition using the CUT button on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
The program output will remain unchanged.
2 In the transition control block, press the CUT button. The sources selected on the
program and preview buses are exchanged to indicate that the video source that was
on preview is now on program and vice versa.
The Cut transition button is part of the Transitions Style group
To perform a cut transition on the software control panel using a keyboard:
1 Ensure that <caps lock> is off.
2 Press the number key on the keyboard corresponding to the video source that you
want on the program output. The source will be selected on preview and the program
output will remain unchanged.
3 Press <spacebar>. The sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program
and vice versa.
To perform a cut transition using the CUT button on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
Theprogram output will remain unchanged.
2 In the transition control block, press the CUT button. The sources selected on the
program and preview buses are exchanged to indicate that the video source that was
on preview is now on program and vice versa.
It’s recommended to use the transition control block to perform transitions because it
provides the opportunity to verify the video content on the preview output before
sending it to the program output, for example to verify that a camera is in focus.
117Operating your ATEM Switcher
Auto Transitions
An auto transition allows you to automatically transition between program and preview sources
at a predetermined rate. Any upstream keys that were selected in the next transition and any
downstream keys that were tied to the transition control will also change state. Auto transitions
are performed using the auto button in the transition control block. Mix, dip, wipe, DVE and
stinger transitions can all be performed as an AUTO transition.
The Auto transition button is part ofthe Transitions Style group
To perform an auto transition on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the TRANSITION STYLE buttons in the transition
control block.
3 In the transition palette, select the settings tab for the same transition type as the
transition control block.
4 Set the transition rate and adjust any other parameter for the transition as needed.
5 Press the AUTO button in the transition control block to initiate the transition.
6 During the transition, the red and green buttons on the program and preview buses
both turn red to indicate that you are in the middle of a transition. The virtual fader bar
automatically follows the progress of the transition and the rate display updates to
indicate the number of frames remaining as the transition progresses.
7 At the end of the transition, sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program
and vice versa.
118Operating your ATEM Switcher
To perform an auto transition on the software control panel using a keyboard:
1 Ensure that <caps lock> is off.
2 Press the number key on the keyboard corresponding to the video source that you
want on the program output. The source will be selected on preview and the program
output will remain unchanged.
3 Select the transition type using the transition style buttons in the transition
control block.
4 In the transition palette, select the settings tab for the same transition type as the
transition control block.
5 Set the transition rate and adjust any other parameter for the transition as needed.
6 Press the <return> or <enter> key to initiate the transition.
During the transition, the red and green buttons on the program and preview buses both turn
red to indicate that you are in the middle of a transition. The virtual fader bar automatically
follows the progress of the transition and the rate display updates to indicate the number of
frames remaining as the transition progresses.
At the end of the transition, sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program and
vice versa.
To perform an auto transition on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the transition type buttons in the transition
control block.
3 In the system control, set the transition rate and adjust any other parameter for the
transition as needed.
4 Press the AUTO button in the transition control block to initiate the transition.
Transition types, for example dip, mix and wipe,
have their own independent selection button
During the transition, the red and green buttons on the program and preview buses both turn
red to indicate that you are in the middle of a transition. The fader bar indicator displays the
position and progress of the transition and the transition rate display updates to indicate the
number of frames remaining as the transition progresses.
At the end of the transition, sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program and
vice versa.
Each transition type has its own independent transition rate allowing the operator to perform
119Operating your ATEM Switcher
faster transitions by simply selecting the transition type and pressing the AUTObutton. The
previously used transition rate is remembered for that transition type until it is changed.
A production switcher provides multiple methods of transitioning from one shot to another.
Generally, you use a simple cut transition to move from one background source to another.
Mix, dip, wipe and DVE transitions allow you to transition between two background sources
by gradually phasing out one and phasing in another. Stinger and Graphic Wipe are special
transitions which will be covered in a later section. Mix, dip, wipe and DVE transitions are
performed as an auto transition or manual transition using the transition control block.
Mix Transitions
A mix is a gradual transition from one source to another and is achieved by interpolating
gradually between two sources, effectively overlapping the sources for the duration of the
effect. The length of the transition or length of the overlap can be adjusted by changing
the mix rate.
Program output for a mix transition.
Mix Transition rate setting
To perform a mix transition on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the mix transition style in the transition control block.
3 Expand the transition palette and select mix from the transition types bar.
4 Adjust the mix rate by entering a number in the rate window. The rate display in the
transition control block will update.
5 Perform the transition as an auto transition or manual transition from the transition
control block.
To perform a mix transition on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Press the DIP/MIX or MIX button to select the mix transition type. The system control
automatically navigates to the transition menu.
3 Using the LCD panel, use the soft control knob to adjust the mix rate. The transition rate
display in the advanced panel’s transition control block will update dynamically. You
can also enter a rate duration using the number pad.
4 Perform the transition as an auto transition or manual transition from the transition
control block.
120Operating your ATEM Switcher
Mix Transition Parameters
Rate The mix transition rate in seconds : frames.
Press the ‘mix’ button and set the transition
rate using the LCD menu and control knob
Dip Transitions
A DIP is similar to a mix in that it is a gradual transition that transitions from one source to
another. However, a dip transition gradually mixes through a third source, the dip source.
Forexample, the dip transition can be used for a transition that calls for a white flash or a
transition that quickly flashes the sponsor logo. The length of the dip transition and the dip
source can both be customized.
Program output for a dip transition.
Dip Transition Settings
To perform a dip transition on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the DIP transition style in the transition control block.
3 Expand the transition palette and select dip from the transition types bar.
4 Adjust the dip rate by entering a number in the rate window. The rate display in the
transition control block will update.
5 Select the dip source.
6 Perform the transition as an auto transition or manual transition from the transition
control block.
121Operating your ATEM Switcher
Dip Source Menu
To perform a dip transition on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Press the DIP button to select the dip transition type. The LCD menu will automatically
display the transition settings.
3 Under the LCD use the control knob to adjust the dip rate. You can also enter a rate
duration using the number pad.
4 Use the corresponding control knob to select the dip source. You can also use the
select bus to select a dip source.
5 Perform the transition as an auto transition or manual transition from the transition
control block.
Press the ‘dip’ button in the transition control block, then set thedipsource
and transition rate using the LCD menu and control knobs
Dip transition parameters
Rate The dip transition rate in seconds and frames.
Dip Source The dip source is any video signal in the switcher that will be used as the
intermediate picture for the dip transition, usually a color generator or media player.
122Operating your ATEM Switcher
Wipe Transitions
A wipe is a transition from one source to another and is achieved by replacing the current
source by another source with a pattern that forms a shape. For example an expanding circle
or diamond.
Program output for a wipe transition.
To perform a wipe transition on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the WIPE transition style in the transition control block.
3 Expand the transition palette and select wipe from the transition types bar.
4 Use the settings in the wipe palette to customize the wipe transition.
5 Perform the transition as an auto transition or manual transition from the transition
control block.
Wipe Transition Settings
To perform a wipe transition on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Press the WIPE button to select the wipe transition type. The LCD menu will
automatically display the transition settings.
3 Use the system control knob to select the wipe pattern and rate. The buttons can be
used to select the wipe direction.
123Operating your ATEM Switcher
4 Use the arrow buttons to the left of the LCD button to navigate all the available wipe
properties including position, symmetry and border source.
5 Perform the transition as an auto transition or manual transition from the transition
control block.
Wipe transition parameters
Rate The length of the wipe transition in seconds and frames.
Symmetry Symmetry can be used to control the aspect ratio of the pattern.
For example, adjusting the symmetry will allow you to change a circle into
an ellipse. On the advanced panel symmetry can be adjusted using the z
axis of the joystick or via the control knob.
Position If the wipe pattern has positioning then the joystick or control knobs on
the advanced panel or the x position: and y position: boxes in the transition
palette of the software control panel can be used to move the center of
the pattern. Moving the joystick dynamically updates the x and y position
display in the software control panel.
Reverse Reverse changes the progression of closed patterns such as circles,
diamonds and boxes so that the pattern closes in from the edges of the
screen toward the center. The text will illuminate orange when selected.
FlipFlop When FlipFlop mode is toggled on, the transition changes between normal
to reverse every time the transition is executed. The text will illuminate
orange when selected.
Border Width of the border.
Softness The edges of the wipe pattern can be adjusted between sharp and fuzzy
by adjusting the softness parameter.
The border source used in a wipe transition can be any source in the switcher. For example,
athick border with the media player as its source can be used for sponsorship or branding.
ATEM Constellation 8K has no borders for SuperSource in 8K. It has 4 stinger transitions in
HDand Ultra HD modes and one in 8K.
On ATEM 1 M/E and 2 M/E switchers, the stinger transition uses a clip from the media player to
perform a transition. The clip is normally a graphic animation that is keyed over the background.
As the animation plays, when it is full screen, a cut or mix of the background is performed under
the animation. For example, this type of transition is very popular in sports productions for
transitioning in and out of instant replays. The stinger transition takes advantage of a special
keyer that is built into the transition block, leaving all of the upstream and downstream keyers
available for compositing your output. The following section explains how to build and perform
stinger transitions.
124Operating your ATEM Switcher
Performing a Stinger Transition
To perform a stinger transition on the software control panel:
1 Select the STING transition style button in the transition control block.
2 In the media player palette, select the media you plan to use for the transition.
3 In the transition palette, select the stinger transition type.
4 Select the media player source that has the clip you plan to use.
5 Adjust the clip duration, trigger point, mix rate and pre roll parameters if required.
6 Perform the transition as an auto transition from the transition control block.
You cannot perform a manual stinger transition using the fader bar.
Stinger Transition Settings
Software control panel stinger parameters
Source The media player which will be used to play the clip for the animated transition.
Clip Duration Clip duration refers to the length of the animation. The duration should
normally match the length of the animation. It can also be used to trim out the
end of the clip.
Trigger Point Trigger point is the time at which the switcher will start the background mix
transition, which will occur under the animation. Usually, this is the point when
the animation is full screen.
Mix Rate The mix rate specifies the duration of the mix that will occur between preview
and program under the animation. To specify a cut instead of a mix simply set
the rate to 1 frame.
Pre Roll Pre roll is a trim in that can be used to trim the beginning of the clip.
The maximum preroll time is 3:00 seconds.
Pre Multiplied Key Identifies the key signal of the media player clip as a pre-multiplied key.
125Operating your ATEM Switcher
Clip The clip level adjusts the threshold at which the key cuts its hole into the
clip that is playing back through the media player. Decreasing the clip level
reveals more of the background. If the background video is completely black
then the clip value is toolow.
Gain The gain adjustment electronically modifies the value which allows the
softening of the edges of the key in the clip that is playing back on the media
player. Adjust the gain value until the edge softness is desirable but the
background video luminance (brightness) is not affected.
Invert Key Inverts the key.
Stinger Transition Settings
To perform a stinger transition on an ATEM advanced panel:
1 Press the ‘sting’ transition type button in transition control block.
2 Rotate the LCD menu soft control knob labelled ‘source’ to select the desired media
player. Use the arrow buttons to adjust the preroll, trigger, mix and duration times
as needed.
3 Now that you have set the stinger transition to use the correct media player, press the
‘media players’ button in the system control menu buttons next to the LCD to configure
the media player.
4 In the media players menu, select the still or clip you want to use from the media pool
by rotating the ‘media’ soft control knob. If required, set which frame you want to start
the clip from using the corresponding ‘frame’ soft control knob.
NOTE You can also use a HyperDeck as a source for the stinger if you have a
HyperDeck connected to your switcher and configured correctly. Refer to the
‘HyperDeck control’ section of the manual for more information.
5 Perform the transition as an auto transition from the transition control block.
126Operating your ATEM Switcher
Hardware panel stinger transition parameters
Source The media player which will be used to play the clip for the animated transition.
Clip Duration Clip duration refers to the length of the animation. The duration should
normally match the length of the animation. It can also be used to trim out the
end of the clip.
Trigger Point Trigger point is the time at which the switcher will start the background mix
transition, which will occur under the animation. Usually, this is the point when
the animation is full screen.
Mix Rate The mix rate specifies the duration of the mix that will occur between preview
and program under the animation. To specify a cut instead of a mix simply set
the rate to 1 frame.
