Home

2009-03 ARRIFLEX D-21 Instruction Manual 1.16

1. iniecit tract ca tacas 71 display I EE 72 Iroublesbooting 124 battery information EE 80 VIGGO MENU iced tete retire aeree Peace eere Pun eue 40 adn COUnter EE is CCU socket e 88 94 95 oH Cr channel selection eeeeeeeee eee 91 es LE ee el dell E 138 Mono me EE code ILL 43 Nile An cece cs cscs ee a 73 83 84 COOLMAX TREO TT TET DT TDI 53 Mode 5 73 85 corar e ux M ELE D Bp monitoring detective iscissi 124 Competbilmty EE EE d DEE 73 condensation ccccceeececeeeeeeeeceeaaeeeeeseaaeeeeees 15 116 126 shutter angle 75 silica DOfttle eret rir rrt iet etit Leinen uet 15 Bundes ec um n EE 74 CONNSCHONS ae sni eesse re eent eee abduci Gi ted erei dletrtbutor ENEE 105 composite video COnnector sssssseesressesssrerrrrrrreee 40 d st 13 30 31 113 114 128 138 CVBS conpnector eene nnne 40 C Di C TER dr du EE LU S WEE EEN 40 66 70 86 99 101 108 dynamic range distribution cceeeeeeeeeeeeeeeeeeeeeees 55 S Video connechor ssssssssssnnniiiniiiineeeessernnnnnrrrinnnnnt 40 59 Y C conpnector eene nnne nnns 40 E El characteristic Curves ener 55 ERT DE 56 electromagnetic interference sssssseeeeees 14 ESU extended range external synchronization unt 98 eel n 32 adjusting the diopter sssssesese
2. 35 Voltage range eet 20 W Warning displays enen a ea EEES 31 WANING E 31 WAMMING Ee 82 Ingo E 82 switching on and oft 83 belle 83 s ai 25 121 white balan GO sescca e etiim ASSA e 44 46 wireless remote control WRC 110 wireless evstem 90 94 cS 111 Work ligit neni ue iet eroe iens 111 leu ee deg 94 Y VCD GP EE 130 Z Kl EE 59 64 19 ARRI Group Addresses World Wide Web Germany Great Britain Italy http www arri com Arnold amp Richter Cine Technik Munich Headquarters Sales amp Service T rkenstra e 89 80799 Munich Germany Phone 49 89 3809 0 FAX 49 89 3809 1245 Email digitalservice arri de ARRI GB Ltd London Sales amp Service 2 Highbridge Oxford Road Uxbridge UB8 1LX Middlesex United Kingdom Phone 44 1895 457 000 FAX 44 1895 457 001 Email afyfe arri gb com ARRI Italia S r l Milan Sales amp Service Viale Edison 318 20099 Sesto San Giovanni Milano Italy Phone 39 02 262 271 75 FAX 39 02 242 1692 Email acazzaniga arri it ARRI Italia S r l Rome Sales amp Service Via Placanica 95 00040 Morena Rome Italy Phone 39 06 726 707 97 FAX 39 06 723 1541 E mail msembroni arri it USA Canada Australia Asia ARRI Inc East Coast Sales amp Service 617 Route 303 Blauvelt NY 10913 1109 USA Phone 1 845 353 1400 FAX 1 84
3. 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 shutter e 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 Groumatglass longue I Do not touch the mirror surface or the sensor cover glass surface Check that the ground glass to be inserted as well as the ground glass frame is completely clean e 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
4. 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 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 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 vi
5. Use one of the methods described below to set the URM 3 to a radio channel With the camera turned off set the channel and turn the camera on Set the channel selection switch to 9 deactivated and then turn it to the designated channel within half a second 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 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 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 UR
6. e Apply the URM 3 to the FEM 2 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 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 0 2444 2472 MHz Europe except France and Spain To be used in the USA Canada Mexico New Zealand 1 2406 2345 MHz Europe except France and Spain To be used in the USA Canada Mexico New Zealand 2444 2472 MHz 2406 2345 MHz Europe except Spain USA Canada Mexico New Zealand France wo 2444 2472 MHz 2406 2345 MHz 2444 2472 MHz 2406 2345 MHz 2444 2472 MHz Japan Australia Australia Spain Corresponds to channel setting 0 O WMDINIO a sA Radio device deactivated Changing the Radio Channel
7. increments in the range of 11 2 180 The procedure is described in the respective instruction manual Note Mode 5 actually is Mode 7 based on the ARRI camera display reference structure Electronic accessories therefore identify it as Mode 7 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 25 fps 23 976 24 fps 25 fps 23 976 24 fps Shutter angle 180 172 8 150 180 Exposure time 1 50th 1 50th 1 60th 1 48th AN Always verify the results of these settings with a Le N test shoot Camera Operation 85 12 Recording 12 1 Recording Format Setup Some recording systems are auto sensing which means they can automatically detect the incoming signal format If this is not the case the recording format must be set manually to match the camera configuration for frame rate HD SDI mode setting HD444 HD422 Mscope or ARRIRAW and some
8. isi tox sistere exiis 41 44 59 64 118 ele lr c 40 data mode ARRIRAW 51 70 86 127 131 dynamic range distribution eeeeeeeeeeeeeerrenre 55 HD422 47 50 51 56 63 65 67 69 86 122 133 134 138 HDAA4A iiis 47 50 51 56 58 65 68 86 122 134 HD Mode MERERI DOT S 42 50 Intel faGOS oce eedan rera oa a ARE ERE 40 Mecope 36 47 50 51 65 69 86 133 134 135 overview of available output formats s 51 SIE 122 VIGO En sius icit ite esee o ERE rrr teatri oo aeree eer 40 output board nennen 40 48 61 elef diez lute 2 52 137 output zebr ET 59 64 OVErlOaC GIS Pai e ES 24 overview of display modes 73 overview of display symbols ccceeeeeeeeeeeeeeetteeeeees 74 P peak load current 005 0ccsccececceseecececcesevessveeessaeesceseasenes 24 PHASE button 22 75 77 113 125 shifting Re 78 phase shifting uices tret RR de Pre eia nes 78 pixel failure eeeeeeessesssssssssseeeeeeeennnn nnne 117 139 PL MOunt 0cceceeeeeeeeeeeeeeeeeeeseeeeees 13 14 28 30 31 126 power EE KC 20S eege eebe eebe 20 21 25 KOA EEN 20 21 25 power supply for accessories ccccsseeeeeesseeeeeeeeceeeeees 23 power supply voltage deplay nn 82 pow r SWIC T 22 PROG DUTTON iore os oet sg ege Seege 74 75 programmed frame rate 47 76 programmed frame rate Setting 47 76 Progressi
9. 131 Lens Data SySterm set tee ex ter asa tree PE ES DERE YS FERE EET Rene MUR e ned 89 13 2 Wireless EE 90 Installing the URM 3 Radio Heceiver nme A EN ARES REREAD 90 Using the Wireless Vater ie od ieri treten Pup he ERR EPA E ya SR FREE EY UL re EYES ENS R EMO EL XEM E REREPEN 91 19 3 Remote Lens COoHtrol fece ot rrt de exe ER dee pop evi dp ud eege ee d da ee pan 93 CEM 2 Status ut Mee 93 13 4 Camera Remote Coritrol nei cete tete o eot esci ere ever AEREE EENEN 94 19 5 getest eil EN 95 ARRIFLEX D 21 FEM 2 Compatibility List 95 ees eelere EE 96 13 6 Replacing the FEME2 nitore tet ees a O EFIE ieee done Eege EEA AENEUS ES 96 14 15 16 Removing NG REM EE 97 KEE DEES rirani een een Ee Eed e ee Ee 97 TE 98 14 1 External Synchronization Unit ESU 1 ooo cccc cece ceeeeecccceceeeeeeeeeeeeeeeceeseeaaeaeeeeeeeeeeeeeeeess 98 14 2 Flash Mag Mounting Adapter FMA 1 discontinued sss 99 14 3 Heated Eyecup HE AHE BL nnn nennen aaaeaii aii 100 14 4 Isolating Power Adapter IPA 1 rentrer nerit per eret eruere e erp reri deest 101 14 5 Low Mode eet GE 102 14 6 Remote Run Switch RSA 104 14 7 RS Socket Distributor 24 V Plug on Module 105 14 8 Shoulder Gerbe 106 14 9 Fiber bink Writ FLW i gegen Ee ege 107 Fiber Link Remote EE 107 14 10 Wireless Remote Control WRC 110 E ET ee ele 111 14 12 General Note cccccccccccccccccceseceseeeseesseceececccceeeeeseseaaeee
10. 8 3 Ground MEET 37 Exchanging the Ground KEE 37 GET ER e E 38 Exchanging the ARRIGLOW Mack 38 Camera Output Configuration EEN 40 94 Outputrterfaces iie ie e cid hac reete ie ires deeg 40 eM edu 40 Using the Video MG EE 41 Status IndiGatiOBs ui ot pide emen eret tette E mac eoe erae coe inact Ia Poem eg gone Eesen SE et Ped 41 10 11 9 3 Setting Operational Parameters mene merrnee nennen nn nneneeis 42 User WIC Giese E 42 WhiteBalance EES EE EES 44 Standard ET UE 47 FID HS DIM EE 50 Overview of Available Output Formats ccccccccccceeeeeececeeeeeeneeeeeeeeeeeeeeeeeceseeceeeeaeeeeeeeeeeeeeeeesess 51 Output Range Advanced MOd6 0 c sssssivesccsocnececesvecaseavesssdanectassecteicssacausveseavessstenssetetendiweaseaseas 52 Color Matrix Advanced Model 53 Recommended Combinations of Contrast Characteristics White Balance and Color Matrix 54 Contrast Characteristies ores Eee teure eegen et eut Pr essa dera 54 SDM er 59 IR Lee 61 94 LEE Ee E 64 Signal COMNMCCUONS EE 65 10 1 Signal Monitorinig eite ees i Ettore eie ek easet Dark eset see stas eacus verdad Lea ee REDE Ebo cece ete 65 10 27 Sigrial Wiring Blad ee TEE 65 HD422 Setup Standard MOde 5 eer Cegedel EEN 66 HD422 High Speed Setup Standard Model 67 HD444 Setup Standard Model 68 Mscope HD422 Setup Standard Model 69 Data Mode ARRIRAW Setup Advanced Model 70 Camera Operation Lei eec es
11. LOG F Cancel Gain and Noise Increasing the camera s sensitivity setting El characteristic curves or adding electronic gain in post production log characteristic curves produces more visible noise in the output image El characteristic curves The El characteristic curves are based on the average tonal representation of negative film stock The exposure index values are calculated ISO equivalents to facilitate measuring the correct lens aperture using an exposure meter For each El a different transfer function non linear gain is applied to keep middle grey 18 at a constant signal output level As these curves provide an immediate sensitivity adjustment they are recommended for use in HD productions EI Sensitivity and Dynamic Range Distribution Please note that working with different El values is different from the traditional film exposure paradigm Film stock of different sensitivity maintains its overall dynamic range distribution Changing El characteristic curves influences the dynamic range distribution A higher El value allows the sensor to be exposed with less light As a result the sensor delivers less range below middle grey but an increased range for capturing highlights image A lower El value provides more range below middle grey but less range for highlights Exposure It is recommended to select the El characteristic curve depending on
12. 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 Note Indicates further information or information from other instruction manuals image indicates objects which are shown in an illustration or picture 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 p 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 operating 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 GG P E 2 2 gt bP BP BE A Specific Safety Instructions Do not remove any safety measures of the syste
13. to a suitable HD display e Start the mirror shutter if it is not running Put a lens cap on the camera lens pixel display of the camera s output Using the Set the contrast characteristic video preview output of an ARRIRAW T Link certified menu to the highest El value recorder is a possible option but may not allow f no colored bright pixels appear take the lens cap off identification of very small cluster pixel failures Point the camera at a homogeneously lit neutral grey Note Updating the camera s defective dead pixel map surface that covers the full output image and defocus can be carried out on location by a trained D 21 the lens or put a diffuse white glass plate in front of service technician in an ARRI service center the lens and point the camera into a light source or at an ARRI rental facility This procedure Adjust iris or lighting so the output video level takes about 20 to 30 minutes whereas in reaches 40 to 50 on a connected waveform monitor postproduction removal of dead pixels can or in the RGB Histogram from the OSD Tools be a lengthy process depending on the image If no colored bright pixels appear set the contrast content It is therefore highly recommended characteristic video menu to an El value of 250 to take care of dead and defective pixels right away instead of fixing them in postproduction With the camera still pointing at the same target adjust iris or lighting so the output video leve
14. 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 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
15. 2 on the camera to connect the FEM 2 to the camera interface e Secure the FEM 2 with its fastening screw Fastening screw Guides Functional Expansion Module FEM 2 14 Accessories 14 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 Dia SET j v OPEN Y n e m g ei 2 14 2 Flash Mag Mounting Adapter FMA 1 discontinued The FMA 1 is used as a docking platform for the ARRI Flash Mag Thomson Grass Valley Venom FlashPak HD on board recorder It is mou
