ARRI ARRIFLEX D-21 Instruction Manual
  1. Manuals
  2. Brands
  3. ARRI Manuals
  4. Camcorder
  5. ARRIFLEX D-21
  6. Instruction manual
ARRI ARRIFLEX D-21 Instruction Manual

ARRI ARRIFLEX D-21 Instruction Manual

Hide thumbs Also See for ARRIFLEX D-21:
Table of Contents

Advertisement

Quick Links

Download this manual
ARRIFLEX D‑21
INSTRUCTION MANUAL
November 2009
COPYRIGHT © 2009 ARNOLD & RICHTER CINE TECHNIK GMBH & CO BETRIEBS KG. ALL RIGHTS RESERVED.
NO PART OF THIS DOCUMENT MAY BE USED FOR DISTRIBUTION, REPRODUCTION, TRANSMISSION,
TRANSCRIPTION, STORAGE IN A DATA RETRIEVAL SYSTEM, OR TRANSLATED INTO ANY LANGUAGE
IN ANY FORM BY ANY MEANS WITHOUT THE PRIOR WRITTEN CONSENT OF ARRI.
IF YOU ARE DOWNLOADING FILES FROM OUR WEB PAGES FOR YOUR PERSONAL USE, MAKE
SURE TO CHECK FOR UPDATED VERSIONS. ARRI CANNOT TAKE ANY LIABILITY WHATSOEVER FOR
DOWNLOADED FILES, AS TECHNICAL DATA ARE SUBJECT TO CHANGE WITHOUT NOTICE.

Advertisement

Table of Contents
loading

Related Manuals for ARRI ARRIFLEX D-21

Summary of Contents for ARRI ARRIFLEX D-21

  • Page 1 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.

  • Page 2: Left/Right/Front/Rear View

    Accessory mounting Eyecup rosette Eyepiece focus adjustment Eyepiece lock RUN button LOCK switch NORM - PS/CCU switch PROG button MODE button SEL button SET button PHASE button Operation control LED...
  • Page 3 Tape hook Image rotation knob Image rotation release Viewfinder arm PL mount Viewfinder Ground glass extension lock Main camera switch Viewfinder arm friction adjustment...
  • Page 4 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 &...
  • Page 5 Viewfinder swivel release Spirit level Tape hook Grip system HD clock pulse output Video menu button Lens control system (LCS) bus socket Imaging status LEDs 11-pin accessory Service port socket (12 V) and overload LED S-Video, Y/C (SD output) Accessory (ACC) socket Composite video (SD output)

  • Page 6: Table Of Contents

    Contents D‑21 Left/Right/Front/Rear View .................. 2 Contents ......................6 Safety Instructions .................... 12 2.1. General Safety Instructions ....................12 2.2. Specific Safety Instructions ....................13 General Precautions ..................14 3.1. Storage and Transport ......................14 3.2. Electromagnetic Interference ....................14 3.3. Condensation ........................15 Disclaimer ......................16 General Description ...................
  • Page 7 7.2. Tripod and Remote Heads ....................25 7.3. Bridge Plate Set BP-8, BP-9 ....................26 Attaching the Bridge Plate to the Camera ...................27 Putting the Camera on the Tripod ....................27 Removing the Camera from the Tripod ..................27 7.4. Lens Support ........................28 7.5. Grip System .........................29 Additional Hand Grips .........................29 Removing the Grip System ......................29...
  • Page 8 9.3. Setting Operational Parameters ...................42 User Mode ...........................42 White Balance ..........................44 Standard Frame Rate ........................47 HD-SDI Mode ..........................50 Overview of Available Output Formats ..................51 Output Range (Advanced Mode) ....................52 Color Matrix (Advanced Mode) ....................53 Recommended Combinations of Contrast Characteristics, White Balance and Color Matrix ..54 Contrast Characteristics ......................54 SD Mode ............................59 Diagnostics ..........................61...
  • Page 9 Installing the URM-3 Radio Receiver ..................90 Using the Wireless System ......................91 13.3. Remote Lens Control ......................93 CLM-2 Status Indications ......................93 13.4. Camera Remote Control ......................94 13.5. Compatibility ........................95 ARRIFLEX D-21 FEM-2 Compatibility List ...................95 Incompatible Accessories ......................96 13.6. Replacing the FEM-2 ......................96...
  • Page 10 Removing the FEM-2 ........................97 Attaching the FEM-2 ........................97 Accessories ....................... 98 14.1. External Synchronization Unit ESU-1 ..................98 14.2. Flash Mag Mounting Adapter FMA-1 (discontinued) ............99 14.3. Heated Eyecup (HE-4/HE-5) ....................100 14.4. Isolating Power Adapter IPA-1 ...................101 14.5. Low Mode Support ......................102 14.6.
  • Page 11 Scanning Methods (p, i, PsF) .....................135 Pixel Failure..........................136 17.3. Image Artifacts ........................138 Aliasing ............................138 Clipping ............................138 Dark Spots ..........................138 Dead/Defective Pixels ........................138 Horizontal Smear ........................139 Noise ............................139 Pixel Failure..........................139 Speckled Images ........................139 Index ........................ 140 ARRI Group Addresses ..................148...