Pre Roll Pre roll is a trim in that can be used to trim the beginning of the clip.
The maximum preroll time is 3:00 seconds.
Pre Multiplied Key Identifies the key signal of the media player clip as a pre-multiplied key.
Clip The clip level adjusts the threshold at which the key cuts its hole into the
clip that is playing back through the media player. Decreasing the clip level
reveals more of the background. If the background video is completely black
then the clip value is toolow.
Gain The gain adjustment electronically modifies the value which allows the
softening of the edges of the key in the clip that is playing back on the media
player. Adjust the gain value until the edge softness is desirable but the
background video luminance (brightness) is not affected.
Invert Key Inverts the key.
It is important to understand that the trigger, mix and duration times are dependant on
oneanother. For example the trigger + mix rate cannot be larger than the overall duration.
Notealso that the time displayed in the transition rate window is equal to the overall
duration+ preroll.
DVE Transitions
ATEM 1 and 2 M/E switchers include a powerful digital video effects processor for DVE
transitions. A DVE transition displaces the image in various ways to transition from one picture
to another. For example, a DVE transition can be used to squeeze the current picture off screen
revealing a new video under it.
ATEM Constellation 8K has 4 DVEs in HD and Ultra HD and one in 8K. These DVEs are
without rotation.
To perform a DVE transition on the software control panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the DVE transition style in the transition control block.
3 Expand the transition palette and select DVE from the transition types bar.
If the DVE is being used in an upstream key, the DVE transition style button will be
unavailable for selection until the key is taken off air and off next transition. Refer to
sharing DVE resources below for more information.
Use the settings in the DVE palette to customize the transition.
127Operating your ATEM Switcher
4 Perform the transition as an auto transition or manual transition from the transition
control block.
DVE Transition Settings
To perform a DVE transition on an ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Press the DVE transition type button to select the DVE transition. The DVE settings will
appear on the LCD menu.
NOTE If the DVE is already being used in an upstream key, the DVE transition
type will not be available for selection until the key is taken off air and off next
transition. Refer to ‘sharing DVE resources’ later in this section for
moreinformation.
3 In the DVE LCD menu, use the soft control knobs and buttons to configure the DVE
parameters. For example, select the DVE pattern, movement, direction and adjust the
DVE transition rate.
4 Perform the transition as an auto or manual transition using the auto button or fader bar.
128Operating your ATEM Switcher
DVE transition parameters
DVE Rate The duration of the DVE transition in seconds and frames. Rotate the
DVE rate knob to adjust the DVE transition rate. The new rate is immediately
displayed in the transition rate window in the transition control block.
Normal The normal direction applies the DVE effect on program, revealing
the preview channel.
Reverse Reverse changes the direction so that the DVE effect is applied on the preview
channel. In the case of reverse, program is covered by a DVE effect with the
preview video.
FlipFlop When FlipFlop mode is toggled on, the transition changes between normal and
reverse every time the transition is executed.
DVE key parameters
Enable key Enables/disables the DVE key. The DVE key is enabled when the button
is illuminated.
PreMult Selects the DVE key as a pre-multiplied key.
Clip The clip level adjusts the threshold at which the key cuts its hole. Decreasing
the clip level reveals more of the background. If the background video is
completely black then the clip value is too low.
Gain The gain adjustment electronically modifies the angle between on and
off thereby softening the edges of the key. Adjust the gain value until the
edge softness is desirable but the background video luminance (brightness)
is not affected.
Inverse When the key is not pre-multiplied, inverts the key signal.
Sharing DVE resources
ATEM features a DVE channel which can be used to perform DVE transitions or used in an
upstream keyer. When you select a DVE transition, if the DVE is used elsewhere in the system,
the DVE transition type will not be available and, on the advanced panel the DVE button will be
disabled. In order to use the DVE transition you must free the DVE from where it is currently
used. Verify that the upstream keys currently on program or preview are not DVE keys and do
not have flying key enabled. To free DVE from the upstream keyer, change the key type to
anything other than DVE or disable flying key. The DVE will be released and therefore available
for use as a DVE transition.
The graphic transition is a popular transition that uses the DVE and moves a graphic across the
screen over a background transition. For example, the graphic wipe moves a graphic over a
horizontal wipe, essentially replacing the wipe border. A graphic mix spins the graphic across
the screen over a mix transition. Graphic transitions are perfect for wiping the station logo or
spinning a football across the screen revealing a new background. Graphic transitions use a
special keyer built into the transition block, leaving all of the upstream and downstream keyers
available for compositing the output. The following section explains how to build and perform
graphic transitions.
The above image sequence provides an example of the program output for a graphic wipe transition.
129Operating your ATEM Switcher
Performing a Graphic Transition
To perform a graphic transition on the software control panel:
1 Select the DVE transition style button in the transition control block.
If the DVE is being used in an upstream key, the DVE transition style button will be
unavailable for selection until the key is taken off air and off next transition. Refer to
sharing DVE resources in the next section for more information.
2 Expand the transition palette and select the DVE transition type. Use the previous
or next arrows to select a different DVE type.
3 From the effects options select the graphic wipe transition.
4 Select the fill source and key source for the graphic from the drop down list.
5 Adjust the key parameters if required.
6 Perform the transition as an auto transition or manual transition from the transition
control block.
To perform a graphic transition on an ATEM advanced panel:
1 Press the DVE transition type button in the transition control block. The DVE settings
menu will appear on the LCD.
If the DVE is already being used in an upstream key, the DVE transition type will not be
available for selection until the key is taken off air and off next transition. Refer to
‘sharing DVE resources’ later in this section for more information.
2 Press the ‘effect’ soft button in the LCD menu to open the effect settings and set
the effect to a graphic wipe by selecting the graphic wipe icon using the ‘effect’ soft
control knob.
The default direction is left to right, but you can change the direction by selecting
‘reverse direction’. You can also enable ‘flip flop’ which will let the effect move forwards
and backwards with each performance of the transition, rather than repeating the same
movement direction.
3 Press the right arrow in the system control buttons to adjust the key settings. Enable
the key and select the fill and key source. If you need to make adjustments to the key,
for example adjusting clip and gain settings, press the right arrow in the system control
buttons to access the key parameters.
130Operating your ATEM Switcher
TIP Typically, for a graphic transition, the source would normally be a graphic
loaded in a media player. By default, when you select a media player for the fill
source, the key source will automatically select the media player key channel
and set pre multiplied key to ‘on’. This means a graphic with a key matte
embedded in the alpha channel will automatically be selected by the switcher.
You can disable pre multiplied key and change the key source if you want to
use a separate media file on a different media player, or a different input source.
4 Press the auto button to perform the transition as an auto transition, or use the fader
bar for a manual transition.
Description of graphic wipe parameters
Rate Rate specifies the length of the transition in seconds and frames. Therate can
be adjustedusing the rate knob or by entering a number on the number pad and
pressing the set ratebutton.
Normal The normal direction moves the graphic from left to right.
Reverse Reverse changes the direction so that it moves the graphic from right to left.
FlipFlop When FlipFlop mode is toggled on, the transition changes between normal and
reverse every time the transition is executed. The ‘Normal’ or ‘Reverse’ light
indicates the direction of the next transition.
Fill Source The fill signal is the graphic used to move across the top of the transition.
Key Source The key signal is a grayscale image that defines the region in the graphic that will
be removed so that the fill signal can be correctly stacked on top of the wipe.
Sharing DVE resources
The one DVE channel available in the switcher can be used to perform DVE transitions or it can
be used in an upstream keyer. When you select a DVE transition, if the DVE is used elsewhere
in the system, the DVE transition type will not be available to select on the advanced panel or
software control. In order to use the graphic wipe transition you must free the DVE from where
it is currently used. Verify that the upstream keys currently on program or preview are not DVE
keys and do not have flying key enabled. To free DVE from the upstream keyer, change the key
type to anything other than DVE or disable flying key. The DVE will be released and therefore
available for use as a graphic wipe.
Graphic wipe images
The graphic wipe feature requires a static graphic that is used as a moving border for a
horizontal wipe. This graphic should be a vertical ‘banner’ type graphic that is no more than
25% of the total screen width.
131Operating your ATEM Switcher
Graphic wipe screen width requirements
4320p If the switcher is operating at 4320p then the graphic should be no wider than 1920 pixels.
2160p If the switcher is operating at 2160p then the graphic should be no wider than 960 pixels.
1080i If the switcher is operating at 1080i then the graphic should be no wider than 480 pixels.
720p If the switcher is operating at 720p than the graphic should be no wider than 320 pixels.
SD If the switcher is operating in Standard Definition then the graphic then the graphic should
be no wider then 180 pixels.
Manual Transitions
Manual transitions let you manually transition between program and preview sources using the
fader bar in the transition control block. Mix, dip, wipe and DVE transitions can all be performed
as a manual transition.
To perform a manual transition on the software control panel or ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the transition type buttons in the transition
control block.
3 Manually move the fader bar from one end to the other to execute the transition.
The next fader bar move will begin a new transition.
4 During the transition the red and green buttons on the program and preview buses
both turn red to indicate that you are in the middle of a transition. On the advanced
panel, the fader bar indicator also displays the position and progress of the transition.
On the software control panel, the virtual fader bar displays the position and progress
of the transition.
5 At the end of the transition sources selected on the program and preview buses are
exchanged to indicate that the video source that was on preview is now on program
and vice versa.
Preview Transition
ATEM switchers have a powerful feature which allows you to review and adjust a transition on
the preview output. The preview transition mode lets you verify a transition before actually
performing it on air.
To preview a transition on the software control panel or ATEM advanced panel:
1 On the preview bus, select the video source that you want on the program output.
2 Select the transition type using the transition type buttons in the transition
control block.
3 Press the PREV TRANS button to put the switcher into preview transition mode.
ThePREV TRANS button will illuminate red and the preview output will change so
that it is a copy of the program output.
4 Manually move the fader bar from one end to the other to preview the transition on the
preview output. The program output will remain unchanged.
5 Press the PREV TRANS button to turn off preview transition mode.
132Operating your ATEM Switcher
Keying using ATEM Switchers
Keyers are a powerful production tool that allow the arrangement of visual elements from
different sources on the same video image.
To do this, multiple layers of video or graphics are stacked on top of the background video.
Altering the transparency of various parts of these layers allows the background layer to be
visible. This process is called keying. Various techniques are used to create this selective
transparency and these correspond to the different types of keyers available on yourswitcher.
The following section explains luma and linear keyers, which are available either upstream or
downstream. It also explains chroma, pattern and DVE keys, which are upstream keyers.
TIP Some ATEM switcher models, such as ATEM 4 M/E Broadcast Studio 4K
offeradditional chroma keying options. For more information, see the ‘performing
anadvanced chroma key’ section in this manual.
Understanding Keying
A key requires two video sources; the fill signal and the key or cut signal. The fill signal contains
a video image which is to be stacked on top of the background, while the key signal is used to
select regions of the fill signal to be made transparent. The fill and key signals can be selected
from any of the switcher’s external inputs or internal sources, allowing both still and moving
images to be used as fill or key sources.
Fill and key signals are selected on the software control panel from drop down lists in the
upstream and downstream key palettes. On the advanced panel, fill and key signals are
selected using the select bus.
There are two types of keyers used in the switcher; upstream keyers and downstream keyers.
Four upstream keyers, also known as effects keyers, are available in the switcher’s M/E block.
Each upstream keyer can be set up as a luma, linear, pre-multiplied, chroma, pattern or
DVEkey. Two downstream keyers are available in the dedicated DSK block. Each downstream
keyer can be set up as a luma or linear key.
On DVEs and upstream keys using DVEs, you can also select the ME 2 program or preview
output as the DVE fill source. This gives you a tremendous amount of creative options
when keying.
ATEM 4 M/E Broadcast Studio 4K lets you output your key mask via powerful 12G-SDI auxiliary
outputs, or 6G-SDI outputs on ATEM Production Studio 4K models. It’s as simple as pressing
the KEY MASK button on the front panel. You can also access your media player 1 and 2 image
and key sources by pressing their associated buttons on the front panel. With the key mask
feature you can record your key mask, or alpha channel, in SD, HD or Ultra HD quality via the
auxiliary output. You can also record your green screen video via the program output at the
same time. Recording both sources is useful if you require detailed chroma key post
production effects.