16. 274 switches from 2880 x 2160 to 2880 x 1620 As a readout of less pixels takes less time this zm W 30 20 switch causes a step in the corresponding shutter 29 97 30 17 26 284 angle as can be seen in the table to the right 35 14 22 272 Note When the mirror shutter is enabled it controls the 40 13 18 259 sensor s exposure while the electronic shutter is 45 11 15 247 synchronized for readout in the dark phase When 48 10 14 239 the mirror shutter is disabled only the electronic 50 10 13 234 shutter controls the way the sensor is exposed which causes different motion representation 55 9 11 221 59 94 60 8 10 209 Setting the Mirror Shutter Angle Mode 5 Without electronic accessories the following shutter angles can be set using the camera display 11 2 22 5 30 45 60 75 90 105 120 135 144 150 172 8 and 180 To set the mirror shutter angle Change to mode 5 by pressing the MODE button four times The display looks like mode 1 without the mode 1 indicator 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 Using electronic accessories such as the WRC unit the shutter angle can be set in 0 1
17. 48 anamorphic viewfinder AVE 36 Ted e 120 ARRIGLOW m 38 adjusting briohtmess 38 exchanging the format Mask ssssseeeessrreeessrreeeeeens 38 ARRIRAW sssnnsnnnnninnnnnneesesesesssrenen 50 51 70 86 127 131 132 ARRIRAW T Link ccceceeeeeecceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeees 132 AVF 1 anamorphic viewfmder 36 B battery information sessen eadein 80 DEA GE sp E EE 26 attaching to Carmera seess gege Eegeeegeg eee 27 BP 8 BP 9 p 26 converting to Super 35 sssssssssse 26 buffer battery replacing 77 In el Tele 72 PAS Eege deene 22 75 77 113 125 d iecm 75 RUIN p 71 105 DEL e 72 85 DED e 72 85 Mite Te MEMU EE 41 43 C CADIS r UP KC20S 20 21 25 KC 29S 1 ineft onec e a aai 20 21 25 Camera CONTINOUS current cccccceccceeecceeeeeeceeeetaeeceeaneesaeeens 23 24 camera DOG E EE TER 25 contrast filter 34 camera Care 112 controlled lens motor CLM 2 30 88 93 95 et lune EE 22 40 72 85 98 D Tee len Ee t 112 dark spots 138 E EEN p Data Mode 50 70 127 131 Stall BN ee a R 25 dead defective pixvels na 133 CS Sek EE 22 default settinges 63 NEE 40 71 diagnostics EE EE EE E 61 124 Operation 71 dlmenglong EE 121 rembtecontrolos sour e ee 90 93 94 diopter el Au RETE OTT 32 starting Stoppirig
18. Automatic white balance settings should be checked with a waveform monitor in RGB waveform parade mode or vector scope mode See Color Matrix below for additional information Camera Configuration 46 Manual White Balance Advanced Mode Manual white balance can be used to fine tune the preset or automatic white balance settings To apply a manual white balance e If the camera is not running briefly press the RUN button Enter White Balance Manual image e Use R to select and enter a value for the red channel gain e Use G to select and enter a value for the green channel gain Save Settings Use B to select and enter a value Cancel for the blue channel gain Use Save Settings e Select and confirm a slot WB 1 3 to save the manual white balance setting When saved the white balance setting is automatically applied Note The initial values for R G and B are based on the previously used white balance setting Note Manual white balance settings should be checked with a waveform monitor in RGB waveform parade mode or vector scope mode See Color Matrix below for additional information Manual white balance settings are indicated in the video menu as man defined instead of a color temperature Standard 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 set in the video menu Programmed or variable speeds b
19. Camera Output Configuration and 10 Signal Connections 13 Functional Expansion Module FEM 2 The ARRIFLEX D 21 includes the FEM 2 electronic 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 RS H LCS bus sockets LDS status LED Radio status RDY LED Channel selection switch ACC socket CLM 2 plug in module URM port CCU socket Battery compartment 13 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 len
20. Link Unit FLU 1 on top of the camera o ARAARA AA RA DRIED Ld LJ Lt e e e we KD Pit BI Di Di Di fi fat eeoeooeooeooe ee To attach the low mode support Remove the camera grip system as explained in chapter 7 Installation 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 e 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 cover plate to the camera 14 6 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 e Plug the RS 4 plug into the RS socket 14 7 RS Socket Distributor 24 V Plug on Module The 24 V plug on module provides
21. RGBA HD SDI streams according to SMPTE 372M Recorders without ARRIRAW T Link certificate may offer limited or no preview options 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 Temp LED off means a slight sensor temperature deviation Temp LED red means sensor temperature deviation above acce
22. dual link high speed 133 Iu Dr P n 134 HI mode unite et ee E teer irte erra 133 interl ced SCAM asinina ar SEENEN LEE RI Ro Se Duae ba 136 MSCOPG P 134 Progressive E 135 progressive segmented frame 136 scanning methods iet Rem seda ee tanien 135 SIGMA sineret ES 137 variable frame rate ssssssssssssssseee 138 Van Eram eesi eaea ee a r Zeg gEdEee DEES 138 MNES Ste EE 29 low mode support 29 36 102 103 108 ONO VINO ct EE 29 ground Re EE 37 EXCMAM OIG RM Mr 37 special forceps 20 0 2 ccce cece ee ceeeeeeeeeeeeeeeeeeeeeeeeeeeeseeees 37 ground Me Lee EE 23 H MAMA GMD DEE 29 HD422 56 63 65 67 69 86 122 133 134 138 HD444 47 50 51 56 58 65 68 86 122 134 FID COCK pulses ieiunii poets pen eoe Essai eina seg 79 121 bao ee 42 50 133 ID S DI p E 56 58 63 65 70 77 86 99 101 108 118 121 122 127 129 el RI TEE 50 FE AEA EE 100 heated eyecup HE AIHE R 100 FAM Vig Le EE 85 horizontal levelling peior ert enn 26 horizontal SEIedE a 2 92 22 5 taste mede sek DERE spem Use e2 SEES RR 139 FESmmedr acess ie rete hei eb dar e de a enam kt ce ee 139 humidity EE 13 15 117 126 I image orientatiON smirene e EE EE AUTOMATIC m 34 manual EE 34 laafe 72 112 Imaging Status RRE 22 incompatible accessories 0 0 ee cee cece cece cece eee eetteeeeeeeeeeeeeees 96 later de UD 31 Stallati e 25 lat LTE 14 init rlac
23. 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 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 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
24. 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 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 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
25. 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 list To exchange the glow mask e Remove the viewfinder system as explained above e 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 Locking screw e 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 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 Output Configuration 9 1 Output In
26. 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 A A A 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 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 e Always verify that all recordings are free of defects e All recording setups should include a control monitor to allow checking the recorded material e 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 c
27. marking setup PAL NTSC Cancel gt 1 78 1 1 85 1 235 1 33 1 HD Crop Format 1 Format 2 Format 3 Edit Format Cancel Diagnostics The diagnostics menu provides access to the camera status pages and can be used to perform a standard reset Status The camera status is shown in three pages Status 1 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 displays internal temperature and voltage readings ECU Camera Status RUN SENSOR Shutter Mode ROTATING ADGOCO Sensor Temp 32 0 C Shutter Pos ROTATING ADGOC1 Sensor Board Temp 30 C Shutter Angle 180 00 ADGOC2 ECU Board Temp e Image Size 2880x2160 ADGOC3 Framerate 25 000 fps PIM1 Mode HD SDI 1 HD422 CRC Mode HD SDI 2 HD422 CM gt Next gt Next Exit Back Note The Diagnostics menus should always be exited before a recording is started Camera Configuration 61 Camera Configuration To access the status information e Enter Diagnostics Status e Use Next to proceed to the next status page e Use Back to go to the previous status page e Use Exit to leave the diagnostics menu 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
28. mode 3 by pressing the MODE button twice to show the current power supply voltage in the lower line 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 Change from mode 1 to mode 3 by pressing the MODE button twice Press SEL twice to change to the voltage level setting Press the SET button repeatedly until the desired value is reached values below 20 V cannot be set 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 Change from mode 1 to mode 4 by pressing the MODE button three times Press the SEL button once to access the warning signal settings Within three seconds press the SET button to select one of the four settings sh
29. 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 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 Appendix oBuei pepue1x3 L eBuei puepueis H D III III III UU UO DRO EE EE ELE EHE E LEE INDE ENS A 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 extended range signal can still be clipped at 100 and or 0 video level in po
30. 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 dB A 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 Ibs 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 Frame rate Signal output Recording Systems 1 60 fps in HD Mode HD422 16 9 1 30 fps in HD Mode HD444 amp Data Mode 16 9 1 25 fps in HD Mode Mscope amp Data Mode 4 3 Frame rates other than the standard frame rates of 23 976 24 25 29 97 30 48 50 59 94 and 60PsF can be achieved with a recorder that interprets the VariFrame F
31. 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 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 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 4 Minimal Equipment Required for Operation 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 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 cont
32. the intended dynamic range distribution while proper exposure should be ensured by sufficient lighting The El characteristic curves shipped with this camera provide a dynamic range distribution of about 55 above and 45 below middle grey at an ISO equivalent El of 200 An 18 grey is matched to 36 video level The dynamic range distribution shifts to a ratio of about 70 above and 30 below at El 800 and about 40 above and 60 below at EI 100 Note The contrast characteristics shown here are for illustration only and may differ from the actual curves supplied with the color management software version installed in your camera Recommended El Setup e HD SDI Mode HD422 or HD444 Output Range according to HD SDI mode Color Matrix according to white balance El characteristic curves Output clipping level black level 0 Input Log C Advanced Mode LOG C characteristic curve The Log C characteristic curve provides a signal output according to Cineon format specifications Each stop of exposure is mapped in equal intervals of digital code values This characteristic is intended for use in a DI workflow as it delivers the same tonal steps representation as the scans from a film negative Log C delivers an ISO equivalent El of 200 When Log C is used the El cannot be adjusted in the camera The tonal balance of the signal has to be
33. 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 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 dual link hig
34. the video menu button to enter the options submenu Rotate the video menu button to select an option in the submenu Briefly press the video menu button to use or confirm the selection Use Cancel to leave the submenu without changing the setting Use Exit to leave the SD Mode and Diagnostics submenus or to leave the video menu To avoid unintentional operation of the video menu the video menu button can be deactivated with the LOCK switch image in the front left side of the camera Note Rotating the video menu button while no menu is displayed accesses the OSD Tools see OSD Tools at the end of this chapter Note 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 Operation control LED glows red and or when in standby 1st line of camera display shows busy
35. 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 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 col
36. 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 and pull the grip system upwards 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 41 mm standard or bayonet mount cannot be used Heavy and long lenses such as zoom lenses 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 Positi
37. 0 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 e 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 higher signal levels Overexposure eventually results in white clipping image areas with a signal level at the upper limit with
