Headphones Settings On ATEM Constellation 8K: Master

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.
A headset 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.
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 and refine
the quality of sound on each input and master output, including input level controls, a 6 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 in your
live production.
Using ATEM Software Control 56

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,
it brings 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.
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.
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 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 a specific 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
the effect 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.
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,
high shelf, 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 Lets you increase or decrease Lets you increase or decrease
or decrease a range of the level of volume for higher the level of volume for lower
frequencies surrounding frequencies along the graph. frequencies along the graph.
a defined frequency.
Notch High Pass Low Pass
This filter lets you remove, Smoothly removes extreme Smoothly removes extreme
or cut, a defined frequency. low end frequencies, allowing high end frequencies,
the high end frequencies to allowing the low end
pass unaffected. 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
same range.
Dynamics Controls
In addition to the 6 band parametric equalizer, you can also enhance and finesse the input
and master 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,
or you can even use the compressor and limiter so that audio can be generally lifted and made
stronger without clipping.
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.
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
Hold 0.0ms 0.0ms 4s
Compressor
Compressor Controls
Threshold -50dB -35dB 0dB
Ratio 1.0:1 2.0:1 10:1
Hold 0.0ms 0.0ms 4s
Limiter
Limiter Controls
Threshold -50dB -12dB 0dB
Hold 0.0ms 0.0ms 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
do this 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.
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
after equalization.
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.
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.
To select 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.
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. Audio files must be WAV, MP3 or AIFF.
Browse window
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’ 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 ATEM advanced
panels, or in some cases from the Photoshop plug-in when downloading stills.
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 then set
the switcher video standard to the same format.

Change switcher settings
ATEM currently supports the following video standards:
ATEM ATEM ATEM

Constellation 8K 4 M/E Broadcast Studio 4K 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

ATEM ATEM ATEM
Constellation 8K 4 M/E Broadcast Studio 4K Production Studio 4K Models
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 menu to select the video standard on ATEM switchers that can support Ultra HD multi
view output, such as ATEM 4 M/E Broadcast Studio 4K or ATEM Constellation 8K.
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
SD video respectively.
ATEM 4 M/E Broadcast Studio 4K has 1 down converted program output that will default to
1080p29.97 when switching Ultra HD video at 2160p59.94, or 1080p25 when switching 2160p50.

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
ATEM Constellation 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,
at your 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.
In some 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.

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.
This is 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
pool of memory. ATEM Constellation 8K can store two 8K clips and four HD or Ultra HD clips.
By default, 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’s worth remembering that lengthening one clip will shorten the other.
Setting the Media Pool Clip Length
Clip Length Table
ATEM Switcher Video Format Clip Length
720p 3200 frames
1080i, 1080p 1600 frames

ATEM Constellation 8K
2160p 400 frames
4320p 100 frames
720p 3200 frames
ATEM 4 M/E Broadcast Studio 4K 1080i, 1080p 1440 frames
2160p 360 frames
SD 3600 frames
720p 1600 frames

ATEM 1 M/E and 2 M/E Production Studio 4K
1080i, 1080p 720 frames
2160p 180 frames

Camera Control Auxiliary Output
If your switcher features auxiliary outputs, you can select which one will monitor the
ATEM Camera 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.
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 Ultra HD.
The 8K 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.
A red 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
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 labeled Input 1 on the back panel. In the ‘video inputs’ window,
click input 1 to select between HDMI and SDI.
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 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,
so they 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, turn the 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.
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. Most ATEM 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.
Simply select 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. ATEM Constellation 8K has general purpose outputs instead of dedicated
aux outputs, so ATEM Software Control provides an ‘outputs’ menu. This lets you select from
24 HD 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.
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
saves your 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
deselect them. 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
ATEM Media 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
live production, including key settings, transition styles, media pool contents and more
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.