133Keying using ATEM Switchers
Luma Key
A luma key or self key consists of one video source containing the video image that will be
stacked on top of the background. All of the black areas defined by the luminance in the video
signal will be made transparent so that the background can be revealed underneath. Since only
one image is used to define the areas to be cut out, a luma key uses the same signal for fill and
key. The following images are an example of what background, luma key signals and the
resulting combined image might look like.
Combining a background and fill/key in a luma key
Background
A full screen image, often a camera source.
Fill
The graphic you plan to display on top of your background video. Notice that the final
composition does not retain any black from the graphic because all of the black parts have
been cut out of the image.
Linear Key
A linear key consists of two video sources; the fill signal and the key or cut signal. The fill signal
contains a video image which is to be stacked on top of the background, while the key signal
contains a grayscale mask that is used to define regions of the fill signal to be made
transparent. Since both the fill and key signals are video inputs, both signals can be in motion
while on screen. The following images are examples of what background, fill, key signals and
the resulting combined image might look like.
Combining a background, fill and key in a linear key
Background
A full screen image, often a camera source.
Fill
The graphic you plan to display on top of your background video. Notice that the black parts of
the graphic remain intact because the key signal is used to determine the transparency of the
fill signal. The fill signal is often provided by a graphics system.
Key
A grayscale image that defines the region in the image that will be removed so that the fill
signal can be correctly stacked on top of the background. The key signal is often provided by a
graphics system.
134Keying using ATEM Switchers
Pre multiplied Key
A modern graphics system or character generator that offers fill and key outputs will most likely
provide what is known as a pre-multiplied or shaped key. A pre-multiplied key is a special
combination of the fill and key signal where the fill signal has been pre-multiplied with the key
signal over a black background. Photoshop generated images that contain an alpha channel are
pre-multiplied.
ATEM switchers have an auto key adjustment for pre-multiplied keys so that when the pre-
multiplied key setting is enabled, the clip and gain parameters are automatically set by
the system.
When using a Photoshop generated image, generate graphics over a black background layer
and place all content on the upper layers. Add an alpha channel in your Photoshop document
that the ATEM can use for blending the graphic over the live video. Then, when saved as a
Targa image file, or downloaded direct to the media pool, you can select pre-multiplied in the
keyer and you should have a great key!
Photoshop documents are pre-multiplied by nature, so you should always use the pre-
multiplied settings on the ATEM switcher when keying them.
Performing an Upstream Luma/Linear Key
Since luma and linear keys use the same parameters, they are set up on the software control
panel and advanced panel using a common menu, called the luma key menu. What defines the
key as being either luma or linear is in the selection of fill and key sources. In a luma key, fill and
key sources are the same. For a linear key, fill and key sources are different.
The Upstream Key palette has a menu for resetting parameters at the top of each tab.
Selectthe sections you wish to reset from the menu.
Luma Key Settings
135Keying using ATEM Switchers
Select sections of the Palette you
wish to reset from the reset menu
To set up a luma/linear key on upstream keyer 1 on the software control panel:
1 Expand the upstream key 1 M/E 1 palette and select luma tab.
2 Select the fill source and key source.
If performing a luma key, select the same source for both fill and key.
Adjust the key parameters to refine the key. For a description of luma key parameters, refer to
the table below.
To set up a luma/linear key on upstream keyer 1 on an ATEM advanced panel:
1 Press the ‘key 1’ button to enable the keyer on the preview output. This automatically
selects the keyers menu on the system control LCD, but you can also press the ‘keyers’
button to enter the menu directly.
2 Select the desired M/E keyer by pressing the corresponding soft button along the top
edge of the LCD menu.
3 Use the control knob underneath the ‘key type’ indicator to choose the ‘luma’ key.
4 Rotate the ‘fill source’ and ‘key source’ control knobs to choose a fill and key source.
TIP You can also press the corresponding buttons on the source select bus to
select the fill and key source.
5 Once you have chosen a key type, fill and source, press the ‘right’ arrow button to scroll
through to the next menu item and use the control knobs to adjust key parameters such
as mask, gain, clip, enable or disable pre multiplied key, etc.
Upstream key luma/linear key parameters:
Mask Enables a rectangular mask that can then be adjusted using the top,
bottom, left and right parameters.
Pre-Mult Identifies the key signal as a pre-multiplied key.
Clip The clip level adjusts the threshold at which the key cuts its hole.
Decreasing the clip level reveals more of the background. If the
background video is completely black then the clip value is too low.
Gain The gain adjustment electronically modifies the angle between on and
off thereby softening the edges of the key. Adjust the gain value until
the edge softness is desirable but the background video luminance or
brightness is not affected.
136Keying using ATEM Switchers
Invert Key Inverts the key signal.
Flying Key Enables/disables DVE effects.
Performing a Downstream Luma/Linear Key
To set up a luma/linear key on downstream keyer 1 on the software control panel:
1 Select the downstream key 1 palette.
2 Use the drop down controls labeled fill source and key source to specify the fill and key
sources. If performing a luma key, select the same source for both fill and key.
3 Adjust the key parameters to refine the key.
Downstream Keyer Settings
To set up a luma/linear key on downstream keyer 1 on an ATEM advanced panel:
1 Press the ‘DSK 1 tie’ button to enable the downstream keyer on the preview output.
Thisautomatically selects the downstream key menu on the system control LCD,
but you can also press the ‘keyers’ button and press the right arrow to enter the
menu directly.
2 Press the ‘DSK 1’ or ‘DSK 2’ soft button to select which downstream keyer you
wish to use.
TIP You don’t have to select the key type as the downstream keyer is always
a luma key.
137Keying using ATEM Switchers
3 Use the control knobs under the LCD menu to select the fill source and key source. You
can also use the corresponding source select buttons to select the fill and key source.
4 Once you have chosen the fill source and key source, use the ‘left’ and ‘right’ control
buttons to scroll through additional menu screens containing key parameters such as
mask, gain, clip, pre multiplied key settings and more.
Chroma Key
Chroma key is commonly used for weather broadcasts, where the meteorologist appears to be
standing in front of a large map. In the studio the presenter is actually standing in front of a blue
or green background. In a chroma key two images are combined using a special technique and
a color from one image is removed, revealing another image behind it. This technique is also
referred to as color keying, color-separation overlay, green screen, or blue screen.
A very common use for chroma keys for backgrounds is computer generated graphics. It’s
simple to connect an external computer to your ATEM switcher using the HDMI output of the
computer or a video card such as the Blackmagic Design DeckLink or Intensity range and then
play back video clips to your ATEM switcher. If you render a green background on your
animations, you can then key this green to create fast and clean animations of any length.
Keying is easy as the green is computer generated so it’s a very flat color that’s easy to key.
Combining a background with a fill and chroma key/cut
Background
A full screen image; in the case of a chroma key it is often a weather map.
Fill
The image you plan to display on top of your background video. In the case of a chroma key,
this is video of the meteorologist in front of the green screen.
Key/Cut
In the case of a chroma key the key/cut signal is generated from the fill signal.
Performing an Upstream Chroma Key
Use the following steps to perform a chroma key on ATEM Switchers. ATEM 4 M/E Broadcast
Studio 4K has its own unique chroma keyer with advanced controls. For more information, refer
to ‘Performing an Advanced Chroma Key’ later in this section.
To set up a chroma key on upstream keyer 1 on the software control panel:
1 Expand the upstream key 1 M/E 1 palette and select chroma from the key types bar.
2 Select the fill source.
3 Adjust the key parameters to refine the key. For a description of chroma key
parameters, refer to the table below.
138Keying using ATEM Switchers
Chroma Key Settings
To set up a chroma key on upstream keyer 1 on an ATEM advanced panel:
1 Press the ‘key 1’ button to enable keyer 1 on the preview output. This automatically
selects the keyers menu on the system control LCD, but you can also press the ‘keyers’
button to enter the menu directly.
2 Select the ‘chroma’ key type using the corresponding ‘key type’ control knob.
3 Select your fill source by turning the corresponding LCD control knob. You can also
select a fill source by pressing the corresponding button in the source select bus.
4 Use the ‘left’ and ‘right’ arrow buttons to access additional key parameters you may
want to adjust such as hue, gain, y suppress, lift and masking.
TIP When making adjustments on ATEM Advanced Panel, you can restore all settings
to their defaults by holding down the shift key and pressing ‘reset’. To reset individual
parameters, hold down the shift key and press the corresponding soft control knob.
Hue The hue adjustment selects the color that will be replaced. Rotate the hue
knob until the background keys through the desired color.
Gain The gain adjustment determines how the colors around the selected hue are
keyed. Adjust the gain knob until the edges of the keyed region appear the
way youwantthem.
Y Suppress Adjust this knob until the black level of the chroma removed region is correct.
139Keying using ATEM Switchers
Lift Lift should normally be set to zero for a well set up chroma key scene.
Lift allows very low saturation values of the keyed color to be excluded from
the key. Colored light spilling onto a neutral colored object in the foreground
will sometimes cause small areas to key to the background source. Lift allows
you to fill these small holes in the key signal.
Narrow The acceptance angle of colors around the selected hue should generally be
as broad as possible to achieve natural looking chroma Keys. Sometimes, if
some colors in the fill source are too close to the chroma key color, it may be
hard to exclude them from the key. Selecting the narrow button uses a smaller
acceptance angle around the chroma key color. Selecting narrow temporarily,
may help you center the hue adjustment.
Flying Key Enables/disables DVE effects.
Adjusting parameters with a vectorscope
You may wish to set up a chroma key using color bars as the background source and watching
the result on a vector scope as you perform the following procedure.
1 Turn narrow off.
2 Set lift to 0.
3 Adjust the hue until the color hex dots are centered around black. Adjusting the hue
knob will offset the black point and the constellation of the 6 color bar dots will rotate
around the screen.
4 Adjust the gain until the color bars are near their target boxes on the vector scope.
Adjusting the gain will expand and contract the color vectors about the center.
5 Adjust the Y Suppress knob until the black level is correct.
Performing an Advanced Chroma Key
ATEM Constellation 8K and ATEM 4 M/E Broadcast Studio 4K feature advanced chroma keying,
with more detailed chroma sampling and adjustment options. These controls help you achieve
the best key, improving the blend of foreground and background so you can create a more
convincing visual effect.
TIP ATEM 2 M/E Broadcast Studio 4K can be upgraded to ATEM 4 M/E Broadcast
Studio 4K with a free software update. Simply install ATEM software version 7.3 or later
as detailed in the “updating the software” section in this manual.
To set up a chroma key on upstream key 1 on the software control panel:
1 Expand the upstream key 1 M/E 1 palette and select ‘chroma’ from the key types bar.
2 Select the fill source. Typically, this source would be from a camera facing a presenter
in front of a green screen, or a graphic loaded in a media player.
3 Click the ‘chroma sample’ button.
With the chroma sample selected, you’ll see a new panel appear with a box cursor.
Thiscursor is also visible on the M/E 1 preview output.
140Keying using ATEM Switchers
The chroma sample setting lets you position a cursor over the screen area you want to sample
TIP You can also view the M/E 1 preview output on your switcher’s front
control panel LCD by pressing one of the auxiliary output buttons, then
pressing the ME 1 PVW button.
4 Click and drag on the box cursor to move it to the position you want to sample.
To set up a chroma key on upstream keyer 1 on an ATEM Advanced Panel:
1 Press the ‘key 1’ button to enable keyer 1 on the preview output. This automatically
selects the keyers menu on the system control LCD, but you can also press the ‘keyers’
button to enter the menu directly.
2 Select the ‘chroma’ key type using the corresponding ‘key type’ control knob.
3 Select your fill source by turning the corresponding LCD control knob. Typically, this
source would be from a camera facing a presenter in front of a green screen, or a
graphic loaded in a media player. You can also select a fill source by pressing the
corresponding button in the source select bus.
4 Use the ‘right’ arrow buttons to access the chroma adjustments screen.
5 Click the ‘sample chroma’ button.
Choose a representative area of your green screen that covers as much of the luminance range
of the screen as possible. The default size of the box cursor is well suited to most green
screens that are relatively evenly lit, however if there is a lot of variance in your green screen,
you can adjust the size of the box by clicking on the slider to the right of the sample window
and dragging it up or down. On ATEM advanced panel, use the joystick to move the position of
the box and the z axis to increase or decrease the size.