38. 080 1920 x 1080 1920 x 1440 1 33 1 4 3 1 78 1 16 9 1 78 1 16 9 1 78 1 16 9 1 78 1 16 9 1 33 1 4 3 ARRIRAW T Link ARRIRAW T link dual link HD SDI single link HD SDI dual stream HD SDI dual stream HD SDI not available not available normal normal extended normal extended normal extended extended 23 976 24 25 29 97 30 23 976 24 25 23 976 24 25 48 50 59 94 60 23 976 24 25 29 97 30 29 97 30 1 25 1 30 1 30 1 30 1 60 1 25 Note Data Mode ARRIRAW requires an ARRIRAW T Link certified recorder or a system capable of recording uncompressed SMPTE 372M compliant RGBA HD SDI signals For more information see the glossary in chapter 17 Appendix Note Mscope requires a recorder capable of dual stream HD recording i e two simultaneous 1920 x 1080 4 2 2 YCbCr HD video streams Note Wiring instructions for all HD SDI modes can be found in chapter 10 Signal Connections Camera Configuration 52 Output Range Advanced Mode The output range determines the signal range of the output HD video signal Normal range also called legal standard safe range corresponds to video levels between 0 and 100 Extended range also called full range corresponds to video levels between approx 10 and 110 To set the output range for the selected output board e Enter Output Range image e Select and confirm an output range from the list Note Changing the output range us
39. 5 425 1250 Email arriflex arri com ARRI Inc West Coast Sales amp Service 600 North Victory Blvd Burbank CA 91502 1639 USA Phone 1 818 841 7070 FAX 1 818 848 4028 Email brussell arri com ARRI Canada Ltd Toronto Sales amp Service 415 Horner Ave Unit 11 Toronto Ontario M8W 4W3 Canada Phone 1 416 255 3335 FAX 1 416 255 3399 Email seb arrican com ARRI Australia Pty Ltd Sydney Sales amp Service Unit 6C 5 Talavera Road Macquarie Park NSW 2113 Sydney Australia Phone 61 2 9855 4300 FAX 61 2 9855 4301 Email info arri com au ARRI Asia Limited Hong Kong Office 2903B The Centrium 60 Wyndham Street Central Hong Kong Hong Kong SAR of China Phone 852 2571 6288 Fax 852 2875 9181 E Mail pivan arriasia hk Technical data subject to change without notice ARRI 2009 Available languages English Ident No K5 70403 0 ARNOLD amp RICHTER CINE TECHNIK T rkenstr 89 ARR D 80799 M nchen Phone 49 89 3809 0 Fax 449 89 3809 1244 www arri com
40. ARRI ARRIFLEX D 21 INSTRUCTION MANUAL November 2009 COPYRIGHT 2009 ARNOLD amp RICHTER CINE TECHNIK GMBH amp 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 Eyecup A A __ Eyepiece focus adjustment Eyepiece lock RUN button LOCK switch NORM PS CCU switch PROG button A MODE button SEL button 3 SET button PHASE button Operation control LED Tape hook D Image rotation knob s yy reo Image rotation release an PL mount AAA A m Viewfinder arm Ground glass Viewfinder 7 extension lock Main camera switch e Viewfinder arm friction adjustment 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 V 24 V acces
41. 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 including 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 amp 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 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 cin
42. Adjust the standard frame rate using the video menu e Switch the camera display to mode 2 image by pressing the MODE button once Press the SEL button repeatedly until the digit to be set blinks Press the SET button repeatedly until the desired value is reached Repeat this procedure until all digits are set to the desired values A final confirmation of the set frame rate is not necessary 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 Changing the Frame Rate while the Camera is Running Note See General Procedure for Changing Frame Rates It is possible to switch between the standard frame rate NORM and the progr
43. 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 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 only problem is fast motion or fast panning which easily results in jittering juddering images S
44. E 69 signal rang CEET 52 137 signal wiring instructions eesseeee 65 SNCS DOTS x it ertet bid en tein 15 116 117 126 pci M C H UO 23 EE 88 EE 88 93 Bed 88 93 94 Hp 88 89 M 24 105 software version 19 SOUNO et 121 special forceps cccccccccccccecececeseeseseseenseseeeeees 37 39 119 speckled images iiiter tert tec EE 139 Speed tanga Seres turi ines rsen Red eR EE 122 Jenae PEE 26 standard frame rate 41 47 76 79 125 127 138 Standard Mode ite i eter ede 42 Standard FOSOt udin iau repe rs a ax Ere tac aae rarai 63 starting stopping the camera 71 starting stopping the recording esseeseeseeeiseeseereeereeeeee 86 Status c EEEN 41 61 62 92 93 STOPPING ica ss aed ER REESE OESTE 71 ele EE 14 SUMMIT erc 14 113 SUPE OD M 26 30 SUP PONE TINO EE 28 SUP POMEL ele EE 26 We WIM EE 26 28 102 soni e 26 28 102 ell DNE 40 Cypr O 79 SVC IMG OMMIZO E PRATO TOR ENT 79 T technical data ect beie es SERA EA 120 122 temperature ronde 15 117 121 124 127 TRANSOM Us et 14 TI ie 13 25 26 27 TROUBIESMOOUMG sexe mrene e E 124 U URM Zradioreceiver 88 90 92 user OGG EE 42 V variable frame rate VariFrame a11cecc1 47 77 78 87 138 video assist enne 41 60 120 video MENU ssisiicsssiessaccdsevina
45. 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 17 Appendix 17 1 Troubleshooting Blown 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
46. M or FEM 2 is set to the same channel Select another channel 13 3 Remote Lens Control Both CLM 1 and CLM 2 motors can be used with the ARRIFLEX D 21 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 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 ERI Status LED Direction switch DS IRIS socket FOCUS socket ZOOM socket Status LED Status Off No motor connected Red Motor connected 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 Functional Exp
47. 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 with 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 e 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 Dioptre compensation scale Knurled ring 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 e To adjust the viewfinder arm release the locking mechanism by pressing the swivel release image Turn the viewfinder arm to th
48. 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 viewfinder 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
49. adjusted using LUTs or through color correction clipping level Output Recommended Log C Setup HD SDI Mode HD444 up to 30PsF Output Range Extended Range Color Matrix LOG Note When using Log C the correct lens aperture should be determined using an exposure meter On a waveform display a correctly Yi exposed image is offset in the blacks and does not reach the maximum signal level due to the given specifications 0 Input 1 18 grey black level Note To correctly preview the material on an HD monitor or in a digital projection a log lin conversion LUT optionally also adjusting for an El has to be applied Log F Advanced Mode The Log F characteristic curve provides a signal according to Filmstream specifications This characteristic is intended for HD workflows adapted to Filmstream signals Log F delivers an ISO equivalent El of 200 When Log F is used the El cannot be adjusted in the camera The tonal balance of the signal has to be adjusted using LUTs or through color correction Recommended Log F Setup HD SDI Mode HD444 up to 30PsF Output Range Extended Range Color Matrix LOG Note As with Log C the correct lens aperture should be determined using an exposure meter On a waveform display the mid tones of a correctly exposed image will be offset and highlights will not reach the maximum signal level due to the
50. amera image from video village always use the isolating power adapter IPA 1 to avoid damage to the camera caused by ground loops e f 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 66 10 2 Signal Wiring Instructions The following examples show signal wiring instructions for different camera setups as explained in the previous chapter All setups requiring a single HD SDI output board can be combined using Advanced Mode setup i e HD422 up to 30 fps HD444 Mscope and ARRIRAW Note The shutter angles and frame rates shown in the illustrations are only used as examples for settings that match the corresponding digital setups HD422 Setup Standard Mode e Set Frame Rate up to 30PsF e Set HD SDI Mode to HD422 e Set the recording system 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 recording output HD SDI OUT A or HD SDI monitor out to control monitor input HD SDI IN A or B Note When set to HD422 the camera output boards transmit the same signal on link A and B Using link A is recommended Note Standard Mode setup assigns the same settings to all HD SDI output boards Individual configuration
51. ammed 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 If the programmed speed has been set prior to changing the standard frame rate video menu and exceeds the standard frame rate limit Switching the camera to PS CCU in standby causes the RUN LED to light up red The camera will not run 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 See General Procedure for Changing Frame Rates 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 Controll
52. 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 To attach the 24 V plug on module plug its connector into the RS socket 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 camera s power outlets 14 8 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 Wi
53. ancel Select and confirm a preset color temperature 3200 4300 5600 or 7000 K or a previously saved automatic or manual white balance setting WB 1 3 Automatic White Balance To perform an automatic white balance e If the camera is not running briefly press the RUN button e Point the camera at a homogeneously lit neutral grey surface e Using a waveform monitor or the RGB or LUM Histogram see OSD Tools adjust iris or lighting Bw so the output video level lies within 40 to 70 Enter White Balance Automatic image Measuring window Start Processing Save Settings e Make sure that the measuring window is Cancel covered by the neutral grey surface e Use Start Processing to start white balance processing When the camera has finished processing the OSD will show the values for the red green and blue channels and the calculated color temperature CCT Confirm the results with OK e Use Save Settings Select and confirm a slot WB 1 3 to save the automatic white balance settings When saved the white balance setting is automatically applied Note If the camera is not running the OSD will show Image not available Note If it is not possible to calculate a color temperature from the processed white balance values the menu will show CCT out of range These values can be saved used and will not produce out of gamut errors but no color temperature can be given Note
54. 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 removing 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 iil Bridge plate Cylindrical pins Support rods Bridge plate clamping lever MEE EL Stop pin Support rod clampingslever Installation of the Camera 27 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 w
55. ansion Module FEM 2 13 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 amp iris remote control CLM 2 connected to IRIS socket 13 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 hi
56. can be turned on and off with the ring on the lamp head 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 Slide the work light into the dovetail guide and clamp Connect the plug to the RS socket 14 12 General Note Note For further information on the accessories please refer to the corresponding instruction manual 15 Camera Care 15 1 When maintaining and cleaning the camera and accessories pay careful attention to the following notes and tips General Information Camera and accessories should be placed on a stable flat and clean surface that is covered with foam material or clean lint free cloth 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 equipment Under no circumstances use acetone or nitro thinner These chemicals dissolve paint and damage highly polished surfaces Disconnect the camera from the power supply 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 GG E 15 2 A film camera exchanges its sensor i e the piece of film negative holding a frame after a s
