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ARRIFLEX D-21 Manual

1. Temp LED off means a slight sensor temperature deviation Temp LED red means sensor temperature deviation above acceptable limit ARRI or its subsidiaries do not assume responsibility for damage if camera is operated outside specified operating temperature range Turn camera off for 5 minutes to let system cool down Ensure airflow through ventilation shafts at the back of the camera body If camera is used in vertical position pointed towards floor or ceiling tilt it back to horizontal position between takes to allow better cooling Use accessory fan to increase airflow through vent shafts 113 Appendix 114 Output Problem Possible Cause Remedy Camera signal has dropouts Power supply voltage insufficient When on mains power make sure the camera power supply voltage set to 24 V 26 V When using batteries check battery voltage level If below 20 5 V replace the battery Maximum length of signal cable exceeded Use shorter signal cable Recommended maximum length for HDTV BNC cable is 40 m 130 ft Recommended maximum length for fiber cable is 0 5 km 0 3 mi Cable or connectors damaged Check connectors and cable and along entire length If cable or connectors show damage replace immediately If the cable has bent connectors check if connectors on back of camera show damage Camera Zebra does not work when using Log Contrast characteristics Log Cha
2. gt ing O liramelles EDS Normal 6 marking SULEN SAMANING Changing Lenses Changing camera lenses should be done in a dry and dust free environment Before changing or removing a lens always make sure to stop the mirror shutter This prevents damage to the shutter when an inappropriate lens e g 16 format lens is inserted by mistake The shutter in finder open position acts also as a protective cover to the sensor cover glass Take care that dust cannot enter the lens compartment while no lens is attached e Remove the mounted lens or protective cap from the lens mount receptacle by turning the bayonet ring image counter clockwise as far as it will go and then pulling out the lens or protective cap t Never put your fingers into the lens mount e receptacle Push the lens to be used into the lens mount receptacle without catching it at the edges One of the four slots on the lens mount must fit over the index pin image Press the lens flat onto the lens mount receptacle and pull the bayonet ring clockwise to tighten Always perform a dust check after changing EN lenses to make sure no dust has settled on the sensor cover glass Note When no lens is attached to the camera for an extended period of time use the protective cap to avoid dust entering the lens compartment See chapter 15 Camera Care for dust check instructions Note The sophisticated design principle of the camera s
3. No part of this document may be copied or reproduced in any form or by any means without prior written consent of ARRI ARRI assumes no responsibility for any errors that may appear in this document The information is subject to change without notice For product specification changes since this manual was published refer to the latest publications of ARRI data sheets or data books etc for the most up to date specifications Not all products and or types are available in every country Please check with an ARRI sales representative for availability and additional information Neither ARRI nor its subsidiaries assume any liability for infringement of patents copyrights or other intellectual property rights of third parties by or arising from the use of ARRI products or any other liability arising from the use of such products No license express implied or otherwise is granted under any patents copyrights or other intellectual property right of ARRI or others ARRI or its subsidiaries expressly exclude any liability warranty demand or other obligation for any claim representation or cause or action or whatsoever express or implied whether in contract or tort including negligence or incorporated in terms and conditions whether by statue law or otherwise In no event shall ARRI or its subsidiaries be liable for or have a remedy for recovery of any special direct indirect incidental or consequential damages inclu
4. Operation Problem Possible Cause Remedy On screen menu is hardly readable or does not appear Camera set to RUN or video menu accessed before all imaging diagnostics LEDs light up green Do not operate camera before all 3 status LEDs below the video menu button on the back light up green Appendix If video menu is visible toggle the SD output format NTSC PAL and back or restart camera and wait until status LEDs light up green Power LED red blinking Camera does not operate Standard reset performed Restart camera to complete standard reset Power LED red Problem with internal power supply Restart camera Perform standard reset and restart camera Take camera to ARRI service center if problem persists Shutter angle measurement does not work using PHASE button in standby Mirror shutter angle set below 90 Shutter angle measurement using PHASE button only works for shutter angles above 90 Set mode 1 to permanently display shutter angle Speed ramp does not work RUN LED is off Maximum ramp speed exceeds standard frame rate set in video menu Adjust standard frame rate video menu to frame rate higher than or equal to programmed or maximum ramp speed Temperature LED off Slight sensor temperature deviation from nominal level Turn camera off and wait 5 minutes before turning it back on Make sure that air can flow through the ventilation shafts
5. 40 Contents Contents 10 11 Using the Video Men Usas onini Inepte iii irrita ee aia ccd 41 Status ele Here 41 9 3 Setting Operational Parameters cnn aaa nn nnnn nnne aN 42 Frame Rate ii conto loro asis 42 SHUE aiii il ld 43 White Sel E P 44 Expos re tee 46 Output Board oes 5 nem IM NE IE 47 Output Format ciao 48 CAMA aa 49 Composite CVBS ao aora PME IM IM M IIS 50 SV SUC H 51 Signal COMMECHONS wesc vies cise seesds cece e eso SEENEN ENER aaaea E Odd Da ci n cele decia 55 101 Signal Monitoring shelves Ebenen ere Arma adi 55 10 2 Signal Wiring Instructions 00 ccc eee cect eee e eter eee eeeeaeeeeeeeeaeeeeeseeaeeeeeeseeeeeeeeseniaeeeeesenieeeess 56 ARRIRAW DL Dual Link 0 eee cee e cette ee ee eente ee ee eene annaran ieaie hiteni rsen nennen nnn 56 HD444 DL Dual Unk ENEE 57 HD444 OL 2x Dual Unk ENEE 58 HD422 SL Single Link 59 HD422 DL 2x Single Lmk non aea ia eraa ann 60 Mscope 422 DL 2x Single Umk eene nennen nn essen nennen nnn nnnan 61 Camera Operation erue nano sse ege EE eg Ee 62 11 1 Running and Stopping the Camera 62 11 2 Ee ole 63 Start Stop using VariFrame Variable Frame Rate 64 Start Stop using RS connector eene nnnenn nennt nnne snnt n nnns nnns 64 11 3 Operator DiS Play rte eer exui Seed e even be Ve PARA RENI noe VERI SSES d
6. e Starting from 29 976 fps the output formats are limited to the 16 9 modes e At 48 fps and above the camera still offers the 16 9 modes at full aperture but both HD SDI 1 and 2 are required to transmit the signal so the camera cannot provide a second individual output format Notes Data Mode ARRIRAW requires an ARRIRAW T Link compatible recorder that is capable of recording uncompressed SMPTE 372M compliant RGBA HD SDI signals For more information see the glossary in chapter 17 Appendix Mscope requires a recorder capable of 2x single link 4 2 2 HD recording i e two parallel 1920 x 1080 4 2 2 YCbCr HD video streams Wiring instructions for all HD SDI modes can be found the following chapter Gamma Gamma defines the contrast curve that is applied to the output images The D 21 offers three different gamma settings e REC 709 lin Normal Range Gamma according to ITU R BT709 standard using video levels in the range of 0 to 100 10bit CV 64 to 940 The images are suitable for viewing on standard broadcast monitors REC 709 lin Extended Range Gamma according to ITU R BT709 standard using video levels in the range of 7 to 109 10bit CV 4 to 1019 Standard broadcast monitors need to be calibrated in order to display the images correctly LOG C Gamma based on Cineon specification These images are prepared for film printing or DI workflows As a Log C image looks very flat and desaturated on a standard broadcast
7. oooccccccccccccnnnnnnonononnnnnnnnnnnnnncnnnnnnnnnnnnnnnnnnnnnnnnnnncncninnnns 85 13 2 Heated Eyecup HE M HE 5 ioo oras epa 86 13 3 Isolating Power Adapter IPA 1 sssssssssssseeeee eene emrnee nennen nennen nis 87 Contents Contents 10 14 15 16 13 4 Low Mode Support 88 13 5 Remote Run Switch RS 4 ala 90 13 6 RS Socket Distributor 24 V Plug on Module 91 194 Shoulder Set SS Decimal ters nati ved Ee Y sed Rotor acid 92 13 8 Fiber Link Unit FLUT M 93 Fiber Link Remote PELA ii niza 93 13 9 Wireless Remote Control WRC 96 1310 Work litros 97 13 11 General Not cojin dia 97 Camera Care 98 14 3 General lMPORMALION cm lisa 98 14 2 Imager Check a 98 IMAG Cr Surface MEE 98 Dust Check T 99 Cleaning the Sensor Cover Glass osi tia 100 CONSENS At ON TEM TL ida 102 Pixel Failure e A E E Ea EE EAA AE EA geed 103 Cleaning the Field B curia T 105 Technical Data ARRIFLEX D 21 EN 106 de ET O E A A A A A A 110 16 1 Troubleshooting roter eT etre ee eva aea rex aU da ened eaten aan RE EAEE GR 110 16 2 Glossary o A 116 GULP DING terio 116 Color Signals and Chroma Sub Sampling sss 116 D ta MOG scm 117 Dead Defective PDixvels 119 HD ult EET 119 17 18 Scanning Methods p i Pet 121 Pixel Panes oct deele dee 122 Signal Range etc dica bud ca Et 123 16 3 Image dtoucpE m TT 124 Alias
8. Exit gt High Zebra High Zebra Level High Zebra Color Low Zebra Low Zebra Level Low Zebra Colour Cancel Off 83 05 Red Off 20 0 Yellow Frame Markers The camera can overlay a format marker on the SD output Available presets are 1 78 1 1 85 1 2 35 1 and 1 33 1 HD Crop shows a center crop 4 3 frame within the 16 9 image e To select a format enter Format rotate the menu button to step through the available options and press the button to confirm the selection e To change the color of the frame marker use the Color submenu e To setup the individual Format 1 and Format 2 enter Edit Format adjust the left right top and bottom border and save the settings Histograms The camera offers individual and combined histograms for the red green blue and luminance channel gt Format Color Edit Format Exit System The system menu can be used to obtain system information perform maintenance tasks and to manage camera settings Camera Setups In order to make switching camera setups easier or simply as a safety feature to make sure everything is back to the way it was set before the lunch break three different user setups can be stored in the camera Next to the user setups a fourth setup can be stored as default which is intended for e g rental companies as delivery condition setup To save a user setup enter Save Current Setup and select one of the three use
9. HD422 When set to HD422 an output board delivers standard 1920 x 1080 4 2 2 YCbCr 10 bit HD signals These signals are sent over a single link HD SDI connection can be recorded with any system offering 4 2 2 HD SDI input SMPTE 292M and can be edited using standard HD postproduction equipment HD422 DL 2x Single Link When the D 21 is set to HD422 and a frame rate higher than 30 fps the camera automatically changes the output format to the 2x 422 high speed mode Appendix At e g 50 fps both HD SDI output boards are used to transmit two synchronized HD video signals at 25PsF each containing either even or odd numbered frames composing the 50 fps signal The output frames are marked flagged see variable frame rate so the recording system can correctly merge both signals to the 50 fps sequence Any recorder supporting two or more simultaneous 422 inputs input should be able to support these signals If the recorder does not provide VariFrame support even and odd frames may be recorded in the wrong order frame swapping This however is easily identified as juddering motion in playback and can be resolved in postproduction without a loss of image quality Recording systems supporting dual link input for 119 Appendix 120 4 4 4 RGB HD signals do not necessarily support 2x 422 input as this signal type makes different demands on the recording hardware Once recorded the material can be played back at a l
10. attached to the image format e 1080i interlaced HD with 1920x1080 resolution e 25i interlaced material at 25 fps i e 50 fields sec e 1080 25i as a combination of the above Some people prefer relating to fields per second rather than frames per second e g 50i or 60i As current cameras also offer progressive capture of 50 or 60 fps the declaration of fields per second can be rather confusing Progressive Segmented Frame PsF This is not a scanning method used for capturing but a transmission method Basically a progressively captured frame is segmented into two fields which are then transmitted similarly to an interlaced signal This enables devices that usually work with interlaced material to also work with progressive material The notable difference to an interlaced scan signal is that both fields originate from the same frame and have not been captured sequentially Therefore transmitting progressive scan material using PsF means no loss in image quality Motion representation and resolution is exactly the same as in progressive scan material Progressive segmented frame material is denoted with the letters PsF attached to the image format 1080 25PsF progressive HD with 1920x1080 resolution at 25 fps transmitted as PsF Pixel Failure See section Image Artifacts Signal Range The luminance levels in a scene are represented as amplitude levels in a recorded video signal More exposure outputs hig
11. ARRIRAW Data Mode output can be recorded using ARRIRAW T Link certified recorders or recorders supporting 4 4 4 4 RGBA HD SDI streams according to SMPTE 372M Recorders without ARRIRAW T Link certificate may offer limited or no preview options Appendix Inverted cable connection or problem with standard frame rate setting Make sure cables are correctly connected HD SDI link A to recorder input A or 1 same output board link B to recorder input B or 2 Automatic white balance produces a color cast Target used for automatic white balance was not evenly lit or shows color cast Make sure target used for automatic white balance is evenly lit and does not reflect colors from surrounding objects Camera HD SDI output is black shows a freeze frame or vertical stripe pattern SD output OK or also showing vertical stripe pattern Camera boot problem or HD SDI output cannot be synced to connected display or recording system Change standard frame rate video menu to other setting and back again If the problem persists restart camera Wait until all status LEDs on back of camera turn green before running the camera Perform standard reset and restart camera If issue cannot be resolved take camera to ARRI service center Camera HD SDI output shows a raised noise level or is offset to the side or output freezes in high temperatures Camera may overheat in ambient temperatures above 40 C 104 F
12. RGB channels To apply a manual white balance e Enter White Balance Manual Kelvin to adjust the white balance in 100 K steps e Enter White Balance Manual RGB to S NE individually adjust the red green and blue gain o ott cl Cancel e Save the manual setting to one of the three available slots Note Manual white balance settings should be checked with a waveform monitor in RGB waveform parade mode or vector scope mode Camera Configuration 45 Camera Configuration 46 Exposure Index D 21 has a base sensitivity of 200 ASA At this rating the dynamic range has a relatively even distribution above and below neutral grey with low noise in the blacks and a very soft clip in the whites The ASA rating Exposure Index can be set in a range from El 100 to 500 image Changing the rating influences how the dynamic range will be distributed Using a low El increases the dynamic range below neutral grey and reduce the range above Using a higher rating will do the opposite At El 100 the image contains approx 4 Y stops above and 6 Y stops below 18 grey At El 200 it will be approx 5 stops above and 5 Y stops below At El 400 it will be approx 6 Y stops above and 4 Y stops below Output Board e The settings for white balance frame rate shutter and exposure index apply as a system wide setting Settings for output format and Gamma can be applied to all output board
13. Shutter The exposure time of each frame is controlled using the open sector of the mirror shutter in combination with an electronic shutter The mechanical spinning mirror shutter is adjustable to standard shutter angles of 11 2 to 180 degrees To achieve longer exposure times the camera can also be switched to electronic shutter mode enabling open shutter angles up to 270 degrees Operating the camera using only the electronic shutter means No image can be seen in the optical viewfinder e Image capture is subject to rolling shutter effects The image output is limited to the 16 9 format Note Switching between mechanical and electronic shutter requires the camera to be stopped Filming with HMI Light When shooting scenes with non electronic ballast HMI or fluorescent lighting the pulsing light intensity depends on the supply frequency To achieve constant exposure the camera s frame rate the supply frequency of the lighting and the angle of the mirror shutter must all relate to each other As the camera frame rate and the supply frequency of the lighting are usually given circumstances the angle of the mirror shutter has to be used for compensation The table to the right shows examples for different situations Supply frequency 50 Hz 60 Hz Frame rate 2bfps 23 976 24 fps 2b fps 23 976 24 fps Shutter angle 180 172 8 150 180 Exposure time 1 50th 1 50th 1 60th 1 48th
14. e Pressing the SHUTTER button image will start and stop the mirror shutter and switch the camera between STANDBY and LIVE state If the shutter has been set to electronic shutter mode the camera also provides a live picture in STANDBY state Pressing the RUN button image will start and stop a recorder if SDI Remote Master is enabled in the menu and the recorder supports the HD SDI start stop flag If the camera is in STANDBY state pressing the RUN button will also start the mirror shutter Accessories aware of the run state will act as if they were working with film cameras 11 2 Recording The camera offers different ways that would allow triggering a recorder Please refer to the recorder s operation manual to learn if it can be started and stopped remotely Always verify that the recorder s setup matches e the output format of the camera Start Stop using SDI Remote Master Enable System SDI Remote Master on the camera and the recorder Put the camera in LIVE state and the recorder into record standby record pause Pressing the RUN button will start and stop the recording Note Going from STANDBY to RECORD directly by pressing the RUN button may fail to start the recorder There is no return signal and therefore no tally light on the camera Always check that the recorder actually started running Camera Operation 63 Camera Operation 64 Start Stop using VariFrame Variable Frame Rate e Enable
15. limited to 32 V In this case the maximum allowable continuous current is 2 A Ensure that the accessories to be used are suited for the available voltage G The RS socket supplies the same voltage as the Overload Display If the current drawn at the accessory sockets exceeds the allowable maximum a self resetting safety circuit interrupts the power supply and a red warning LED lights up image If this happens turn the camera off unplug all accessories from the camera wait for one minute and turn the camera back on RS socket Overload warning LED 7 Installation of the Camera 7 1 Minimal Equipment Required for Operation e ARRIFLEX D 21 e 35 format lens with PL Mount Power supply cable KC 20S or KC 29S Power supply NG 12 26 R or battery VCLX 2 Compact video monitor with composite video IN video menu operation and optionally HD SDI IN signal monitoring e 2 short 75 Ohm HD compliant BNC cables for connection to video monitor e 3 long 75 Ohm HD compliant BNC cables for HD signal connection to recording unit and control monitor HD or data recording unit including power supply and power cables HD control monitor attached to the recording device including power supply and power cables Note Details on signal connections camera output configuration and operation are provided in the following chapters 7 2 Tripod and Remote Heads Tripod heads and remote heads used with the ARRIFLEX D 21 have to prov
16. 2 Functional Expansion Module FEM 2 12 5 Compatibility The ARRIFLEX D 21 components require the following software firmware versions for proper function ARRIFLEX D 21 SW 1 14 CRC 65b8c or higher E cover 435 SW 2 00 or higher FW 1 07 or higher FEM 2 SW 1 34 or higher FW 0 84 or higher LDD SW 2 82 or higher LDD FP SW 2 89 or higher The FEM 2 is only compatible to ARRIFLEX D 21 I 435 Xtreme and 435 Advanced models Do not attempt to force the FEM 2 onto the ARRIFLEX 435 or 435 ES This will result in damage to the equipment Use only accessories that are compatible with the FEM 2 Accessories not included in the compatibility listing below must not be used Incompatible accessories or accessories not approved by ARRI could damage the FEM 2 the camera or the accessory itself ARRIFLEX D 21 FEM 2 Compatibility List The following devices are compatible to the ARRIFLEX D 21 including the FEM 2 module eB LEE K2 41378 0 CLM rH K2 52036 0 A A ME K2 55013 0 DD Classics K2 54012 0 DDR ota ee LE M K2 54163 0 Uc ccm K2 52262 0 A e EEEREN K2 54079 0 VE EEN K2 52264 0 ll Ce K0 60042 0 via WHA 2 or direct to CCU only SW 1 1 0 or higher A tee Eege K2 65003 0 Note This compatibility list only applies to the ARRIFLEX D 21 in conjunction with the FEM 2 module Information on compatible accessories for the ARRIFLEX 435 Xtreme Advanced together with the FEM 2 module can be found in the FEM 2 manual Note As