  • Page 12: Safety Instructions

    Do not use accessories or attachments that are ➪image indicates objects, which are not recommended by ARRI, as they may cause shown in an illustration or picture. 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.

  • Page 13: Specific Safety Instructions

    2.2. Specific Safety Instructions Do not remove any screws that have been secured with paint! Do not remove any safety measures of the Never run the camera without a lens or a system! protective cap in the lens mount receptacle! Do not operate the system in areas with Attention! Danger of injury! humidity above operating levels or expose it to...

  • Page 14: General Precautions

    If the contamination cannot be removed, the Do not store the camera in places where it is camera should be taken to an ARRI Service subject to extreme temperatures, direct sunlight, Center for cleaning.

  • Page 15: Condensation

    3.3. Condensation • In ambient temperatures above 30 °C/86 °F and/or humidity above 60%, always attach the air-drying When moving the camera from a cool to a warm location cartridge to the PL-Mount of the camera, whenever it or when the camera is used in a damp environment, is not in use.

  • Page 16: Disclaimer

    In no event components, due to sensor contamination, occurrence shall ARRI or its subsidiaries be liable for or have a of dead or defective pixels, defective signal connections remedy for recovery of any special, direct, indirect, or incompatibilities with third party recording devices.
  • Page 17 In the case one or all of the foregoing clauses are not allowed by applicable law, the fullest extent permissible clauses by applicable law are validated. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co Betriebs KG. Note: This product and the accessories recommended by the manufacturer fulfill the specifications of the EU-Guideline 89/336/EWG.

  • Page 18: General Description

    ARRI film style accessories, As the top of the line digital cameras from ARRI, simple to use controls and the robust construction and the market leader in professional imaging, it is ergonomic design for which ARRI cameras are famous.

  • Page 19: Scope

    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.

  • Page 20: Power Supply

    KC-20S or KC-29S (spiral The acceptable supply voltage for the cable) into the power supply socket on the camera ARRIFLEX D-21 ranges from 20.5 to 36 V DC. 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 &...

  • Page 21: Cine Vclx/2 Charger

    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. • 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.

  • Page 22: Main Camera Switch

    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: • First switch on the mains unit (if used). • Connect the camera to the mains unit or to the battery. Main •...

  • Page 23: Accessory Power Supply

    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. The 11-pin accessory socket power output is not electrically isolated from camera ground. 11-pin accessory socket Ground loops may cause damage to camera or Overload warning LED...

  • Page 24: Accessories

    24 V Accessories RS socket 24 V accessories are normally attached to the RS- socket ➪image. At 24 V, the available continuous Overload current is 3 A maximum, and peak load is 5 A. warning The RS socket supplies the same voltage as the camera power supply.

  • Page 25: Installation Of The Camera

    Camera Weight • HD or data recording unit including power supply and power cables ARRIFLEX D-21 incl. finder, eyepiece, 25.5 11.6 FEM-2, and standard camera handle • HD control monitor attached to the recording...

  • Page 26: Bridge Plate Set Bp-8, Bp-9

    Horizontal Levelling The ARRIFLEX D-21 is equipped with a spirit level to aid horizontal levelling of the camera ➪image. Please use caution when attaching accessories or a recording device to the camera or the support rods as the center of gravity may shift towards the front or back, which can tip over the camera.