If you have settings you want to keep, save them to your computer and an external drive,
such as 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’.
Using Camera Control

Clicking on the ‘camera’ button in ATEM Software Control opens the camera control feature that
lets you control Blackmagic cameras including Blackmagic Studio Camera 4K Pro and URSA
Broadcast G2 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.
ATEM camera control works by broadcasting camera control packets via all the non down
converted SDI outputs of your ATEM switcher. This means you can connect an SDI output from
your switcher to your camera’s SDI return input and the camera will detect the control packets
in the SDI link and allow you to control features in the camera itself.
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.
Using Camera Control 76

3 In your camera’s settings, set the camera ID number to match your switcher input.
For example, 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.
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.
Camera Settings
The camera settings button near the bottom left of the master wheel lets you turn on the color
bars setting on Blackmagic Studio Camera, URSA Mini and URSA Broadcast, 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.
You can select which setting to adjust by clicking on the three selection buttons above
the color wheel.
Master Wheel
Use the master wheel below the color wheel to make contrast adjustments to all YRGB
channels at once, or luminance only for each lift, gamma or gain setting.
Reset Buttons
The reset button near the 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,
or all cameras at once for a unified look. Iris, focus, coarse and pedestal settings are
not affected by the Paste feature. When applying Paste to all, a warning message will
appear asking you to confirm your action. This is so you don’t accidentally paste new
settings to any unlocked cameras that are currently on air.
When applying ‘paste to all’, a warning message will appear

asking you to confirm your action. This is so you don’t
accidentally paste new settings to any unlocked cameras that
are currently on air.
Iris/Pedestal Control
The iris/pedestal control is located within the cross hairs of each camera controller.
The control illuminates red when its camera is on air.
To open or close the iris, drag the control up or down. Holding the shift key allows only
iris adjustments.
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.

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.

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,
mid tones and highlight settings all at the same time. Simply switch between cameras using the
camera selection controls at the top of the window as you need.
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 within the color ring
Jumps the color balance indicator to the absolute position of the pointer, letting you make faster and
more extreme adjustments.
Double-click within the color ring
Resets the color adjustment without resetting the master wheel adjustment for that control.
Click the reset control at the upper-right of a color ring
Resets both the color balance control and its corresponding master wheel.
Master Wheels
Use the master wheels below the color wheels to adjust each YRGB channels’ lift, gamma and
gain controls.
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%.

Pivot Setting
Once the contrast setting is adjusted, modifying the pivot value will adjust the midpoint of the
contrast. The Pivot control establishes the contrast balance by placing more or less priority
on either side of the luminance scale. By lifting the control, you will increase the overall
brightness and clarity of the image, although at the inverse expense of the shadows, which will
be reduced.
Saturation Setting
The Saturation setting increases or decreases the amount of color in the image. The default
setting is 50%.
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!
Hue Setting
The Hue setting rotates all hues of the image around the full perimeter of the color wheel.
The default setting of 180 degrees shows the original distribution of hues. Raising or lowering
this value rotates all hues forward or backward along the hue distribution as seen on a
color wheel.
Tint Setting
Adjusting the tint setting will add green or magenta to the image to help balance the color. This
can assist when filming with artificial lighting sources such as fluorescent and sodium vapor
lighting fixtures.
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.
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.
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.
The ‘highlights’ knob controls the iris on your selected camera. Rotate the knob
Highlights
clockwise to open the iris and counterclockwise to close.
Saturation Rotate clockwise or counterclockwise to increase or decrease color saturation.
Adjust the hue along the hue distribution as seen on a color wheel by rotating the
Hue
‘hue’ knob clockwise or counterclockwise.
Rotate clockwise or counterclockwise to set the output blend between the RGB and
Lum Mix
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.

HyperDeck Control
Introducing HyperDeck Control
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,
plug one 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.
HyperDeck Control 86
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
IP address each HyperDeck is using. You can do this in the HyperDeck tab in ATEM Software
Control switcher settings, or using the system control soft buttons on an ATEM advanced 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
‘IP Address’ box and choosing the source it’s plugged into from the ‘input’ 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
IP address is entered correctly.
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.
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.
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.
HOME SETTINGS KEYS 1 2 3
MIX WIPE DVE STINGER DIP 4 5 6
FTB MEDIA BORDER COLOR 7 8 9

PLAYERS
MACRO SUPER CAMERA AUDIO AUX ENTER 0 RESET

SOURCE CONTROL
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
SHIFT MACRO ON ON ON ON M/E 1 M/E 2
to a setup menu. Press the LCD soft button above ‘HyperDecks’ to enter the ‘HyperDeck
BKGD KEY 1 KEY 2 KEY 3 KEY 4
settings’ menu.
The HyperDeck settings menu has three pages on ATEM 1 M/E Advanced Panel 10 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’
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
buttons on your ATEM Advanced Panel’s numerical keypad.