17. Always verify the results of these settings with a US HN UT 144 150 172 180 Cancel cococooooooooon l Camera Configuration 43 Camera Configuration 44 White Balance The camera can be adjusted to different lighting using a selection of common color temperatures as well as an automatic and manual white balance function in case the preset values do not deliver satisfying results Automatic White Balance To perform an automatic white balance e Point the camera at an evenly lit neutral grey surface Adjust iris or lighting so the output video level is between 40 and 70 Enter White Balance Automatic and make sure that the target covers the measuring window image before processing is started Save the processed white balance to one of the three available slots Note Automatic white balance settings should be checked with a waveform monitor in RGB waveform parade mode or vector scope mode Measuring window D gt Start Processing Save Settings Cancel 3200 gt 4300 5600 7000 WB 1 man 5500 K RGB 1 14 1 10 1 21 RGB 1 04 1 00 1 39 RGB 1 00 1 00 1 25 WB 2 auto defined WB 3 4812 K Automatic Manual Kelvin Manual RGB Cancel Manual White Balance Preset or automatic white balance settings can be fine tuned using manual white balance It is possible to modify the active white balance setting by altering the color temperature or by altering the individual
18. Aspect Ratio Range The D 21 is equipped with a 1 33 4 3 format sensor Data Mode on the D 21 allows output of this full sensor image at full sensor resolution extending the choice of available aspect ratios Shooting CinemaScope can be done not only using spherical flat lenses but also anamorphic scope lenses as the sensor can capture the whole image projected by anamorphic lenses Shooting 2 39 1 with anamorphic lenses uses a larger imager area which delivers twice as many output lines compared to images shot with spherical lenses Note D 21 also offers 1 33 1 4 3 output using the Mscope process see below Flexibility D 21 can simultaneously output ARRIRAW for recording and production quality HD for monitoring and editorial ARRIRAW T Link certified recorders broaden the options for monitoring and editorial by allowing a larger set of non destructive image manipulations Postproduction Data Mode output delivers finer detail crisper edges and higher resolution Images can be processed to provide the same resolution and colorimetry as 2K film scans for use in familiar 2K workflows Decisions on output color space and image characteristics can be made in post Upgraded image processing algorithms can be applied to archived raw data for better image quality Dead Defective Pixels See section Image Artifacts HD Mode HD Mode provides a fully processed 1 78 1 16 9 live image ready to be used in HD workflows
19. HD422 e Set the recording system input format to 2x 4 2 2 YCbCr 1080PsF i and a frame rate half the speed of the camera For example Camera 48 fps Recorder 2x 4 2 2 24 fps or Camera 59 96 fps Recorder 2x 4 2 2 29 98 fps Connect camera and recorder HD SDI 1A to HD SDI IN A HD SDI 2A to HD SDI IN B Connect recording HD SDI MON OUT to the monitor Notes Frame rates above 30 fps require both HD SDI 1 and 2 to transmit the signal Each board outputs the same signal on link A and B Using link A is recommended Recording HD422 above 30 fps using 2x single link signals is not supported by all recording systems Depending on the recording system live monitoring of these signals may not be possible or restricted to output of every other frame For more information on 2x single link see the glossary in chapter 17 Appendix For information on custom frame rates and ramps see chapter 11 Camera Operation ARRIFLEX D 21 Camera Display 180 0 HD SDI 2 HD SDI 1 fps 50 000 C On Screen Menu A A 50 000 HD422 DL B B Recording System Input Format 2x 4 2 2 25PsF 50i JOJIUO A OUO Mscope 422 DL 2x Single Link e Set Frame Rate up to 25PsF e Set HD SDI Mode to Mscope HD422 e Set the recording system input format to 4 2 2 YCbCr 1080PsF i dual stream using the frame rate set on the camera e Connect link A of the configured output board to recording input HD SDI IN A e Connect link
20. Synchronizing using the ESU 1 The sync signal is picked up from the ACC socket of the master camera and connected to the ESU 1 input using a special cable The output of the ESU 1 is connected to the ACC socket of the slave camera This method allows synchronizing the cameras to frame rates over 30 fps and to adjust the phase of the shutter To adjust the phase of the slave camera s shutter Use the Phase Adjust wheel of the ESU 1 to shift the slave camera s shutter completely out of phase Then slowly adjust the phase to a match Note Checking approximate speed and shutter phase requires a strobe gun Note This method requires a special cable which is available from ARRI on request Note See chapter 14 Accessories for more information on the ESU 1 Camera Operation 69 Camera Operation 70 11 4 Frame Counter and Battery Information The operator display can show a total exposed frames counter and a take length counter indicated with a t Both however can be considered irrelevant as they represent no relation to the material that was actually recorded Switching between Frame Counter and Shutter Angle Mode 1 e Press the SEL button to toggle between shutter angle and frame counter e Within three seconds press the SET button Note We recommend having mode 1 show shutter angle and fps at all times Switching between Display of Frame Counter and Mirror Shutter Angle Mode 1 Having
21. VariFrame on the recorder VariFrame is always enabled on the D 21 e Put the camera in LIVE state and the recorder into record standby record pause e Pressing the RUN button will start and stop the recording Note For more information on variable frame rate VariFrame see chapter 16 Appendix Glossary Start Stop using RS connector The D 21 sends a shutter pulse over the 24V RS connectors Some recorders support the input of this pulse either in conjunction with the 24V as supply voltage or on dedicated remote start socket Connect camera and recorder using the appropriate RS cable e Put the camera in LIVE state and the recorder into record standby record pause e Pressing the RUN button will start and stop the recording Do not connect a recorder to the camera s RS AN socket if it does not support 24V supply voltage or offers a dedicated RS ARRI remote start socket A There is no return signal and therefore no tally e s light on the camera Always check that the recorder actually started running 2 8 REC LOCKS t m N MODERN deren P ODE SE button 9 SHUTTER BUttOM SET button PHASE button 11 3 Operator Display The operator display at the front left of the camera image usually displays shutter angle and fps information This display used to be the only menu on 3bmm cameras and in the beginning also played a central role in D 21 operation Over time more and more function
22. diagnostics M N 110 recording 63 113 118 121 dimensions 107 remote control LLL 77 80 81 diopter adjustment lata aia 32 Startipng lstopping anusan inaa 62 Disclaimer 2 troubleshooting sisirin iaei 110 display battery information EE 70 A RUEDA IRA E TE IU 75 81 82 frame counter esee trennen terii 70 channel selection ooccccccccccccccccccccccccccccccccecceececcececeecccccsseee 78 Mode e 65 71 CINE VCLX 2 Battery CMM 6 21 Mode m 65 67 85 CINE VCLX 2 Charger 6 21 Modes ERE WOES Ne DEO ROMS 65 71 72 CIP DUNG ue ERE 124 ce RER ES ees sf TEE 82 ves 5 EE EE 5 74 Condensation 15 102 112 DEE 110 Mose MN OMEN MN ME 15 symbols EE 66 Conpnechons ee 91 composite vided connector ee 40 e cisci iere es ette oen eren 13 30 31 99 100 114 124 CVBS connector 40 127 Index 128 E electromagnetic interference sssssssseeessss 14 A mE 69 85 external synchronization unt 85 ENEE 32 adjusting the diopter ccc ceeeeeseeteeeeeeeeeeeeeees 32 Cucine 32 remoVviriQ EE 32 F A 75 compatibility ooo ad 82 radio channel changimg 78 79 radio receiver URM 23 77 EE Eege 83 status Ipdcators aE N 76 79 tiber link Unit FLO A siii en enitn merae 93 fine tuning the programmed frame rate 68 firmware version cooooccccccccnnncccccnnnnnnonnnnnnnncnnnnnnnnncnncnnnnnnnnnns 19 ERR tee Zender ees eet uiui e
23. e g keying compositing and is provided for each pixel without sub sampling In a 4 4 4 signal each pixel has full luminance and chrominance information As the luma component of an RGB signal is a part of all color channels an RGB signal is always 4 4 4 In a 4 2 2 signal each pixel contains full luminance information but only every other pixel per line also contains chrominance information An RGB signal has to be transformed into a color difference signal such as YCbCr before it can be subsampled YCbCr signals can be delivered as a signal using 4 2 2 sub sampling or as a 4 4 4 signal without sub sampling The ARRIFLEX D 21 can be set to output 4 4 4 RGB or 4 2 2 YCbCr signals Data Mode Data Mode delivers a single channel 12 bit raw Bayer data image without compression No image adjustment other than white balance is applied This raw data could be described as a digital negative which has to be converted to an RGB image before it can be used Bayer Pattern Color Filter Array An imaging sensor can only differentiate a change in luminance not color Hence the incident light has to be separated into color components As the D 21 uses a single chip the color separation is done by means of a color filter array CFA A CFA is a small mosaic pattern of color filter dyes Each pixel is covered with one dye so it only captures the luminance Appendix information for one color component One form of a CFA is th
24. equipment i Under no circumstances use acetone or nitro H thinner These chemicals dissolve paint and damage highly polished surfaces Disconnect the camera from the power supply 7 and other connecting cables whenever power or signal connections are not required Working on the imager and attaching or detaching electronic accessories has to be carried out on a static free workstation 14 2 A film camera exchanges its sensor i e the piece of film negative holding a frame after a single exposure The sensor of a digital camera is used for countless exposures and generally remains in its place unless it is damaged and replaced It is therefore recommended to perform an imager check prior to or at the end of each day of shooting to ensure the camera s imager has not taken any mechanical or electrical damage Imager Check Imager Surface The camera s sensor and optical filters are located behind a protective cover glass filter This cover glass can be replaced in case it is damaged Nevertheless opening the lens compartment should always be done with care to avoid mechanical damage to the mirror shutter the sensor cover glass and the sensor Before removing a lens always make sure to stop the mirror shutter This prevents damage to the shutter when a inappropriate lens e g 16 format lens is inserted by mistake The shutter in finder open position acts also as a protective cover to the imager Mech
25. fuse 12 V or 24 V output overload Camera is equipped with self resetting thermal fuses To reset disconnect all accessories and wait for one minute Camera Display Monitoring Defective Fault in the electronic control of the mirror shutter drive system CAUTION May result in faulty exposure Warning can be overridden by switching camera s main switch off and on If Monitoring Defective is overridden additional faults in electronic control of drive system will not be detected Camera won t start in low temperatures Camera may not start run unstable in ambient temperatures below 0 C 32 F ARRI or its subsidiaries do not assume responsibility for damage if camera is operated outside specified operating temperature range Turn on camera at least an hour before shooting with ambient temperature not lower than 0 C 32 F Then take heated camera outside Cover camera with a blanket if necessary Diagnostics LED red One or more system checks failed Restart camera Perform standard reset and restart camera Take camera to ARRI service center if problem persists Flash Mag does not turn on when connected to Flash Mag Mounting Adapter FMA 1 Flash Mag Adapter not turned on Power on Flash Mag Adapter using power switch on left side of adapter No access to camera control functions or video menu LOCK switch engaged Disengage LOCK switch above camera left side display
26. knurled screw of the LS 9 10 image Complete the process by tightening the clamp screw image on the support ring Note Mounting the support ring on the relevant lens is usually carried out only once The support ring can then remain in position on the lens Lens support LS 9 Knurled screw 7 5 Grip System The multipurpose grip system on the ARRIFLEX D 21 guarantees high stability through its fixed connection to the camera body and provides numerous possibilities for attaching accessories Five 3 8 inner threads allow attachment in diverse positions image Additional Hand Grips Additional hand grips can be screwed onto the grip system in various positions as required There are two types of hand grips Version without registering pins Using a 5 mm Allen key turn the 3 8 threaded bold into the hand grip as far as it will go e Turn the hand grip to screw it into the grip system e Pull tight to enable the safety mechanism which prevents loosening Version with registering pins e Place the hand grip on the grip system so the registering pins are inserted into the provided holes e Using a 5 mm Allen key tighten the hand grip to the grip system with the 3 8 threaded bolt Removing the Grip System In order to minimize camera height the entire grip system can be removed Hexagon screws Grip system Using a 3 mm Allen key loosen both the hexagon screws image in the strut
27. occurs after restarting the camera replace the radio module or send FEM 2 including radio module to an ARRI service center Green blinking rapidly Radio interference Another URM or FEM 2 is set to the same channel Select another channel Functional Expansion Module FEM 2 Functional Expansion Module FEM 2 12 3 Remote Lens Control Both CLM 1 and CLM 2 motors can be used with the ARRIFLEX D 21 e CLM 1 motors should be daisy chained in series with one of the end motors connected to either not both of the LCS bus sockets image e CLM 2 motors should be connected to the zoom focus or iris socket on the CLM 2 plug in module according to their position on the lens image CLM 1 and CLM 2 motors may be used simultaneously but only on different lens axes Note CLM 1 motor function has priority over the CLM 2 motors If a CLM 1 motor is set to the function zoom focus or iris and is connected to the FEM 2 the corresponding CLM 2 connection is deactivated Each CLM 2 motor connection has a status LED and a direction switch image CLM 2 Status Indications The status for each CLM 2 motor is displayed by its own status LED see table Note More information on LCS and WRS setups can be found in the FEM 2 instruction manual LCS bus sockets Direction GARE switch sp IRIS socket FOCUS socket ZOOM socket Status LED Status Off No motor connected Red Motor connect
28. of the camera display Setting the Low Battery Warning Voltage Level Mode 3 The voltage levels for the low battery warning shown in camera display and viewfinder can be altered depending on the type of battery in use To change the voltage level e Change from mode 1 to mode 3 by pressing the MODE button twice e Press SEL twice to change to the voltage level setting e Press the SET button repeatedly until the desired value is reached values below 20 V cannot be set e Repeat this procedure until all digits are set to the desired values A final confirmation is not necessary Note For NiCd batteries the voltage level should be set to approximately 22 23 V For Li ion batteries a higher value of approximately 26 28 V should be used as these batteries sustain a high voltage level but then have a steeper discharge characteristic These are only approximate values as the actual voltage warning level has to be identified by battery type age and capacity and by the desired safety reserve 11 5 Mirror Shutter Angle and Warning Signal Enabling Disabling the Asynchronous Running Warning Signal Mode 4 e Change from mode 1 to mode 4 by pressing the MODE button three times e Press the SEL button once to access the warning signal settings e Within three seconds press the SET button to select one of the four settings shown in the table below Note Mode 4 actually is Mode 6 based on the ARRI camera display
29. optical module delivers outstanding images with a cinematic look and feel but also makes the imager sensitive to contamination Dust particles that have settled on the sensor cover glass during a lens change may become visible as dark spots in the output image similar to lint leaving marks on exposed film The degree of this effect depends on the aperture of the lens 8 2 Viewfinder System The ARRIFLEX D 21 has an optical reflex viewfinder system with interchangeable ground glasses The viewfinder is adjustable in two axes laterally extendable for left eye operation and shows illuminated frame lines ARRIGLOW The viewfinder image stays upright and correct left to right when the viewfinder is swiveled within the main axis image Warning signals BAT ASY are reflected into the viewfinder Note When the camera is turned on the mirror shutter stays in the position it was set to before the camera was turned off If no image can be seen through the viewfinder briefly press the PHASE button twice to rotate the mirror into viewing position Optics 31 Optics 32 Eyepiece The camera can be equipped with an 8x or 10x wide angle eyepiece The eyepiece can be extended with a medium FE 5 or a long FE 3 finder extender Note When a finder extender is used the viewfinder image has to be manually rotated by 180 See Image Orientation below Removing the Eyepiece Hold the eyepiece with one hand and w
30. reference structure Electronic accessories therefore identify it as Mode 6 Display Warning signal on stop LS LS _ LS_ Ls Warning signal on start off on off on off off on on Setting the Volume of the Warning Signal e Change from mode 1 to mode 4 by pressing the MODE button three times e Press the SEL button twice to access the warning signal volume setting e Select the desired volume with the SET button 0 off 3 maximum volume Camera Operation 73 Camera Operation 74 Setting the Mirror Shutter Angle Mode 5 Starting with SUP 1 18 the mirror shutter angle can be conveniently set using the video menu Alternatively this setting can be made using the operator display e Use the MODE button to get to mode 5 The display looks like mode 1 without the bar in the top right corner e Press the SEL button repeatedly until the desired shutter angle appears in the display e Within three seconds confirm the selected shutter angle with the SET button Note If the selected shutter angle is not confirmed within three seconds the shutter angle will revert to the previously set value With electronic accessories such as the WRC unit the shutter angle can be set in 0 1 increments in the range of 11 2 180 The procedure is described in the respective instruction manual 12 Functional Expansion Module FEM 2 The ARRIFLEX D 21 includes the FEM 2 electronic
31. side cover which offers the following functions LDS Lens Data System Motor drivers for up to three CLM 2 motors Two LCS bus interfaces for CLM 1 motors WHA 2 WHA 3 and ZMU 3 LDD Lens Data Display interface ACC interface for ESU 1 CCU interface RS 232 for connection of electronic accessories such as WRC 2 or the Cine Tape Measure System URM port for optional URM 3 to enable wireless lens and camera control LDD socket Lens motor status LED CLM 2 direction switch A AA LCS bus sockets LDS status LED Radio status RDY LED ZOOM 13 FOCUS Channel selection switch RF CHAN ACC socket CLM 2 plug in module URM port CCU socket Battery compartment Functional Expansion Module FEM 2 Functional Expansion Module FEM 2 12 1 Lens Data System The lens data system allows lens and camera information to be shown on connected Lens Data Displays This information includes focus iris and zoom values for any position on the lens ring the resulting depth of field fps shutter and battery voltage The LDS enables iris compensated speed ramps and delivers precise and reliable information about lens and camera status for e g crane or Steadicam setups in wired or wireless configuration Together with external distance measuring devices UMT 1 or Cine Tape Measure it also allows focus tracking The LDS is compatible with all lenses equipped with ARRI LDS contacts and lenses
32. the camera still pointing at the same target adjust iris or lighting so the output video level reaches 60 to 7096 on a connected waveform monitor or the OSD RGB Histogram If no dark pixels or spots with a green color cast appear the camera is ready for shooting If defective or dead pixels do appear the camera s defective dead pixel map has to be updated Note Note When checking for cluster pixel failures it is recommended to use a display providing a pixel to pixel output When the full 4 3 sensor aperture is used short sequences should be captured and processed for each step to provide a pixel to pixel display of the camera s output Using the preview output of an ARRIRAW T Link certified recorder is a possible option but may not allow identification of very small cluster pixel failures Updating the camera s defective dead pixel map can be carried out on location by a trained D 21 service technician in an ARRI service center or at an ARRI rental facility This procedure takes about 20 to 30 minutes whereas in postproduction removal of dead pixels can be a lengthy process depending on the image content It is therefore highly recommended to take care of dead and defective pixels right away instead of fixing them in postproduction Cleaning the Field Lens e f the mirror shutter is in front of the imager briefly press the PHASE button The shutter is positioned to protect the mirror surface from damage as far a