57. ce pes cpu e epe opea ope e Re EVERE cna ke ARKANA 71 11 1 Running and Stopping the Camera 71 11 2 Camera Display Modesz EAFA Eee EE a Eei A ENEE EERE 72 Overview of Display Modes ssssssssssssssessssseseeeeeeeeeee nenne erre n nennen nenne S ENERE TEE 73 Overview of Display ZSvmbols nnne nnne nenne nrrrnn nsns sss s nnn 74 Shutter Angle Display Mode 1 75 LOCKING Camera ee EN 75 12 13 11 3 Standard and Programmed Frame Rates sss eene 76 General Procedure for Changing Frame Hates eem eene 76 Setting a Programmed Frame Rate Mode 2 77 11 4 Frame Counter and Battery Information 80 Switching between Display of Frame Counter and Mirror Shutter Angle Mode 1 81 Setting the Frame Counter Configuration Mode 21 81 Displaying the Power Supply Voltage Mode 21 82 11 5 Mirror Shutter Angle and Warning Signal 83 Enabling Disabling the Asynchronous Running Warning Signal Mode Al 83 Enabling Disabling the Mirror Shutter Mode Al 84 Setting the Mirror Shutter Angle Mode Pl 85 Recording p 86 12 1 Recording Format Setup ense ie ne et ease genie eege SEA 86 12 2 Starting and Stopping the Recording c re rh deser ka tie ue rente ENON nud 86 Recording Devices with Variable Frame Rate VariFrame Support 87 Recording Devices without Variable Frame Rate VariFrame Support 87 Functional Expansion Module FEMY 2 eeeeeeeseeeeeeeeee eere rennen 88
58. cording Note For more information on Data Mode ARRIRAW see the glossary in chapter 17 Appendix ARRIFLEX D 21 HD SDI 2 A B Input Format ARRIRAW 25 PsF e Recording System Camera Display 180 0 fps 25 000 On Screen Menu 25 PsF ARRIRAW JOJUOJA OUO 11 Camera Operation 11 1 Running and Stopping the Camera The RUN button is located on the left side of the camera image Next to the RUN button is an operation control LED Dimage If the operation control LED glows red while in standby the camera control electronics are not ready and the camera will not run Note If the camera was just turned on do not operate it before all three imaging status LEDs on the camera backside image light up green Using any of the camera s buttons before it is ready for operation may cause faulty behavior When the camera is in standby it outputs a black image or a still frame To start or stop the camera e Briefly press the RUN button The operation control LED glows red when the mirror shutter starts or stops spinning Once the set frame rate has been reached the operation control LED turns green Note Running and stopping the camera does not necessarily start and stop the recorder See chapter 12 Recording for more information PHASE button Operation control LED RUN button Camera display HUNE muHnhumm Camera Operation 71 Note The m
59. cording Note For more information on Mscope see the glossary in chapter 17 Appendix ARRIFLEX D 21 Camera Display 180 0 HD SDI 2 HD SDI 1 fps 25 000 On Screen Menu 25 PsF Mscope HD422 Normal Range Recording System 4 2 2 Dual Stream HD SDI OUT 25p 50i JOJUOJA OUO Signal Connections 69 Signal Connections 70 Data Mode ARRIRAW Setup Advanced Mode e Set Frame Rate up to 30PsF e Set HD SDI Mode to ARRIRAW 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 Connect link B of the configured output board to recording input B Connect recording HD SDI monitor 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 Note Data Mode setup is only available in Advanced Mode The second HD SDI output board can be set to any HD mode up to 30PsF or Mscope for frame rates up to 25PsF Note ARRIRAW Data Mode output can be recorded using ARRIRAW T Link certified recorders or other systems supporting RGBA HD SDI streams according to SMPTE 372M 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 re
60. cover glass will beome visible as dark spots in the output image e Attach a lens and set the focus to infinity 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 Set the camera output to Mscope so it shows the full sensor aperture as a squeezed image Set the contrast characteristic to El 500 or higher e Start the mirror shutter to see a live image Close the iris to T11 or higher and chech the image for dark spots 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 focused sunlight can cause permanent damage to the sensor Mscope monitor bs Dark spot in the output output caused by dust particle Dust particle in vertically flipped position Note See chapter 9 Camera Output Configuration for more information View on sensor 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 Do not use a magnifying glass if sunlight is used for illumination as focused sunlight can cause permanent damage to t
61. d program cannot be run with the set values Out of range fps or shutter or battery voltage too low blinking The symbol blinks and the operation control LED glows red The electronic shutter adjustment is defective in 1st line Video menu changes being applied standby Shutter Angle Display Mode 1 It is recommended to set Mode 1 to display the current mirror shutter angle rather than a frame counter value along with the frame rate gt image The frame count information does reflect the exposed but not the recorded frame count and therefore can be considered less valuable information than the current mirror shutter angle e Press the SEL button to toggle between shutter angle and frame counter Within three seconds press the SET button Shutter Angle Measurement Holding the PHASE button pressed in standby will run the shutter at approximately 1 fps The display shows the measured angle in the upper line The lower line displays the power supply voltage Note Shutter angle measurement is not necessary if the angle is permanently displayed in mode 1 Shutter angle measurement only works for mirror shutter angles above 90 Locking Camera Controls Engage the LOCK switch to prevent unintentional operation of SEL SET PROG and the Video Menu button Note If SEL SET or PROG is pressed while the camera is locked the display will show OFF Note that the LOCK switch also disable
62. de Select and confirm the desired user mode Switching to Standard Mode requires no further interaction Advanced mode has to be unlocked by entering 2020 in the Enter Code screen Briefly press the video menu button to access the first digit e Rotate the video menu button to Cancel select the first number Briefly press the video menu button to enter this number Access select and enter the remaining digits zeros can be skipped Confirm switching to Advanced Mode using OK Standard Mode Note If the wrong code is entered user mode switching is cancelled Note When switching from advanced to Standard Mode custom settings made in Advanced Mode will be reset to Standard Mode defaults HD SDI 2 configuration will default to the same settings as those for HD SDI 1 Camera Configuration White Balance Similar to choosing tungsten or daylight film stock the D 21 has to be adjusted for the lighting used in a scene The camera offers a selection of commonly 3200 K used color temperatures as well as an automatic 4300 K and manual white balance function in case the 5600 K preset values do not deliver satisfying results 7000 K WB 1 3252 K RGB 1 00 1 09 1 97 Note Manual white balance is only WB 2 5440 K RGB 1 22 1 00 1 35 available in Advanced Mode WB 1 3156 K RGB 1 00 1 10 2 04 To adjust the camera to the lighting situation mu onan gt Manual Enter White Balance image C
63. deo 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 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 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 F and or humi
64. der 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 110 14 10 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 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 17 Appendix Note For more information and operation instructions see chapter 13 FEM 2 and the WRC 2 manual 14 11 Work Light The work light
65. dity 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 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 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 ARRIRAW Data Mode output can be recorded using ARRIRAW T Link certified recorders or recorders supporting 4 4 4 4
66. e 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 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 18 Index Symbols 42 2 EEN 51 86 131 133 4 4 4 RGB 51 86 131 134 11 pin Fischer socket 23 101 12 V ccessory sOCket iisss sees eerte 23 101 24 V accessory socket sssssseseseessseeeen 24 99 105 108 24 V plug on module EE 105 A acceptable temperature range eees 121 124 127 loei tii i E 98 external synchronization unit ESU 1 0 eee 98 fiber link unit ELL 7 107 flash mag mounting adapter EMA 99 heated eyecup HE AHE R 100 incompatible accessories rr rr1 ne 96 isolating power adapter IPA 1 sss 23 101 low mode support 102 remote run switch RSA 104 RS socket distributor sse 105 wireless remote control WC 110 WORK le EE 111 accessory power Supp 23 24 accessory SOocket nenene 23 24 88 105 Lee EE 88 ACOUSTIC WAIN ING EE 83 Advanced Mode nene aeie 42 air drying Gartridge 15 116 117 126 UE aces 138 ALL 192 S aseara euet eie cabe eden
67. e 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 Retighten the knurled ring Eyepiece friction knob Swivel release Optics Extension lock 33 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 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 e The contrast filter is brought into the ON position by turning the lever e Releasing the lever switches the contrast filter back into the OFF position Lever for contrast filter m rotation release Manual rotation knob Re
68. e voltage switch on the mains unit to 26 V e Plug the battery cable KC 20S or KC 29S spiral The acceptable supply voltage for the ARRIFLEX D 21 ranges from 20 5 to 36 V DC cable into the power supply socket on the camera and into the 26 V socket on the mains unit 6 1 Mains Unit NG 12 26 R 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 Use of the mains unit is recommended for shooting in the studio and when using electronic accessories with high power consumption e 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 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 oth
69. ed SCIL iea nau ane Ub eee Ca 136 lg p 23 101 isolating power adapter DAT 101 K on c 20 Eege e ET 20 21 25 L ICS BUS SOCK6et iiiter Dei tU EE 88 BIR Ee ei E 88 89 Lens Data System LDS sssssesesesss 30 88 89 EINE 30 attac ale EE 20 lens support LS O1LS20 ennnen 28 retmote CODtFOl i iiec dedic NEEN EES ge 93 SUP POMC LL EE 28 lens e le In ii aive sd rep Pee aber 13 14 28 30 31 126 lens sopport ing 28 elei Eu 41 75 124 te Ne de EEN 57 log RII 58 low mode support 29 36 102 103 108 M main camera Switch 22 mains unit NGI2 Oen enn 20 maintenan Esne tn eege aeree REY ares E Yes sex vu EES ER 112 mirror shutter eessssessssssseeeneeeme nennen nnne 120 angle measurement eeeseeeeeeemeneenen nnne 75 displaying shutter angle sees 75 enable disable eo eet ee Pee 84 POSION er 22 Te e 85 Mode 1 73 75 81 MOG TEE 73 77 98 MOUS m e 73 81 82 Mod Em 73 83 84 Mode EE 73 85 MODE DUTOR EE 72 RIESEN 50 51 69 86 134 135 N MOISE aeree Ear E rE Ea TE BEE ee 139 normal FANG RE 50 52 63 NORM PS CCU switch 75 O ONDOASIE MOMITO LEE 23 operational parameters ccccceeeeeeeeeeeeeeeeeeeeeeeeeeeees 42 operation control LED 22 41 47 71 74 jo 30 VE ele EE 31 orange peel structure ceccececneeeeeeeeeeeeensneeecceeneneees 139 OSD to0ls
70. edussscexcdeiniscertoatsaeds i lees Seed deed 20 6 2 CINE VCEX 2 Chane EE 21 6 3 eme eret 21 6 4 Malini Camera E 22 6 5 Accessory Power Supply sisiccscvsivsscedccvecsescsieviaevsensaevsavsscuecesnege EE Y VAY EASY UNES ERE EVER dy ra ERREUR 23 12 V ACCESSOMIOS deeg eege e ed eege EERE 23 NEE 24 Ov noadiDIS UE E 24 7 Installation of the Camera 25 71 Minimal Equipment Required for Operatton nne 25 7 2 Tripod and Remote Heads rrr nnne nennen nnne EESE ness nsns nnne 25 43 Bridge Plate Set BP 8 BP 9 uie teu tette hac ee uve V NEL EENS 26 Attaching the Bridge Plate to the Camera 27 Putting the Camera on the Tripod ior ater Eee Yvon De y Y Re ERC Y YR eR Ee yas ux er IUS 27 Removing the Camera from the Tripod assosierer aro EENEN nnne ennt nnne 27 EE Tee EE 28 45 Grip System EE 29 Additional Hand MET d EE 29 Removing the Grip Systelm iedr iier tert re eb e e ees ra des Evene dr Eve Eee a e LONE YU 29 pl 30 8 1 BID HEC TEE 30 erledegt ees 30 Lens Mount POSIUOF gests capiedeearctscetzpass GE eege facte uiuit m eene 30 Changing Lense i fos ech E TR 30 8 2 WIGWHINGEL Net ee Ee Eege ee 31 Viewtnder AIIM 33 Image Orientation EE 34 Removing the Viewfinder System cccccsccceeeseeneeeeeeeecceeeeeseeeaaeeeeesenaaeeeeeseeaaeeeeeeecaaeeeeseenaeeeess 35 Universal Finder A EE 36