PROGRAM MIX WIPE ARM
Assigning an input to a HyperDeck

PREV
TRANS
DSK 1 DS
CUT C
In the first menu page, you’ll see the ‘HyperDeck’ indicator in the bottom left corner and an
PREVIEW
DSK 1 D
CUT AUTO
‘input’ indicator.
AUTO A
Use the control knob under the ‘HyperDeck’ indicator to cycle through the available
HyperDecks.
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.

PLAYERS

SOURCE CONTROL
Repeat this process for any additional HyperDecks you have connected to your switcher by
SHIFT MACRO ON ON ON ON M/E 1 M/E 2 M/E 3 M/E 4
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.
SHIFT DIP DVE STING
DSK 1
TIE
DSK 2
TIE
PROGRAM
To enter a HyperDeck’s IP address, navigate to the third HyperDeck settings page with the
MIX WIPE ARM
‘left’ or ‘right’ arrow buttons, or pressing ‘3’ on the numeric keypad while in the HyperDeck
PREV
TRANS
settings menu.
DSK 1 DSK 2
CUT CUT
PREVIEW
In this page, you’ll see an IP address for the currently selected HyperDeck. Each IP address
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
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’.

PLAYERS

SOURCE CONTROL
To enter the IP address for subsequent HyperDecks, you’ll need to select the HyperDeck using
the first page of the HyperDeck settings menu. BKGD KEY 1 KEY 2 KEY 3 KEY 4
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
SHIFT DIP DVE STING
DSK 1
TIE
DSK 2
TIE
PROGRAM
the system control panel to navigate to this screen. MIX WIPE ARM
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
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.

PLAYERS

SOURCE CONTROL
Controlling HyperDecks with ATEM Advanced Panels SHIFT MACRO ON ON ON ON M/E 1 M/E 2 M/E 3 M/E 4
HyperDeck controls are available in the ‘media players’ menu in your ATEM 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.
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO AUTO
AUTO

PLAYERS

SOURCE CONTROL
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO AUTO
AUTO
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.

PLAYERS

SOURCE CONTROL
The text in the center of the HyperDeck control menu will change to reflect the HyperDeck and
clip that you have selected. BKGD KEY 1 KEY 2 KEY 3 KEY 4
DSK 1 DSK 2
HOME SETTINGS KEYS SHIFT DIP DVE STING 1 2 3 TIE TIE
PREV
TRANS
FTB MEDIA BORDER COLOR 7 8 9 DSK 1 DSK 2

PLAYERS CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
SOURCE CONTROL
Use the second and third 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’ soft button.
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
HOME SETTINGS KEYS CUT AUTO 1 2 3 DSK 1

AUTO
DSK 2
AUTO
FTB

PLAYERS

SOURCE CONTROL
In the third 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.
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE

PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
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 panels, press the ‘settings’ control panel
button and press the ‘panel’ soft control knob.

PLAYERS

SOURCE CONTROL
Using the right arrow button, navigate to the 4th page for transport controls.
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE


PLAYERS
PREV
TRANS
DSK 1 DSK 2
CUT CUT

PREVIEW SOURCE CONTROL
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
Using the rotating soft control you can set your HyperDeck to a set of transport controls.
It’s worth 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 40 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. SHIFT DIP DVE STING
DSK 1
TIE
DSK 2
TIE
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
Using ATEM Advanced Panels
ATEM advanced 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 advanced 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!
The core functionality of ATEM advanced panels remain consistent across all models and it’s
primarily their provision for the number of input buttons and MEs that differ. For example, you
can use ATEM 1 M/E Advanced Panel 10 to control an ATEM switcher with 1 ME and 10 inputs.
On more complex productions with more cameras you can use an ATEM 4 M/E Advanced Panel
40 that supports larger ATEM switchers with 4 ME and 40 inputs. There is an advanced panel to
suit any production!
It’s worth mentioning that even on the smaller ATEM 1 M/E Advanced Panel 10, you can still
control up to 4 mix effects buses on a large ATEM switcher, or a combination of 1 M/E and 2 M/E
ATEM switchers. All you need to do is press the dedicated M/E buttons to select which ME you
want to control and all panels share this feature.
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.
ATEM 2 M/E Advanced Panel 40 ATEM 2 M/E Advanced Panel 30
ATEM 2 M/E Advanced Panel 20 ATEM 1 M/E Advanced Panel 10
ATEM 4 M/E Advanced Panel 40
This section shows how to use the different ATEM advanced panels that are available should
you need a hardware panel for your live production.
Using ATEM Advanced Panels 95

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.
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
buses 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 buses, 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.
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, labeled 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
ON AIR
The ON AIR indicator buttons above each keyer are labeled 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
‘Recording Macros using ATEM 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
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,
or press 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 the settings.
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.
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.
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 labeled ‘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.