33. the fastening screw of the FEM 2 electronic side cover image Pull at the back end of the FEM 2 to remove it from the camera Attaching the FEM 2 e Insert both pins on the front of the FEM 2 into the guides on the camera body image Press the back end of the FEM 2 on the camera to connect the FEM 2 to the camera interface Secure the FEM 2 with its fastening screw Fastening screw Guides 13 Accessories 13 1 External Synchronization Unit ESU 1 The external synchronization unit ESU 1 can be used with the ARRIFLEX D 21 235 435 models 535 535B 16SR3 Advanced 416 models It allows the camera to be synchronized to other equipment such as TV monitors The unit offers A BNC socket for synchronization of the camera to an external standard video signal 50 60 Hz An RCA socket for synchronization to a pulsed signal see ESU 1 manual for specifications An input for an inductive pickup to allow synchronization to a computer or video monitor When connected the camera display shows ESU in the upper line The ESU 1 can be used for frame rates from 3 to 60 fps The frame rate is indicated on the camera display in Mode 2 The external synchronization unit also provides a phase shifter and a pilot tone generator The synchronization is retained even when the camera is switched off Note For more information see TECHN INFORMATION External Synchronization Unit ESU 1 Access
34. using compatible protocols The LDS status is indicated by the LDS status LED image Lens data displays are connected to the LDD socket image on top of the FEM 2 module e To connect an LDD use LDD cable K4 55855 0 e To connect an LDD FP use LDD FP cable K2 54172 0 Note Instructions on how to use the lens data displays can be found in the respective instruction manuals FOCUS IRIS L MMC vr LDD socket LDS status LED Radio status LED Channel selection LED Status Green LDS OK Off No LDS lens Red LDS transfer error 12 2 Wireless System Equipping the FEM 2 with a URM 3 radio receiver enables wireless communication of lens control and lens data as well as remote control of camera functions The D 21 uses the latest ARRI WRS protocol L LN denoted by a yellow rubber washer on the antenna All ARRI WRS products can be upgraded to the new protocol consult your ARRI service center Installing the URM 3 Radio Receiver Installing a URM 3 radio receiver to the FEM 2 allows wireless communication of positioning information for lenses and remote control of camera functions Switch off the camera and disconnect all cables from the camera and FEM 2 before installing the URM 3 The installation of the URM 3 has to be carried out on a static free workstation Using a 2 5 mm Allen key loosen the two screws of the URM port cover Remove the two screws from the
35. 106 108 temperature rangde cece cece cece n 107 110 113 transport oes ce ess a deteccion 14 lee BEE 13 25 26 27 troubleshooting iiri reet otia gez 110 U URM 3 radio receiver cccccccccceeecceeeeeeeeeeeeeaeeeees 75 77 79 V variable frame rate VariFrame 67 68 124 variframMe eene eene rennen esetnnsna 64 124 Video assistam retiro teo ibt eo esie et aia 41 106 VICO Meios 40 LOCK Switch eine eie trie ete cose go icon cado 110 RER EE 104 standard framerate 46 E sai is TOLL 53 using the video menu coococononccccccnnnnnnnconononnnnnannnnannnnnns 41 white balance 44 46 viewfinder am 33 droite Em 33 friction adiustment issis taetiteureidariierii teieni 33 ln e catorce EE 33 turning the eyepiece cooocccoocconnconoaacccnccnnncnnnnnnncnnnnnnnnnnns 33 UniVerSal accede pite darte teat he ere 36 viewfinder system 31 106 ACJUSTUNG wiveescgast 34 ARRIGLOW coccccccccnnocononnnnnnnnncnnnnnnnncncnnnnnnnnnnnnnnncnnnnnnos 38 attaching displays in viewfinder ssssssssesssssrininnnnnnnnneeeeeeene 31 image orientation oocoooncccccooononnnnnnnnnncnnnnnnnanan non nnnnnnnnns 34 Imp M C E 35 voltage rante cer eit tnam pnr RR ER X NR a 20 W warning displays 2er ci ae iaa 31 E Deer ios 31 Warning SIGMA is oan a E a 72 SOUNO sii HS 72 switching on and Ouanna 73 Molina 73 irent EET 25 107 White balance or eni aeaoe na Rd 44 45 wireless remote contr
36. 6 2 CINE VCLX 2 Battery tie e NEE EES EETA NEEN 21 6 9 CINE VCLX 2 Charger EE 21 6 4 Main Camera Switch 22 6 5 Accessory Power Supply iret ta coins 23 12 V AGCOSSOLOS e IMEEM m e EU 23 EE ENEE E o e EA 24 Overload Display 24 7 Installation of the Camera 25 71 Minimal Equipment Required for Operation 25 7 2 Tripod and Remote Heads ccocconcccccocooooccnnnnncnnccnnnnnnnnnnnnnnnnnnnncnnnnnnnnnnnnnnnnnnnnnnnnnnnrrrrnnnnrinininns 25 Horizontal Levellihg WEE 26 7 3 Bridge Plate Set BP 8 EE 26 Attaching the Bridge Plate to the Camera 27 Putting the Camera on the Tripod ivi ceda 27 Removing the Camera from the Tripod enne nnne nnne nnne 27 ke BS 28 TOD Grip SYSTOMN EEN 29 Additional Hand ME EE 29 Removing the Grip System eec Herve ode lencia 29 sphuplc 30 8 1 MINS EE eege lame et ees 20 beris IVIOHE eee O 30 Lens Mount Position atado iran NER rfe 30 Changing BEE 30 8 2 Viewfinder SySIem eed etc io bd 31 Eyepiece e 32 Viewfinder AM stwdesssunbeasteepacssechccences souatesiuvensasuagieed N ieee E ERES 33 Image Orientation ri 34 Removing the Viewfinder System ir 35 Universal Finder Ata cine 36 SEC REEE CI IDECIECECT AS id 37 Exchanging the Ground Glass iro gen Reegel 37 8 47 ICE 38 Exchanging the ARRIGLOW Mack 38 Camera Setup ge See 40 Ole Output Interfaces EE 40 92 Video Men Uni
37. 9 97 30PsF Requires a recorder supporting dual link HD SDI SMPTE 372M signals HD444 OL 2x dual link HD SDI 1920 x 1080 4 2 2 YCbCr 10 bit 48 50 59 94 60PsF Requires a recorder supporting 2 parallel HD SDI SMPTE 372M signals dual camera input Mscope 422 DL 2x single link HD SDI 1920 x 1080 4 2 2 YCbCr 10 bit 23 967 24 25PsF Requires a recorder supporting 2 parallel HD SDI SMPTE 292M signals dual camera input ARRIRAW DL T Link 2880 x 2160 RAW 12 bit Bayer data 23 976 24 25p 2880 x 1620 RAW 12 bit Bayer data O 29 97 30p Requires an ARRIRAW T Link certified recorder or a system offering ARRIRAW T link compatible RGBA HD SDI SMPTE 372M uncompressed recording Accessories The ARRIFLEX D 21 accepts a wide range of production and lightweight matte boxes 15 Misc or 19 mm system follow focus units Lens Control System LCS components Wireless Remote System WRS components electronic accessories and support systems The camera fully supports the Lens Data System LDS expanding LCS and WRS functionality Specifically for ARRIFLEX D 21 Low mode support set for Steadicam operation or underslung use and top mounting of accessories without bridge plate Fiber Link Unit FLU 1 and Fiber Link Remote FLR 1 for an optical link to the recorder Extra attachment points for rigging Appendix 110 16 Appendix 16 1 Troubleshooting Operation Problem Possible Cause Remedy Blown
38. ARRI ARRIFLEX D 21 INSTRUCTION MANUAL March 2011 COPYRIGHT 2011 ARNOLD RICHTER CINE TECHNIK GMBH CO BETRIEBS KG ALL RIGHTS RESERVED NO PART OF THIS DOCUMENT MAY BE USED FOR DISTRIBUTION REPRODUCTION TRANSMISSION TRANSCRIPTION STORAGE IN A DATA RETRIEVAL SYSTEM OR TRANSLATED INTO ANY LANGUAGE IN ANY FORM BY ANY MEANS WITHOUT THE PRIOR WRITTEN CONSENT OF ARRI IF YOU ARE DOWNLOADING FILES FROM OUR WEB PAGES FOR YOUR PERSONAL USE MAKE SURE TO CHECK FOR UPDATED VERSIONS ARRI CANNOT TAKE ANY LIABILITY WHATSOEVER FOR DOWNLOADED FILES AS TECHNICAL DATA ARE SUBJECT TO CHANGE WITHOUT NOTICE Accessory mounting rosette Ey ec u p Eyepiece focus adjustment Eyepiece lock REC button LOCK switch ARRIFLEX NORM PS CCU switch SHUTTER button b s MODE button SEL button SET button PHASE button Operation control LED Tape hook Image rotation knob PL mount eee Viewfinder arm Viewfinder extension lock Main camera switch se Viewfinder arm 1 f friction adjustment Ground glass Accessory Lens control system Grip system Lens data display ACC socket LCS bus socket LDD socket Lens motor direction switches Lens data system LDS status LED Wireless control system channel selection and status LED CLM 2 lens motor connectors RS socket remote RUN amp 24
39. B A 9 24 fps 0 to 40 C or 32 to 104 F Length 39 cm 15 35 Width viewfinder left 27 cm 10 83 Height with handle 30 cm 11 81 Height without handle 23 cm 9 06 Body only 9 3 kg 20 5 Ibs Body and viewfinder 11 6 kg 25 5 lbs 1x power in BAT 1x 12 V accessory power out Fischer 11 pin 1x 24 V accessory power out RS 1x lens data display LDD 2x lens control system bus LCS 1x accessory interface ACC 1x camera control unit CCU 1 each focus iris Zoom for lens motors 1x 2 V HD clock pulse out v sync 2x composite video out CVBS 1x S Video out Y C 2x dual link HD SDI Technical Data 107 Technical Data 108 Frame rate Signal output 1 60 fps 4 2 2 and 4 4 4 HD 16 9 1 30 fps ARRIRAW 16 9 1 25 fps ARRIRAW and Mscope 4 3 Frame rates other than the standard frame rates of 23 976 24 25 29 97 30 48 50 59 94 and 60 fps available through VariFrame flagging All speeds crystal and can be set with 0 001 fps precision Does not run in reverse HD422 SL single link HD SDI 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 29 97 30PsF Requires a recorder supporting HD SDI SMPTE 292M signals HD422 DL 2x single link HD SDI 2x SMPTE 292M 1920 x 1080 4 2 2 YCbCr 10 bit 48 50 59 94 60PsF Requires a recorder supporting 2 parallel HD SDI SMPTE 292M signals dual camera input HD444 DL dual link HD SDI 1920 x 1080 4 4 4 RGB YCbCr 10 bit 23 976 24 25 2
40. B of the configured output board to recording input HD SDI IN B Connect recording HD SDI MON OUT to control monitor Notes Mscope is intended for use with anamorphic lenses The full sensor area with a 4 3 aspect ratio is output as a 1920 x 1440 image using two parallel single link signals Each link contains 1920 x 720 lines of the frame A display connected to one camera link or the recorder s monitor OUT will display a de squeezed preview image For more information on Mscope as well as 2x single link see the glossary in chapter 17 Appendix HD SDI output boards set to Mscope require link A and B for signal output Always use link A and B from the same output board Setting both HD SDI 1 and 2 to HD444 and using link 1A and 2B or 1B and 2A is may cause problems in the output signal 2x single link dual camera recording is commonly used for stereoscopic capture with two camera heads Please refer to the recording system s user manual for information and instructions on 2x 4 2 2 dual camera recording ARRIFLEX D 21 Camera Display 0 HD SDI 2 1800 HD SDI 1 fps 50 000 e On Screen Menu A 50 000 HD422 DL B Recording System JO UON OJJUOD Input Format 2x 4 2 2 25PsF 50i Signal Connections 61 Camera Operation 11 Camera Operation Along with SUP 1 18 the D 21 usually received a new operator side panel E Cover Like the new menu structure this new E cover
41. Fiber Adapter Cable Set K2 70410 0 to the 24 V RS socket of the camera and the RS power input socket on the FLU 1 Connect HD SDI output A and B from one HD SDI output board to HD SDI input A and B on the FLU 1 Even in an HD422 setup both connections are required The HD SDI monitor output on the FLU 1 delivers a 4 2 2 return signal from the Sony HDCAM SR field recorder that can be displayed e g on the camera s onboard monitor e Connect the SMPTE fiber cable to FLU 1 and recorder Set the desired output format parameters as described in chapter 9 Camera Output Configuration On the recorder setup the corresponding input format and select the fiber interface input Note Using the FLU 1 requires no additional setup on the camera side Check the instruction manual of the recorder in use for information on setting up the corresponding recording format using the fiber input Fastening screws Low mode short set 1 On the Sony SRW 1 SRPC 1 the optical input is selected by setting Video I O in the video setup menu to CAM optical General requirements e Sony SRW 1 SRPC 1 HDCAM SR field recorder with an HKSR 101 fiber optic adapter or another compatible recorder Variable frame rate recording on the Sony field recorder additionally requires an HKSR 102 cache board ow mode short set K2 70010 0 Flash Mag Sony Fiber Interface Cable Set K2 70410 0 for power and signal from camera F
42. GHING E ie deg 30 lens support LS O1LG20 28 remote Control ioo nia reca Re Ph Yu 80 SUP POPE ecc in eta 28 lens mount 13 14 28 30 31 112 lens mount Dosttion pissresiriceeitieneress pudi iein dinidetaneta iiaia 30 CE araa e 28 Locking Camera Controls 41 65 LOCK swwitch nnns 110 low mode support 29 36 88 89 94 M main camera Switch 22 mains unit NG IHR eege SERIES 20 maintenancCe 98 mirror shutter oocccccccnnncccnnononoccnnnnnnncnnnnnnnnnnnnnnononoccnnnnnno 106 enable disable 2 iecit iit tin aeee 74 POSICIO M i iota se decuit stus gege ee 22 Set angle coi ee 74 Mode Thin as 65 71 lere 65 67 85 A 65 71 72 Mode 4 65 73 Mode 65 74 IMSCODG intct cem ope enin 36 37 48 99 119 120 121 Mscope 422 DLucia 8 48 61 108 N elis EE 125 O onboard monttor 23 operational parameters ooccccccoccccnnccnnoccnnnnnnnnnnnononaninnnnnns 42 operation control LED 22 41 66 operator display etnia nte aaa nens 43 65 OPUS EDT TEE DET 30 viewfinder cooooocooconocccncncnnonnnnnnnonononononononnnnnnnnnnnnnnnnnnnnns 31 orange peel structure 125 OS Dit OOIS MC M 104 output data mode ARRIRAW ssssssss 113 117 A e 119 124 A 120 interfaces iia g cess 40 NISCODG E 36 119 120 121 SOM aia 108 wife To RIESEN tege Ehe 40 output board isa ete tia 40 47 53 OUtpUtang8 exem tenir nun mee 123 overload display ooooooccccncncccnnnnncncnc
43. Hz Spain 2444 2472 MHz Corresponds to channel setting O O OINIO a s Radio device deactivated Changing the Radio Channel Use one of the methods described below to set the URM 3 to a radio channel e With the camera turned off set the channel and turn the camera on e Set the channel selection switch to 9 deactivated and then turn it to the designated channel within half a second e To change the channel while the system is active select the new channel The RDY LED will light up red but the wireless will continue to work on the previously set channel until the camera is turned off and on again Wireless System Status Indications The RDY LED of the radio system indicates the status of the radio see table RDY LED Status Off Wireless remote control deactivated channel 9 or camera deactivated or camera without power Red green alternating Radio modem initialization in progress Do not activate wireless main until ready Green blinking Wireless remote control is ready Activate wireless main unit Green Wireless remote control OK Red Channel selection has been changed while system was active Turn the camera off and on again to change the channel or reset the channel selection switch to the previously set channel if the change was unintentional Red blinking Hardware malfunction in the URM radio module If this error still
44. If the programmed speed has been set prior to changing the standard frame rate video menu and exceeds the standard frame rate limit e Switching the camera to PS CCU in standby causes the RUN LED to light up red The camera will not run e Switching to PS CCU while the camera is running causes the RUN LED to turn off The camera will not change its running speed Note Changing the frame rate with the NORM PS switch while the camera is running creates a basic speed ramp This operation does not allow automated exposure compensation Fine Tuning the Programmed Frame Rate PS Mode Note Also see chapter 9 3 Setting Operational Parameters Frame Rate Fine tuning of the programmed frame rate can be carried out while the camera is running by means of the buttons SEL slower and SET faster The setting can be adjusted in increments of 0 001 fps 1 000 to 60 000 e Set the NORM PS switch to PS CCU Run the camera Press the MODE button once to change to mode 2 e With the buttons SEL slower and SET faster change the frame rate Note Fine tuning the programmed frame rate should always remain below the set standard frame rate to avoid asynchronous operation Controlling the Frame Rate Using Electronic Accessories Note Also see chapter 9 3 Setting Operational Parameters Frame Rate Depending on the electronic accessory in use the camera can be controlled With the NORM PS switch set to NORM whereas a
45. RRIRAW an output board delivers the raw data with e 2880 x 2160 pixels in 1 33 1 4 3 aspect ratio using the full sensor aperture up to 25 fps e 2880 x 1620 pixels in 1 78 1 16 9 aspect ratio using the full sensor aperture width up to 30 fps ARRIRAW signals require a dual link HD SDI connection ARRIRAW T Link There are different source formats that can be sent over a dual link HD SDI connection Next to 4 4 4 RGB SMPTE 372M also defines 4 4 4 4 RGBA A for alpha channel see section Chroma Sub Sampling above as a source format The ARRIFLEX D 21 uses a special transport method which maps the 12 bit raw Bayer data into this 4 4 4 4 RGBA signal so it can be sent to the recording system via a dual link HD SDI connection called T Link At frame rates above 30 fps two parallel T Links are required This method is called ARRIRAW T Link transport link ARRIRAW Recording Any system capable of recording and playing back an SMPTE 372M compliant RGBA signal without compression encoding can be used to record this signal ARRIRAW T Link certified recorders furthermore offer real time image processing e g look up tables image resizing and cropping for live preview on an HD monitor Data Mode Benefits Best Image Quality Data Mode output offers uncompressed unprocessed 12 bit ARRIRAW data with the highest dynamic range and lowest noise allowing image quality to be maximized through advanced image processing in post
46. V 24 V accessory O overload LED 0 Accessory mounting rosette Camera control unit CCU socket Viewfinder swivel release Spirit level Tape hook Grip system HD clock pulse output Video menu button Lens control system LCS bus socket m TE PT Imaging status LEDs 11 pin accessory socket 12 V and overload LED Service port S Video Y C SD output Accessory Composite video SD output AS Output board HD SDI 2 link A B Camera control unit CCU socket Output board Power supply HD SDI 1 link A B 3 8 16 mounting holes BAT socket camera base Contents 1 Contents D 21 Left Right Front Rear View EN 2 1 A EN EEN ee ele 6 2 Safety Instructions EE 12 2 1 General Safety Instructions ccccccncnccccccconnononncnnnnnnnnnnnnnnnnnonononnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnenannns 12 2 2 Specific Safety INStrUuCctiONS asseirai irinae i aeina s aa aE a a a ASIAA EPEn iE EEES 13 3 General Precautions oocoocconconnconnconnnonccnncnnncnncnnnrnnnrnnrnnnrnnnrnnrnnnrnnnrnnnrnnrrnnrrnnrnnnnns 14 34 Storage and Transport oec ee aia 14 3 2 Electromagnetic Interference sessista iaiia iaaiiai ii 14 Bids ond nsation iia 15 4 DISC AIM Cl ius 16 5 General Description 18 Product Identification iiie ines etae aid 18 SCODE TELE 19 6 AAA te vacenssausnsaccctdtencnsdeateruccandeauacceucansauspieanuadeuavaaasccaidaeasaande 20 63 Mains Unit NG 12 206 Rican elas 20
47. a log lin conversion LUT Log C or Filmstream lin conversion LUT Log F must be applied to the signal Preview LUTs available in editing software via dedicated hardware linked between playback and display device or as integrated hardware in some display devices Order of frames is swapped when recording ramps or frame rates 30 fps Inverted cable connection Make sure cables are correctly connected HD SDI 1 link A to recorder input A or 1 HD SDI 2 link A to recorder input B or 2 Problem with output setup Repeat the complete output setup video menu Appendix 116 16 2 Glossary Clipping See section Image Artifacts Color Signals and Chroma Sub Sampling RGB YUV 4 4 4 and 4 2 2 are terms often used for digital video While RGB and YCbCr correct denotation for the digital component signal often called YUV represent different forms of color signals 4 4 4 and 4 2 2 are a denotation for chroma sampling Color Signals e RGB means an analogue or digital form of signals for the three color components red green and blue RGB signals deliver very high quality images providing high creative freedom for postproduction At the same time RGB signals require high bandwidth and storage space YCbCr is a component signal consisting of a luma channel luminance and two chroma channels color difference channels These components are calculated from an RGB signal YCbCr signals re
48. ad 65 Locking Camera Controls mee 65 12 13 Overview of Display SGvpmbols 66 Setting a Programmed Frame Rate Mode 21 67 11 4 Frame Counter and Battery Intormmaton 70 Switching between Frame Counter and Shutter Angle Mode 1 70 Switching between Display of Frame Counter and Mirror Shutter Angle Mode 1 71 Setting the Frame Counter Configuration Mode 21 71 Displaying the Power Supply Voltage Mode 21 72 11 5 Mirror Shutter Angle and Warning Gong 73 Enabling Disabling the Asynchronous Running Warning Signal Mode Ai 73 Setting the Mirror Shutter Angle Mode P 74 Functional Expansion Module FEM 2 cscceecseceeceeceeceeceeceeceeceseeeceesesaeenes 75 12 1 Lens Data System 0 ccccccccccccccsseseseeseeeecececeeeeeseeseeaseaeeeeeesseceeeeeeeeseeesesaeaeaesseeeeseeeeeeeeeeeeees 76 12 2 Wireless System EE 77 Installing the URM 3 Radio Receiver ooocccconcccccnnononccnnnnnnnonnnnccnnnnncnnrnnnnncnnn rra nnns KEE a E 77 Using the Wireless System ioci tcr rrr eon a 78 12 3 Remote Lens Control deterrere ai pvo cocina E SSES ES ef 80 EE El Le e E 80 12 4 Camera Remote Control mision ii ci 81 PA m 82 ARRIFLEX D 21 FEM 2 Compatibility Uert 82 Incompatible Accessories siii dana natalidad 83 12 6 Replacing the FEM Lian nia i 83 Removing the FEM 2 cuina field 84 Attaching the REM lt 2 EE 84 o AQ 85 13 1 External Synchronization Unit ESU 1