71. eeeeee 32 attac hih Jerta saniar 32 REMOVING EE 32 F zb e E EA S compatibility radio channel changimg 91 92 radio receiver URM 23 90 ee 96 status indicato EC 89 92 fiber link unit FLU 1 200 0 cece eeeeeeeeceeeeeeeeeeeeeeeeeeeeees 107 fine tuning the programmed frame rate 78 firmware VERSION iu aeo teet aa epe te Desert ves e REN Dern 19 flash mag mounting adapter EMA 99 E WE RR Elle gege Eege Seege Ces format marking setup frame Counter cece el changing while camera is running 77 ll 0 al Lol E reenter ester reeecrcrerer T arent 78 LINKS PEC ege see ee eege ee ees eg 138 programmed frame rate e 47 77 Elle leie T TEE 78 setting and BT Le e EE 47 76 ll de Be 78 standard frame rate 41 47 76 79 125 127 138 variable frame rate o 47 77 78 87 138 ule m so Seck eee wet P M 33 viewfinder armies cepere rettet oss 33 TUSCS CE 20 124 G general descriptlori ssc tte rre eror interpr Regen 18 general precautioris iiie rmn etiaro npa 14 QGIOSSALY e MO 130 ARRIRAW eessen gege Reese 131 ARRIRAW recording ccccceeeeeeeeteeeeeeeeeseceeeeeeeees 132 ARRIRAW T Umk naea iii 132 bayer EN E EE 131 chroma Leub Jeamplmg sssssmiissmisrrnisneanmnnan 130 MIPIM WEE 130 ele Tee TEE 130 data mou EE 131 dead defective pixels ssssssssssssss 133 vp 133 HD422
72. eight 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 Fix the lens support in position by tightening the 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 Turn the hand grip to screw it into the grip system Pull tight to enable the safety mechanism which prevents loosening Version with registering pins Place the hand grip on the grip system so the registering pins are inserted into the provided holes Using a 5 mm Allen key tighten the hand grip to the grip system
73. ematographers 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 simultaneously 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 f
74. er 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 e Plug the charger cable into the charge input socket of the battery Once charged batteries may be kept on the charger until required Note For more information on CINE VCLX 2 battery and charger please check the corresponding manual 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 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
75. erview of Available Output Formats The SD output always delivers 50 Hz PAL 60 Hz NTSC signals regardless of the frame rate setting Camera Configuration 47 Output Board Advanced Mode The settings for white balance and frame rate apply as a system wide setting Settings for HD SDI mode output range color matrix and contrast characteristic can be applied to all output boards at once or to each board individually Note It is recommended to first set a basic configuration HD SDI 1 for all outputs using ALL 1 gt 2 gt SD and then HD SDI 2 adjust parameters that need to be customized for the second output HD SDI 2 and or SD SD Cancel To select the output board to be configured e Enter Output Board image e Select and confirm ALL 1 gt 2 gt SD HD SDI 1 HD SDI 2 or SD Note Using ALL 1222 SD assigns the subsequent settings made for HD SDI mode output range color matrix and contrast characteristic to all output boards and as far as applicable to the SD output Note Using a frame rate of 30PsF or higher locks HD SDI 2 as option as both output boards are required to transmit these signals Setup Information Digits Three digits shown next to the settings for HD SDI mode output range color matrix and contrast characteristic image provide basic information about which of the outputs are using the same or different settings for these parameters also see table below The info
76. esseeceeeeeceeeeeseseseeseueaeeeeeeeceeeeseeeeeeuees 111 Camera Care ints ccc DEDI 112 15 1 General Informati On EE EEEE 112 15 2 imager te EE 112 MANAG CS AN ea CO ass a es sa teers E soia oo cede neces Eed See 112 Dust Check E 113 Cleaning the Sensor Cover GIASS svccieis cceccpeasindiccagtasacccennasasententnegancdstetdeabnedznabseageaspscaenseetseveanene 114 t DEE 116 Pixel Failure ee cence sce eege eege eege eege ee eege 117 Cleaning the Field EE 119 Technical Data ARRIFLEX D 21 0cceeceecceceeceeceeceeceeseeseeeecesceeseesenaees 120 17 18 19 Appendix EEN 124 EA UN Kee EE leie lt EE 124 14 2 GIOSSHEV EE 130 GUN OU GE ETE RENE 130 Color Signals and Chroma GubiSamplmg sse 130 Bata VE 131 Dead Defective Dixels irr n nennt sides siis ssa sa sais agas n nan 133 ulpa 133 IEN 134 Scanning Methods p i Pet 135 Pixel Elte deet eegene ee eege geen d eelere 136 17 3 Image ATttiE aGES err erret E a E EN et esu ote Reate uv ER CREE ERR EZ re tree 138 PAEGg p E 138 e re ee BEE 138 PANS EE 138 Dead Detective E 138 FIORIZON enn 139 e 139 Pixel Failure egeegeeegeeebeg eege 139 Speckled M ons To NET EE EET CE EES 139 te 140 2 Safety Instructions Any violation of these safety instructions or non observance of personal care could cause serious injuries
77. etween 1 and 60 fps 0 001 fps increments set via electronic accessories or the PS Mode of the camera menu To set the camera to a standard frame rate e If the mirror shutter is running stop the camera by pressing the RUN button e Enter Frame Rate image Select and confirm a standard frame rate from the list Wait for the operation control LED to turn off before operating the camera Note While the frame rate setting 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 according to the instructions above then set a custom speed using electronic accessories or the PS Mode as described in chapter 11 Camera Operation Note The standard frame rate set here determines the maximum frame rate selectable for programmable variable speeds Note Note 976 PsF PsF PsF 97 Dep PsF PsF PsF 94 PsF PsF Cancel The range of standard frame rates available for selection depends on the settings made for the HD SDI mode and vice versa HD444 and ARRIRAW limit the speed to 30 fps Mscope limits the speed to 25 fps Frame rates of 30 fps or higher limit the HD SDI mode to HD422 and lock individual HD SDI 2 configuration as both outputs are required for signal transmission Also see HD SDI Mode Ov
78. 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 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 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
79. 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 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 Main camera switch Imaging status LEDs 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 A 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
80. gher 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 A 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 A 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 CUM ED K2 41378 0 E E K2 52036 0 EXIST 3 csset idit erret ERER K2 55013 0 DD Glas SiG iiit tecto tbe tree ae K2 54012 0 LDD EP ient heise itte K2 54163 0 E EE K2 52262 0 WARD K2 54079 0 WAS 8 EE K2 52264 0 WRG 2 EE K0 60042 0 via WHA 2 or direct to CCU only SW 1 1 0 or higher AIUTO 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 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 Use of the f
81. ging 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 GPP P P B Clean optical lens surfaces only with a lens brush or a clean lens cloth n 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 the 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 A A A A 3 2 P
82. given specifications Note To correctly preview the material on an HD monitor a Filmstream lin conversion LUT optionally also adjusting the El has to be applied on the signal As the D 21 only adopts the characteristic curve the camera image will not show a green color cast Note This characteristic curve has been designed by a different company and for a different camera It is not optimized for the ARRIFLEX D 21 Output LOG F characteristic curve clipping level 18 grey black level 0 Input SD Mode The SD mode menu is used to change the settings for the output zebra and the format markings displayed on the composite video and S Video outputs and to adjust the SD output to the video format of the connected SD monitor Output Zebra Setup The output zebra shows a slanted color pattern overlay in image areas reaching the set threshold exposure level It is only available on the SD output of the camera To activate and configure the viewfinder zebra e Enter SD Mode Output Zebra image Use High and or Low Zebra to activate or deactivate the function Use High and or Low Zebra Level to enter the threshold video levels Use High and or Low Zebra Color to change the zebra pattern color Use Exit to quit the output zebra setup Note High and low zebra operate independently and remain active above the set thresholds It is not poss
83. h speed When the D 21 is set to HD422 and a frame rate higher than 30 fps the camera automatically switches to HD422 dual link 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 50PsF signal The output frames are marked flagged see variable frame rate so the recording system can correctly merge both signals to the bOPsF sequence Any recorder supporting dual stream dual camera input basically also supports HD422 dual link 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 4 4 4 RGB HD signals do not necessarily support HD422 dual link input as this signal type makes different demands on the recording hardware 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 bit HD signals These signals are sent over a dual link HD SDI connection and can be recorded
84. he sensor Camera Care 114 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 e 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 N gas The extremely cold stream of air may cause the sensor cover glass to crack Propellants used in these products could deposit on the 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 damage the sensor cover glass or the mirror shutter High pressure blower bulbs therefore should also not be used Do not use blow brushes Their bristles tend to 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 su
85. hooting with higher frame rates eliminates this effect Progressive material is denoted with the letter p attached to the image format 720p progressive HD with 1280 x 720 resolution 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 num i attached to the image format 1080i interlaced HD with 1920x1080 resolution 25i interlaced material at 25 fps i e 5
86. ible to set the zebra to be active only between low and high level Note Output zebra is a part of the OSD tools see OSD Tools below gt Output Zebra SD Video Mode Format Marking Cancel gt High Zebra High Zebra Level High Zebra Colour Low Zebra Low Zebra Level Low Zebra Colour Cancel Off 83 0 Red Off 20 0 Yellow Camera Configuration 59 Camera Configuration 60 SD Video Mode To adjust the SD video output to 50 Hz PAL or 60 Hz NTSC format for the SD monitor in use e Enter SD Mode SD Video Mode image e Select and confirm the desired output format Format Marking Setup The camera can show a preset or custom format marking as an overlay on the connected SD monitor Format markings are only available on the SD output of the camera 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 To select an aspect ratio for the format marking e Enter SD Mode Format Marking image Select and confirm an aspect ratio from the list Use Exit to quit the format marking setup To setup and store a custom format marking Enter SD Mode Format Marking Enter Edit Format Adjust the left border of the format marking and confirm Repeat adjustment for right upper and lower border e Select and confirm a slot Format 1 3 to save the custom format marking image Select Exit to quit the format
87. 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 9 3 Setting Operational Parameters User Mode The camera can be configured using two different user modes e Standard Mode provides the quickest and easiest way to configure the camera for HD Mode output All output boards are configured with the same settings Standard Mode should be the preferred setup mode as long as the extended options from Advanced Mode do not need to be accessed Advanced Mode provides additional options for settings that are automatically set in Standard Mode and enables the options for Data Mode ARRIRAW output and the use of log output characteristics for HD Mode Camera Configuration Note Faulty configuration in Advanced Mode can affect image quality of the camera output 42 User Mode White Balance gt Framerate HD SDI Mode Contrast Char SD Mode Diagnostics Exit User Mode White Balance Framerate Output Board gt HD SDI Mode Output Range Colour Matrix Contrast Char E SD Mode Diagnostics Exit Standard 3200 K 25PsF HD422 EI 200 Advanced 3200 K 24PsF ALL 1 gt 2 gt SD HD444 Normal Range 3200 K EI 250 To switch user modes e Enter User Mo