TIP When sampling uneven green screens, we recommend sampling the darkest
areafirst before increasing the size of the sample box. This can give you a more
accurate key.
You can preview your key at any time by clicking the ‘preview’ button above the chroma sample
panel or by pressing the ‘preview chroma’ button above the LCD screen on the
advanced panel.
141Keying using ATEM Switchers
Use the preview button to check what your key will look like in the M/E 1 PVW output
Fine Tuning your Key using Key Adjustments
Once you have achieved a good chroma sample that removes most of your green screen
while generally retaining foreground elements, it is time to fine tune your key with the
‘key adjustments’ controls. If you are using an ATEM advanced panel, press the right arrow
to navigate to the ‘chroma adjustments’ menu.
Foreground
Use the ‘foreground’ slider or control knob to adjust how opaque the foreground maskis. This
determines the strength of the foreground against the background. Byincreasing the slider, you
can fill in any small areas of transparency inside your foreground image. We recommend
moving this slider and stopping as soon as the foreground becomes solid.
Background
The ‘background’ slider and control knob adjusts the opacity of the keyed area. Usethis slider
to fill in any small foreground artifacts left over in the area of the image you want to remove. We
recommend moving the slider until your keyed area is consistently opaque.
Key Edge
The ‘key edge’ slider and control knob moves the edge of your keyed area in or out, helping to
remove background elements from the very edge of your foreground or extending the
foreground out a little if your key is too aggressive. This can be especially useful with fine
details like hair. We recommend moving this slider until the edge of your key is generally clean,
without any background artifacts visible.
Using the key or chroma adjustment controls, your foreground elements should be cleanly
separated from the background.
While making key and chroma adjustments, it can be useful to assign one of your multi view
windows to show your key mask. For example, if your performing a chroma key on M/E 1, set
one of the outputs to “ME 1 KEY MASK 1.” This will give you a clearer view of your key for fine
adjustments.
Displaying your key mask
in a seperate MultiView
window can make fine
tuning a key much easier.
142
Keying using ATEM Switchers
Chroma Correction using Color Spill and Flare Suppression
Light bouncing off a green screen can create a green edge to foreground elements as well as a
general tint to the foreground, or fill image. This is called color spill and flare. The ‘chroma
correction’ settings let you improve the areas of the foreground that are affected by color spill
and flare. You can correct these areas in the key using the ‘chroma correction’ settings.
Spill
Adjust the spill slider to remove colored tint from the edges of foreground elements. For
example, green reflections bouncing off a green screen.
Flare Suppression
Flare suppression removes overall green tint evenly across all foreground elements.
Matching your foreground and background
Once your foreground is properly separated from your green screen and you have adjusted
spill and flare suppression, use the ‘color adjustments’ controls to match your foreground with
the background.
Adjusting the brightness, contrast, saturation and color balance of your foreground image will
help blend it with the background so the effect is more convincing.
Use the color adjustments controls to match your foreground with the background
143
Keying using ATEM Switchers
Pattern Key
A pattern key is used to display a geometric cut out of one image on top of another image. In a
pattern key the key or cut signal is generated using the switcher’s internal pattern generator.
The internal pattern generator can create 18 shapes that can be sized and positioned to
produce the desired key signal.
Combining a background with a fill and pattern key
Background
A full screen image.
Fill
Another full screen image you wish to overlay on top of the background.
Key/Cut
In the case of a pattern key the key/cut signal is generated by the switcher’s internal
pattern generator.
Pattern Key Settings
144
Keying using ATEM Switchers
Performing an Upstream Pattern Key
To set up a pattern key on upstream keyer 1 on the software control panel:
1 Expand the upstream key 1 M/E 1 palette and select pattern from the key types bar.
2 Select the fill source.
3 Select the key pattern.
4 Adjust the key parameters to refine the key. For a description of pattern key
parameters, refer to the table below.
Pattern Key Settings
To set up a pattern key on upstream keyer 1 on an ATEM advanced panel:
1 Press the KEY 1 next transition button to enable the key on the preview output. This
automatically selects the keyers menu on the system control LCD. Pressing the KEY 1
next transition button ties the key to the next transition so it will transition to air when
the next transition is performed.
2 In the keyers LCD menu, select the ‘pattern’ key type using the corresponding ‘key
type’ control knob.
3 Select the fill source using the corresponding soft control knob or by pressing a source
button on the source select bus.
4 Turn the corresponding soft control knobs to choose the ‘pattern’ you want for the
pattern key and set the ‘size’ of the pattern.
5 Press the system control left and right arrow buttons to navigate through the pattern
key parameters and adjust settings using the control knobs. Watch the preview output
as you refine the key.
TIP Some patterns can have their center point repositioned. Use the joystick to move
the position of the pattern. If you need to reset the position, navigate to the ‘pattern
type’ setting, change it to another pattern and then return to your chosen pattern to
reset the position to its default.
145Keying using ATEM Switchers
Size Increases and decreases the size of the selected pattern.
Symmetry Some patterns may have their symmetry or aspect ratio adjusted.
Circlepatterns may be adjusted to become horizontal or vertical ellipses.
Twist the joystick knob to adjust its symmetry.
Softness Changes the softness of the edge of the key signal.
Invert Pattern This button inverts which the region filled with the fill source. Forexample,
fill a region outside of a circle by positioning the circle wipe as desired and
then selecting inverse.
Flying Key Enables/disables DVE effects
Adjusting the x/y position of a pattern
Some of the patterns may have their center point repositioned. To position a pattern, navigate
to the pattern selection page of the keyer you are setting up. Use the joystick or control knobs
to move the pattern vertically and horizontally. To re-center the pattern, press the pattern select
button of the current pattern in the menu. This will reset the position and symmetry of
the pattern.
DVE Key
DVEs (digital video effects) are used to create picture-in-picture boxes with borders.
Mostmodels have 1 channel of 2D DVE that allows scaling, rotation, 3D borders and offers a
drop shadow.
Combining a background, DVE fill and DVE key/cut
Background
A full screen image.
Fill
Another full screen that has been scaled, rotated or has added borders and will be overlaid on
top of the background.
Key/Cut
In the case of a DVE key, the key/cut signal is generated by the switcher’s internal
DVEprocessor.
146Keying using ATEM Switchers
DVE Key Settings
Performing an Upstream DVE Key
To set up a DVE key on upstream keyer 1 on the software control panel:
1 Expand the upstream key 1 M/E 1 palette and select DVE from the key types bar.
2 Select the fill source. You can even select the ME 2 program or preview output as the
DVE fill source which gives you a tremendous amount of control and creative options.
3 Adjust the key parameters to refine the key. For a description of DVE key parameters,
refer to the table below.
DVE Key Settings
To set up a DVE key on upstream keyer 1 on an ATEM advanced panel:
1 Press the KEY 1 next transition button to enable the keyer on the preview output.
2 In the keyers LCD menu, select the DVE key type using the corresponding soft
control knob.
3 Select the fill source using the corresponding control knob or via the a source button
on the source select bus.
4 Press the system control left and right arrow buttons to navigate through the DVE
parameters and use the soft control knobs to adjust settings, such as rotation, position,
size, mask settings, light source, border and key frames for movement.
147Keying using ATEM Switchers
TIP When using the number pad to enter numeric values for settings, hold the ‘reset’
button down for several seconds to enable negative values. Hold down again to return
to standard values.
DVE parameters
X Size Adjusts the horizontal size of the DVE.
Y Size Adjusts the vertical size of the DVE.
Rotation Spin the box around its center point with the Rotation adjustment knob.
Rot Rst Resets the rotation of the DVE.
DVE Rst Resets the DVE to screen. Useful if you lose track of the DVE
during adjustment.
Adding DVE Borders
DVE border styles
The 3D borders used in the upstream keyers have four different style settings.
The style settings adjust the overall look of the border.
No Bevel No bevel - 2D border where the border width, softness and color adjustments
are applicable.
Bevel In Out Bevel in out - 3D border
Bevel Out Bevel out - 3D border
Bevel In Bevel in - 3D border
DVE border parameters
The knobs and soft buttons in the system control are used to adjust the border parameters.
There are multiple parameters, each requiring an adjustment, therefore the soft/color button
and SHIFT button is used to toggle the parameters that each knob adjusts.
Border Enables or disables the border.
Shadow Enables or disables drop shadow.
Soft/Color This control is toggled between these two color settings (including light
direction) and softness settings (including size). Capital letters indicate which
settings are currently selected for control.
Out Width Adjusts the outside width of the border.
Out Soft Outside softness adjusts the outside edge of the border, the edge that touches
the background video.
Bevel Soft Bevel softness adjusts the overall softness of the 3D border. A high value for
this parameter will result in a rounded or beveled border.
Opacity Opacity adjusts the transparency of the border, use this setting to create
interesting colored glass borders.
148Keying using ATEM Switchers
Hue Changes the border color. The hue value is a location on the color wheel.
Sat Changes the intensity of the border color.
Luma Change the brightness of the border color.
Light Angle Adjusts the direction of the light source on the DVE or picture in picture.
Boththe border and drop shadow, if available, are affected by changes to
thissetting.
In Width Adjusts the inside width of the border.
In Soft Adjusts inside softness. This softness parameter adjusts the inside edge of
theborder, the edge that touches the video.
Bevel Pos Adjusts the position of the 3D bevel on the border.
Light Altitude Adjusts the distance of the light source from the DVE or picture in picture.
Boththe border and drop shadow, if available, are affected by changes to
thissetting.
Key Masking
Both upstream and downstream keyers have an adjustable rectangular mask that can be used
to crop out harsh edges and other artifacts in the video signal. The mask consists of left, right,
top and bottom crop controls. Masking can also be used as a creative tool to build rectangular
cut outs on screen.
On the hardware panel the mask is set up for each upstream and downstream key from the
system control mask menu which is available from the EFFECTS KEYS or DSK KEYS menus.
On the software control panel the mask is set up for each upstream or downstream key from
the palettes in the settings tab.
Flying Key
Luma, chroma and pattern upstream key types include a flying key setting. If a DVE channel is
available the Flying Key setting allows DVE effects to be applied to the key.
Performing Upstream Keyer Transitions
The upstream keyers are accessible from the transition control block or the system control.
Theupstream keyers are taken on and off the program output using the next transition buttons
or ON buttons.
ON buttons
Take the upstream keyers on or off the program output using the ON (on air) buttons as follows:
1 Press the ON button above the corresponding next transition KEY button to
immediately turn on or turn off the upstream key on the program output.
2 The ON button also indicates if the upstream keyer is currently on or off the
program output.
149Keying using ATEM Switchers
Next transition buttons
Take the upstream keyers on or off the program output using the next transition buttons
as follows:
1 Select the elements you wish to transition using the BKGD, KEY 1, KEY 2, KEY 3 and
KEY 4 next transition buttons.
2 Verify the preview output, which will show you exactly what your program output will
look like after you perform the transition.
3 Press CUT, AUTO, or use the fader bar to perform the transition.
In order to help you understand the various ways in which multiple keys can be taken on and off
the program output, we have provided a few examples. In the examples below KEY 1 contains a
live bug on the top left of the screen while KEY 2 contains a bug at the bottom right hand side
of the screen.
Example 1:
In this example none of the upstream keyers are currently on-air. The next transition has key 1
selected, therefore the next transition will change the state of key 1 and turn it ON so that it is
visible on the program output.
Program output after transition.Program output before transition. Control paneal next transition
buttons before transition.
Example 2:
In this example, key 1 is currently on air, indicated by the illuminated ON button. The next
transition has Key 1 selected, therefore the next transition will change the state of key 1 and turn
it OFF so that it is not visible on the program output.
Program output after transition.Program output before transition. Control panel next transition
buttons before transition.
Example 3:
In this example, key 1 and key 2 are on-air, indicated by the illuminated ON buttons. The next
transition has the background selected, indicated by the illuminated BKGD button, therefore the
next transition will only transition the background leaving both key 1 and key 2 on-air.
Control panel next transition
buttons before transition.
Program output before transition. Program output after transition.
150Keying using ATEM Switchers
Example 4:
In this example, key 1 and key 2 are on-air. The next transition has the background and key 2
selected, therefore the next transition will transition the background and change the state of
key 2 turning it OFF so that it is not visible on the program output.