  • Page 27: Attaching The Bridge Plate To The Camera

    Attaching the Bridge Plate to the Camera • 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 Screws and fasten it to the 3/8-16 threaded holes in the camera base with the two slotted screws ➪image.

  • Page 28: Lens Support

    7.4. Lens Support Heavy or long lenses require support to avoid overstressing the camera’s lens mount. Supporting Lens support LS-9 a lens is achieved by using either lens support LS-9 ➪image (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.

  • Page 29: Grip System

    7.5. Grip System Hexagon screws The multipurpose grip system on the ARRIFLEX D-21 guarantees high stability through its fixed connection to Grip system the camera body and provides numerous possibilities for attaching accessories. Five 3/8" inner threads allow attachment in diverse positions ➪image.

  • Page 30: Optics

    8.1. Lenses All 35 format lenses with a PL-Mount can be used on the ARRIFLEX D-21. Lenses with a Ø 41 mm standard or bayonet mount cannot be used. Heavy and long lenses, such as zoom lenses, must be supported at all times.

  • Page 31: Viewfinder System

    Viewfinder System and then pulling out the lens or protective cap. Never put your fingers into the lens mount The ARRIFLEX D-21 has an optical reflex receptacle. viewfinder system with interchangeable ground glasses. The viewfinder is adjustable in two axes, •...

  • Page 32: Diopter Compensation

    Eyepiece The camera can be equipped with an 8x or 10x wide- Dioptre compensation scale angle eyepiece. The eyepiece can be extended with a medium (FE-5) or a long (FE-3) finder extender. Knurled ring Note: When a finder extender is used, the viewfinder image has to be manually rotated by 180°.

  • Page 33: Viewfinder Arm

    Viewfinder Arm Eyepiece friction Allen screw Turning the Eyepiece knob 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.

  • Page 34: Image Orientation

    Image Orientation Lever for contrast filter Manual rotation release 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 Manual rotation knob a viewfinder extension, which rotates the image by 180°. Manually Adjusting Image Orientation •...

  • Page 35: Removing The Viewfinder System

    Removing the Viewfinder System Fastening screws 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.

  • Page 36: Universal Finder Arm

    If the camera shall be used without viewfinder system, Viewfinder the viewfinder interface has to be protected using the cover plate viewfinder cover plate ➪image from the D-21 low mode support K2.70004.0 or low mode short set K2.70010.0: • Place the viewfinder cover plate on the camera from above.

  • Page 37: Ground Glasses

    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.

  • Page 38: Arriglow

    8.4. ARRIGLOW ARRIGLOW module The ARRIGLOW module is integrated in the viewfinder Brightness system of the D-21. It allows illuminated format adjustment markings to be superimposed onto the viewfinder knob image with continuously adjustable brightness. • To adjust the brightness of the illuminated format markings turn the adjustment knob ➪image.
  • Page 39 • 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. •...

  • Page 40: Camera Output Configuration

    9. Camera Output Configuration 9.1. Output Interfaces The ARRIFLEX D-21 has three output boards providing Video menu button HD and SD outputs on the back of the camera. Imaging status LEDs • Two dual link HD-SDI outputs ( HD-SDI 1 and 2) HD-SDI 1 are located on the bottom right side ➪image.

  • Page 41: Using The Video Menu

    Using the Video Menu The camera image in the SD video output therefore shows a 4:3 image up to 25 fps and a • Briefly press the video menu button ➪image to display 16:9 letterbox display for 29.97 fps and above. the video menu on the connected SD monitor.

  • Page 42: Setting Operational Parameters

    9.3. Setting Operational Parameters Main Menu User Mode The camera can be configured using User Mode: Standard two different user modes: White Balance: 3200 K Framerate: 25PsF • Standard Mode" provides the quickest and easiest " HD-SDI Mode: HD422 way to configure the camera for HD Mode output. Output Range: Normal Range All output boards are configured with the same...
  • Page 43 To switch user modes: User Mode • Enter " User Mode". • Select and confirm the desired user mode. • Switching to Standard Mode requires no further interaction. Standard Mode • Advanced mode has to be unlocked by entering “2020” in the “Enter Code” screen: Advanced Mode •...