88. individual HD SDI 2 configuration as both outputs are required for signal transmission Also see Overview of Available Output Formats below To set the HD SDI mode for the selected output board e Enter HD SDI Mode image e Select and confirm an HD SDI mode from the list e f the signal was set to Extended output range before re apply this setting Note Selecting ARRIRAW here switches to Data Mode which disables the options for output range color matrix and contrast characteristic as these adjustments are not applied for this output mode Note When using ARRIRAW for recording and HD output for preview it is recommended to set HD SDI 1 to an HD Mode HD444 HD422 or Mscope and HD SDI 2 to ARRIRAW output HD422 Note Note HD444 Mscope HD422 ARRIRAW Cancel After applying the HD SDI modes change Output Board to ALL 1 gt 2 gt SD All parameters can now be set more conveniently for both HD SDI 1 and SD output at the same time whereas non applicable settings will be ignored for the ARRIRAW output HD SDI mode however should remain untouched as this would also change the ARRIRAW output to the new setting Changing the HD SDI mode resets the output range to Normal Range HD SDI mode configuration does not apply to the SD output Overview of Available Output Formats ARRIRAW HD444 4 4 4 RGB HD422 4 2 2 YCbCr Mscope 4 2 2 YCbCr 2880 x 2160 2880 x 1620 1920 x 1080 1920 x 1
89. ing Output Board ALL 1 gt 2 gt SD will change the output range for both HD SDI output boards simultaneously Note Output range is automatically set to Normal Range in Standard Mode Note Normal range output is commonly used for shooting a broadcast ready 4 2 2 production Note Using ARRIRAW as HD SDI mode for an output disables this parameter Note Changing the HD SDI mode resets the output range to Normal Range Note Output range does not apply to the SD output gt Normal Range Extended Range Cancel I e6ues puepueis aBuel pepue1x3 Color Matrix Advanced Mode The color matrix applies a color transformation for the intended output color space HD workflow The color matrix selection offers settings for each white balance preset and additional 125 and 75 saturation settings for tungsten and daylight These settings are calculated for the ITU R BT 709 HD color space and in combination with El characteristic curves see below are recommended for use in HD workflows LOG DI workflow The camera additionally provides a LOG setting for use in LOG DI workflows This matrix is based on film densities to provide a color rendition that closely matches negative stock and is recommended in combination with the logarithmic characteristic setups see below To set the color matrix for the selected output board e Enter Color Matr
90. ing the Frame Rate Using Electronic Accessories Note See General Procedure for Changing Frame Rates Depending on the electronic accessory in use the camera can be controlled With the NORM PS switch set to NORM whereas an accessory will replicate the camera display 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 synchro
91. ingle 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 N 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 Mechanical 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
92. irror shutter stops in the same position it was set to before it was started If no image can be seen through the viewfinder briefly press the PHASE button to rotate the mirror into viewing position Note As part of the daily routine of camera care it is 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 Detailed information on checking the imager can be found in chapter 15 Camera Care 11 2 Camera Display Modes The camera display at the front left side of the camera Dimage is used to display adjust parameters connected with the imager s exposure Access to these parameters is provided through different display modes To change between modes e Briefly press the MODE button image n each mode the corresponding operational parameters can be set using the SEL and SET buttons image MODE 1 is indicated in the display by a black horizontal bar in the top right corner image S F MODE 1 indioator MIODIS Eugen lt SEL button Pom Pum PROG buttom SE buen PHASE ug Note Unless stated otherwise operational parameters cannot be changed while the mirror shutter is running Overview of Display Modes Mirror shutter angle or Frame rate fps or Switch first line display between shutter angle and total take frame counter total take frame counter ESU in standby and frame rate fps
93. isplay of take length frames Switching between Display of Frame Counter and Mirror Shutter Angle Mode 1 Having 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 81 Displaying the Power Supply Voltage Mode 3 Change from mode 1 to
94. ix image e Select and confirm a color matrix from the list Note The camera does not offer optimized color matrix settings for automatic or manual white balance values For automatic or manual settings it is recommended to select the color matrix delivering the best match to the set white balance This should be evaluated using a color checker chart and a vector scope gt 3200 4300 5600 7000 5600 K Sat 5600 K Sat 3200 K Sat 3200 K Sat LOG Matrix OFF Cancel Camera Configuration 53 Camera Configuration 54 Recommended Combinations of Contrast Characteristics White Balance and Color Matrix Contrast EI 100 800 Log C characteristic Log F White balance 3200K 4300K 5600 K 7000 K automatic manual any Color matrix 3200 K 4300 K 5600 K 7000 K best match best match LOG 3200 K 75 5600 K 75 3200 K 100 5600 K 100 Contrast Characteristics The ARRIFLEX D 21 offers two types of characteristic curves Exposure Index El characteristic curves intended for direct visually correct HD output Log Characteristic curves intended for use in DI or Filmstream oriented workflows To set the contrast characteristic curve for the selected output board e Enter Contrast Char image e Select and confirm one of the contrast characteristics from the list Note Log C and Log F are only available in Advanced Mode setup 100 200 250 320 400 500 640 BO0 LOG C
95. l 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 f defective or dead pixels do appear the camera s defective dead pixel map has to be updated Cleaning the Field Lens e If 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 as possible e 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 Groumatglass longue tC With the special forceps push the ground glass into the holder as far as it will g
96. lag All speeds crystal and can be set with 0 001 fps precision Does not run in reverse HD Mode HD422 HD SDI SMPTE 292M 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 29 97 30PsF HD Mode HD444 dual link HD SDI SMPTE 372M 1920 x 1080 4 4 4 RGB YCbCr 10 bit 23 976 24 25 29 97 30PsF HD Mode Mscope amp High Speed dual stream HD SDI 2x SMPTE 292M 1920 x 1080 4 2 2 YCbCr 10 bit 48 50 59 94 60PsF 1920 x 1080 4 2 2 YCbCr 10 bit 23 967 24 25PsF Data Mode ARRIRAW T Link ARRIRAW transmission protocol mapped in RGBA HD SDI stream according to SMPTE 372M 2880 x 2160 RAW 12 bit Bayer data 9 23 976 24 2bp 2880 x 1620 RAW 12 bit Bayer data 29 97 30p HD Mode HD422 Requires a recorder supporting HD SDI SMPTE 292M signals HD Mode HD444 Requires a recorder supporting dual link HD SDI SMPTE 372M signals HD Mode Mscope and High Speed Require a recorder supporting 2 parallel HD SDI SMPTE 292M signals dual camera input Data Mode 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
97. lay device or as integrated hardware in some display devices Order of frames is swapped when recording ramps or frame rates gt 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 17 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 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 require 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
98. led Running the camera using the RUN button automatically starts the recording Stopping the camera using the RUN button automatically stops the recording Note If variable frame rate VariFrame is disabled on the recording device the recording has to be started and stopped according to the instructions for devices without variable frame rate support For more information on camera output configuration wiring instructions and information on variable frame rate VariFrame see chapters 9 Camera Output Configuration 10 Signal Connections and 17 Appendix Glossary To display a live camera image on the set monitors without recording the signal Take the recording device out of record standby mode Put the recording device into EE mode if this does not happen automatically Note Please refer to the recording system s user manual for detailed instructions Recording Devices without Variable Frame Rate VariFrame Support Run the camera to provide a live image e Start the recording on the recording device or a connected remote control e Stop the recording on the recording device or a connected remote control Always stop the camera when no live image is A needed e g during shooting breaks This avoids premature mechanical wear of the mirror shutter and extends the mirror shutter s servicing interval Note For more information on camera output configuration and wiring instructions see chapters 9
99. ll silica into 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 pixel 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 To check for defective and dead pixels 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 Connect the camera signal output HD SDI output
100. m 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 A A A A A A Do not remove any screws that have been secured with paint Never run the camera without a lens or a protective cap 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 Chan
101. mage 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 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 disp
102. mera is stored Note The air drying cartridge must be removed while the camera is transported or stored inside a transport case f 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 n 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 Make sure that the silica bottle is securely fastened Under no circumstances spill silica into the lens compartment 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
103. 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 lower accessory socket The red LED below the accessory socket on the camera indicates overload AN Only the upper socket supplies 12 V isolated The lower socket supplies non isolated 12 V for standard camera accessories Using it for video monitors connected to the camera is not recommended Accessories 101 Accessories 102 14 5 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 up 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
104. moving 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 position 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 e Pull the viewfinder system up and off the camera Removing the viewfinder system exposes optical V surfaces on both camera and viewfinder Do not touch the cover glasses Never operate the camera with an open viewfinder interface Attaching the Viewfinder System e Place the viewfinder system on the camera from above e 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 e Place the viewfinder cover plate on the camera from above e 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
105. ng 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 Isopropyl 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 e Use the swab to apply the liquid Start wiping from the inner area towards the edges first and then around the edges in a circular movement Always leave the swabs inside the original bag and never use swabs twice Never touch the cleaning head of the swab with A fingers If the head needs to be shaped to better reach an area press it against the inside of the lid from the cleaning liquid s bottle If the sensor cover glass is contaminated with A 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 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 T NEVER USE METHANOL OR ACETONE TO 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 no
106. nizing 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 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 11 4 Frame Counter and Battery Information Frame counter information is not transmitted along with the signal and therefore cannot be used as shot metadata Two different frame counter types are shown on the camera display in mode 3 and optionally mode 1 image The total amount of exposed frames The take length amount of frames used in an individual take Note A t in the first digit of the upper display line indicates the d