Control panel next transition
buttons before transition.
Program output before transition. Program output after transition.
There are multiple ways to transition a key to the program output. The key can be cut on or off,
it can be mixed on or off, or it can be mixed along with a background transition. Upstream keys
are transitioned to the program output using the next transition block. Downstream keyers can
be transitioned using their own transition buttons or by using the DSK TIE button to link the
transition with the main transition control block.
Performing Downstream Keyer Transitions
The downstream keyers have their own transition buttons and transition rate windows. Once a
downstream keyer is configured it can be easily taken on and off the program output using one
of the following three methods:
1 Press the DSK CUT button to immediately turn on or turn off the downstream key on the
program output.
2 Use the DSK AUTO button to gradually transition the downstream key on or off the
program output at the rate displayed in the DSK rate window.
3 Use the DSK TIE button to link the downstream key with the main transition control
block. Once linked the DSK will be mixed on or off along with any transition type
selected in the main transition control block at the rate specified by the transition
control block.
Pressing the DSK TIE button shows the downstream keyer on the preview output.
It is not possible to preview a downstream keyer transition when linked with the main
transition block. If the DSK TIE button is on when you switch to preview transition mode
the tie functionality will be ignored until the preview transition mode is turned off.
DSK parameters
Clip The clip level adjusts the threshold at which the key cuts its hole. Decreasing
the clip level reveals more of the background. If the background video is
completely black then the clip value is too high.
Gain The gain adjustment electronically modifies the angle between on and off
thereby softening the edges of the key. Adjust the gain value until the edge
softness is desirable but the background video luminance (brightness) is not
affected.
Rate The mix rate at which the downstream keyer transitions on or off.
Inverse Inverts the key signal.
Pre-Mult Identifies the key signal as a pre-multiplied key.
151Keying using ATEM Switchers
Using Adobe Photoshop with ATEM
Installing the ATEM software on your computer also installs a Photoshop plug-in that lets you
download Photoshop graphics direct to the ATEM media pool.
This means you can accept graphics from designers in the application that 100% of the world’s
designers use, Adobe Photoshop! You can even use the layers in a Photoshop image to keep
variations of graphics, such as different titles in a graphic, then select the layers in Photoshop
you want and then simply download them at the press of a button. When downloading the
layers are automatically flattened in real time before download. This happens in the background
and your document in Photoshop is unchanged by the export.
The ATEM export plug-in requires Adobe Photoshop CS5 or later. Install or reinstall the
ATEM software after Photoshop is installed, to ensure the ATEM export plug-in is installed.
ATEM export plug-in
Setting up Plug-in Switcher Location
The first time the Photoshop export plug-in is run, it will ask you to select your switcher location.
This is the IP address of the switcher so the plug-in can find the switcher to communicate with.
By default, the IP is set to 192.168.10.240, which is what the switcher IP address is originally set
to when first sold. If you want to export several versions of the same Photoshop file, you can
use the export plug-in window to name each exported file and also choose whether to set the
files to a Media Player after export.
Preparing Graphics for Download
For best results, you will want to use a Photoshop document resolution that matches the video
standard you’re using with your ATEM switcher. For 8K you should use documents that are
7680 x 4320 pixels in resolution. For Ultra HD you should use documents that are 3840x2160
pixels in resolution. For 1080 HD you should use 1920 x 1080 pixels in resolution. For 720p HD
formats you should use 1280 x 720 pixels. For PAL standard definition you should use
720 x 576 and for NTSC you should use 720 x 486 pixels resolution documents.
152Using Adobe Photoshop with ATEM
When working with Photoshop documents for ATEM, you should not put any content on the
background layer, but add all content to the layers above. The background layer should always
be plain full frame black and you should use a pre-multiplied key setting in the ATEM keyers for
keying graphics from Photoshop.
To help you get started, we’ve included a guide and some graphic template files in the Example
Graphics folder which was installed on your computer along with the ATEM Switchers software.
To download the graphic to the ATEM media pool, simply select the export menu in Photoshop
and then select ATEM Switcher Media Pool to export. A window will appear asking you to
choose which position in the media pool you want to download to. The list includes all the file
names of graphics currently loaded in the media pool. Select which position you would like to
download to and then select export.
If you’re in a hurry to get your graphics on air, then you can select to automatically copy this
graphic to either media player 1 or media player 2 after download. This lets you get images to
air fast! If you don’t want to interfere with the media player graphic sources, simply select not to
copy the media players to this graphic.
Pre Multiply Alpha should almost always be enabled and requires that you also switch on the
Pre Multiplied Key setting in ATEM Software Control or on the optional ATEM Advanced Panel.
Premultiplying mixes the graphic color with its alpha channel when exporting to ensure your
graphic has smooth edges which blend in to the video.
Using Auxiliary Outputs
Auxiliary outputs are extra SDI outputs that can have various inputs and internal sources
routedto them. They are very similar to router outputs and all video inputs, color generators,
media players, program, preview and even color bars can be output. ATEM Production
Studio4K has 1 auxiliary output and most other switcher models have multiple auxiliary outputs.
ATEMConstellation 8K has an abundance of general purpose outputs instead of auxiliary
outputs, which means any source can be routed to them.
If you need an extra program output, then aux outputs are ideal, or if you need a clean feed
before one or both of the down stream keyers, then you can even select these to the aux
outputs. This will give you a program feed without a logo or bug, so you can capture this as
abroadcast master for later post production or transmission.
Aux outputs are extremely powerful and can be routed on the software control panel, as well as
the hardware based advanced panel. The aux output menus are available in the menu bar
atthe top of the software control panel regardless of the window currently selected so they are
always available. The ‘outputs’ menu in the the software control panel for ATEM Constellation
8K has flexible routing options for all 24 outputs in HD and Ultra HD modes and all six 8K
outputs. For more information, see the ‘Routing Auxiliary Outputs’ section.
The switcher will always perform a clean switch when an auxiliary output changes sources so
this means you can use the switcher to cut between sources on the auxiliary output cleanly
and without glitches.
153Using Auxiliary Outputs
The ATEM Production Studio 4K models feature illuminated buttons on the front panel together
with a built in LCD screen. Assigning an aux output is as easy as selecting an aux button from
the right hand row and pressing one of the source buttons on the left. The LCD screen will then
display that output. This feature not only gives you a fast visual indicator of your connections,
but also serves as a powerful auxiliary switcher!
Auxiliary Outputs Control Menus on Mac
Auxiliary Outputs Control Menus on Windows
ATEM Software Control menus for routing outputs for ATEM Constellation 8K.
Routing the Aux Output using an ATEM Hardware Panel
On ATEM hardware panels, you can route the auxiliary output using the auxiliary settings in the
system control menu. To do this:
1 Press the ‘aux’ button in the system control ‘home’ menu to open the auxiliary menu.
2 In the auxiliary menu, select auxiliary 1.
3 Press a source button on the corresponding M/E’s source select row. Depending on
the panel you are using, you may need to hold the shift button down to access your
desired source.
4 Press the ‘home’ system control button to return to the home menu.
154Using Auxiliary Outputs
Available Auxiliary Sources
There are a range of sources available, and these include:
Black Black source generated internally in the switcher.
Inputs These are all the sources connected to the HDMI and SDI inputs. In
ATEM Software Control, you will see the video inputs of the switcher
listed in the ‘auxiliary 1’ drop down menu. These will be listed as the
current labels you have set in the settings window of the switcher.
Color Bars Color bar source generated internally in the switcher.
Media Player 1 This is the fill output of media player 1, and is derived from the still’s
RGB content.
Media Player 1 Key This is the key output from media player 1, and is derived from the
still’s alpha content.
Media Player 2 This is the fill output of media player 2, and is derived from the still’s
RGB content.
Media Player 2 Key This is the key output from media player 2, and is derived from the
still’s alpha content.
Program This is the switcher program out, and is the same as the main
program SDI output on the switcher.
Preview This is the preview output and shows the source selected on the
preview bus, and is the same as the preview window in the multi view.
Clean Feed 1 This is identical to the program output, however does not include
any of the downstream keyer contents. It’s useful when you
want to record a master output without logos or bugs on the
downstream keyers.
Clean Feed 2 This is the same as above, however this output is taken from between
the two down stream keyers, and so includes down stream keyer 1,
but not down stream keyer 2’s output.
Routing clean feeds to aux outputs allows ultimate flexibility in the
use of your program video. From the auxiliary output you can record
a version of your program free from any local broadcast branding you
might have applied from the down stream keyer. This ‘clean’ version
could then be easily used for an international broadcast. This is a
very powerful feature!
Using SuperSource (Picture in Picture)
ATEM 2 M/E switcher models include a feature referred to as SuperSource (Picture in Picture
or PIP) that will allow you to arrange multiple sources on the monitor at one time.
ATEM Constellation 8K has two SuperSources in HD and Ultra HD and one in 8K. This is useful
as there are occasions when you need to see more than one source on the monitor. It’s great to
know that the SuperSource processor appears on your ATEM Switcher as a single video input.
You can even select the Mix Effects 2 program or preview output as a box source for your
selected layout.
155Using Auxiliary Outputs
Setting up SuperSource
You can set up SuperSource using either the joystick on your ATEM panel or using the
ATEMSoftware Control Panel (GUI).
Viewing SuperSource
To set up SuperSource, first you need to be able to view it on your monitor. Do this by either
assigning SuperSource from the Settings tab in the GUI to a multi view window or by placing
SuperSource on the preview output of your monitor if using an ATEM panel.
Positioning Sources
Using the GUI you can open the SuperSource palette and choose from one of the four preset
layouts. Click the one that is closest to the look you want, this will automatically arrange the
boxes into the preset positions indicated on the GUI. Make sure the box is enabled. You can
then change the position and size via the X Position, Y Position and Size fields. Ticking the
Enable Crop check box allows you to crop the image. The crop parameters are Top, Bottom,
Left and Right. You may then wish to alter the parameters of boxes 2 to 4 by doing similar steps.
If you make a mistake, click on the cog symbol on the RHS of the Box Control tab and you can
easily reset the parameters.
If you are using a Control Panel, in the Home Menu press the button marked SuperSource and
then choose Preset Menu. In this menu you can choose any of the four presets. Go back and
then select the individual box that you want to manipulate. Moving an image is fun and easy via
the panel’s joystick. You can select the box to be moved in one of the following 3 ways.
In the SuperSource menu, push the button marked with a box number, in this case box
1 and the joystick will be auto assigned to the box that you have selected. Easily select
more than one box at a time by holding down 2 or more of these buttons!
Use the buttons next to the joystick itself. As an example, a single tap will select box 1
on the lower right or a rapid double tap will select box 3.
Finally, push a dedicated destination button on the 2 M/E panel or select button on the
1 M/E panel.
SuperSource settings
156
Using Auxiliary Outputs
When using the Control Panel, you can use the Enable button to switch a particular box on or
off. Choose the source you wish to place in the box from the Source Select bus. Press the
dedicated Destination button followed by the desired source. Then choose the Position and the
Size either via the window or the joystick. If you decide that you want to use Crop, select the
Crop Menu button and select the crop button. Each box can be cropped individually and the
parameters are Top, Bottom, Left and Right. If you become confused then crop can be reset via
the crop reset button.
Background and Foreground Art
To use background art, clicking on the button marked Art on the GUI or the ATEM Panel
will reveal the Art settings. To use art as a background source, select the button marked
Background. Then choose your Art Fill Source via the GUI drop down box, or on the ATEM
panel by the Source Select bus. Assign the source and your choice will be placed behind the
on screen boxes.
On the panel, in the SuperSource menu press the button marked art and then press the button
marked Background. Select the source for the background via the Select bus on the 1 M/E
panel or the dedicated Destination bus on the 2 M/E panel. This will result in the selected video
source being placed behind the enabled boxes.
On the GUI if you wish to make the art foreground, then click on the radio button marked
Foreground and choose whether your graphic is Pre Multiplied or not. If it is Pre Multiplied then
tick the check box, assign the Art Fill Source and the Art Key Source. This will now allow the art
to be placed over the enabled box or boxes. If your art is not pre multiplied then you can use
the clip and gain controls as discussed in the Keying section of this manual to achieve the
desired result.