49. amera s power outlets Accessories 92 13 7 Shoulder Set S 5 The shoulder set S 5 allows switching the camera from tripod to shoulder without having to remove the optical accessories Available set and components Shoulder Set S 5 complete K0 70410 0 With left and right grips including run stop switch and ergonomically shaped shoulder pad for the D 21 image Shoulder Set S 5 K2 70450 0 With left and right grips including run stop switch for the D 21 and other ARRIFLEX cameras shoulder pads available separately Shoulder Pad for D 21 K2 70011 0 Ergonomically shaped shoulder pad for the D 21 To attach the shoulder set to bridge plate BP 8 or BP 9 Screw the shoulder pad to the back of the shoulder set Slide the shoulder set from the rear into the dovetail guide of the bridge plate as far as it will go A latch pin will automatically keep the shoulder set in the correct position Clamp the shoulder set using the bridge plate clamping lever Plug the cable for the remote RUN button into the camera s RS socket Check that the shoulder set is firmly seated on the camera To detach the shoulder set Open the clamping lever on the bridge plate Pull the latch pin on the bottom of the shoulder set and slide the shoulder set backwards and out of the bridge plate s dovetail guide 13 8 Fiber Link Unit FLU 1 The FLU 1 enables a single fiber cable to carry 4 4 4 or 4 2 2 HD signa
50. and pull the grip system upwards e To attach the grip system proceed in the reverse order Note To provide an even sturdier hand grip system with additional attachment points for accessories the camera can also be equipped with the low mode short set See chapter 14 Accessories for more information Installation of the Camera 29 Optics 30 8 Optics 8 1 Lenses All 35 format lenses with a PL Mount can be used on the ARRIFLEX D 21 Lenses with a Y 41 mm standard or bayonet mount cannot be used Heavy and long lenses such as zoom lenses e must be supported at all times Lens Mount The ARRIFLEX D 21 is equipped with Lens Data System contacts image for direct communication with LDS lenses The Lens Data System collects essential lens and camera information for display on a dedicated remote display and enables iris compensated speed ramps in conjunction with a Wireless Remote Control These features are also available for non LDS lenses where focus iris and zoom information is calibrated through the lens motor CLM 2 position which is then stored into accessories such as the Lens Data Archive LDA or the Wireless Remote Control WRC 2 Lens Mount Position The lens mount should always remain in Super 35 position 2 image although it is possible to rotate the lens mount to Normal 35 configuration 1 Unlike with 35 mm cameras this also applies when anamorphic lenses are used Indexepinm
51. anical Damage to Imager Surface If the cover glass of the sensor has been scratched or punctured it can be replaced by an ARRI service center Dust Check In normal everyday use removing the lens allows dust or dirt to enter the lens compartment of the camera Performing regular dust checks at least after every lens change helps preventing dust on the sensor Dust Check using the HD output A very effective method of checking for dust is to use the camera s live Mscope HD output Dust on the sensor cover glass will beome visible as dark spots in the output image e Attach a lens and set the focus to infinity e Point the camera towards a bright evenly lit surface or put a diffuse white glass plate in front of the lens and point the camera into a light source e Set the camera output to Mscope so it shows the full sensor aperture as a squeezed image e Set the contrast characteristic to El 500 or higher e Start the mirror shutter to see a live image e Close the iris to T11 or higher and chech the image for dark spots e To localize a particle on the sensor remember that the image on the sensor is vertically flipped image Do not point the camera towards the sun as e focused sunlight can cause permanent damage to the sensor Mscope monitor oe Dark spot in the output output caused by dust particle Camera Care Dust particle in vertically View on sensor p flipped position Note See chapter 9 Camera Outpu
52. at the back of the camera body Temperature LED red Sensor temperature deviation from nominal level above acceptable limit Possible malfunction of internal cooling system Turn camera off and wait 5 minutes before turning it back on Make sure that air can flow through the ventilation shafts at the back of the camera body Take camera to ARRI service center if problem persists 111 Appendix 112 Optics Problem Possible Cause Remedy Condensation on the sensor cover glass When camera is moved from a cool to a warm location or when used in damp climate condensation may form inside the lens compartment on the sensor and on the electrical connections Put camera in interim storage at temperature close to ambient temperature during shooting Attach air drying cartridge to PL Mount during storage in an environment that is cooler than the shooting location If camera needs to be stored in a place that is considerably cooler than the location where it will be used consider keeping the camera powered not running from a mains unit in addition to using the air drying cartridge In ambient temperatures above 30 C 86 E and or humidity above 60 always attach air drying cartridge to PL Mount whenever camera is not in use This applies to storage outside transport case shooting breaks and situations when no lens is attached to camera for an extended time To speed up the process the se
53. ating instructions before you operate or install the system Follow all installation and operating instructions Do not use accessories or attachments that are not recommended by ARRI as they may cause hazards and invalidate the warranty Do not attempt to repair any part of the system Repairs must only be carried out by authorized ARRI Service Centers 2 2 Specific Safety Instructions Do not remove any safety measures of the system Do not operate the system in areas with humidity above operating levels or expose it to water or moisture Do not subject the system to severe shocks Do not place the system on an unstable trolley hand truck stand tripod bracket or table The system may fall causing serious personal injury and damage to the system or other objects Operate the system using only the type of power source indicated in the manual Unplug the power cable by gripping the power plug not the cable Never insert objects of any kind into any part of the system through openings as the objects may touch dangerous voltage points or short out parts This could cause fire or electrical shock Unplug the system from the power outlet before opening any part of the system or before making any changes to the system especially the attaching or removing of cables Do not use solvents to clean Do not remove any screws that have been secured with paint Never run the camera without a lens or a protective cap
54. between sensor and its cover glass and on internal or external electrical connections Operating the camera in this condition may result in personal injury or damage to the equipment Condensation on the optical components may have a visible effect on the output images To reduce the risk of condensation e Find a warmer storage location e Attach the included air drying cartridge silica bottle to the PL Mount of the camera when the camera is stored Note The air drying cartridge must be removed while the camera is transported or stored inside a transport case In ambient temperatures above 30 C 86 F and or humidity above 60 always attach the air drying cartridge to the PL Mount of the camera whenever it is not in use This not only applies to storage but also to shooting breaks and situations when the camera remains without an attached lens for an extended time If camera needs to be stored in a place that is considerably cooler than the location where it will be used consider keeping the camera powered not running from a mains unit in addition to using the air drying cartridge To speed up the process the sensor can be heated System Condensation Removal via the camera menu When condensation removal is activated the sensor will reach temperatures above 45 C This is completely normal and not harmful to the imager Push the video menu button to quit the condensation removal sensor heating Not
55. bit HD signals These signals are sent over a dual link HD SDI connection and can be recorded with any system offering 4 4 4 dual link HD SDI input SMPTE 372M The full potential of 4 4 4 RGB images can only be used if postproduction is able to maintain these signals without converting them to 4 2 2 signals until final delivery Green blue screen material shot in 4 4 4 should not be converted to 4 2 2 until after chroma keying Productions requiring elaborate color timing correction should maintain 4 4 4 at least until after this step Mscope Mscope enables the use of anamorphic lenses without the requirement for Data Mode compatible equipment Mscope Output Mscope like HD Mode outputs fully processed images but uses the full 1 33 1 sensor aperture to create a 1920 x 1440 oversized HD image In order to output this oversized image using standard HD interfaces it has to be split into two separate HD SDI streams Split segments Anamorphic P EM image 1 33 1 HD recorder H 1920 4 Alink T z dual stream IN H E 1 4 T Blink 8 m single link preview OUT De squeezed BE HD preview 2 66 1 l Each 1920 x 1080 4 2 2 YCbCr 10 bit HD SDI stream contains a 1920 x 720 letterbox image in 2 66 1 aspect ratio Link A contains all odd lines from the original image line count starts at 1 link B only even lines When shooting with anamorphic lenses each stream therefore directly shows a de squee
56. brings a few changes to camera operation RUN button becomes REC e PROG button becomes SHUTTER i Jj MODE 1 indicator ao m MODE button SEL a SHUTTER Bireng SEU Dutton PIR ASIE ugacle 11 1 Running and Stopping the Camera The operation control LED next to the REC button indicates the camera run state RUN State Description Indication STANDBY The camera is turned on but the mirror shutter is not moving The REC led is off Accessories will report the camera state as standby LIVE The mirror shutter is running In this state you get The REC led flashes green an image out of the camera Accessories can still The operator display shows a running shutter icon behind be configured Lens motors can be calibrated the shutter angle Accessories will display standby and some indication for the running shutter RECORD RUN The mirror shutter is rotating This state will only be The REC led lights up green entered if SDI Remote Master has been enabled The operator display shows a running shutter icon behind the shutter angle Accessories will display RUN NOT READY The control electronics are not ready and the camera will not run The REC led lights up red PS speed higher than frame rate set in the menu see 11 3 Note After turning the camera on wait for the three imaging status LEDs on the camera backside image to light up green before operating the camera
57. camera body Red Sensor temperature deviation from nominal level above acceptable limit Possible malfunction of internal cooling system Turn camera off and wait b minutes before turning it back on Make sure that air can flow through the ventilation shafts at the back of the camera body Take camera to ARRI service center if problem persists Red Problem with internal power supply Restart camera Take camera to ARRI service center if problem persists Red blinking Standard reset performed Restart camera to complete 10 Signal Connections In HD Mode the ARRIFLEX D 21 can be connected to any HD recording device offering HD SDI input and 1080PsF i recording Always use HD SDI compliant BNC cables for the signal connection The cable length should not exceed 40 m 130 ft but may be increased by using high quality cables with low signal damping If a signal is recorded via two connections dual link using two cables of the same length offers better signal performance Note If connection cables show any type of damage crush tear they should be replaced immediately Never use cables with damaged connectors ARRI does not assume responsibility for incurred losses due to defective signal connections To avoid damage to the BNC connectors arrange for a cable strain relief Adapters that would stick out from the back should not be connected directly but with a short cable The maximum length for
58. camera speed the shutter angle of the mirror shutter and the aperture of the lens iris when used together with FEM 2 and a CLM 1 or CLM 2 motor providing a wide range of compensation options for constant exposure Note More information on variable speeds ramping can be found in the glossary in chapter 16 Appendix Note For more information and operation instructions see chapter 13 FEM 2 and the WRC 2 manual 13 10 Work Light e The work light can be turned on and off with the ring on the lamp head e The brightness of the work light can be adjusted with the mechanical aperture To attach the work light to the camera e Attach the dovetail adapter to the hand grip using the screw e Slide the work light into the dovetail guide and clamp Connect the plug to the RS socket 13 11 General Note Note For further information on the accessories please refer to the corresponding instruction manual Accessories 97 Camera Care 98 14 Camera Care 14 1 When maintaining and cleaning the camera and accessories pay careful attention to the following notes and tips General Information e Camera and accessories should be placed on a stable flat and clean surface that is covered with foam material or clean lint free cloth e For cleaning it is recommended to use soft lint free cloths and swabs Also suitable are special cleaning tissues and small sponges as used for cleaning computers and video
59. consist of the base plate bridge plate and a pair of 440 mm support rods 19 mm support rods with lengths of 165 185 240 340 and 440 mm or 15 mm diameter support rods with lengths of 340 and 440 mm are available separately as options Note The bridge plate has to be adjusted to Super 35 for use with the ARRIFLEX D 21 This ensures that the accessories are exactly adapted to the optical center of the Super 35 format This also applies when anamorphic lenses are used unlike with 35 mm cameras Spirit level Base plate Wedge plate Attaching the Bridge Plate to the Camera e Screw the wedge plate onto the base plate and lock them onto the tripod head e Engage the two cylindrical pins on the bridge plate with the corresponding holes in the camera base and fasten it to the 3 8 16 threaded holes in the camera base with the two slotted screws image Putting the Camera on the Tripod e Slide camera with the bridge plate into the dovetail guide of the base plate until the spring loaded stop pin snaps back audibly The camera s position can then be fixed with the clamping lever image e Slide the support rods into the guides and clamp Equip the camera with the required accessories to determine the center of gravity Loosen the clamping lever and by sliding the camera on the base plate find the optimal balance position Then retighten the clamping lever Removing the Camera from the Tripod Before rem
60. da Accounts Manager Camera amp Digital Systems S bastien Laffoux seb arrican com Tel 1 416 255 3335 Fax 1 416 255 3399 ARRI Asia Limited 3B 29 F The Centrium 60 Wyndham Street Central Hong Kong General Manager Paul Ivan pivan arriasia hk Tel 852 2571 6288 Fax 852 2875 9181 ARRI Australia PTY Limited Unit 6C 5 Talavera Road Macquarie Park NSW 2113 Sydney Australia General Manager Stefan Sedlmeier ssedlmeierGarri com au Tel 61 2 9855 4308 Fax 61 2 9855 4301 ARRI Sales Service 135 Technical data subject to change without notice ARRI 2011 Available languages English Ident No K5 70403 0 ARNOLD amp RICHTER CINE TECHNIK T rkenstr 89 ARR D 80799 Miinchen Phone 49 89 3809 0 Fax 49 89 3809 1244 www arri com
61. ding but not limited to lost profits lost savings lost revenues or economic loss of any kind or for any claim by third party downtime good will damage to or replacement of equipment or property any cost or recovering of any material or goods associated with the assembly or use of our products or any other damages or injury of the persons and so on or under any other legal theory In the case one or all of the foregoing clauses are not allowed by applicable law the fullest extent permissible clauses by applicable law are validated ARRI is a registered trademark of Arnold Richter Cine Technik GmbH amp Co Betriebs KG Note This product and the accessories recommended by the manufacturer fulfill the specifications of the EU Guideline 89 336 EWG General Description 18 5 General Description The ARRIFLEX D 21 combines leading edge digital technology with film camera features that have been refined over ARRI s 90 year history It allows directors and cinematographers to shoot in the same way as they would with 35 mm film while taking advantage of the immediacy and economy of digital acquisition As the top of the line digital cameras from ARRI the market leader in professional imaging it is equipped with a number of unique features An optical viewfinder the Mscope anamorphic output a 4 3 format sensor simple operation and an unequalled film like image quality The D 21 is the only camera capable of s
62. displays internal temperature and voltage readings ECU Camera Status RUN SENSOR Shutter Mode MECHANICAL ADGOCO Sensor Temp Shutter Pos ROTATING ADGOC1 Sensor Board Temp Shutter Angle 180 0 M ADGOC2 ECU Board Temp Image Size 2880x2160 ADGOC3 VDD 2 5 V Framerate 25 000 fps PIM1 VDD 3 3 V CDS ON PIM2 VDD 5 0 V Mode HD SDI 1 HD444 CRC 5 S Mode HD SDI 2 HD4444 CM gt Next Exit gt Next Note Do not record the camera signal while the Status Menu is active Camera Configuration 53 Camera Configuration 54 Status and Imaging Status Indications The imaging status LEDs on the back of the camera provide basic information on the general status of the camera s imaging and image processing module LJ Power Temperature Diagnostics A Cr TTE Tg B hh B 8 B o o 05 Video Menu Push Rotate e US Pat 5 335 013 EP 622000 JP 2818622 Power Green Internal power supply levels normal Indicator Meaning Diagnostics Green All system checks normal Red One more system check failed Restart camera Perform standard reset Take camera to ARRI service center if problem persists Temperature Green Sensor temperature at nominal level Off Slight sensor temperature deviation from nominal level Turn camera off and wait 5 minutes before turning it back on Make sure that air can flow through the ventilation shafts at the back of the
63. e The air drying cartridge has to be attached during condensation removal Otherwise the humid air will remain in the lens compartment Make sure that the silica bottle is securely fastened Under no circumstances spill silica into the lens compartment General Precautions 15 Legal Disclaimer 16 4 Disclaimer Before using the products described in this manual be sure to read and understand all respective instructions The ARRIFLEX D 21 is only available for commercial customers The customer grants by utilization that the ARRIFLEX D 21 or other components of the system are deployed for commercial use Otherwise the customer has the obligation to contact ARRI preceding the utilization While ARRI endeavors to enhance the quality reliability and safety of their products customers agree and acknowledge that the possibility of defects thereof cannot be eliminated entirely To minimize risk of damage to property or injury including death to persons arising from defects in the products customers must incorporate sufficient safety measures in their work with the system and have to heed the stated canonic use ARRI or its subsidiaries do not assume any responsibility for incurred losses due to improper handling or configuration of the camera or other system components due to sensor contamination occurrence of dead or defective pixels defective signal connections or incompatibilities with third party recording devices
64. e Bayer pattern with red green and blue sensing pixels which is used for the D 21 sensor ARRIRAW Processing As the RAW Bayer data only contains luminance information ARRIRAW processing assigns one color component to each pixel based on the CFA alignment on the sensor The image now contains three color components but only one component per pixel To obtain the remaining two color components for each pixel they have to be interpolated from the surrounding pixels i e color reconstruction There are different methods for color reconstruction based on processing speed vs output quality Before the RGB image is ready for viewing the colors need to be transformed to the desired output color space e g for output on HD displays print on film or digital cinema projection and the tonal balance has to be adapted using the intended 117 Appendix 118 contrast characteristic The output RGB images are then stored e g as 10 bit log dpx files 16 bit tiff files or other file formats depending on postproduction requirements ARRIRAW data can be processed in production quality using the ARRI software tool Image Booster or can be output by ARRIRAW T Link see below certified recorders and playback devices as live HD preview or production quality images depending on their specifications Note Please check the Image Booster reference for more information on ARRIRAW processing and output options ARRIRAW Output When set to A
65. ed remote control not found Green Motor OK Green blinking Red blinking Motor OK but at an end position Motor conflict CLM 1 assigned to the same function Red green alternating Motor calibration in progress 12 4 Camera Remote Control The ARRIFLEX D 21 can be remotely controlled by cable and or via the wireless remote system The WRC 2 can control the camera wirelessly when attached to WMU 3 by cable to the LCS bus when attached to WHA 2 or WHA 3 or by cable to the CCU socket direct connection When connected using the first or second option the CCU LED on the camera will light up red to indicate that the CCU connector is not available Only one camera control unit can be used to control the ARRIFLEX D 21 while more than one WMU 3 can be used in parallel to control lens functions Note More information on LCS and WRS setups can be found in the FEM 2 instruction manual Note For details on how to use the WRC 2 please see the instruction manual supplied with this unit The image to the right shows a wired remote control setup with the WRC 2 connected directly to the CCU socket and one CLM 2 motor to allow iris compensated or shutter amp iris compensated ramps Note If WRC and ESU are used in parallel the WRC has to use either a wireless connection or the LCD bus WRC 2 Camera D iris remote control CLM 2 connected to IRIS socket Functional Expansion Module FEM