107. nted on the rosettes on the back of the camera and can be rotated about 90 from above to behind the camera The FMA 1 offers e 4 2 2 4 4 4 connection from camera to recorder e 4 2 2 return signal e Timecode IN e 12 24 V IN Interface for Flash Mag recorder To attach the FMA 1 to the camera Tighten the fixed mounting support to the left side rosette on the back of the camera Tighten the articulated mounting support to the right side rosette Connect the 24 V power cable included in the Flash Mag Sony Fiber Adapter Cable Set K2 70410 0 to the 24 V RS socket of the camera and the power input on the FMA 1 Use one or both HDTV BNC cables included in the cable set to connect the camera HD SDI outputs to the FMA 1 HD SDI inputs To mount a Flash Mag on the FMA 1 Slide the Flash Mag into the guides of the FMA 1 Turn the locking lever to establish a connection and to secure the Flash Mag e f the magazine does not power up the power switch on the lower right side of the FMA 1 has to be turned on Accessories 99 14 3 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 e Pull the regular eyecup off the eyepiece and place the heated eyecup on the e
108. o 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 Camera Care 119 16 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 nominal 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 electronically adjustable reflex mirror shutter adjustable to 11 2 22 5 30 45 60 75 90 105 120 135 144 150 172 8 and 180 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 camera RUN PHASE NORM PS CCU control LOCK MODE SEL and SET Video menu over composite video output for control of operational parameters output mode standard frame rate white balance and color matrix signal output
109. of the image processing module To perform a standard reset Cancel e Enter Diagnostics Standard Reset Confirm the standard reset by entering Yes or cancel by entering No When the power LED on the camera backside starts blinking red restart the camera using the main power switch to complete the standard reset The camera will return to the user mode it was set to when the standard reset was performed After a standard reset the camera will default to these settings White Balance 3200K HD SDI Mode HD422 25PsF Output Range Normal Range YCbCr Color Matrix 3200 K not displayed in Standard User Mode menu Contrast Char El 200 SD Video Mode PAL 9 4 OSD Tools The SD output of the ARRIFLEX D 21 provides a set of OSD tools an adjustable format marking with preset or custom aspect ratio a viewfinder output zebra an RGB histogram separate R G Band LUMINANCE histograms To access the OSD Tools e Exit the video menu if it is displayed e Rotate the menu button to step through the tools Note The viewfinder output zebra is setup using the video menu See section SD Mode Note The histogram always refers to the settings of the SD output Viewfinder Zebra 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
110. of the output boards requires Advanced Mode setup ARRIFLEX D 21 Camera Display 1728 HD SDI 2 HD SDI 1 fps 24 000 On Screen Menu 24 PsF HD422 Normal Range E 2 to gt Ka D S 2 Q s D c Input Format 4 2 2 24p 48i JOJUOJA OUO HD422 High Speed Setup Standard Mode e Set Frame Rate between 48 and 60PsF e Set HD SDI Mode to HD422 e Set the recording system input format to 4 2 2 YCbCr 1080PsF i dual link using the frame rate set on the camera Connect camera output HD SDI 1 link A to recording input HD SDI IN A Connect camera output HD SDI 2 link A to recording input HD SDI IN B Connect recording HD SDI monitor out to control monitor input HD SDI IN A or B Note HD422 output above 30PsF requires the use of two HD SDI output boards Each board outputs the same signal on link A and B Using link A is recommended Devices connected via single link on HD SDI 1 or 2 will only receive every other frame Note Recording HD422 output above 30PsF using dual stream 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 HD422 dual stream output and recording system requirements see the glossary in chapter 17 Appendix Note Dual stream dual camera recording is commonly used for stereoscopic capture with two camera heads Please refe
111. ollowing equipment is not permitted A as it will cause permanent damage to the camera or the FEM 2 UC C2 Run Cable nidereniea iaaa K2 52076 0 LC S1 Power Cable K4 46859 0 EC S2 Power Cable regeret K2 47146 0 LC S3 Power Cable scii iecoris 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 C C1 Run Cable Revo K2 41398 0 LC C Run Cable K2 41399 0 13 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 cameras always make sure that the software and firmware requirements listed above are met ii If the FEM 2 module is interchanged between from the camera and FEM 2 before removing the FEM 2 This procedure must be carried out on a static free workstation Switch off the camera and disconnect all cables Note The camera should be securely placed on a stable flat surface or fixed on a pivoting head to provide a secure working environment Removing the FEM 2 e Using a3 mm Allen key loosen the fastening screw of the FEM 2 electronic side cover image e Pull at the back end of the FEM 2 to remove it from the camera Attaching the FEM 2 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
112. on 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 ul pg rm ing e welle EDS Nemmel 9 mere Super SS meine 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 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 Never put your fingers into the lens mount 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 lenses to make sure no dust has settled on the sensor cover glass Note When no lens is attached to the camera for an
113. or 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 information for one color component One form of a CFA is the 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
114. ortable 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 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 3 3 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 Condensation 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 ca
115. own in the table below Note Mode 4 actually is Mode 6 based on the ARRI camera display reference structure Electronic accessories therefore identify it as Mode 6 Setting the Volume of the Warning Signal Change from mode 1 to mode 4 by pressing the MODE button three times Press the SEL button twice to access the warning signal volume setting Select the desired volume with the SET button 0 off 3 maximum volume Camera Operation 84 Enabling Disabling the Mirror Shutter Mode 4 Disabling the mirror shutter parks it so the sensor is exposed at all times This effectively extends the exposure time for each frame see table to the right but disables the optical viewfinder To enable or disable the mirror shutter e Change from mode 1 to mode 4 by pressing the MODE button three times fps Exposure Approx Approx e Press the SEL button three times to access time ms exposure time ms corresponding the mirror shutter enable disable setting at 180 shutter disabled shutter angle e Within three seconds press the SET button 1 500 990 356 to enable bar in top position or disable bar 5 100 190 342 in bottom position the mirror shutter i i 10 50 90 324 Note The resulting exposure time does not double as 15 33 57 306 the sensor needs to be reset after readout 20 25 40 288 Note At speeds above 29 97 fps the sensor readout a 23 976 24 21 92
116. 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 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 ARRIRAW an output board delivers the raw data with 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
117. processing module Temperature Power Diagnostics Indicator Diagnostics Temperature Power Meaning 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 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 camera body 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 Green Internal power supply levels normal 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 62 Note The integrated cooling system keeps the CMOS imager at a constant 32 C When the camera is operated in high temperatures it may be necessary to support the internal cooling by means of an external fan Standard Reset A standard reset restores the factory settings for S tatus user accessible and internal controls
118. ptable 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 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 Characteristics 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 i
119. r 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 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 EN Fastening screws Low mode short set a 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 Low mode short set K2 70010 0 Flash Mag Sony Fiber Interface Cable Set K2 70410 0 for power and signal from camera Fiber 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 Set the Sony field recorder to record pause mode The ready LED lights up blue when the recorder is ready for recording Setting the recording switch to REC starts the recording The tally light will light up green when the recor
120. r to the recording system s user manual for information and instructions on 48 50 59 94 60p 4 2 2 dual stream dual camera recording Note 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 e On Screen Menu A A 50 PsF Ss B B Normal Range Recording System Input Format 4 2 2 Dual Link 50p JOJUOJA OUO Signal Connections 67 Signal Connections 68 HD444 Setup Standard Mode e Set Frame Rate up to 30PsF e Set HD SDI Mode to HD444 e Set the recording system input format to 4 4 4 RGB 1080PsF i dual link using the frame rate set on the camera 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 recording HD SDI monitor out to control monitor input HD SDI IN A or B Note 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 Note Standard Mode setup assigns the same settings to all HD SDI output boards Individual configuration of the output boards requires Advanced Mode setup Note If the control monitor supports 4 4 4 signals recording outputs HD SDI OUT A and B can also be connected to the control monitor inputs HD SDI IN A and B ARRIFLEX D 21 2 HD SDI 2 Recording System Inp
121. rame 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 adapts 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 16 CRC 2be9f Color management version R2 20 E cover software version 2 03 E cover firmware version 1 09 Different software versions can result in different behavior 6 Power Supply Mains unit Available ARRI power supply solutions NG 12 26 CINE VCLX 2 battery 280 Wh CINE VCLX 2 battery charger e NG 12 26 R mains unit CINE VCLX 2 Battery Do not open the batteries CINE VCLX 2 Charger Charge batteries only with original chargers a AN Do not bypass the fuse or temperature switch mx Do not heat batteries AN Do not short circuit batteries e Ensure that the camera power is turned off e Set th
122. rface 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 Do not touch the cleaning silicone pad with 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 www 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 Always leave the swabs inside the original bag and never use swabs twice Use a new swab if the cleaning head has been touched with fingers or oils 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 j If the sensor cover glass is contaminated with 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 w texwipe com Step 3 Wet Cleaning While cleani
123. rmation is based on the parameters of the currently selected Output Board Note When ALL 1225 SD is selected the setup information digits are based on the HD SDI 1 configuration The example image shows the setup for output board HD SDI 1 e HD SDI 2 is set to a different HD SDI mode and output range Both settings do not apply for the SD output The settings for color matrix and contrast characteristics are the same for all outputs User Mode White Balance Framerate Output Board gt HD SDI Mode Output Range Colour Matrix Contrast Char SD Mode Diagnostics Exit Advanced 3200 K 24PsF HD SDI 1 HD444 Normal Range 3200 K EI 200 Symbol Meaning 1 Setting applies to HD SDI 1 2 Setting applies to HD SDI 2 S Setting applies to SD output Setting does not apply to HD SDI 1 HD SDI 2 or SD depending on which digit the period is on Setting is not available for SD output Camera Configuration 49 Camera Configuration 50 HD SDI Mode The HD SDI mode identifies the type of signal output for HD SDI 1 and 2 The Data Mode ARRIRAW option is only available in Advanced Mode setup Note The HD SDI mode that can be selected depends on the settings made for the standard frame rate and vice versa HD444 and ARRIRAW output limit the maximum speed to 30PsF Mscope limits the speed to 25 fps Frame rates of 30 fps or higher limit the HD SDI mode to HD422 and lock
124. rol 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 provide 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 A 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 ARRIFLEX D 21 incl finder eyepiece 25 5 11 6 FEM 2 and standard camera handle ARRIFLEX D 21 camera body 20 5 9 3 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 Flash mag mounting adapter FMA 1 3 0 1 4 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 AN or a recording device to the camera or the support rods as the center of gravity may shift towards the