On the panel if you wish to make the art foreground, then click on the button marked
Foreground and choose whether your graphic is Pre Multiplied or not. If it is Pre Multiplied then
press the button marked with this label and assign the Art Fill Source and the Art Key Source.
This will now allow the art to be placed over the enabled box or boxes. If your art is not Pre
Multiplied then you can use the clip and gain controls as discussed in the Keying section of this
manual to achieve the desired result. You may also need to invert the key.
Art Foreground controls
157
Using Auxiliary Outputs
JAdjusting Borders
Borders are created the same way for both the GUI and the ATEM panel. Simply click on the
button marked Borders. This will allow access to all the border parameters as previously
discussed in this manual under “Adding DVE borders”.
Please note that if you are using the Art in Foreground mode then the borders are not available
as they would not be visible and that any or all border settings are applied to all boxes. Also
note that ATEM Constellation 8K presents SuperSource without borders in 8K.
Copying Settings
To perform the Copy function using the GUI, simply click on the Copy button and the Copy Box
Settings dialogue will appear. You can quickly & easily copy the settings of the currently
selected box to any of the other boxes, making an exact clone in just one click! The copied
boxes will appear directly behind the master box and will also share the same source as
the master.
If you are using an ATEM panel, select any box via the SuperSource main menu and then the
button marked Copy To. In the window, the currently marked box will then be copied to any of
the other boxes as selected. As with the GUI, the copied boxes will appear directly behind the
master box and will also share the same source as the master.
Putting SuperSource On Air
The entire SuperSource processor appears on your ATEM Switcher as a video input. Simply
select the SuperSource button on the GUI or the ATEM panel to use the composite you have
just made!
Copying the settings of Box 1 to Box 2
158
Using Auxiliary Outputs
Using Macros
What is a Macro?
A macro is an easy way to automate a sequence of switcher actions so you can repeat the
sequence at the press, or click, of a button. For example, you can record a sequence of
transitions between several video sources, including key effects, audio mixer adjustments,
camera control settings and more. Record all your actions to a macro button, then when you
press that button all your recorded actions will be instantly performed. Macros are recorded
using the macros window in ATEM Software Control, an ATEM Advanced Panel, or a
combination of the two and are stored inside your ATEM switcher. Macros are common to all
control panels, they can be triggered using any control panel you like.
The Macros Window in ATEMSoftware Control
To open the macros window in ATEM Software Control, click on macros in the title bar, or you
can also press shift/command/M for Mac, or shift/control/M for Windows. The macros window is
a floating window you can move freely about your desktop. This is so you can always access
the window when moving between the switcher, media, audio and camera pages. While
recording a macro, you can even reduce the size of the window by clicking on the minimize icon
at the top right corner.
Macros can be recorded to any of the 100 macro slots. Up to 20 macro slots are visible on
eachpage. Move forwards and backwards through pages by clicking on the arrows on the
bottom sides of the window. Clicking on the create and run buttons lets you swap between
thecreate and run pages so you can record your macros and then run them during your
liveproduction.
The macros window in
ATEM Software Control lets
you record and run macros
so you can easily repeat a
sequence of complex switcher
actions at the click of a button.
159Using Macros
Recording Macros
Macros need to be recorded comprehensively, in clearly defined sequences from start to finish
without error. This is because your macro will record every setting, press of a button and
switcher action you perform. When you run a macro, all the switcher actions you recorded in
that macro will be repeated precisely.
It’s worth highlighting that a macro will only record the settings you change. For example, if you
want a 3:00 second transition and your switcher’s transition rate is already set to 3:00 seconds,
you’ll need to change the duration, then set it back to 3:00 seconds to record the setting. If not,
your desired transition rate will not be recorded and when the macro is run it will simply use the
transition rate your switcher was last set to. So you can see why precision is important!
If settings are changed while recording a macro and you want them restored to a particular
state, simply restore those settings while recording the final steps of the macro. You can even
record macros to restore settings for various projects. You have lots of choices. The important
thing to remember when recording a macro is that you change all the settings you need to so
you can create the specific effects you want.
Recording a Macro using ATEMSoftware Control
In the example below, we’re going to create a macro that will set your ATEM switcher to perform
a 3 second mix transition from color bars to color 1, pause for 2 seconds, then perform a 3
second mix transition to black. Try building this macro on your ATEM switcher so you can learn
the steps in creating macros.
1 Launch ATEM Software Control and open the macros window.
2 Click on the create button in the macros window to select the create page.
3 Click on a macro slot you want to record your macro to. In this example, click on macro
slot 1. An orange border will appear around the slot you have selected.
4 Click on the create macro button (‘plus’ icon) to open the create macro popup window.
If you want to, you can enter the name of your macro and type a description. This lets
you easily keep track of your macros and quickly see what each macro does. When you
click on a macro, your notes will appear in the status window.
To start recording a macro, select a macro
slot, then click on the createmacro button.
Type in your notes and click ‘record’.
5 Click the ‘record’ button.
The popup window will close and a red border will appear around your ATEM Software
Control panel indicating your macro is now recording. Notice the red ‘add pause’ button
at the top of the border.
160Using Macros
Now that your macro is recording, you can start performing your switcher actions.
While recording, the create macro button
will change to a ‘record’ button. When you
have completed your switcher actions, click
on the ‘record’ button to stop recording.
6 Click on the bars button in the program panel on the switcher page. This sets bars to
your switcher’s program output.
7 Select color 1 on the preview panel.
8 Open the transitions palette and set it to mix.
If mix is already selected, make sure your macro records the setting by selecting a
different transition type, for example the wipe transition, then clicking on mix again.
9 Now change the transition Rate to 3:00. This sets the mix transition duration to
3 seconds.
10 Click on the auto button in the transition style panel. Your switcher will perform a mix
transition from color bars to color 1.
11 To set the switcher to wait for 2 seconds before applying another transition, click on
the add pause button at the top of the red border. The ‘insert pause’ window will open.
Setthe pause to 5 seconds and 0 frames and click ‘add pause’ to confirm.
Why set a 5 second pause when you only want a 2 second pause? That’s because
when the mix transition occurs, it takes 3 seconds to complete. So if you want to add a
pause, you need to consider the transition duration, plus the pause you want to happen
before the next transition occurs.
In this example, it takes 3 seconds for the transition to complete, then 2 seconds for
your 2 second pause, so you should enter a pause of 5 seconds. Another way is to add
two separate pauses, one for the duration of the transition and then another for the
pause you want. It’s up to you.
12 Now select black on the preview panel and click the auto button in the transition style
panel. Your ATEM switcher will perform a mix transition to black.
13 Click the record icon in the macros window to stop recording your macro.
The macro you just recorded will now appear as a button in your selected macro slot.
To preview your macro, click the run button in the macros window to enter the run
page. Select recall and run, which sets the macros window to run a macro as soon as
you click on a macro button. Now click on your new macro button, named ‘Transitions’.
14 If you want your macro to instantly run as soon as you select it, click on the ‘recall and
run’ button. By enabling this feature you can load and play your macros with only one
click of a button.
161Using Macros
Congratulations! If your macro was successful, you should see your ATEM switcher perform a
mix from color bars to color 1 using a 3 second transition, pause for 2 seconds, then perform
another 3 second mix transition to black, all by clicking one button in the macros window!
YourATEM switcher will also display an orange border around your software control panel to
indicate a macro is playing.
If your macro doesn’t perform the way you expect it to, simply rerecord the macro you just
created following the previous steps.
ATEM Software Control displays a red border to indicate when you are recording a macro. The ‘add pause’
button located at the top of the red border lets you enter durations for pauses between switcher actions.
Enter a name for your macro and a description so you can keep track
of the switcher actions recorded in the macro.
162
Using Macros
The image shows how a macro
button appears in the macros
window after it has been
recorded. To run a macro,
click on the ‘run’ button to enter
the run page. Now you can
load and/or run the macro by
clicking on the macro button.
Building Large Macros
Macros can even include triggering other macros as part of recording a macro. This lets you
easily build larger macros from multiple smaller macros, i.e., recording macros with limited
actions, thencompiling them into a large macro. This is because if there are any mistakes while
recording a large macro in one complete sequence, you’ll need to go back to the start of your
sequence and rerecord it. It’s a lot easier to work with segments containing a small number
of actions.
By recording a large macro using small macros, you can also edit your large macro by
rerecording only the small macros you want to change, then compiling your small macros back
into your large macro.
To compile small macros into a large macro:
1 Start recording a new macro, then while the macro is recording, click on the ‘run’ button
to enter the run page.
2 Select ‘recall and run’ to automatically run macros at the push or click of a button,
ordeselect to load a macro and play it manually.
3 Run your sequence of small macros, with pauses between each one to cover the
duration of each small macro, until you’ve completed the large macro.
4 Stop recording. You now have a complex, powerful large macro built from small macros
you can easily change later if you need to.
There is no limit to the amount of actions you can perform. You can easily build complex
transitions, create unique repeatable effects using keyers, or set up frequently used Blackmagic
Studio Camera settings, graphic overlays and DVEs so you don’t have to reconstruct them
every time you start a new program. Macros are fun and will save you a lot of time!
163Using Macros
Macros Window Create Page
Create macro button:
Click this button to open
the create macro popup
window. From here you can
name a new macro tobe
recorded, write a description
of your macro in the notes
section, and click record to
start recording your macro.
Arrow buttons and
page Icons:
To access or record more
than 20macros, simply click
on the right arrow at the
bottom corner of the macros
window to open a new page
of macros. Tomove to the
previous page of macros,
click on the left arrow. You
can see which page of
macros you are viewing by
observing the page icons
between the arrows.
Edit macro button:
First select the macro you want to edit,
then click on the edit macro button to edit
the name and description of the macro.
Delete macro button: Select the macro
you want to delete, then click on the delete
macro button to delete the selected macro.
Status window:
This window provides helpful prompts
and status messages to help you
getstarted recording and running your
macros. When a macro is selected, it also
displays any notes you have included.
Macro buttons:
After recording a macro to a selected
macro slot, your macro will appear as
a macro button. 20macro buttons can
be displayed on one page. If a macro is
unnamed when recording, the number of
the selected macro slot will be used.
Macros Window Run Page
Recall and Run:
Selecting the Recall and Run
feature lets you instantly run
a macro by clicking a macro
button. Deselecting the Recall
and Run feature lets you load
a macro by clicking on your
macro button. Run the macro
by clicking the play button.
Play:
When Recall and Run is deselected
and you have loaded a macro by
clicking on a macro button, click the
play icon to start playing the macro.
Stop:
Clicking the stop button will stop
the playback of a macro, but will
complete the current action first. For
example, if you press stop half way
into a transition, the switcher will
finish the transition and then stop.
Loop:
When the loop button is selected and
you run a macro, your macro will run
continuously until you click the stop
button. When loop is deselected, your
macro will run until it is completed.
164Using Macros
Recording Macros using ATEM Advanced Panel
You can record and run macros using an ATEM Advanced Panel independently of
ATEM Software Control. All actions on the ATEM Software Control switcher page can be
performed using your hardware panel. If you need to arrange graphics in the media pool,
or adjust camera settings, simply access those settings using ATEM Software Control.
The buttons used to record and run macros on the ATEM 1 M/E Advanced Panel are located in
the system control buttons. The names of your macro buttons are displayed in the source select
names display.
Follow the steps below to create the ‘transitions’ macro demonstrated earlier using
ATEM Software Control. This time you will create a macro in macro slot 6.
1 Press the ‘macro’ soft button to open the macros LCD menu.
2 Using the ‘macro’ knob under the LCD, select the macro slot you want to record to.
For this example, select slot ‘6 - Empty’.
3 Press the ‘record’ soft button at the top of the LCD to start recording. The record icon
appears as a red circle. When recording, this icon becomes a red square.
Press the ‘record’ soft button to start recording your macro
While recording, a red border will appear around the LCD
4 Shift select ‘color bars’ on the program bus. The button will flash indicating it’s a
shifted source.
5 Shift select ‘color 1’ on the preview bus. If you wish, you can map buttons such as
colorbars, black and color generators to any of the main 10 buttons of the program
and preview bus for easier access. See the ‘button mapping’ section of this manual
forinstructions.