66. eeeeeeeeeeees 71 R shutter angle for HMI obt 43 radio receiver URM 73 77 off niis rece e aos iecur bu Eod Rs 74 ramping ze dee Eege eege 67 68 124 signal CONNECTIONS aasien era aia oaa E E EA 55 recording connections oooccccocooonnnncononononnnnnnnnnnnncnnnnonnnoos 55 E9422 De ridi anar 56 A rre rrnnnis 80 81 signal monitoring jisai eaa 55 remote run switch RSA 90 signal range a tried iaeees 123 131 Index 132 signal wiring instructions esesesessesseee 56 silica bottle ocooonncconnccconnccnocnnonocnconcnnconcnnnnonons 15 102 112 EES jor ser 23 oo 75 m M 20 E D ee ee 75 81 82 A nune Eee MEER IE 75 80 LES Dusan 75 80 81 A o sue E A AGat Sh dansuenaeecetamees 75 76 QI S 24 91 software version 19 OD T cE 107 special forceps ccccoooccccnccnonnccnnnononocononnonnnononnnonnnns 37 39 105 Speckled irni g8S iurare eroi date 125 Speed range iieri eire ee 108 elle dE 26 standard frame rate cc eeeee ccc eeeee seen eee 41 111 113 124 starting stopping the Camera 62 Start Stop using SDI Remote Master 62 63 STATUS TERRORIST T 41 53 54 79 80 O 14 iere EE 14 99 SUPE IO ici II 26 30 Support rings vivian as 28 support rode 26 15 MM atari 26 28 88 IMM 26 28 88 VIC EE 40 SYO er EE 69 e Melen 69 T technical data
67. ements inside or around the edges of the captured frame may produce horizontal trails in the output image The degree of this effect depends on the scene contrast caused by these image elements Under certain circumstances the output image may show a slight difference in luminance between the left and right image half Noise Increasing the camera s sensitivity setting El characteristic or adding electronic gain in post production produces more visible noise in the output image and may cause image artifacts such as the above to become apparent Pixel Failure There are two types of pixel failures dead or defective Dead pixels deliver no signal at all causing dark spots or spots with a green or cyan color cast in the output image Dead pixels may occur e g after air transportation in case of an electrical discharge or when a camera is exposed to severe vibration or shocks Defective pixels deliver improper luminance values causing bright red green or blue spots in the output image If a pixel failure occurs after a camera has arrived on the set this is more likely a matter of a defective than a dead pixel A pixel is considered to be defective when it outputs false signal levels Defective pixels may recover over time whereas dead pixels have no chance of recovery ARRI Imaging Technology AIT in the D 21 provides an automated Defect Pixel Correction DPC which instantly identifies a pixel failure and corrects it with i
68. equire both HD SDI 1 and 2 to transmit the signal Each board outputs the same signal on link A and B Using link A is recommended Recording HD444 above 30 fps using 2x dual link signals is not supported by all recording systems Depending on the recording system live monitoring of these signals may not be possible or restricted to output of every other Input Format frame For more information on 2x dual link 2x 4 4 4 see the glossary in chapter 17 Appendix 25PsF 50i HD444 QL O o 2 o 3 e For information on custom frame rates and ramps see chapter 11 Camera Operation Recording System HD422 SL Single Link e Set Frame Rate up to 30PsF e Set HD SDI Mode to HD422 e Set the recorder s input format to 4 2 2 YCbCr 1080PsF i using the frame rate set on the camera Connect camera output HD SDI 1 or 2 link A to recording input HD SDI IN A Connect recorder output HD SDI OUT A or HD SDI MON OUT to the monitor Note When set to HD422 the camera output boards transmit the same signal on link A and B Using link A is recommended ARRIFLEX D 21 HD SDI 2 HD SDI 1 E E to gt Ka D I v pun Q O O c Input Format 4 2 2 24PsF 48i Camera Display lt 172 8 fps 24 000 On Screen Menu 24 000 HD422 SL JOJUO N JOJjUOO Signal Connections 59 Signal Connections 60 HD422 DL 2x Single Link e Set Frame Rate between 48 and 60PsF e Set HD SDI Mode to
69. eratures above 30 C 86 F and or humidity above 60 always attach the air drying cartridge to the PL Mount of the camera whenever it is not in use This not only applies to storage but also to shooting breaks and situations when the camera remains without an attached lens for an extended time If camera needs to be stored in a place that is considerably cooler than the location where it will be used consider keeping the camera powered not running from a mains unit in addition to using the air drying cartridge To speed up the process the sensor can be heated System Condensation Removal via the camera menu When condensation removal is activated the sensor will reach temperatures above 45 C This is completely normal and not harmful to the imager Push the video menu button to quit the condensation removal sensor heating Note The air drying cartridge has to be attached during condensation removal Otherwise the humid air will remain in the lens compartment Pixel Failure ARRI Imaging Technology AIT in the D 21 provides an automated Defect Pixel Correction DPC which instantly identifies a pixel failure and corrects it with information gathered from the surrounding pixels This correction is not visible as the number of dead defective pixels typically accounts for a very small fraction of the total pixel count The probability of a cluster of adjacent pixels failing is very low in comparison to a single pixe
70. extended range signal can still be clipped at 100 and or 0 video level in postproduction either due to unknowingly wrong settings or due to equipment limitations This destroys important detail information in highlights and or dark areas Of course the information can be recovered by ingesting the material once more However if the problem is based on equipment limitations it may require additional hardware To save costs it is therefore important to agree on a signal range in advance 123 Appendix 124 Variable Frame Rate VariFramey Shooting Ramps Recorders supporting VariFrame are able to distinguish between so called valid and invalid frames When using variable frame rate speed ramps the link speed standard frame rate in the video menu set on the camera and on the recording system has to be higher or equal to the maximum speed that will be used When a recording is started camera and recorder then talk at this link speed which ensures that the HD SDI connection is maintained The camera keeps sending frames at the set link speed even while the actual frame rate at which it captures new images is lower Every time a new image is captured the output image is updated The difference between captured fps and link speed is filled up with duplicates of the last exposed frame These duplicates are tagged as invalid frames causing a recording system with VariFrame support to either not record these frames or skip
71. ghten the knurled ring Eyepiece friction knob Swivel release I FH IT IM Allen screw Extension lock Optics 33 Optics 34 Image Orientation The viewfinder system is fitted with an automatic image orientation mechanism For certain situations the image position can also be adjusted manually e g when using a viewfinder extension which rotates the image by 180 Manually Adjusting Image Orientation e Press and hold the manual rotation release image e Turn the manual rotation knob image until the viewfinder image is in the desired position Reactivating Image Orientation e Turn the adjustment knob image until this locks in position Do not press the locking key Note The automatic image orientation mechanism locks in two positions 180 apart Pivoting the Contrast Filter To achieve a temporary subjective reduction of viewfinder contrast a contrast filter ND 6 can be pivoted into the optical beam path by means of a lever image The contrast filter is brought into the ON position by turning the lever Releasing the lever switches the contrast filter back into the OFF position Lever for contrast filter o rotation release Manual rotation knob Removing the Viewfinder System The entire viewfinder system can be removed for special applications Before removing the viewfinder system the viewfinder arm should be brought back to its normal pos
72. he camera should be taken to an ARRI Service Center for cleaning NEVER USE METHANOL OR ACETONE TO CLEAN THE SENSOR COVER GLASS NEVER REMOVE THE SENSOR COVER GLASS DO NOT POINT THE CAMERA INTO DIRECT SUNLIGHT VERY BRIGHT LIGHT SOURCES OR HIGH ENERGY LIGHT SOURCES e g laser beams This may lead to severe injury of your eyes or loss of sight and may cause permanent damage to the camera sensor 3 General Precautions 3 1 3 2 Storage and Transport To prevent damage to the mirror shutter and the sensor a protective cap must be on the lens mount receptacle while no lens is attached All cables have to be unplugged from the camera when it is transported or stored inside a camera case When the camera is packed for transport the ground glass should be removed and placed in an appropriate box Do not store the camera in places where it is subject to extreme temperatures direct sunlight high humidity severe vibration or near strong magnetic fields Electromagnetic Interference Portable communication devices such as mobile phones or walkie talkies may cause interference with video signals or even lead to malfunction of the camera It is recommended to keep these devices turned off when near the camera 3 3 Condensation When moving the camera from a cool to a warm location or when the camera is used in a damp environment condensation may form inside the lens compartment on the sensor cover glass
73. he camera e Connect link A of the configured output board to recording input HD SDI IN A Connect link B of the configured output board to recording input HD SDI IN B Connect recorder HD SDI MON OUT to the monitor Notes HD SDI output boards set to HD444 require link A and B for signal output Always use link A and B from the same output board Setting both HD SDI 1 and 2 to HD444 and using link 1A and 2B or 1B and 2A is may cause problems in the output signal If the control monitor supports 4 4 4 signals you may also use HD SDI OUT A and B to connect to the monitor ARRIFLEX D 21 Camera Display 1440 HD SDI 2 fps 23 976 On Screen Menu A 23 976 HD444 DL Recording System Input Format 4 4 4 23 98PsF 59 94i JOJUuo A JOJJUOD Signal Connections 57 Signal Connections HD444 QL 2x Dual Link e Set Frame Rate between 48 and 60PsF e Set HD SDI Mode to HD444 OL 2xDL e Set the recording system input format to 2x 4 4 4 ARRIFLEX D 21 Camera Display RGB1080PsF i and a frame rate half the speed of the lt x 180 0 camera For example Camera 48 fps Recorder 2x 4 4 4 fps 50 000 24 fps or Camera 59 96 fps Recorder 2x 4 4 4 29 98 fps e Connect camera and recorder On Screen Menu HD SDI 1A to HD SDI IN A 50 000 HD SDI 1B to HD SDI IN B HD SDI 2A to HD SDI IN C HD SDI 2B to HD SDI IN D Connect recorder HD SDI MON OUT to the monitor Notes Frame rates above 30 fps r
74. he surface Furthermore this may lead to a static electricity charge on the sensor s surface which causes the sensor to attract dust Do not use dust guns High pressure air might AN damage the sensor cover glass or the mirror l shutter High pressure blower bulbs therefore should also not be used y 1 Do not use blow brushes Their bristles tend to e absorb grease and dirt Step 2 Dry Cleaning As an alternative to a blower bulb dry cleaning kits have a low probability of leaving residues or causing new particles on the surface Example 1 DUST AID Platinum DUST AID Platinum is a small wand with a special cleaning silicone pad at one end that is used to dab dust off the sensor t Do not touch the cleaning silicone pad with e s fingers or oils and do not let it touch the inner walls of the lens compartment Do not drag the pad across the sensor cover galss Always tap lean and lift Note This tool is intended to pick particles off the sensor cover glass and cannot be used to remove liquids or water stains Note For more information and usage instructions please visit the DUST AID website at http ww w dust aid com Example 2 Texwipe Absorbond Swab TX762 The Absorbond Swab with long handle can be used to carefully swab dust off the sensor Start wiping from the inner area towards the edges first and then around the edges in a circular movement t Always leave the swabs inside the or
75. her signal levels Overexposure eventually results in white clipping image areas with a signal level at the upper limit with no definition left In analogue video the signal amplitude is expressed as voltage or IRE units In digital video a set of discrete digital code values is used to represent the continuous luminance range The signal range defines upper and lower limit of the video signal representing the luminance values of black and pure white Normal range also called legal or safe range signals use code values from 64 to 940 0 100 e Extended range also called full range signals use code values from 4 to 1019 10 110 As both ranges describe the same luminance range of a scene an extended range signal does not provide more dynamic range but a finer gradation of the same dynamic range This mostly improves the quality of black level reproduction Normal range is commonly used for HD signals with 4 2 2 chroma sub sampling Extended range 4 2 2 HD signals are rather unusual 4 4 4 HD signals use either normal or extended range depending on the postproduction workflow 110 100 I Appendix eBuei pepue1x3 L eBuei puepueis 10 The choice whether to use extended or normal range signals should not be made by the cinematographer alone as it greatly depends on the options postproduction can offer Material exposed without clipping in an
76. holes in the cover Apply the URM 3 to the FEM 2 e Secure the URM 3 to the FEM 2 using the two screws from the cover URM port cover screws Only use antennas supplied by ARRI Do not use directional antennas omnidirectional antennas or boosters The RF modem could be damaged and conformance to standards cannot be ensured Functional Expansion Module FEM 2 Functional Expansion Module FEM 2 Using the Wireless System The channel selection switch is used to adjust the correct radio frequency channel for data transfer according to the table to the right Make sure to set both camera and assigned wireless main unit to the same channel to enable communication Note If two yellow washer remote systems are used on the same set it is recommended to set one system to an even and the other to an odd channel Regional radio guidelines must be observed Do not use RF channels that are not permitted in your country Channel Frequency Use 0 2444 2472 MHz Europe except France and Spain To be used in the USA Canada Mexico New Zealand 2406 2345 MHz Europe except France and Spain To be used in the USA Canada Mexico New Zealand 2444 2472 MHz Europe except Spain wo 2406 2345 MHz USA Canada Mexico New Zealand France 2444 2472 MHz Japan 2406 2345 MHz Australia 2444 2472 MHz Australia 2406 2345 M
77. iber optic cable 30 m 100 ft K2 70500 0 or 100 m 330 ft K2 70501 0 for signal connection to the recorder To use the fiber link remote Connect the FLR 1 to the RECORDER REMOTE socket on the FLU 1 e Set the Sony field recorder to record pause mode The ready LED lights up blue when the recorder is ready for recording e Setting the recording switch to REC starts the recording The tally light will light up green when the recorder is running Setting the recording switch to PAUSE puts the recorder into record pause Pressing the blue REVW button will play back the last few seconds from the HDCAM SR tape and afterwards put the recorder into record pause again The ready LED lights up blue when the recorder is ready for recording Accessories 95 Accessories 96 13 9 Wireless Remote Control WRC 2 The WRC 2 is a modern and user friendly remote control and program unit for all new generation ARRIFLEX and ARRICAM cameras It combines the functionality of the RCU 1 and WRC 1 Beyond that the WRC 2 provides unique new features and due to the touch screen user interface remote controlling a camera was never faster and easier The range of functions is automatically adapted to the attached camera Since the functionality of the unit is software based and therefore expandable the WRC 2 is the most flexible remote control unit ARRI has ever provided The WRC 2 enables the user to remotely control the
78. ide enough load capacity to support the camera and attached accessories The table to the right shows the camera weight for different components Note Check for the payload of remote heads and cranes In applications where the camera mount is subject to high forces e g car or helicopter mounts the camera must be additionally secured with retaining cords All fastening screws must be tightened firmly with an appropriate screwdriver not with the commonly used coin Camera Weight Ibs kg ARRIFLEX D 21 incl finder eyepiece 25 5 11 6 FEM 2 and standard camera handle ARRIFLEX D 21 camera body 20 5 9 8 Function expansion module FEM 2 1 8 0 8 Viewfinder and eyepiece 5 0 2 3 BP 8 base plate top 1 0 0 5 Finder extension FE 3 2 0 0 9 Low mode support 2 0 0 9 Installation of the Camera 2b Installation of the Camera 26 Horizontal Levelling The ARRIFLEX D 21 is equipped with a spirit level to aid horizontal levelling of the camera image Please use caution when attaching accessories or a recording device to the camera or the support rods as the center of gravity may shift towards the front or back which can tip over the camera 7 3 Bridge Plate Set BP 8 BP 9 The bridge plates facilitate balancing of the camera on the tripod and mounting of accessories BP 8 is designed for 19 mm support rods BP 9 is designed for 15 mm support rods The bridge plate sets
79. iginal bag e S and never use swabs twice Use a new swab if the cleaning head has been touched with fingers or oils i If the sensor cover glass is contaminated with e particles bigger than dust e g a grain of sand carefully pick the particle off the sensor and continue with a new swab to avoid scratching the cover glass surface Note To avoid smudging the inner area always swab around the edges as a final step Note For more information please visit the Texwipe website at http www texwipe com Camera Care 101 Camera Care 102 Step 3 Wet Cleaning While cleaning liquids of high purity offer the best results for solid dirt and often also for remains from oily substances they all leave residues The following liquids are considered suitable for cleaning e Petroleum ether a k a benzene high purity e sopropyl alcohol a k a isopropanol high purity e Ethyl alcohol a k a ethanol high purity It is recommended to use moistened lint free swabs such as Texwipe Absorbond Swabs mentioned above Use the swab to apply the liquid e Start wiping from the inner area towards the edges first and then around the edges in a circular movement t Always leave the swabs inside the original bag e S and never use swabs twice Never touch the cleaning head of the swab with fingers If the head needs to be shaped to better reach an area press it against the inside of the lid from the cleaning
80. imultaneously outputting RAW data and HD The bright optical viewfinder has zero delay works without power and shows an image area outside the primary image Through ARRI Imaging Technology AIT the camera produces brilliant images with a cinematic look and feel a high dynamic range high contrast and the most film like motion and color reproduction of any digital motion picture camera The camera s single Super 35 sized CMOS sensor exhibits the same cinematic depth of field as 35 mm film The industry standard PL lens mount accepts the same vast variety of prime zoom and specialty film lenses used on 35 mm film cameras The ARRIFLEX D 21 is the only digital high end camera with a 4 3 aspect ratio sensor and therefore easily accommodates all image formats including anamorphic 2 40 1 The anamorphic image can be recorded in the new and innovative Mscope mode utilizing a standard HD workflow or as ARRIRAW data in Data Mode Further film style features include variable frame rates from 1 to 60 fps exposure compensated speed ramps compatibility with ARRI film style accessories simple to use controls and the robust construction and ergonomic design for which ARRI cameras are famous The ARRIRAW format enables the D 21 to output 12bit RAW uncompressed data Alternatively the camera can output an uncompressed HD signal that works perfectly in the established HD infrastructure With such flexibility the ARRIFLEX D 21 easily adapt
81. in the lens mount receptacle Attention Danger of injury Never place your hand in the lens mount receptacle or the inside of the camera while it is running Before removing the lens always make sure to stop the mirror shutter This not only prevents damage to the shutter in case a wrong lens is inserted e g 16 format lens The shutter in finder open position acts also as a protective cover to the sensor Changing camera lenses should be done in a dry and dust free environment If this is not possible take extra care that no dust enters the camera while the lens is off When no lens is attached to the camera use the protective cap to avoid sensor contamination After changing lenses always perform a dust check to make sure no dust has settled on the sensor cover glass Safety Instructions 13 Safety Instructions 14 Clean optical lens surfaces only with a lens brush or a clean lens cloth In cases of solid dirt moisten a lens cloth with pure alcohol Discard contaminated lens cloth after use Never clean a lens brush with your fingers If the sensor cover glass has been contaminated NEVER USE CANS WITH COMPRESSED AIR OR GAS TO BLOW OFF THE DUST This can severely damage both the mirror shutter and the sensor cover glass If the sensor cover glass has been contaminated by solid dirt or grease special optical cleaning kits should be used very carefully for removal If the contamination cannot be removed t