125. s 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 24 V in out RS sockets HD SDI monitor OUT Fiber cable connector HD SDI IN A B Tally LED REC PAUSE switch Review button Remote connector Ready LED DH ap Accessories 107 To use the D 21 with the fiber link unit Equip the D 21 with a low mode short set 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 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 monito
126. s the video menu functions on the back of the camera Locking the camera display has no influence on the phase function the NORM PS CCU switch and on electronic accessories 11 3 Standard and Programmed Frame Rates The ARRIFLEX 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 set in the video menu e Programmed variable speeds in increments of 0 001 fps between 1 and 60 fps Switching between standard and programmed frame rate is done with the NORM PS switch image The NORM position corresponds to the standard frame rate the PS CCU position to the programmed speed General Procedure for Changing Frame Rates First set a standard frame rate using the video menu see chapter 9 Camera Output Configuration Next set a programmed frame rate using the camera display see below or an electronic accessory or program a ramp using an electronic accessory NORM PS CCU switch Note The maximum frame rate selectable for programmable speeds and ramps is determined by the standard frame rate set in the video menu This also applies to the range available for electronic accessories Note Running the camera at speeds other than standard frame rates requires recording equipment that supports variable frame rates Also see the glossary in chapter 17 Appendix Setting a Programmed Frame Rate Mode 2 Note See General Procedure for Changing Frame Rates e
127. ses equipped with ARRI LDS contacts and lenses 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 To connect an LDD use LDD cable K4 55855 0 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 LDD socket LDS status LED Radio status LED Channel selection LED Status Green LDS OK Off No LDS lens 13 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 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 e Using a 2 5 mm Allen key loosen the two screws of the URM port cover Remove the two screws from the holes in the cover
128. sory overload LED 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 i LCS bus socket Imaging status LEDs desse cmn 11 pin accessory socket 12 V and overload LED Service port S Video Y C SD output Accessory Composite video ACC socket SD output T F E b de 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 1 Contents D 21 Left Right Front Rear View AER 2 1 COTES EE 6 2 Safety Instructions sene nanena nennen nnn n enn enne nena 12 21 General Safety InstructiOris s eorr seesenessuseaece NEESS pego nini en c dE ER era ea ees 12 2 2 Specific Safety Instructions siressa en iraa aa aea ia aa E E Ee nnns nnn 13 3 General PreCautions sts seis ivciedssadeese sce ssccesc5 cheeses sscbeseedessachssescedasetssessaasace 14 A Eeler 14 3 2 Electromagnetic InterfelellC8 ersinnen ota dees de tuere pep Ra nra EES dee 14 BiG CONAESMSATION EE 15 4 JETMETUII 16 5 General Description 18 Product identification ege ege 18 SCOPE TEE 19 6 POWer SUD DIY eege 20 61 Mains WinttiING 12 26 R ssiocscccscesieshc
129. srecailvadesavaseaeaiaasdaoeriasdandaaavaane 40 Advanced Mode enne 42 ele e EE 43 olor MATIX E 48 50 53 colour temperature eeccceeeeeee cece eeeeeeeeeeeeeeeeeeees 44 46 Contrast characteristic ccccceeeeeceeeeeeeeeeeesaeeeeeeees 54 default Settiigs isa tttm tren eret tig 63 ele leg e 61 El ch racteristiGS ictor ere ether seg Ce ge 55 El Setu Piede see EN 56 format marking Set P siensia 60 FIDE SDI are e EE 50 LOCK SWHItCh oirionn aa 41 75 124 logi C Sep EE 57 log dart o 58 OSD tGolS testi remet ee eese bo du e 41 44 59 64 118 eeler DOE 48 g tput LAM OC EE 52 output ZODEa iier ires ESTE Ee Rire iE Ee eE 59 overview of available output formats 51 SD MOE m ER 59 SD video mode ies tte eyed Racine 60 setup information dote 49 standard frame rate 47 Standard Mode inscne E 42 Standard reSt crescini nietin inona eai 63 StatUS ieina AER ge EEA a E 61 user MOOG EE 42 43 63 white balane rninn aeaaeae XR anaE 44 46 video menu button iei dE ege EES e EE 41 VIQW TINGS ANN E 33 XLS MCIING ore 33 friction adjUStMENt usen ceret eres ets 33 SWIVOlIII E 33 turning the eyepiece Oezoen snai 33 UNIVERS Alls me 36 viewfinder system 31 120 Te Er e EE 34 ARRIGLONW icto roe bene aeann ERREEN 38 attaching a socer Phe ii vede Tati icut edu A 35 displays in viewfinder etnies 31 image orientation cuente nennen st iine teens 34 FOMOVING E
130. stproduction 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 137 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 them during playback depending on the recorder VariFrame tagging can be used for differen
131. t 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 Find a warmer storage location 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 f 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 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 Make sure that the silica bottle is securely fastened Under no circumstances spi
132. t 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 17 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 elements inside or around the edges of the captured frame may produce horizontal trails in the ou
133. terfaces The ARRIFLEX D 21 has three output boards providing HD and SD outputs on the back of the camera Two dual link HD SDI outputs HD SDI 1 and 2 are located on the bottom right side image Both BNC connectors 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 Additional functions including mirror shutter angle and programmable frame rates are controlled using the camera display located at the front left side of the camera image See chapter 11 Camera Operation for instructions FOROR og og og gn n 8 II Video menu button Imaging status LEDs HD SDI 1 HD SDI 2 S Video Y C SD output Composite video SD output RUN button Operation control LED Camera display Using the Video Menu e Briefly press the video menu button image to display the video menu on the connected SD monitor Rotate the video menu button to select an operational parameter Briefly press
134. th 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 14 9 Fiber Link Unit FLU 1 The FLU 1 enables a single fiber cable to carry 4 4 4 or 4 2 2 HD signals 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 allow
135. times the signal range normal extended range HD422 outputs a 1080PsF i 4 2 2 YCbCr signal via single link HD SDI according to SMPTE 292M HD422 High Speed outputs two 1080PsF i 4 2 2 YCbCr signals via dual stream HD SDI according to SMPTE 372M HD444 outputs a 1080PsF i 4 4 4 RGB signal via dual link HD SDI according to SMPTE 372M Mscope HD422 outputs two 1080PsF i 4 2 2 YCbCr signals via dual stream HD SDI according to SMPTE 372M ARRIRAW outputs a 2880x2160 or 2880x1620p RAW 12 bit stream mapped into a 4 4 4 4 RGBA signal via dual link HD SDI according to SMPTE 372M ARRIRAW T Link Note Please refer to the recording system s user manual for instructions on the recording format setup Note Also see chapters 9 Camera Output Configuration 10 Signal Connections and 17 Appendix Glossary recording system matches the output 4 Always verify that the format setting on the configuration of the camera 12 2 Starting and Stopping the Recording The diagnostics menus from the video menu should always be exited before recording is started Depending on the recording device in use the recording can be started either directly from the camera or by using the recording device s control panel or a connected remote control Recording Devices with Variable Frame Rate VariFrame Support Put the camera in standby e Set the recording device into record standby mode with variable frame rate VariFrame enab
136. tput 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 information gathered from the surrounding pixels If a whole cluster of adjacent pixels fails th
137. ut Format 4 4 4 23 98p 59 94i Camera Display 144 0 fps 23 976 On Screen Menu 23 98 PsF HD444 Extended Range JOJUOJA O02 Mscope HD422 Setup Standard Mode Set Frame Rate up to 25PsF 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 Connect link B of the configured output board to recording input HD SDI IN B Connect recording HD SDI monitor out to control monitor input HD SDI IN A or B Note 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 Note Standard Mode setup assigns the same settings to all HD SDI output boards Individual configuration of the output boards requires Advanced Mode setup Note 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 a dual stream signal 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 Note Dual stream 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 4 2 2 dual stream dual camera re
138. ve LE 135 progressive segmented Trame 136 pec 75 76 78 PG Mode enne nnne nnn nnns 78 R radio receiver URM23 een 90 lune DEE 77 78 138 recording Pere rU 86 122 CONNMECHIONS dee E 65 format Setup 66 67 68 69 70 86 starting and stopping esee 86 variable frame rate ene 87 NAMI UNC sra uc a hee 87 remote Ccontroal iiu rici eci rk aer vas ug o Gua e E gd 93 94 remote run switch RSA 104 ROB eat bese ones aces an ect attic sate iA ee 130 Bebe ee 104 RS socket siden eege 24 99 100 104 105 106 108 111 RS socket distributor ssssseeenenneerrrrrreerrrrenrrrreenrrrree 105 FUNG WEG EE 71 105 d Dee Late C 71 S 5 shoulder set eo recien E Ei 106 safety InstrucHons esre srrtir iii errssna sni siee esenea iaae 12 SD MOE xoti a a a eds 59 SID Vid Os ET 40 41 59 60 SEL DuttOmvscecseeesexiliasdevisuaeadischedeceeteteredaccistel ETERNE 72 85 Le 148 SET DUTTON icr hti se error Eege Eessen 72 85 setup information dote 49 Shifting Re IT 78 shoulder WE 106 shoulder set GP 106 shutter angle adjustment ee eeeeeeeeeeeeeeeeennneneeeees 85 shutter angle display essssssssee 75 81 shutter angle for HMI light 85 shutter angle measurement eene 75 Shutter GE ctt e rede tenet Seege ec 84 signal COnneGctloris cs irre ERR 65 data mode ARRIRAW setup 70 HD22 high speed setup ssssssesseeeeeeee 67 HD422 EE 65 HD444 SOtU EE 68 Mscope Setup E
139. while running external control connected or program Pr if a program is active PS Programmed frame rate Frame rate Programmed fps Change programmed frame rate ESU external control connected Current frame rate if a program is active Current shutter angle if a program is active Total take frame counter Power supply voltage V Toggle 1st display line for mode 1 and mode 3 set low battery warning level Lobat Async signal enabled or disabled Rotating shutter enabled Async signal enable disable _ at camera run stop and or disabled _ volume or warning signal volume of the acoustic warning signal rotating shutter enable disable Mirror shutter angle Mirror shutter angle Set shutter angle Current shutter angle if a program is active Current shutter angle if a program is active Note Mode 1 is displayed after switching on the camera after pressing the RUN button or 30 seconds after the last operation Overview of Display Symbols continuous continuous continuous The display is in mode 1 Power supply voltage reached warning level Asynchronous operation camera is not running at set frame rate blinking Shutter out of Sync blinking ESU is connected but no sync frequency is available continuous The stored program is activated and can be started while the camera is running by pressing the PROG button blinking The activate
140. 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 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 Split t Anamorphic ee d image 1 33 1 ET KL 1920 _4_ Alink A HD recorder dual stream IN single link preview OUT m 1920 De squeezed 88 HD preview 2 66 1 Ly When shooting with anamorphic lenses each stream therefore directly shows a de squeezed image that can be used for preview and editorial Mscope Recording amp Postproduction
141. yepiece 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 Set the heating level with the toggle switch LO low heat output HI higher heat output OFF no heat output If the camera and accessories are powered by 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 14 4 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 accessory socket is looped through to the lower socket on the adapter To use the isolating power adapter e 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

2009-03 ARRIFLEX D-21 Instruction Manual 1.16

Contents

Download Pdf Manuals

Related Search

Related Contents