165Using Macros
6 Press the wipe button in transition control to ensure the macro records the wipe
transition selection.
7 In the ‘wipe’ LCD menu, set the rate to 2:00 seconds.
8 Press the ‘auto’ button in transition control to perform the wipe transition from color
bars to color 1.
9 Press the ‘macro’ button to return to the macro screen.
10 To set the macro to wait for 2 seconds before applying the next transition, press the
‘add pause’ soft button in the LCD menu and set the duration to 2 seconds by rotating
the ‘seconds’ knob. Press the ‘confirm’ soft button to record the pause.
11 Now shift select ‘black’ on the preview bus , press the ‘mix’ button in transition
control and press the ‘auto’ transition button. Your ATEM switcher will perform a mix
transition to black.
12 Press the Macro button to navigate back to the Macro menu, then press the ’stop’ soft
button to stop recording.
You have just recorded a macro using an ATEM Advanced Panel. The macro will appear as a
macro button named ‘Macro 6’ because it is located in macro slot 6. You can name your macro
and add notes by clicking on the ‘edit macro’ button in ATEM Software Control.
To run the macro, press the macro button to set your panel’s source select row to macro mode.
The buttons will illuminate blue when in macro mode. Now press the macro 6 button. You can
easily see when a macro is running because the macro button will flash green and an orange
border appears around the LCD menu.
If your macro was successful, you should see your ATEM switcher mix from color bars to color 1
using a 2 second mix transition, pause for 2 seconds, then perform another 2 second mix
transition to black, all by pressing one button on your ATEM Advanced Panel. If you want the
macro to loop so it keeps running, press the ‘loop’ soft button to enable loop. Press again to
disable loop.
It’s worth frequently testing your macros using different switcher settings to make sure the
macro performs all the specific functions you intended and doesn’t miss any instructions
or produce something unexpected.
If you want to record over a previously recorded macro, or if you
made a mistake and want to start recording the macro again, press
the record button and confirm the overwrite when prompted
166
Using Macros
Using ATEM Camera Control Panel
Traditionally, camera control units, or CCUs, have been designed for mounting inside a desk
with independent units for each camera. ATEM Camera Control Panel is a portable solution that
can be placed on a desk or solid surface with 4 CCUs built in so you can control up four
Blackmagic Design cameras at once. However, you aren’t locked into controlling one single
camera for each CCU because you can select which camera you want to control.
This means you can control any number of Blackmagic Design cameras using the four CCUs on
one single panel, or if you have more than four cameras, you can use additional panels if you
want to assign each camera with a dedicated CCU. It’s completely up to you.
NOTE Blackmagic Design cameras that can be controlled using ATEM Camera Control
Panel include URSA Broadcast, URSA Mini Pro 4.6K, URSA Mini, Blackmagic Studio
Camera and Blackmagic Micro Studio Camera.
Powering the Panel
To power your camera control panel, connect power via the IEC power input on the rear panel
using a standard IEC power cable. You can also use the 12V DC input if you want to connect
external power or redundancy via an external power supply, for example a UPS uninterrupted
power supply or external 12V battery.
Connect power via the power input on the rear panel
167
Using ATEM Camera Control Panel
Connecting the Panel to your Switcher
To connect ATEM Camera Control Panel to your switcher, all you need to do is add the panel
into your ATEM Ethernet connection chain.
For example, if you are using an external ATEM hardware panel, such as the ATEM 1 M/E
Advanced Panel, remove its Ethernet cable from your computer or network and connect it to
one of the camera control panel’s Ethernet ports instead. The ATEM hardware panel will then
be the middle unit in the chain. Now connect the camera control panel’s spare Ethernet port to
your computer or network.
If you are using the camera control panel with just your switcher and a computer on a shared
network, connect the panel to your switcher, then the spare Ethernet port to your computer.
After connecting the camera control panel to your ATEM equipment, you should see the lights
on the panel illuminate and the LCDs on each CCU will display their respectively assigned
cameras. The panel is now powered, connected to your switcher and ready to start controlling
your cameras!
168Using ATEM Camera Control Panel
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
tomanually 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 ‘settings’ soft button.
Press the ‘settings’ soft button on the LCD home screen
toaccess 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.
169Using ATEM Camera Control Panel
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.
170Using ATEM Camera Control Panel
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
mayneed 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
171
Using ATEM Camera Control Panel
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.
Settings
Pressing the ‘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 youare
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.
172Using ATEM Camera Control Panel
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.
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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Using ATEM Camera Control Panel
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.
174Using ATEM Camera Control Panel
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.
Youwill 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
showsthe camera currently selected for each CCU
175
Using ATEM Camera Control Panel
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
176Using ATEM Camera Control Panel
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.
177Using ATEM Camera Control Panel
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.
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, itssetting 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.
178Using ATEM Camera Control Panel
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.
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.
Pressthe 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
orcounter 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.
179Using ATEM Camera Control Panel
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.
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.
180
Using ATEM Camera Control Panel
Iris and Master Black Indicators
The indicators for the iris and master black joystick control displays the gain value, shown as
thef-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.
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.
Inthiscase, 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.
181Using ATEM Camera Control Panel
Iris and Master Black Active
Once your levels are set and you want to lock them so they are not accidentally changed,
pressthe ‘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
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.
182Using ATEM Camera Control Panel
Using Tally
Sending Tally Signals via aGPIand 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,
abreakout 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.
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 table illustrates which tally signal is sent when a switcher input is selected on the
program output. When using GPI and Tally Interface with an ATEM 2 M/E Production Switcher,
use Blackmagic ATEM Setup to set one unit to signal on tally outputs 1 - 8 and the second unit
to signal on tally outputs 9 - 16.
Program Output Tally signal
Switcher Input 1 Tally 1
Switcher Input 2 Tally 2
Switcher Input 3 Tally 3
183Using Tally
Program Output Tally signal
Switcher Input 4 Tally 4
Switcher Input 5 Tally 5
Switcher Input 6 Tally 6
Switcher Input 7 Tally 7
Switcher Input 8 Tally 8
Switcher Input 9 Tally 9
Switcher Input 10 Tally 10
Switcher Input 11 Tally 11
Switcher Input 12 Tally 12
Switcher Input 13 Tally 13
Switcher Input 14 Tally 14
Switcher Input 15 Tally 15
Switcher Input 16 Tally 16
Changing the Network and Tally Settings
Blackmagic 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 the Blackmagic 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 the Blackmagic ATEM Setup.
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”.
TheGPI 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
IPAddress, Subnet Mask and Gateway information from your DHCP server.
184Using Tally
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 Blackmagic ATEM Setup and disconnect your USB cable.
Network and Tally Settings for the GPI and Tally Interface
185
Using Tally
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
186
Using Audio
Using Embedded SDI and HDMI Audio Sources
All ATEM switchers include a built-in audio mixer that lets you use the embedded HDMI and
SDIaudio 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
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
monitorXLR 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
ATEMswitcher 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.
187Using Audio
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
ATEMConstellation 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, plus1/4”
TRS connectors for analog audio in and out.
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.
188Using 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.
189Using Audio
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
ATEMswitcher 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.
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.
190Using Audio
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.
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.
Tomatch 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.
191Using Audio
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.
1
2
3
4
5
6
7
8
Eng TX+ Eng TX- Prod TX+ Prod RX+ Prod RX- Prod TX- Eng RX+ Eng RX-
1 2 3 4 5 6 7 8
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.
Receive (–) Receive (+) Transmit (–) Transmit (+) Ground Pins
8 3 2 7 1, 4, 6, 9
5 4 3 2 1
9 8 7 6
RS-422 PTZ pin connections.
TX+ TX- GND GND RX- RX+
1 2 3 4 5 6
1
2
3
4
5
6
RJ12 Pinout for PTZ remote on ATEM Constellation 8K
192
Adapter Cables for Talkback and Camera Control
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
upour 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 SDKmanual 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.
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.
193Developer Information
Command id (uint8)
The command id is an 8 bit unsigned integer which indicates themessage
type being sent. Receiving devices should ignore any commands that they do
not understand. Commands 0 through 127 are reserved for commands that
apply to multiple types of devices. Commands 128 through 255 are device
specific.
Reserved (uint8)
This byte is reserved for alignment and expansion purposes. Itshould 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 0x0bytes.
Anypadding bytes are NOT included in the command length.
Receiving devices should use the destination device address and or the command identifier to
determine which messages to process. The receiver should use the command length to skip
irrelevant or unknown commands and should be careful to skip the implicit padding as well.
Defined Commands
Command 0 : change configuration
Category (uint8)
The category number specifies one of up to 256 configuration categories
available on the device.
Parameter (uint8)
The parameter number specifies one of 256 potential configuration
parameters available on the device. Parameters 0 through 127 are device
specific parameters. Parameters 128 though 255 are reserved for parameters
that apply to multiple types of devices.
Data type (uint8)
The data type specifies the type of the remaining data. Thepacket length is
used to determine the number of elements in the message. Each message
must contain an integral number of data elements.
Currently defined values are:
0: void / boolean
A void value is represented as a boolean array of length zero.
The data field is a 8 bit value with 0 meaning false and all other values
meaning true.
1: signed byte Data elements are signed bytes
2: signed 16bit integer Data elements are signed 16 bit values
3: signed 32bit integer Data elements are signed 32 bit values
4: signed 64bit integer Data elements are signed 64 bit values
5: UTF-8 string Data elements represent a UTF-8 string with no terminating character.
Data types 6 through 127 are reserved.
128: signed 5.11fixed point
Data elements are signed 16 bit integers representing a real number with
5bits for the integer component and 11 bits for the fractional component.
Thefixed point representation is equal to the real value multiplied by 2^11. The
representable range is from -16.0 to 15.9995
(15 + 2047/2048).
194Developer Information
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 128through 255 are available for device specific purposes.
Data (void)
The data field is 0 or more bytes as determined by the data type and number
of elements.
The category, parameter, data type and operation type partition a 24 bit operation space.
Group ID Parameter Type Index Minimum Maximum Interpretation
Lens
0.0 Focus fixed16 – 0 1 0.0 = near, 1.0 = far
0.1 Instantaneous autofocus void – – –
trigger instantaneous
autofocus
0.2 Aperture (f-stop) fixed16 – -1 16
Aperture Value (where
fnumber = sqrt(2^AV))
0.3 Aperture (normalised) fixed16 – 0 1 0.0 = smallest, 1.0 = largest
0.4 Aperture (ordinal) int16 – 0 n
Steps through available
aperture values from
minimum (0) to maximum (n)
0.5
Instantaneous auto
aperture
void – – –
trigger instantaneous auto
aperture
0.6 Optical image stabilisation boolean – – –
true = enabled, false =
disabled
0.7 Set absolute zoom (mm) int16 – 0 max
Move to specified focal
length in mm, from minimum
(0) to maximum (max)
0.8
Set absolute zoom
(normalised)
fixed16 – 0 1
Move to specified focal
length: 0.0 = wide, 1.0 = tele
0.9
Set continuous zoom
(speed)
fixed16 – -1 +1.0
Start/stop zooming at
specified rate: -1.0 = zoom
wider fast, 0.0 = stop,
+1 = zoom tele fast
195Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Video
1.0 Video mode int8
[0] = frame rate – – 24, 25, 30, 50, 60
[1] = M-rate – – 0 = regular, 1 = M-rate
[2] = dimensions – –
0=NTSC, 1=PAL, 2=720,
3=1080, 4=2K DCI, 5=2K 16:9,
6=UHD, 7=3k Anamorphic,
8=4k DCI, 9=4k 16:9,
10=4.6k 2.4:1, 11=4.6k
[3] = interlaced – – 0 = progressive, 1 = interlaced
[4] = Color space – – 0 = YUV
1.1 Gain (up to Camera 4.9) int8 1 16
1 = 100 ISO,
2 = 200 ISO,
4 = 400 ISO,
8 = 800 ISO,
16 = 1600 ISO
1.2 Manual White Balance
int16 [0] = color temp 2500 10000 Color temperature in K
int16 [1] = tint -50 50 tint
1.3 Set auto WB void – – –
Calculate and set autowhite
balance
1.4 Restore auto WB void – – –
Use latest auto white balance
setting
1.5 Exposure (us) int32 1 42000 time in us
1.6 Exposure (ordinal) int16 – 0 n
Steps through available
exposure valuesfrom
minimum (0) tomaximum (n)
1.7 Dynamic Range Mode int8 enum – 0 1 0 = film, 1 = video,
1.8 Video sharpening level int8 enum – 0 3
0 = off, 1 = low, 2= medium,
3 = high
1.9 Recording format int16
[0] = file frame rate – –
fps as integer
(eg 24, 25, 30, 50, 60, 120)
[1] = sensor frame
rate
– –
fps as integer, valid when
sensor-off-speed set (eg 24,
25, 30, 33, 48, 50, 60, 120),
no change will beperformed
if this value is set to 0
[2] = frame width – – in pixels
[3] = frame height – – in pixels
[4] = flags
– – [0] = file-M-rate
– –
[1] = sensor-M-rate, valid
whensensor-off-speed-set
– – [2] = sensor-off-speed
– – [3] = interlaced
– – [4] = windowed mode
1.10 Set auto exposure mode int8 – 0 4
0 = Manual Trigger,
1 = Iris,
2 = Shutter,
3 = Iris + Shutter,
4 = Shutter + Iris
1.11 Shutter angle int32 – 100 36000
Shutter angle in degrees,
multiplied by 100
1.12 Shutter speed int32 – 24 2000
Shutter speed value as a
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
196Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Audio
2.0 Mic level fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
2.1 Headphone level fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
2.2 Headphone program mix fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
2.3 Speaker level fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
2.4 Input type int8 – 0 2
0 = internal mic,
1 = line level input,
2 = low mic level input,
3 = high mic level input
2.5 Input levels fixed16
[0] ch0 0 1
0.0 = minimum, 1.0 =
maximum
[1] ch1 0 1
0.0 = minimum, 1.0 =
maximum
2.6 Phantom power boolean – – –
true = powered,
false = not powered
Output
3.0 Overlay enables
uint16
bit field
– – –
bit flags:
[0] = display status,
[1] = display frame guides
Some cameras don't allow
separate control of frame
guides and status overlays.