82. ing A E DIEI MI IMMUNE Ti M IEEE 124 else Ac 124 BE Sel 124 De ad Defective Pixels A ee Ji IE ee 124 Horizontal Meade DM tio roca 125 Noise125 Pixel Ello ii caida 125 Speckled Images cional esta 125 A O 126 Safety Instructions Note 2 Safety Instructions Any violation of these safety instructions or non observance of personal care could cause serious injuries including death and damage to the equipment or other objects Explanation of Warning Signs and Indications Indicates a possible risk of injury or damage to the equipment Indicates the risk of electric shock or fire danger that could result in injury or damage to the equipment Indicates further information or information from other instruction manuals Dimage indicates objects which are shown in an illustration or picture 12 2 1 General Safety Instructions Always follow these instructions to ensure against injury to yourself and damage to the system or other objects This safety information is in addition to the product specific operating instructions in general and must be strictly observed for safety reasons Read and understand all safety and operating instructions before you operate or install the system Retain all safety and operating instructions for future reference Heed all warnings on the system and in the safety and oper
83. ith the other turn the knurled ring image in the OPEN direction until it unscrews from the eyepiece e Remove the eyepiece Attaching the Eyepiece e With the knurled ring in OPEN position place the eyepiece on the viewfinder Turn the knurled ring towards the LOCK position Check that the eyepiece is correctly seated Diopter Compensation The diopter compensation is fitted with a scale of 1 to 12 Position 6 is normal focus To adjust turn the ring right left until the ground glass markings are in focus Viewfinder Arm Turning the Eyepiece The eyepiece can be rotated by 360 around the viewfinder arm The adjusted position is held by friction To set the amount of friction turn the friction knob image right left until the desired friction has been reached Swiveling the Viewfinder Arm The viewfinder arm can be swiveled approx 270 left to right On the left side of the camera the viewfinder arm locks into the horizontal position The viewfinder arm friction can be altered if necessary by turning the Allen screw image To adjust the viewfinder arm release the locking mechanism by pressing the swivel release image Turn the viewfinder arm to the desired position Extending the Viewfinder Arm The viewfinder arm can be extended continuously by approx 50 mm 2 inches e Turn the extension lock image towards the LOOSE position Pull the viewfinder arm out to the desired length Reti
84. ition Note The camera should be securely placed on a stable flat surface or fixed on a pivoting head to provide a secure working environment e Loosen the three fastening screws using a 3 mm Allen key image Pull the viewfinder system up and off the camera Removing the viewfinder system exposes optical surfaces on both camera and viewfinder Do not touch the cover glasses Never operate the camera with an open e viewfinder interface Attaching the Viewfinder System Place the viewfinder system on the camera from above Tighten the three fastening screws Fastening screws Optics 35 Optics 36 If the camera shall be used without viewfinder system the viewfinder interface has to be protected using the viewfinder cover plate image from the D 21 low mode support K2 70004 0 or low mode short set K2 70010 0 Place the viewfinder cover plate on the camera from above Tighten the three fastening screws Store the viewfinder system in a clean environment laying it upside down to avoid scratching the cover glass Universal Finder Arm When using anamorphic lenses the D 21 can be equipped with an AVF 1 universal finder arm image which allows de squeezed viewing of the ground glass image This viewfinder arm can also be switched over to check the anamorphically squeezed image or for use with a spherical lens The universal finder arm can be fitted in place of the standard vie
85. l becoming defective DPC corrects failing pixel clusters based on a dead defective pixel map Checking for Pixel Failure Clusters Despite the low probability of its occurrence it is recommended to check for cluster pixel failures at the end of each shooting day or prior to shooting A cluster of defective dead pixels is relatively easy to spot in the output image Defective pixels deliver improper luminance values causing bright red green or blue spots in the output image Dead pixels deliver no signal at all causing dark spots or spots with a cyan magenta or yellow color cast in the output image Camera Care 103 Camera Care 104 To check for defective and dead pixels Connect the camera signal output HD SDI output to a suitable HD display Start the mirror shutter if it is not running Put a lens cap on the camera lens Set the contrast characteristic video menu to the highest El value If no colored bright pixels appear take the lens cap off Point the camera at a homogeneously lit neutral grey surface that covers the full output image and defocus the lens or put a diffuse white glass plate in front of the lens and point the camera into a light source Adjust iris or lighting so the output video level reaches 40 to 5096 on a connected waveform monitor or in the RGB Histogram from the OSD Tools If no colored bright pixels appear set the contrast characteristic video menu to an El value of 250 With
86. lease check the corresponding manual Power Supply Power supply socket LED Indication Alternating Evaluating battery and or rejuvenating red amp green low voltage battery Steady red Battery holding for temperature stabilization Flashing red Battery charging Steady green Lifesaver mode battery ready to use Flashing green Full battery installed verifying charge state Indication of the LEDs 21 Power Supply 22 6 4 Main Camera Switch The main camera switch is located on the front side of the camera To connect the camera to a power supply e First switch on the mains unit if used Connect the camera to the mains unit or to the battery e Set the main camera switch image to the 1 position to turn the camera on e Setting the main power switch to the 0 position cuts off the power supply The camera has to boot before it enters standby mode During booting the operation control LED and imaging status LEDs on the rear of the camera Dimage light up red and the camera display shows the busy indicator When the camera is ready for operation the operation control LED turns off and the imaging status LEDs light up green Do not operate the camera before all three imaging status LEDs light up green Using any of the camera s buttons before it is ready for operation may cause faulty behavior Note When the camera is turned on the mirror shutter stays in the p
87. liquid s bottle If the sensor cover glass is contaminated with D particles bigger than dust e g a grain of sand carefully pick the particle off the sensor and continue with a new swab to avoid scratching the cover glass surface NEVER USE METHANOL OR ACETONE TO CLEAN THE SENSOR COVER GLASS These chemicals can dissolve paint which would then be spread across the sensor cover glass This would irrecoverably damage the sensor cover glass Note To avoid smudging the inner area always swab around the edges as a final step Note Some liquids like petroleum ether or isopropyl alcohol are not allowed on planes due to flight safety regulations Condensation When moving the camera from a cool to a warm location or when the camera is used in a damp environment condensation may form inside the lens compartment on the sensor cover glass between sensor and its cover glass and on internal or external electrical connections Operating the camera in this condition may result in personal injury or damage to the equipment Condensation on the optical components may have a visible effect on the output images To reduce the risk of condensation e Find a warmer storage location e Attach the included air drying cartridge silica bottle to the PL Mount of the camera when the camera is stored Note The air drying cartridge must be removed while the camera is transported or stored inside a transport case In ambient temp
88. list To exchange the glow mask e Remove the viewfinder system as explained above Turn the viewfinder upside down and put it on a clean surface that is covered with foam material or clean lint free cloth Open the ARRIGLOW cover by gently turning the locking screw 90 counter clockwise image ARRIGLOW module Brightness adjustment knob ARRIGLOW cover id Locking screw Using the special forceps Hirschmann clamp from the camera s toolkit grab the glow mask at the forceps hole and pull it out of the holder image Check that the glow mask to be inserted as well as the glow mask frame is completely clean Carefully push the glow mask into the holder with the slanted edge facing towards the rear end of the viewfinder system image without tilting it in the holder s guides e Make sure the glow mask is inserted completely Close and lock the glow mask door by gently turning the locking screw 90 clockwise Attach the viewfinder system Turn on the ARRIGLOW and check that ground glass and glow mask are correctly aligned Forceps hole Slanted edge Forceps hole Optics 39 Camera Configuration 40 9 Camera Setup 9 1 Output Interfaces The ARRIFLEX D 21 has three output boards providing HD and SD outputs on the back of the camera e Two dual link HD SDI outputs HD SDI 1 and 2 are located on the bottom right side image Both BNC c
89. ls from the camera to a separate recorder along with a 4 2 2 HD monitoring signal back from the recorder to the camera and remote control of the basic recorder functions record start stop and tally It supports all frame rates of the D 21 including variable frame rate output The cable can measure up to 500 meters 0 3 miles in length and uses industry standard SMPTE fiber connectors Using the FLU 1 allows recording of up to 59 94 fps on a connected Sony SRW 1 SRPC 1 HDCAM SR field recorder Note Sony SRPC 1 has to be equipped with a Sony Fiber Optic Adapter Board HKSR 101 providing the fiber interface on the recorder Variable frame rate recording additionally requires Sony Cache Board HKSR 102 Fiber Link Remote FLR 1 The FLR 1 can be used to control the record and review function on a Sony field recorder via the fiber cable connection The remote has LEDs for tally green LED and recorder ready blue LED FLR 1 remote socket HD SDI monitor OUT HD SDI IN A B 24 V in out RS sockets Fiber cable connector Tally LED Review button Ready LED k El REC PAUSE switch Remote connector Accessories 93 Accessories 94 To use the D 21 with the fiber link unit e Equip the D 21 with a low mode short set e Attach the FLU 1 to the rear end of the short support plate using the three fastening screws image Connect the 24 V power cable included in the Flash Mag Sony
90. ly problem is fast motion or fast panning which easily results in jittering juddering images Shooting with higher frame rates eliminates this effect Appendix 121 Appendix 122 Progressive material is denoted with the letter p attached to the image format 720p progressive HD with 1280 x 720 resolution e 24p progressive HD at 24 frames per second 1080 24p progressive HD with 1920 x 1080 resolution at 24 fps Interlaced Scan i After each exposure odd 1 3 5 or even 2 4 6 lines of the full frame are alternately captured output from the sensor as so called fields Two sequentially output fields make up one frame Fields are output at twice the frequency of frames from progressive capture This principle is based on the afterglow of CRT phosphors and the characteristics of human vision which results in two fields being perceived as a continuous image once the frequency is high enough Due to the higher frequency of the fields this scanning method provides a smooth motion representation Fast horizontal movement or quick pans however cause jagged vertical edges in the image as the two fields composing a frame are captured one after another This reduces the quality of keying or masking in postproduction Interlaced material usually has to be de interlaced combining fields to frames before it can be worked on using today s post processes Interlaced material is denoted with the letter i
91. minal 23 760 x 13 365 mm 0 9354 x 0 5262 in HD Mode 23 760 x 17 820 mm 0 9354 x 0 7016 max in Data Mode amp Mscope Spinning reflex mirror shutter electronically adjustable to 11 2 22 5 30 45 60 75 90 105 120 135 144 150 172 8 and 180 Additional electronic shutter only settings of up to 270 Optical reflex viewfinder with interchangeable ground glass spherical or universal adjustable to spherical or anamorphic viewfinder available Viewfinders are adjustable in two axes with automatic or manual image compensation laterally extendable for left eye operation and show illuminated frame lines ARRIGLOW adjustable in brightness Optional medium or long finder extender including magnifier Optional heated eyecup Camera display on left side with individual buttons for REC SHUTTER PHASE NORM PS CCU control LOCK MODE SEL and SET Composite video menu for setting up output mode frame rate white balance output range contrast characteristic and sensitivity SD monitoring PAL NTSC video downscaled from captured image with composite video or S Video outputs Power Sound Temperature Range Dimensions Weight Connections 24 V DC acceptable voltage range 20 5 to 36 V DC Power consumption approx 3 15 A 24 fps approx 2 25 A in Standby Actual power consumption varies with output configuration connected electronic accessories and environmental conditions Less than 20 d
92. mode 1 display the frame rate together with the set mirror shutter angle rather than a frame counter value image provides a practical overview of the operational camera front end settings As the frame counter value is not put to use as when shooting on film it most likely does not have any relevance n mode 1 press the SEL button to toggle between shutter angle and frame counter e Within three seconds press the SET button Setting the Frame Counter Configuration Mode 3 To exchange the frame counter type displayed in modes 1 and 3 e Change from mode 1 to mode 3 by pressing the MODE button twice Press the SEL button the first digit in the upper display line blinks e Within three seconds press the SET button The currently set counting value of mode 3 is displayed The corresponding counting value optionally shown in mode 1 is automatically altered Note The take length counter automatically starts from zero each time the mirror shutter is started Resetting the Frame Counter Modes 1 and 3 Change to the mode showing the total amount of captured frames by pressing the MODE button repeatedly Press the SET button for at least 3 seconds while in standby to reset the total frame counter Camera Operation 71 Camera Operation 72 Displaying the Power Supply Voltage Mode 3 Change from mode 1 to mode 3 by pressing the MODE button twice to show the current power supply voltage in the lower line
93. monitor they need to be adapted using e g a LogC to Video conversion Look Up Table LUT Note Conversion LUTs are available in many different formats and variations ARRI offers a free online utility that allows creating LUTs for digital ARRI cameras For more information visit http www arridgital com gt Rec709 Normal Range Rec709 Extended Range Log C Cancel Camera Configuration 49 Camera Configuration 50 Composite CVBS This menu controls what is output via the composite CVBS 1 2 and Y C outputs SD Video Mode The composite outputs can be set to deliver a 50 Hz PAL or 60 Hz NTSC signal SD Overlay Functions The camera also provideds a zebra function frame markers grids and histograms as overlay on the composite SD output To access one of the SD overlay functions Completely exit the video menu Rotate the menu button to step through the functions Zebra Setup The zebra shows a slanted color pattern overlay in image areas reaching the set threshold exposure level The zebra setup allows setting a high and a low threshold as well as different colors for the overlay pattern High zebra will mark signal levels above the threshold level and low zebra will do so for levels below the threshold Note Both high and low zebra can be enabled independently It is not possible to show a zebra pattern between low and high level gt Zebra SD Video Mode Frame Markers Histograms
94. n accessory will replicate the camera display e With the switch set to PS CCU enabling e g variable speeds or exposure compensated ramps using a WRC Regardless of the NORM PS switch position e g when synchronizing the camera to another D 21 or a video signal using an ESU 1 Note With the camera set to NORM using a programmed speed does not work if it has been set prior to changing the standard frame rate video menu and exceeds the standard frame rate limit The camera will indicate this problem as explained under Changing the Frame Rate while the Camera is Running Note With the camera set to PS CCU using a programmed speed or ramp that exceeds the standard frame rate video menu does not work The electronic accessory will show a corresponding message More information on operation of electronic accessories can be found in the respective manuals Synchronizing two D 21 Cameras There are two approaches for synchronized operation of two cameras Synchronizing using the HD clock pulse The sync signal is picked up from the HD clock pulse output top connector on one of the output boards and then routed back into both camera s ACC socket using a special cable This method allows synchronizing the cameras to standard frame rates between 23 976 and 30 fps Note Using this method does not allow adjusting the shutter phase Note This method requires a special cable which is available from ARRI on request
95. new electronic accessories become available for use with the FEM 2 please check the respective manuals for compatibility with the ARRIFLEX D 21 Incompatible Accessories i Use of the following equipment is not permitted e as it will cause permanent damage to the camera or the FEM 2 UC C3BunCable K2 52076 0 LC S1 Power Cable eem K4 46859 0 LC S2 Power Cable K2 47146 0 LC S3 Power Cable cccccccccseeeceeeeeeeeeeeeeeaes K2 47147 0 LC A1 Battery Adapter Cable K2 41385 0 LC A2 Battery Adapter Cable K2 41386 0 LC A3 Battery Adapter Cable K2 44022 0 LC C1 Run Cable narm K2 41398 0 LC C Run Cable nneeirsisiiiaiaine K2 41399 0 12 6 Replacing the FEM 2 The FEM 2 is part of the ARRIFLEX D 21 and 435 Xtreme and available as an optional expansion for the ARRIFLEX 435 Advanced If the FEM 2 module is interchanged between e cameras always make sure that the software and firmware requirements listed above are met Switch off the camera and disconnect all cables from the camera and FEM 2 before removing the FEM 2 This procedure must be carried out on a static free workstation Note The camera should be securely placed on a stable flat surface or fixed on a pivoting head to provide a secure working environment Functional Expansion Module FEM 2 Functional Expansion Module FEM 2 Removing the FEM 2 Using a 3 mm Allen key loosen
96. nformation gathered from the surrounding pixels If a whole cluster of adjacent pixels fails the DPC relies on a defective dead pixel map which can be updated on location by a trained D 21 service technician in an ARRI service center or at an ARRI rental facility Appendix Speckled Images Slight variations of thickness in the sensor s filter pack may cause a speckled structure in the output image which can be described as orange peel structure The degree of this effect depends on the aperture of the lens and may become visible when closing the iris of the lens beyond T11 125 Index 126 17 Index Symbole 42 2 VCD e 117 119 E EE 117 11 pin Fischer socket 23 87 12 V accessory socket 23 87 24 V accessory socket oooooooccccccccccnnnnnoccnnnnnnonnnnnns 24 91 94 24 V plug on module essen 91 A acceptable temperature range 107 110 113 aCCeSsOTles iaa apai idine 85 external synchronization unit ESU 1 suuus 85 fiber link unit ELL 93 heated eyecup HE AHE R 86 incompatible accessories eese 83 isolating power adapter PAI 23 87 low mode support 88 remote run switch HS A ee eececeeeeeeeesetaneees 90 RS socket dstributor 91 wireless remote control WRC 2 eeeeeeee 96 Wolk le p mom 97 accessory power supply ccccccccncccccccccnccononccacinonininonnn 23 24 accessory SOocket eeecccceseeeceeeesaeeeeeeeeaaeeees 23 24 75 91 AGG SOCKET n 75 acoustic Wari Ngesir
97. nonononenocnnncnnnonaninincnos 24 overview of display symbols ssannnnnnnnnnnnssensennnnnnnenana 66 P RGB io secet a unu ec tun 116 peak load current esesseseeeeeeettt tette QA ASA EE 90 PHASE button 22 67 99 111 FS CONNOR eaten 64 shifting phase 68 RS 850CK80t a oie tentis 24 86 90 91 92 94 97 Phase shbiftng tenentes 68 RS socket distributor serietips anpa 91 pixel failure EA 103 125 RUN Button iicet carp eor rt do ntt satus 91 Pixel Failure Clusters 0 cccccecsecessseeeesesessesenseeesaeeees 103 Running and Stopping the Camera 62 PL Mount nnen 13 14 28 30 31 112 Power 20 23 25 54 65 66 72 83 87 107 110 111 114 power cable Srn co a S KC 208 En 20 21 25 S 5 shoulder set sssssssse eene 92 AE cumin IU DRUMS 20 21 25 safety Inetruetleng nenne 12 BEER erer 20 107 SCOPO HL OP 6 19 power supply for accessories Wu een ELE 23 A m t E 52 62 63 132 p supply voltage id o E SI 72 SD Overlay Functlons aiea ana nei 50 DOWEr SWIT ieas eee eaea S T a EEEE aE 22 A a MM 40 41 PROG Bec rcm qued E 86 SD Video Mode ceinture tuis 50 progressive SCAM EE 121 shifting EEN 68 progressive segmented Trame 122 shoulder Dad 92 PSCC re bese tose a RUNI 68 69 SALI SE Get EE 92 PS Mode csi ad codi 68 taa 43 66 70 71 73 74 106 111 shutter angle adjustment c ooccccccccccccccccnnnnnnnnanancncnnnnnanincnns 74 shutter angle display cccceeeeeeeeeeeeeeeeeee