  • Page 44: White Balance

    White Balance White Balance Similar to choosing tungsten or daylight film stock, the D-21 has to be adjusted for the lighting used in 3200 K a scene. The camera offers a selection of commonly 4300 K used color temperatures, as well as an automatic 5600 K and manual white balance function in case the 7000 K...
  • Page 45 • Use "Start Processing" to start white balance processing. 1.00 When the camera has finished processing, the OSD will show the values for the red, green and blue 1.08 channels and the calculated color temperature (CCT). 1.95 • Confirm the results with "OK". •...
  • Page 46 Manual White Balance (Advanced Mode) Manual White Balance Manual white balance can be used to fine- tune the preset or automatic white balance settings. To apply a manual white balance: • If the camera is not running, briefly press the RUN button. •...

  • Page 47: Standard Frame Rate

    Standard Frame Rate Frame Rate The D-21 can be set to run at: 23.976 PsF • Standard frame rates (23.976, 24, 25, 29.97, 30, 48, 50, 59.94 and 60 fps), set in the video menu. 24 PsF 25 PsF • Programmed or variable speeds between 1 and 29.97 PsF 60 fps (0.001 fps increments), set via electronic 30 PsF...
  • Page 48 Output Board (Advanced Mode) Output Board The settings for white balance and frame rate apply as a system-wide setting. Settings for HD-SDI mode, output range, color matrix and ALL (1>2>SD) contrast characteristic can be applied to all output boards at once or to each board individually. HD-SDI 1 Note: It is recommended to first set a basic configuration HD-SDI 2...

  • Page 49: Setup Information Digits

    Setup Information Digits Main Menu Three digits shown next to the settings for HD- SDI mode, output range, color matrix and contrast User Mode: Advanced characteristic ➪image provide basic information White Balance: 3200 K about which of the outputs are using the same or Framerate: 24PsF different settings for these parameters (also see table...

  • Page 50: Hd-Sdi Mode

    HD‑SDI Mode Mode HD-SDI ALL 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. HD422 Note: The HD-SDI mode that can be selected depends on the settings made for the standard frame rate HD444 and vice versa.

  • Page 51: Overview Of Available Output Formats

    Overview of Available Output Formats HD‑SDI mode ARRIRAW HD444 (4:4:4 RGB) HD422 (4:2:2 YCbCr) Mscope (4:2:2 YCbCr) Output resolution 2880 x 2160 2880 x 1620 1920 x 1080 1920 x 1080 1920 x 1080 1920 x 1440 Aspect ratio 1.33:1 (4:3) 1.78:1 (16:9) 1.78:1 (16:9) 1.78:1 (16:9)

  • Page 52: Output Range (Advanced Mode)

    Output Range (Advanced Mode) The output range determines the signal range of Output Range HD-SDI ALL 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 Normal Range video levels between approx.

  • Page 53: Color Matrix (Advanced Mode)

    Color Matrix (Advanced Mode) Colour Matrix ALL The color matrix applies a color transformation for the intended output color space. 3200 K 4300 K HD workflow 5600 K The color matrix selection offers settings for each white 7000 K balance preset and additional 125% and 75% saturation 5600 K Sat.

  • Page 54: Recommended Combinations Of Contrast Characteristics, White Balance And Color Matrix

    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 (EI) characteristic curves, intended for direct, visually correct HD output. Contrast Char. ALL Log Characteristic curves, intended for use in DI or Filmstream™...

  • Page 55: Ei Characteristic Curves

    Gain and Noise Increasing the camera's sensitivity setting (EI characteristic curves) or adding electronic gain in post production (log characteristic curves) produces more visible noise in the output image. EI characteristic curves EI 100 EI 200 The EI characteristic curves are based on the average tonal representation of negative film stock.
  • Page 56 The EI characteristic curves shipped with this camera EI characteristic curves provide a dynamic range distribution of about 55% clipping level above and 45% below middle grey at an ISO equivalent/ EI of 200. An 18% grey is matched to 36 % video level. The dynamic range distribution shifts to a ratio of: •...
  • Page 57 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 clipping level 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.
  • Page 58 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.

  • Page 59: Sd Mode

    SD Mode The SD mode menu is used to change the settings for the output zebra and the format markings SD Mode 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: SD Video Mode: NTSC...
  • Page 60 SD Video Mode SD Video Mode To adjust the SD video output to 50 Hz PAL or 60 Hz NTSC format for the SD monitor in use: • Enter "SD Mode", "SD Video Mode" ➪image. • Select and confirm the desired output format. Format Marking Setup NTSC The camera can show a preset or custom format...