PLAYERS

SOURCE CONTROL
To use VISCA PTZ control, press the ‘camera control’ button and select VISCA by pressing
the VISCA soft button.
SHIFT MACRO ON ON ON ON M/E 1 M/E 2
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE

PLAYERS
PREV
TRANS
SOURCE CONTROL DSK 1 DS
CUT C
PREVIEW
DSK 1 D
CUT AUTO A
AUTO
Select the camera you want to control and use the joystick to pan, tilt and zoom
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
MIX WIPE ARM
PREV
TRANS Using ATEM Advanced Panels 102
DSK 1 DSK 2
CUT CUT
DSK 1 DSK 2
CUT AUTO FTB
AUTO AUTO
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
PTZ cameras.
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.
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
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.
Performing Transitions using ATEM Hardware Panels 104

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.
To perform an auto transition

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.
To perform a mix transition on an ATEM advanced panel

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.


PLAYERS
Press the ‘mix’ button and

MACRO SUPER
SOURCE
CAMERA
CONTROL
AUDIO AUX ENTER 0 RESET
set the transition rate using

the LCD menu
Dip Transitions
SHIFT MACRO ON ON ON ON M/E 1 M/E 2 M/E
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
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
PROGRAM
source can both be customized. MIX WIPE ARM
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO AUTO
AUTO
Program output for a dip transition.
To perform a dip transition on an ATEM advanced panel

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.
control block.

PLAYERS
Press the ‘dip’ button in the

MACRO SUPER
SOURCE
CAMERA
CONTROL
transition control block, then set

the dip source and transition
rate using the LCD menu
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
Performing Transitions using ATEM Hardware Panels

PREV
107
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO AUTO
AUTO
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

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.
control block.

PLAYERS
Press a source button in the

MACRO SUPER
SOURCE
CAMERA
CONTROL
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.
DSK 1 DSK 2
SHIFT DIP DVE STING
TIE TIE
Press a source button in the source select row to select a source for the wipe border,
such as a camera or media player.
PREV
TRANS
DSK 1 DSK 2
CUT CUT
PREVIEW
DSK 1 DSK 2
CUT AUTO AUTO
AUTO

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.
For example, 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.
Reverse Reverse changes the progression of closed patterns such as circles, diamonds and
Direction 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

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
more information.
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 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.
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.
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.

Headphones Settings On ATEM Constellation 8K: Master

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Headphones Settings On ATEM Constellation 8K: Master

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Headphones Settings on ATEM Constellation 8K

Shaping your Audio Mix using Advanced Fairlight Controls

Using ATEM Software Control 56

Using the 6 Band Parametric Equalizer

Click on an input’s equalizer indicator

Using ATEM Software Control 57

Using ATEM Software Control 58

Range Preset Frequency Range

Mid Low 100 Hz to 1.48 kHz

Mid High 450 Hz to 7.91 kHz

High 1.4 kHz to 21.7 kHz

Using ATEM Software Control 59

Bell High Shelf Low Shelf

Notch High Pass Low Pass

The dynamics controls can be opened

Using ATEM Software Control 60

Ratio Defines the maximum strength of the function once initiated.

Hold Sustains the dynamics function over an adjustable period of time.

Using ATEM Software Control 61

Dynamics Controls Characteristics

Control Minimum Default Maximum

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

Threshold -50dB -45dB** 0dB

Range 0dB 18dB 60dB

Attack 0.5ms 1.4ms 30ms

Hold 0.0ms 0.0ms 4s

Release 50ms 93ms 4s

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

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.

Using ATEM Software Control 62

Using ATEM Software Control 63

Browsing and loading files

ATEM Media Pool

Using ATEM Software Control 64

Changing Switcher Settings

Using ATEM Software Control 65

ATEM currently supports the following video standards:

ATEM ATEM ATEM

– – 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