98. nsor can be heated System Condensation Removal via the camera menu When condensation removal is activated the sensor will reach temperatures above 45 C This is completely normal and not harmful to the imager Push the video menu button to quit the condensation removal sensor heating Ground glass alignment is off Ground glass shifted during transport Open lens compartment and check that ground glass is correctly inserted into ground glass holder Image is shifting when using a zoom lens PL Mount not set to Super 35 The D 21 PL Mount has to remain in Super 35 position 2 at all times Viewfinder image is all red No ARRIGLOW mask inserted Insert glow mask matching the ground glass or turn off ARRIGLOW Viewfinder image is upside down Image orientation not adjusted after finder extender was attached detached Press locking key on far right of viewfinder arm and turn rotation adjustment knob until it locks in next position Viewfinder shows no image when mirror shutter is stopped or camera is off Mirror shutter not in viewing position Turn on camera and press PHASE button Mirror shutter always returns to last position it was set to Output Problem Possible Cause Remedy ARRIRAW output shows no image strange image on recording or connected HD display Recording system not compatible to ARRIRAW T Link HD display cannot display ARRIRAW directly
99. o 30PsF e Set HD SDI Mode to ARRIRAW DL e Set the recording system input format to ARRIRAW T Link using the frame rate set on the camera Connect link A of the configured output board to recording input A e Connect link B of the configured output board to recording input B Connect recorder HD SDI MON OUT to control monitor input HD SDI IN A or B Note HD SDI output boards set to ARRIRAW require link A and B for signal output Always use link A and B from the same output board Setting both HD SDI 1 and 2 to HD444 and using link 1A and 2B or 1B and 2A is may cause problems in the output signal Note Data Mode ARRIRAW requires an ARRIRAW T Link compatible recorder which is capable of recording uncompressed SMPTE 372M compliant RGBA HD SDI signals Recorders without ARRIRAW T Link certificate may offer limited or no preview output Please refer to the recording system s user manual for information and instructions on setting up ARRIRAW T Link recording Note For more information on Data Mode ARRIRAW see the glossary in chapter 16 Appendix ARRIFLEX D 21 HD SDI 2 A B Input Format ARRIRAW 25 fps O e Recording System Camera Display 180 0 fps 25 000 On Screen Menu 25 000 ARRIRAW JOJUOJA 04 U0D HD444 DL Dual Link e Set Frame Rate up to 30PsF e Set HD SDI Mode to HD444 DL e Set the recording system input format to 4 4 4 RGB 1080PsF i dual link using the frame rate set on t
100. oaa 73 air drying Gartridge 15 102 112 EIER A 124 anamorphic viewfinder ANE 36 AP SMEG d ers ETE T 106 ARRIGEOW dnt DI ia 38 adjusting briohtmess ernennen 38 exchanging the format mask ocoooooocccccccccccccnninananannnns 38 ARRIRAW 18 36 37 48 56 104 108 113 117 118 119 ARRIRAW T LINK cererii nisser eueteene 118 AVF 1 anamorphic viewfmder 36 B battery information ooooocococonccnncncnnnnnnnnnnnonononenonannnnnnnns 70 bridge plate ior deitas tro Peres aspetti pens s 26 attaching to camera 27 BP 8 BP e E 26 converting to Super 35 ssssssssss 26 buffer battery replachng sneed 67 In el O A Nell 22 67 99 111 RUN ec HE 91 C HD SDI conpnector ee 40 87 94 CAD treten acacia S Video connector ssssssssssse ee 40 lt A ees teen vare ede en eise le 20 21 25 Y C conpnector ania anti a iia a Ta NENE EE 40 KC 29S iirin ae a i 20 21 25 continous CUITENt eee eeeeeeeeeeeeseeeee tee eee testes teeteetnetees 23 24 SEITEN contrast filter 34 camera body ceceeeecccesscessesesecesecesseeseseeseenseeeseeesess 25 controlled lens motor CLM 30 75 80 82 Camera Cale AE E E E E E T 98 CVBS 40 50 107 camera display reeniri per ncn dai 22 85 camera SOLU DP comicidad 40 check tu Ee EE 98 D CIO AN ln EE 100 aleta EE E A 25 EE eegene 124 MAIN SWItOLD id ee ec ee 22 Data Mode e PPP MEE LUE 113 117 ET EE 62 dead defective pixels eects 119 Operation a 62
101. ol WRC 96 wireless Syste cirein adiadidn 77 81 ome EET 97 Work lO ES 97 WY RE 81 18 ARRI Group Addresses World Wide Web Germany Italy http www arri com Arnold amp Richter Cine Technik Headquarters Sales amp Service T rkenstrafe 89 D 80799 Munich Germany Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 ARRI Italia S r l Sales amp Service Milan Viale Edison 318 20099 Sesto San Giovanni Milano Italy General Manager Antonio Cazzaniga acazzaniga arri it Tel 39 02 262 271 75 Fax 39 02 242 1692 ARRI Italia S r l Sales amp Service Rome Via Placanica 97 00118 Morena Roma Italy Camera Sales Mauro Sembroni msembroni arri it Tel 39 06 79 89 021 Fax 39 06 79 89 02 206 USA Canada Australia Asia ARRI Inc Sales amp Service 600 North Victory Blvd Burbank CA 91502 1639 USA Vice President Bill Russell brussell arri com Tel 1 818 841 7070 Fax 1 818 848 4028 ARRI Inc Sales amp Service 617 Route 303 Blauvelt NY 10913 1109 USA Vice President J rgen Schwinzer jschwinzer arri com Tel 1 845 353 1400 Fax 1 845 425 1250 ARRI Inc Sales 2385 Stirling Road Fort Lauderdale FL 33312 USA Technical Sales Representative Jeffrey Reyes jreyes arri com Tel 1 954 322 4545 Fax 1 954 322 4188 ARRI Canada Limited Sales amp Service 415 Horner Ave Unit 11 amp 12 Toronto Ontario M8W 4W3 Cana
102. onnectors on the top right output a HD sync pulse See chapter 11 Camera Operation for more information Two composite video outputs CVBS 1 and 2 and an S Video output Y C are located on the bottom left side image 9 2 Video Menu Most operational parameters for the ARRIFLEX D 21 are set using a video menu The video menu is shown as an on screen display on all SD video outputs Note Configuration of the camera outputs requires an SD monitor to be connected to one of the composite video outputs or the S Video output Note With SUP 1 18 the D 21 menu structure got completely revised and updated to make the setup easier and adapt the workflow to ALEXA Sr TA RE 7 CHTT BNLPPHETTTTTTT T Video menu button Imaging status LEDs HD SDI 1 HD SDI 2 S Video Y C SD output Composite video SD output 2 A link ST 7 B link Frame rate Shutter 24 000 12 000 172 8 M White Balance 4300 Exposure Index 400 gt Output Board HD SDI ALL 1 42 Output Format HD444 DL Gamma LogC Composite CVBS System Exit Using the Video Menu e Briefly press the video menu button to show the video menu on a connected SD monitor e Rotate the button to select a parameter e Press the button to enter use or confirm a selection e Use Cancel to leave a submenu without changing a setting e Use Exit to back out of the video menu Locking Camera Controls The Video Menu b
103. ories 85 Accessories 86 13 2 Heated Eyecup HE 4 HE 5 The heated eyecup prevents the eyepiece from fogging in low temperatures e g when filming outdoors in winter HE 5 in addition is equipped with an automatic capping shutter that prevents sensor fogging when the operator takes the eye away from the eyepiece Pull the regular eyecup off the eyepiece and place the heated eyecup on the eyepiece The connector housing can be rotated which allows easy mounting on all cameras in all positions Use cable KC 42 SP S to connect the heated eyecup to the RS socket e Set the heating level with the toggle switch LO low heat output HI higher heat output OFF no heat output A If the camera and accessories are powered by IM xL f battery it is recommended to switch off the eyecup heating during extended breaks in filming Note The HE 5 cannot be pulled off the eyepiece like the HE 4 To unlock its retainer clip press the button next to the heating level toggle switch 13 3 Isolating Power Adapter IPA 1 The isolating power adapter provides two 11 pin Fischer 12 V sockets image The upper socket labelled 12 V Isolated Power is intended for powering electronic 12 V video equipment from the camera e g a video waveform monitor The adapter ensures electrical isolation of video ground and camera ground to avoid ground loops and potential damage to the camera The 11 pin acces
104. osition it was set to before the camera was turned off If no image can be seen through the viewfinder briefly press the PHASE button twice to rotate the mirror into viewing position Main camera switch Imaging status LEDs Power Temp Diagn Service Y C 6 5 Accessory Power Supply 12 V Accessories 12 V accessories can be attached to the 11 pin accessory socket image which provides stabilized 12 V DC with 2 5 A maximum load Note Note The 11 pin accessory socket power output is not electrically isolated from camera ground Ground loops may cause damage to camera or connected 12 V equipment When the camera is powered from mains and a 12 V onboard monitor is powered from the camera running a video connection between this monitor and another device that is also powered from mains is likely to cause a ground loop The Isolating Power Adaptor IPA 1 see chapter 14 Accessories provides a 12 V isolated output from the camera to avoid ground loops The 11 pin accessory socket can only be used as an output socket Accessories that feed signals into the camera will not function at this socket 11 pin accessory socket Overload warning LED Power Supply 23 24 V Accessories 24 V accessories are normally attached to the RS Socket image At 24 V the available continuous current is 3 A maximum and peak load is 5 A camera power supply Voltages over 32 V will be
105. oving the camera make sure that all cables are disconnected and that the eyepiece levelling rod is detached Loosen the clamping lever push in the stop pin and then pull the camera with the bridge plate from the base plate image _ C NN Cylindrical pins Bridge plate Bridge plate clamping lever AMEN Support rods E Stop pin Support rod clamping lever Installation of the Camera 27 Installation of the Camera 28 7 4 Lens Support Heavy or long lenses require support to avoid overstressing the camera s lens mount Supporting a lens is achieved by using either lens support LS 9 Dimage for 19 mm support rods or lens support LS 10 for 15 mm support rods in conjunction with a lens support ring attached to the lens in use They meet and screw together at a standard height Mount the LS 9 lens support onto the support rods from above and let it snap into place by applying slight pressure The LS 10 is mounted by pushing it onto the support rods from the front e Fit the appropriate support ring image loosely onto the lens Do not tighten Then slide the lens into the lens mount receptacle and lock It is essential that you take the weight of the lens mount until the lens support column of the support ring can rest on the lens support Move the LS 9 10 lens support so it is located under the support column of the lens support ring e Fix the lens support in position by tightening the
106. ower frame rate e g 25PsF allowing the signals to be transmitted using a single link HD SDI connection Therefore the material can also be edited using standard HD postproduction equipment HD444 OL 2x Dual Link When the D 21 is set to HD444 and a frame rate higher than 30 fps the camera automatically changes the output format to the 2x 444 high speed mode At e g 50 fps both HD SDI output boards are used to transmit two synchronized HD video signals at 25PsF each containing either even or odd numbered frames composing the 50 fps signal The output frames are marked flagged see variable frame rate so the recording system can correctly merge both signals to the 50 fps sequence Any recorder supporting two or more simultaneous 444 inputs input should be able to support these signals If the recorder does not provide VariFrame support even and odd frames may be recorded in the wrong order frame swapping This however is easily identified as juddering motion in playback and can be resolved in postproduction without a loss of image quality Recording systems supporting dual link input for Once recorded the material can be played back at a lower frame rate e g 25PsF allowing the signals to be transmitted using a single link HD SDI connection Therefore the material can also be edited using standard HD postproduction equipment HD444 When set to HD444 an output board delivers standard 1920 x 1080 4 4 4 RGB 10
107. p for an included set of two 19 mm diameter 80 mm support rods and two 15 mm diameter 145 mm support rods Low mode short set K2 70010 0 provides a sturdy camera handle with various mounting options for accessories Consists of a low mode handle two mounting supports and a short support plate for operation with the viewfinder on the camera Note The short support plate included in both versions of the low mode support is used to mount the Fiber Link Unit FLU 1 on top of the camera To attach the low mode support e Remove the camera grip system as explained in chapter 7 Installation e f the camera shall be used without viewfinder remove the viewfinder system as explained in chapter 8 Optics Never operate the camera with an open viewfinder interface e Place the low mode support on top of the camera Using a 5 mm Allen key screw the left side mounting support on the rosette below the ARRIGLOW module Using a 3 mm Allen key tighten both screws of the right side mounting support on the hand grip attachment point of the camera f the viewfinder has been taken off the viewfinder interface has to be protected with the finder cover plate In configuration with the long support plate the finder cover has to be attached at the front end of the support plate In configuration with the short plate the finder cover can be placed on the viewfinder interface by itself Tighten the three screws of the finder co
108. quire less bandwidth than RGB signals and thus are more common for economical reasons Chroma Sub Sampling The bandwidth required by component signals can be further reduced by chroma sub sampling The idea behind this technique utilizes human vision A reduction of color information has lesser influence on the impression of an image as long as full luminance information is available For this reason the chroma channels of a component signal may be sampled with a lower frequency than the luma channel i e sub sampling The notation of three or sometimes four digits separated by colons represents the relationship of sub sampling The first digit represents the relative horizontal sampling frequency of the luma channel simply speaking the amount of information per line 4 is just a historical reference to standard definition television and provides a base value The second digit represents the horizontal sub sampling factor of the chroma channels i e the chroma luma information ratio per line The third digit represents the vertical sub sampling factor of the chroma channels i e chroma luma information ratio for two subsequent lines Only consumer products make use of this kind of sub sampling In professional video this digit is identical with the second If a fourth digit is given it indicates the presence of an alpha channel An alpha channel contains transparency opacity information used in postproduction
109. r setup slots To save the default setup select Save Current Setup press and hold the menu buttons for 5 seconds This will make Default appear as an option next to the three User Setups Note The camera also offers a Factory Reset which will reset the camera to factory defaults Camera Configuration 51 Camera Configuration 52 SDI Remote Master The D 21 can send a flag within the HD output to signal a recorder that the REC button has been pressed Recorders such as the Sony SRPC SRW 1 can be setup to identify this flag and trigger the recording image Condensation Removal The imager can be heated to speed up the process of removing condensation built up on the imager surface SDI Remote or inside the lens compartment When condensation removal is activated the sensor will reach temperatures above 45 C This is completely normal and not harmful to the imager Pushing the video menu button quits the condensation removal sensor heating Note The air drying cartridge has to be attached STBY OFF 00 58 00 08 during condensation removal Otherwise the humid air will remain in the lens compartment Also see chapter 3 3 Condensation Status The camera status is shown in three pages Status 1 gt image displays information on general camera status and output board configurations Status 2 image displays camera system check status CRC and version information for the color management CM Status 3 image
110. racteristics do not use the full signal level range Point the camera towards a bright surface so it produces clipping and adjust the zebra level to this maximum output level Dark spot s in output image Dust liquid or solid dirt on sensor or back of lens Make sure mirror shutter is not running Perform dust check and clean sensor cover glass NEVER USE METHANOL ACETONE OR DUST OFF COMPRESSED AIR TO REMOVE DUST Change lenses in a dry and dust free environment Use protective cap when no lens is attached to camera If contamination cannot be removed on location opening the iris reduces the visibility of spots If cover glass has been damaged take camera to an ARRI service center for repair Defective dead pixel clusters in output image Temporal or permanent failure of sensor photocell cluster as consequence of e g air transportation heavy vibration mechanical shocks or electrostatic discharge Groups of defective dead pixels should be immediately taken care of with an updated dead pixel mask as removal in postproduction is a costly procedure Updating the dead pixel mask should only be performed by trained service technicians or an ARRI service center High noise level or offset in output image when using Log C or Log F contrast characteristics Material captured with Log Characteristics requires adapted viewing equipment For correct viewing on HD displays or in digital projection
111. reliable a connection depends on quality and condition of the cable in use To provide more security in case of minor defects the length stated here is intentionally shorter than what is commonly specified by cable manufacturers 10 1 General recommendations Signal Monitoring Always verify that all recordings are free of defects All recording setups should include a control monitor to allow checking the recorded material f a waveform monitor is used directly on the camera to check the signal output it is recommended to feed the image from the recording system s monitoring output unless the recorded signal is checked using another control monitor If power and signal is supplied from two different sources i e power from camera image from video village always use the isolating power adapter IPA 1 to avoid damage to the camera caused by ground loops If the recording cannot be monitored directly e g shoulder or steadicam operation with an on board recorder it should be checked as soon as possible e g during shooting breaks or during transfer from recording media Signal Connections 55 Signal Connections 56 10 2 Signal Wiring Instructions This chapter illustrates how recorder and control monitor would be connected for the different output formats Note Camera settings shown here are only an example for the illustrated output format ARRIRAW DL Dual Link e Set Frame Rate up t
112. s at once or to each board individually Note Using a frame rate above 30 fps requires the use of both HD SDI boards HD SDI 2 therefore is not available for these speeds gt HD422 SL HD444 DL Mscope 422 DL ARRIRAW DL Cancel Camera Configuration 47 Camera Configuration 48 Output Format The D 21 offers HD 4 2 2 HD 4 4 4 anamorphic Mscope 4 2 2 as well as ARRIRAW as uncompressed signal types on the HD SDI 1 and 2 outputs The table below gives the full overview of available formats Overview of Available Output Formats Output format Output resolution Aspect ratio HD SDI Gamma Standard speeds Fps range ARRIRAW DL 2880 x 2160 1 33 1 4 3 Dual link 23 976 24 25 1 25 ARRIRAW DL 2880 x 1620 1 78 1 16 9 Dual link 29 97 30 1 30 HD444 DL 1920 x 1080 1 78 1 16 9 Dual link Rec709 LogC 23 976 24 25 1 30 29 97 30 HD444 OL 2xDL 1920 x 1080 1 78 1 16 9 2x Dual link Rec709 LogC 48 50 59 94 60 1 60 HD422 SL 1920 x 1080 1 78 1 16 9 Single link Rec709 LogC 23 976 24 25 1 30 29 97 30 HD422 DL 2xSL 1920 x 1080 1 78 1 16 9 2x Single link Rec709 LogC 48 50 59 94 60 1 60 Mscope 422 DL 1920 x 1440 1 33 1 4 3 2x Single link Rec709 LogC 23 976 24 25 1 25 Which of the formats can be selected depends on the set standard speed frame rate Up to 25 fps all of the formats are available and can be mixed individually for HD SDI 1 and 2
113. s possible Before cleaning the field lens switch the camera s main switch off and disconnect the camera from the power supply Remove the lens or the protective cap Do not touch the sensor or the mirror surface Using the special forceps Hirschmann clamp from the camera s toolkit pull the ground glass out of the holder by its tongue Using the special forceps first lift the field lens upwards by its tongue then pull it out of its holder Clean the field lens with a dry lint free cloth Check that ground glass and field lens to be inserted are completely clean Using the special forceps push the field lens into the holder as far as it will go The red marker point must be on the left looking into the camera lens compartment A ball catch fixes the field lens in the correct position Check that the field lens is locked in place lems Groumalglass e With the special forceps push the ground glass into the holder as far as it will go The red marker point must be on the left looking into the camera lens compartment A ball catch fixes the ground glass exactly in the right position e Check that the ground glass is correctly locked in place Camera Care 105 Technical Data 106 15 Technical Data ARRIFLEX D 21 Lens mount Aperture Shutter Viewfinder Display Video assist 54 mm PL mount centered for Super 35 with Lens Data System contacts LDS flange focal depth 52 00 mm no