  • Page 61: Diagnostics

    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).
  • Page 62 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. Power Green Internal power supply levels normal.

  • Page 63: Standard Reset

    Note: The integrated cooling system keeps the Diagnostics 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. Status Standard Reset A standard reset restores the factory settings for Standard Reset user-accessible and internal controls of the image...

  • Page 64: Osd Tools

    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, B and LUMINANCE histograms. To access the OSD Tools: 1.78:1...

  • Page 65: Signal Connections

    10. Signal Connections intentionally shorter than what is commonly specified by cable manufacturers. In HD Mode, the ARRIFLEX D-21 can be 10.1. Signal Monitoring connected to any HD recording device offering HD-SDI input and 1080PsF/i recording. General recommendations: Always use HD-SDI-compliant BNC cables for the •...

  • Page 66: Signal Wiring Instructions

    10.2. Signal Wiring Instructions The following examples show signal wiring instructions for different camera setups as explained in the previous Camera Display: ARRIFLEX D-21 chapter. All setups requiring a single HD-SDI output ∢ 172.8 board can be combined using Advanced Mode setup, i.e.

  • Page 67: Hd422 High Speed Setup (Standard Mode)

    Set "Frame Rate" between 48 and 60PsF. • Set "HD-SDI Mode" to HD422. Camera Display: • Set the recording system input format ARRIFLEX D-21 ∢ to 4:2:2 YCbCr 1080PsF/i dual link using 180.0 the frame rate set on the camera.

  • Page 68: Hd444 Setup (Standard Mode)

    Set "Frame Rate" up to 30PsF. • Set "HD-SDI Mode" to HD444. Camera Display: • Set the recording system input format ARRIFLEX D-21 ∢ to 4:4:4 RGB 1080PsF/i dual link using 144.0 the frame rate set on the camera. HD-SDI 2 HD-SDI 1 fps 23.976...

  • Page 69: Mscope Hd422 Setup (Standard Mode)

    Set "Frame Rate" up to 25PsF. • Set "HD-SDI Mode" to Mscope HD422. Camera Display: • Set the recording system input format to ARRIFLEX D-21 ∢ 4:2:2 YCbCr 1080PsF/i dual stream using 180.0 the frame rate set on the camera. HD-SDI 2 HD-SDI 1 fps 25.000...

  • Page 70: Data Mode/Arriraw Setup (Advanced Mode)

    Set "Frame Rate" up to 30PsF. • Set "HD-SDI Mode" to ARRIRAW. Camera Display: • Set the recording system input format to ARRIRAW ARRIFLEX D-21 ∢ T-Link using the frame rate set on the camera. 180.0 • Connect link A of the configured output...

  • Page 71: Camera Operation

    11. Camera Operation PHASE button Operation 11.1. Running and Stopping the Camera control LED The RUN button is located on the left RUN button side of the camera ➪image. Camera display Next to the RUN button is an operation control LED ➪image.

  • Page 72: Camera Display Modes

    Note: The mirror 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...

  • Page 73: Overview Of Display Modes

    Overview of Display Modes 1st display line 2nd display line Adjustment possibility Mode 1 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) while running (external control connected) or program (Pr), if a program is active Mode 2...

  • Page 74: Overview Of Display Symbols

    Overview of Display Symbols Symbol Meaning continuous The display is in mode 1. ■ continuous Power supply voltage reached warning level. PROG continuous 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 PROG continuous...

  • Page 75: Shutter Angle Display (Mode 1)

    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 ➪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.

  • Page 76: Standard And Programmed Frame Rates

    11.3. Standard and Programmed Frame Rates The ARRIFLEX D-21 can be set to run at: NORM • Standard frame rates, (23.976, 24, 25, 29.97, 30, PS/CCU 48, 50, 59.94 and 60 fps) set in the video menu. switch • Programmed/variable speeds in increments of 0.001 fps between 1 and 60 fps.