3.1
Frame guides style (Camera
3.x)
int8
[0] = frame guides
style
0 8
0 = HDTV, 1 = 4:3, 2 = 2.4:1,
3 = 2.39:1, 4 = 2.35:1,
5 = 1.85:1, 6 = thirds
3.2
Frame guides opacity
(Camera 3.x)
fixed16
[1] = frame guide
opacity
0.1 1
0.0 = transparent, 1.0 =
opaque
3.3
Overlays
(replaces .1 and .2
abovefrom
Cameras 4.0)
int8
[0] = frame guides
style
– –
0 = off, 1 = 2.4:1, 2 = 2.39:1,
3 = 2.35:1, 4 = 1.85:1, 5 = 16:9,
6 = 14:9, 7 = 4:3, 8 = 2:1
[1] = frame guide
opacity
0 100 0 = transparent, 100 = opaque
[2] = safe area
percentage
0 100
percentage of full frame
used by safe area guide
(0 means off)
[3] = grid style – –
bit flags: [0] = display thirds,
[1] = display cross hairs,
[2] = display center dot
Display
4.0 Brightness fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
4.1 Overlay enables
int16
bit field
– – – 0x4 = zebra
– – – 0x8 = peaking
4.2 Zebra level fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
4.3 Peaking level fixed16 – 0 1
0.0 = minimum, 1.0 =
maximum
4.4
Color bars display time
(seconds)
int8 – 0 30
0 = disable bars, 1-30 =
enable bars with timeout (s)
4.5 Focus Assist int8
[0] = focus assist
method
– –
0 = Peak,
1 = Colored lines
[1] = focus line
color
– –
0 = Red,
1 = Green,
2 = Blue,
3 = White,
4 = Black
197Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Tally
5.0 Tally brightness fixed16 – 0 1
Sets the tally front and tally
rear brightness to the same
level. 0.0 = minimum, 1.0 =
maximum
5.1 Front tally brightness fixed16 – 0 1
Sets the tally front
brightness.0.0 = minimum, 1.0
= maximum
5.2 Rear tally brightness fixed16 – 0 1
Sets the tally rear brightness.
0.0 = minimum, 1.0 =
maximum Tally rear
brightness cannot be turned
off
Reference
6.0 Source int8 enum – 0 2
0 = internal,
1 = program,
2 = external
6.1 Offset int32 – – – +/- offset in pixels
Confi-
guration
7.0 Real Time Clock int32
[0] time _ _ BCD - HHMMSSFF (UCT)
[1] date _ _ BCD - YYYYMMDD
7.1 System language string _ _ _
ISO-639-1 two character
language code
7.2 Timezone int32 _ _ _ Minutes offset from UTC
7.3 Location int64
[0] latitude _ _
BCD - s0DDdddddddddddd
where s is the sign:
0 = north (+), 1 = south (-);
DD degrees, dddddddddddd
decimal degrees
[1] longitude _ _
BCD - sDDDdddddddddddd
where s is the sign: 0 = west
(-), 1 = east (+); DDD degrees,
dddddddddddd decimal
degrees
Color
Correction
8.0 Lift Adjust fixed16
[0] red -2 2 default 0.0
[1] green -2 2 default 0.0
[2] blue -2 2 default 0.0
[3] luma -2 2 default 0.0
8.1 Gamma Adjust fixed16
[0] red -4 4 default 0.0
[1] green -4 4 default 0.0
[2] blue -4 4 default 0.0
[3] luma -4 4 default 0.0
8.2 Gain Adjust fixed16
[0] red 0 16 default 1.0
[1] green 0 16 default 1.0
[2] blue 0 16 default 1.0
[3] luma 0 16 default 1.0
8.3 Offset Adjust fixed16
[0] red -8 8 default 0.0
[1] green -8 8 default 0.0
[2] blue -8 8 default 0.0
[3] luma -8 8 default 0.0
8.4 Contrast Adjust fixed16
[0] pivot 0 1 default 0.5
[1] adj 0 2 default 1.0
8.5 Luma mix fixed16 – 0 1 default 1.0
8.6 Color Adjust fixed16
[0] hue -1 1 default 0.0
[1] sat 0 2 default 1.0
8.7 Correction Reset Default void – – – reset to defaults
198Developer Information
Group ID Parameter Type Index Minimum Maximum Interpretation
Media
10.0 Codec
int8
enum
[0] = basic codec – –
1 = DNxHD,
2 = ProRes,
3 = Blackmagic RAW
[1] = codec variant
– –
ProRes:
0 = HQ,
1 = 422,
2 = LT, 3 = Proxy,
4 = 444, 5 = 444XQ
– –
Blackmagic RAW:
0 = Q0,
1 = Q5,
2 = 3:1,
3 = 5:1,
4 = 8:1,
5 = 12:1
10.1 Transport mode int8
[0] = mode – –
0 = Preview,
1 = Play,
2 = Record
[1] = speed – –
-ve = multiple speeds
backwards,
0 = pause,
+ve = multiple speeds
forwards
[2] = flags – –
1<<0 = loop,
1<<1 = play all,
1<<5 = disk1 active,
1<<6 = disk2 active,
1<<7 = time-lapse recording
[3] = slot 1 storage
medium
– –
0 = CFast card,
1 = SD,
2 = SSD Recorder
[4] = slot 2 storage
medium
– –
0 = CFast card,
1 = SD,
2 = SSD Recorder
PTZ
Control
11.0 Pan/Tilt Velocity fixed 16
[0] = pan velocity -1.0 1.0
-1.0 = full speed left,
1.0 = full speed right
[1] = tilt velocity -1.0 1.0
-1.0 = full speed down,
1.0 = full speed up
11.1 Memory Preset
int8 enum
[0] = preset
command
– –
0 = reset,
1 = store location,
2 = recall location
int8
[1] =
preset slot
0 5 –
199Developer Information
Example Protocol Packets
Operation
Packet
Length Byte
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
header command data
destination
length
command
reserved
category
parameter
type
operation
trigger instantaneous
auto focus on camera 4
8 4 4 0 0 0 1 0 0
turn on OIS on all cameras 12 255 5 0 0 0 6 0 0 1 0 0 0
set exposure to 10 ms on
camera 4 (10 ms = 10000
us = 0x00002710)
12 4 8 0 0 1 5 3 0 0x10 0x27 0x00 0x00
add 15% to zebra level
(15 % = 0.15 f = 0x0133 fp)
12 4 6 0 0 4 2 128 1 0x33 0x01 0 0
select 1080p 23.98 mode
on all cameras
16 255 9 0 0 1 0 1 0 24 1 3 0 0 0 0 0
subtract 0.3 from gamma
adjust for green & blue
(-0.3 ~= 0xfd9a fp)
16 4 12 0 0 8 1 128 1 0 0 0x9a 0xfd 0x9a 0xfd 0 0
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
200Developer Information
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.
201Developer Information
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)
. . .
Master Device
Monitor Device
Slave Device
(2)
Slave Device
(3)
Slave Device
(1)
Byte 7 MSB 6 5 4 3 2 1 0 LSB
0
Version
(0b0)
Version
(0b0)
Version
(0b0)
Version
(0b0)
Reserved
(0b0)
Reserved
(0b0)
Monitor
Preview
Monitor
Program
1
Reserved
(0b0)
Reserved
(0b0)
Slave 1
Preview
Slave 1
Program
Reserved
(0b0)
Reserved
(0b0)
Slave 0
Preview
Slave 0
Program
2
Reserved
(0b0)
Reserved
(0b0)
Slave 3
Preview
Slave 3
Program
Reserved
(0b0)
Reserved
(0b0)
Slave 2
Preview
Slave 2
Program
3 ...
202Developer Information
Visca Commands for PTZcontrolvia SDI
Pan-tiltDrive
Up 8x 01 06 01 VV WW 03 01 FF
VV:
Pan speed 01 to 18
WW:
Tilt speed 01 to 17
YYYY:
Pan position F725 to 08DB
(center 0000)
ZZZZ:
Tilt position FE70 to 04B0
(image flip: OFF) (center 0000)
Tilt position FB50 to 0190
(imageflip: ON) (center 0000)
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
UpLeft 8x 01 06 01 VV WW 01 01 FF
UpRight 8x 01 06 01 VV WW 02 01 FF
DownLeft 8x 01 06 01 VV WW 01 02 FF
DownRight 8x 01 06 01 VV WW 02 02 FF
Stop 8x 01 06 01 VV WW 03 03 FF
AbsolutePosition
8x 01 06 02 VV WW
0Y 0Y 0Y 0Y 0Z 0Z 0Z 0Z FF
RelativePosition
8x 01 06 03 VV WW
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
CAM_Memory
Reset 8x 01 04 3F 00 0p FF
p:
Memory number (=0 to 5)
Corresponds to 1 to 6 on the
remote commander.
Set 8x 01 04 3F 01 0p FF
Recall 8x 01 04 3F 02 0p FF
Compatible motorized heads include the following:
KXWellKT-PH180BMD
PTZOptics PT-Broadcaster
RUSHWORKS PTX Model 1
203Visca Commands for PTZcontrolvia SDI
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
ATEMSoftware Control window.
On Mac, open ATEM Software Control from the Applications folder. Select About
ATEMSoftware 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.
204Help
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 theenvironment. Formore information
about where you can drop off your waste equipment for recycling, please contact your local
city recycling office or the dealer from whom you purchased the product.
This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable
protection against harmful interference when the equipment is operated inacommercial
environment. This equipment generates, uses and can radiate radio frequency energy and,
ifnot installed and used in accordance with the instructions, maycause harmful interference
toradio communications. Operation of this product in aresidential area is likely to cause
harmful interference, in which case the user will be required to correct the interference at
personal expense.
Operation is subject to the following two conditions:
1 This device may not cause harmful interference.
2 This device must accept any interference received, including interference that maycause
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
ISED Canada Statement
This device complies with Canadianstandards for Class A digital apparatus.
Any modifications or use of this product outside its intended use could void
compliancetothese 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, itmaycause radio
interference.
205Regulatory Notices
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 qualifiedelectrician.
To reduce the risk of electric shock, do not expose this equipment to dripping orsplashing.
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.
Formore information go to
www.P65Warnings.ca.gov.
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 neutralconductors
and is suitable for connection to the IT power distribution systemin Norway.
206Safety Information
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 2020 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.
207Warranty