114. s to a variety of production requirements and budgets Product Identification When ordering parts or accessories or if any questions should arise please advise the model type and serial number of the product in question Scope This instruction manual applies to the following ARRIFLEX D 21 software and firmware versions Camera software packet 1 18 CRC 3a5b2 Color management version R2 30 E cover software version 2 09 E cover firmware version 5 02 FEM 2 software version 2 05 FEM 2 firmware version 0 98 Different software versions can result in different behavior Power Supply 20 6 Power Supply Available ARRI power supply solutions e CINE VCLX 2 battery 280 Wh CINE VCLX 2 battery charger e NG 12 26 R mains unit N Do not open the batteries L Charge batteries only with original chargers IN Do not bypass the fuse or temperature switch EL A Do not heat batteries Y Le N Do not short circuit batteries The acceptable supply voltage for the ARRIFLEX D 21 ranges from 20 5 to 36 V DC 6 1 Mains Unit NG 12 26 R Use of the mains unit is recommended for shooting in the studio and when using electronic accessories with high power consumption First check that the correct mains voltage is set on the mains unit fuse on back of unit Connect the mains unit to AC mains power Mains unit NG 12 26 CINE VCLX 2 Battery CINE VCLX 2 d antofouer e Ensure that
115. s well as the video menu button can be locked by activating the LOCK switch above the operator display 65 DEZ vw Overview of Display Symbols Ea o Symbol Meaning e n continuous The display is in mode 1 bat continuous Power supply voltage 19 reached warning level o asy continuous Asynchronous operation camera is not running at set frame rate E blinking Shutter out of Sync fps blinking ESU is connected but no sync Q frequency is available PROG continuous The stored program is activated and can be started while the camera is running by pressing the PROG button blinking The activated program cannot be run with the set values Out of range fps or shutter or battery voltage too low lt A blinking The symbol blinks and the operation control LED glows red The electronic shutter adjustment is defective 0 in 1st line Video menu changes being applied standby 66 A E a a 1 5 a ic wl CT I gt pios LIS a un lt Q Setting a Programmed Frame Rate Mode 2 e First set the required standard system frame rate The standard frame rate determines the maximum frame rate selectable for programmable variable speeds e Adjust the standard frame rate using the video menu e Switch the operator display to mode 2 e Use SEL and SET to adjust each digit A final confirmation of the set frame rate is not necessary Note Al
116. s were moved over to the video menu To access the menu functions Use the MODE button next to the display to step through the menu pages e The SEL and SET button are used to select or alter a value Camera Operation 1st display line 2nd display line Adjustments MODE 1 Shutter angle Frame rate fps or Switch first line display between shutter or total frame counter ESU in standby and frame rate fps while angle and total take frame counter running external control connected not recommended MODE 2 PS or ESU external control connected Programmed frame rate fps Change programmed frame rate Current shutter angle if a program is active within limits of menu fps setting MODE 3 Take frame counter Power supply voltage V Show set low battery warning level Lobat MODE 4 Beeper enabled or disabled at Rotating shutter enabled or disabled Enable disable start stop beep volume camera run stop and beeper volume of beep MODE 5 Mirror shutter angle OFF if in Frame rate fps Set shutter angle unless in electronic electronic shutter mode shutter mode Can also be set using the video menu Note Mode 1 is indicated in the display by a black horizontal bar in the top right corner image Note The operator display returns to MODE 1 after pressing the SHUTTER or RUN button or 30 seconds after the last operation Locking Camera Controls The SEL SET and the SHUTTER button a
117. so see chapter 9 3 Setting Operational Parameters Frame Rate Note An internal buffer battery ensures that the programmed frame rate is stored even if the camera is not switched on at the main switch This battery has a lifetime of approx 10 years If the programmed frame rate is not available when the camera is switched on again the buffer battery has to be replaced by an ARRI service center Shifting Phase To capture quartz synchronized monitors hold the PHASE button pressed after the camera has run up until the horizontal bar is no longer visible in the viewfinder The frame rate will increase by 0 2 fps for the duration PHASE is pressed Note Shifting phase causes unsynchronized operation of mirror shutter and HD output Shifting phase during recording may cause drop frames As shifting phase should be required only once it is recommended to first adjust the phase and then start the recording Camera Operation 67 Camera Operation 68 Changing the Frame Rate while the Camera is Running Note Also see chapter 9 3 Setting Operational Parameters Frame Rate It is possible to switch between the standard frame rate NORM and the programmed frame rate PS CCU while the camera is running by means of the NORM PS switch Changing the frame rate is a mechanical operation as the rotation speed of the mirror shutter has to be increased decreased Therefore changing the frame rate cannot happen instantly
118. sory socket is looped through to the lower socket on the adapter To use the isolating power adapter Switch off the camera e Attach the power adapter to the accessory socket 11 pin Fischer of the camera E cover e Screw down the mounting bolt of the power adapter Connect the video monitor to the video source camera SD or HD SDI output and to the upper socket of the power adapter Switch on the camera and the video monitor When 12 V isolated output is available the LED on the IPA lights up green e f the LED does not light up make sure that the 12 V supplied by the camera are not overloaded e g by another device that is connected to the A er Adaprer lower accessory socket The red LED below the accessory socket on the camera indicates overload Only the upper socket supplies 12 V isolated The lower socket supplies non isolated 12 V for N standard camera accessories Using it for video monitors connected to the camera is not recommended Accessories 87 Accessories 88 13 4 Low Mode Support The low mode support is available in two versions Low mode support K2 70004 0 improves camera handling on a Steadicam rig and enables underslung use Consists of a low mode handle two mounting supports a short support plate for operation with the viewfinder on the camera and a long support plate and finder cover plate for operation without viewfinder The finder cover plate offers a take u
119. t Configuration for more information Dust Check Looking at the Imager Surface Make sure the mirror shutter is not running e f the mirror shutter is in front of the sensor briefly press the PHASE button to rotate it out of view Turn the camera off to avoid accidental operation of the RUN button or electrical discharge Use a bright flashlight to illuminate and check the sensor cover glass for dust i Do not use a magnifying glass if sunlight is used for illumination as focused sunlight can cause permanent damage to the sensor 99 Camera Care 100 Cleaning the Sensor Cover Glass There are many different options to clean a sensor cover glass The best solution is to provide for a clean and dust free environment whenever the lens compartment is opened However if the sensor has been contaminated it is recommended to follow the instructions below to clean the sensor cover glass Always make sure the camera is turned off A Never touch the sensor cover glass with fingers or lens cleaning cloth Step 1 Contact Free Cleaning The safest way of cleaning the sensor cover glass is to do so without touching it Try blowing off the dust using a bulb blower image Note DUST AID offers a bulb blower with an exchangeable air filter Never use blowers cans with compressed air or gas The extremely cold stream of air may cause the sensor cover glass to crack Propellants used in these products could deposit on t
120. te ee ato ue 13 112 signal tange situer irr eh i Re Eege 123 variable frame rate sesiis serinin 124 Vari Ge 124 OPS SM WE 29 low mode support 29 36 88 89 94 image artifacts 116 119 122 124 A e dass 29 Image orientation EM ground glaSSeS scsecscseccssecsssecessecssecesseeessesssseessecesseeeseees 37 automatic EE 34 EXCHANGING essent 37 Image Orientation ENEE 32 34 A 37 manual ee O ru seventucstass ground 100P v seesseecseessecesseesscessecsecerscessecsseesseesteesseesseeseees 23 imager ene tn UTENDUM imaging status LED incompatible acCessorieS 0 0 0 cee cece cece cece eee eeteteeeeeeeeeeeeees 83 index Plumas ind 31 H ag UE Le Meisene P 25 handgrip EE 29 Immterference ccc cccc cece cece cccccuccccecececceenaecnuetneetaennnentcennntnnes 14 EE 48 59 94 108 119 124 interlaced Scan 122 HD422 DL 8 48 60 108 119 128 IPA EE 23 87 HD422 SL ee er 8 48 59 108 isolating power adapter PA 87 PID EE 48 108 120 AD444 DE acia 8 48 57 108 FAD AAA Oliete 8 48 58 108 120 128 HD clock pulse occccccoccccnnccnccccnnocononcnnnnononcnnnnnnnnncnnns 69 107 K a A RR RENDERE IR ug HE 20 HDD 67 87 94 104 107 113 115 KC 29S Ree EE GE Es 20 21 25 REE O I TER 86 heated eyecup HE AIHE R 86 labe PEE 43 129 Index 130 L ECS BUS socket omo o ici 75 LDDsocket mne 75 76 Lens Data System 9 30 75 76 106 109 130 Lens Data System LDS eea 30 75 76 FREIE DIN See ee TS 30 AttA
121. the camera power is turned off e Set the voltage switch on the mains unit to 26 V e Plug the battery cable KC 20S or KC 29S spiral cable into the power supply socket on the camera and into the 26 V socket on the mains unit Note The NG 12 24 R was the original design that provided 12 amp 24 volts output it was superseded by the NG 12 26 R which outputs 12 amp 26 volts The NG 12 24 R can easily be upgraded to NG 12 26 R specification at an ARRI service center 6 2 CINE VCLX 2 Battery The CINE VCLX 2 battery offers 280 Wh nominal capacity Ensure that the main switch on the camera is off e Plug the battery cable KC 20S or KC 29S spiral cable into the power supply socket on the camera and the battery 28 V output socket Note When the battery voltage drops below the warning level the bat symbol will show in the camera display Once the bat symbol starts flashing the HD signal output is about to terminate Note For more information on setting the low battery warning level see chapter 11 Camera Operation Do not attempt to charge this battery with any AN other than the CINE VCLX 2 charger or other models specified by Anton Bauer 6 3 CINE VCLX 2 Charger e Connect the charger to AC mains power Plug the charger cable into the charge input socket of the battery e Once charged batteries may be kept on the charger until required Note For more information on CINE VCLX 2 battery and charger p
122. them during playback depending on the recorder VariFrame tagging can be used for different applications The D 21 also uses VariFrame to mark even and odd frames in the HD422 dual link high speed output Note Even though VariFrame allows recording e g with link speed set to 30PsF and mirror shutter speed set to 25 fps this mode is not recommended for standard operation 16 3 Aliasing Image elements containing very fine structures or patterns may cause jagged lines flickering areas or shifting colors in the output image As this effect depends on the spatial frequency of the image element in the frame it often can be eliminated by moving the camera slightly closer to or further away from the object or if a zoom lens is used by a slight change of the focal length setting Clipping In digital cameras clipping is an effect resulting from too much over or underexposure Overexposing a sensor pushes bright image areas into full saturation resulting in nothing but white image areas Underexposure of a sensor leaves dark image areas below the noise floor resulting in black image areas Image Artifacts Dark Spots Dust particles that have settled on the sensor cover glass may become visible as dark spots in the captured image The degree of this effect depends on the aperture of the lens and usually can be avoided by regular dust checks Dead Defective Pixels See Pixel Failure Horizontal Smear Bright image el
123. tion 41 Camera Configuration 42 9 3 Setting Operational Parameters Frame Rate The D 21 can be set to run at e Standard frame rates 23 976 24 25 29 97 30 48 50 59 94 and 60 fps e Programmed or variable speeds between 1 and 60 fps 0 001 fps increments Note Changing the frame rate above 30 fps automatically also changes the output format to the according high speed mode Also see Overview of Available Output Formats Standard frame rates can be changed using the Frame Rate submenu Note While a new frame rate is applied the operation control LED lights up red Operating or restarting the camera before the LED turns off may cause the camera to run at the wrong speed To set the camera to a programmed variable frame rate First set the required standard system frame rate The standard frame rate determines the maximum frame rate selectable for programmable variable speeds Adjust the standard frame rate using the video menu e Switch the operator display to mode 2 23 24 gt 25 29 30 50 976 000 000 970 000 000 000 940 000 Cancel NORM PS CCU switch e Use SEL and SET to adjust each digit A final confirmation of the set frame rate is not necessary Note Also see chapter 11 3 Operator Display Note If the programmed speed is active NORM PS CCU switch set to PS the video menu will show the setting in brackets behind the standard speed
124. tter Turn the camera off and disconnect it from the power supply Remove the lens or the protective cap Using the special forceps Hirschmann clamp from the camera s toolkit pull the ground glass out of the holder by its tongue image Optics lems Groumalglass t Do not touch the mirror surface or the sensor e cover glass surface Check that the ground glass to be inserted as well as the ground glass frame is completely clean With the special forceps push the chosen ground glass into the holder as far as it will go The red marker point must be on the left looking into the camera lens compartment A ball catch fixes the ground glass exactly in the right position Check that the ground glass is correctly locked in place Note Cleaning or exchanging the field lens see chapter 15 Camera Care 37 Optics 38 8 4 ARRIGLOW The ARRIGLOW module is integrated in the viewfinder system of the D 21 It allows illuminated format markings to be superimposed onto the viewfinder image with continuously adjustable brightness To adjust the brightness of the illuminated format markings turn the adjustment knob image To turn off the ARRIGLOW turn the adjustment knob counter clockwise as far as it will go Exchanging the ARRIGLOW Mask Each of the ground glasses available for the D 21 should be used together with a matching glow mask For a list of available formats please check the D 21 price
125. tu meu ei See ER A ieee eis 93 frame counmter 70 71 framerate eta ni 42 46 changing while camera is running 67 fine tOM sasies e EEAO 68 link speed E 124 programmed frame rate cece cece ee eeeeeeeeeeeeeeeeeeeees 67 Eine 68 setting and storing 46 SHITTING peior i 68 standard frame rate 41 111 113 124 variable Tramerate 67 68 124 FRICTION E OP E A A o y 33 viewfinder am 33 UII PH HH E 20 110 G Ene C c RNS 47 48 49 general description 18 general pDrecautions cece eeeeeeeeeeeeeeeeeeeeeeeeeeeees 14 glossary c 116 ARRIRA TES 117 ARRIRAW recording cococcococcnccccnnnncccccnonananono nono nonnnnnnns 118 ARRIRAW T LiNk ecce 118 bayer patterm cece cceeecccccceeeeeceeeeseeeeeeeesaeeeeeeeaaeees 117 chroma sub sampling sss 116 118 elt die et OE EIN 116 colorsigtnals reor eet i tiad 116 data MOde EE 117 dead defective pixels ccccccccccncccccooococococanonnnnns 119 124 FVD 422 iss iia 119 HD422 DL 2x Single Link assisar 60 119 HD m ias 120 HD444 OL 2x Dual nk 120 FID Mode Pre 119 interlaced ecan e a OE AEE ERY 122 W e 120 pixel failure oooocccconononoccoconcccnnncnononanin 103 122 124 125 horizontal levelling sss 26 progressiV6 SCali e eni teret pe pr reasons amena ed 121 horizontal smear eee 125 progressive segmented frame 122 sm ibid 125 scanning metbods ea SH WGA Sa ot occa a ae
126. utton as well as the SEL SET and SHUTTER button on the camera left can be locked by activating the LOCK switch above the operator display image Notes Rotating the video menu button while no menu is shown will step through the SD overlay functions Also see Composite CVBS at the end of this chapter The D 21 sensor readout operates at full sensor aperture with 1 33 1 4 3 aspect ratio up to a standard frame rate of 25 fps For frame rates of 29 97 or higher readout operates at a reduced height with 1 78 1 16 9 aspect ratio while retaining the full sensor aperture width The camera image in the SD video output therefore shows a 4 3 image up to 25 fps and a 16 9 letterbox display for 29 97 fps and above Note The SD video output can be set to output 50 Hz PAL 60 Hz NTSC video see SD Mode The SD video format is independent of the camera s frame rate setting Status Indications When changes are applied in the video menu the camera will show a combination of these status indications Symbol Meaning Operation control LED glows red and or when in standby 1st line of camera display shows busy indicator __o_ Camera is not ready Do not operate turn off camera before the operation control LED turns off Imaging status LEDs change state red or off Applying settings to output electronics Do not operate turn off camera before all three imaging status LEDs turn green Camera Configura
127. ver plate to the camera Accessories 89 Accessories 90 13 5 Remote Run Switch RS 4 The RS 4 has the same functions as the RUN button on the camera e Attach the remote run switch with the spring clamp e g to the pan handle Plug the RS 4 plug into the RS socket 13 6 RS Socket Distributor 24 V Plug on Module The 24 V plug on module provides an additional RUN button to facilitate operating the camera from the right side and two RS sockets for connecting 24 V accessories The module is mounted on the right side of the camera in front of the electronic cover e To attach the 24 V plug on module plug its connector into the RS socket e Tighten the fastening screw Note When a UMC 3 radio modem is attached to the FEM 2 electronic side cover the antenna socket of the radio module will block access to one of the RS sockets of the 24 V plug on module The camera provides a total power output of 72 watts on the 24 V sockets At 24 V this results in 3 A maximum continuous current and 5 A peak load At 32 V the maximum allowable continuous current is 2 A A A The RS sockets supply the same voltage as the camera power supply Voltages over 32 V will be limited to 32 V Ensure that the accessories to be used are suitable for the available voltage Ensure that the accessories to be used are suited to the available voltage and that the connected accessories do not overload the c
128. wfinder arm by a service center or in a rental house To switch the viewfinder image to spherical or de squeezed anamorphic viewing turn the switching knob Dimage The knob does not need to be unlocked All other functions are identical to those of the standard spherical finder arm Note Anamorphic capture requires Mscope or Data Mode ARRIRAW output See chapter 9 Camera Output Configuration Viewfinder cover plate Switching knob 8 3 Ground Glasses The sensor aperture of the ARRIFLEX D 21 is slightly different from the camera aperture of the ANSI and DIN Super 35 format Therefore Super 35 ground glasses for ARRIFLEX 235 435 535 do not provide exact frame markings in the D 21 viewfinder image For exact framing only use ground glasses that are listed for digital ARRIFLEX cameras For a list of available formats please check the D 21 price list or the D 21 configuration overwiew Note When set to HD Mode output the D 21 delivers images at 1 78 1 16 9 aspect ratio using the full sensor aperture width To utilize the 1 33 1 4 3 area it has to be set to Mscope or ARRIRAW output e g to shoot with anamorphic lenses Other aspect ratios e g 1 85 1 can be achieved by cropping the output image in postproduction Exchanging the Ground Glass e f the mirror shutter is not positioned in front of the sensor briefly press the PHASE button in standby so the sensor cover glass is protected by the shu
129. zed image that can be used for preview and editorial Mscope Recording amp Postproduction Any recorder supporting SMPTE 274M dual stream dual camera input can record Mscope signals Depending on the recording system in use recombining both streams to the original 1920 x 1440 image may be done automatically or may have to be done after ingest As the Mscope image has a de squeezed aspect ratio of 2 66 1 it provides some room for repositioning a shot before it is cropped on the sides to the desired output aspect ratio 2 40 1 2 39 1 2 35 1 With a deliverable aspect ratio of 2 40 1 the output may be recombined cropped and de sqzeezed for flat formats to e g e 1728 x 1440 pixels for a 35 mm release print scope e 3546 x 1440 pixels for digital cinema release flat 1920 x 800 pixels for release on HDTV flat Mscope Benefits Fully processed live HD for preview and editorial Mscope image contains approximately 8096 more scanning lines than equivalent 2 39 1 images cropped from 16 9 HD images shot with a spherical lens Mscope combines the use of anamorphic lenses with the economy of HD acquisition Scanning Methods p i PsF Progressive Scan p After each exposure the full frame is captured output from the sensor This scanning method provides the highest resolution per frame and is comparable to the way images are captured on film It delivers good material for keying or masking in postproduction The on

ARRIFLEX D-21 Manual

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