  • Page 77: Setting A Programmed Frame Rate (Mode 2)

    The frame rate will increase by replaced by an ARRI service center. 0.2 fps for the duration PHASE is pressed. Note: Shifting phase causes unsynchronized operation of mirror shutter and HD output.
  • Page 78 Changing the Frame Rate while Fine-Tuning the Programmed the Camera is Running Frame Rate (PS-Mode) Note: See General Procedure for Changing Frame Rates. Note: See General Procedure for Changing Frame Rates. It is possible to switch between the standard frame Fine-tuning of the programmed frame rate can be rate (NORM) and the programmed frame rate (PS/ carried out while the camera is running by means of the...
  • Page 79 Note: This method requires a special cable, which been set prior to changing the standard frame is available from ARRI on request. rate (video menu) and exceeds the standard frame rate limit. The camera will indicate this...

  • Page 80: Frame Counter And Battery Information

    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: •...

  • Page 81: Switching Between Display Of Frame Counter And Mirror Shutter Angle (Mode 1)

    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.

  • Page 82: Displaying The Power Supply Voltage (Mode 3)

    Displaying the Power Supply Voltage (Mode 3) Change from mode 1 to mode 3 by pressing the MODE button twice to show the current power supply voltage in the lower line 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...

  • Page 83: Mirror Shutter Angle And Warning Signal

    Within three seconds, press the SET button to select one of the four settings shown in the table below. Note: Mode 4 actually is Mode 6 based on the ARRI camera display reference structure. Electronic accessories therefore identify it as Mode 6.

  • Page 84: Enabling/Disabling The Mirror Shutter (Mode 4)

    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: •...

  • Page 85: Setting The Mirror Shutter Angle (Mode 5)

    50 Hz 60 Hz Frame rate 25 fps 23.976/24 fps 25 fps 23.976/24 fps Note: Mode 5 actually is Mode 7 based on the ARRI camera display reference structure. Electronic Shutter angle 180° 172.8° 150° 180° accessories therefore identify it as Mode 7.

  • Page 86: Recording

    12. Recording 12.1. Recording Format Setup Note: Also see chapters 9: Camera Output Configuration, 10: Signal Connections Some recording systems are "auto-sensing", which and 17: Appendix - Glossary. means they can automatically detect the incoming Always verify that the format setting on the signal format.

  • Page 87: Recording Devices With Variable Frame Rate (Variframe) Support

    Recording Devices with Variable Recording Devices without Variable Frame Rate (VariFrame) Support: Frame Rate (VariFrame) Support: • Put the camera in standby. • Run the camera to provide a live image. • Set the recording device into record-standby mode • Start the recording on the recording device with variable frame rate (VariFrame) enabled.

  • Page 88: Functional Expansion Module Fem-2

    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. • LCS bus interfaces for CLM-1 motors, WHA-2, WHA-3 and ZMU-3.

  • Page 89: Lens Data System

    (UMT-1 or Channel selection Cine Tape Measure), it also allows focus tracking. The LDS is compatible with all lenses equipped with ARRI LDS contacts and lenses using compatible protocols. The LDS status is indicated by the Status LDS status LED ➪image:...

  • Page 90: Wireless System

    Installing a URM-3 radio receiver to the FEM-2 allows wireless communication of positioning information for lenses and remote control of camera functions. Only use antennas supplied by ARRI. Do not use Switch off the camera and disconnect all cables directional antennas, omnidirectional antennas from the camera and FEM-2 before installing the or boosters.

  • Page 91: Using The Wireless System

    Using the Wireless System Channel Frequency The channel selection switch is used to adjust the 2444 – 2472 MHz Europe except France and Spain. correct radio frequency channel for data transfer To be used in the USA, Canada, Mexico, New Zealand. according to the table to the right.
  • Page 92 (see table). module or send FEM-2 including radio module to an ARRI service center. Green, blinking rapidly Radio interference. Another URM or FEM-2 is set to the same channel.

  • Page 93: Remote Lens Control

    13.3. Remote Lens Control LCS bus sockets Both CLM-1 and CLM-2 motors can be Status LED used with the ARRIFLEX D-21. Direction • CLM-1 motors should be daisy-chained in series switch with one of the end motors connected to either (not both) of the LCS bus sockets ➪image.

  • Page 94: Camera Remote Control

    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).

  • Page 95: Compatibility

    LDD-FP ............. K2.54163.0 LDD-FP: SW 2.89 or higher URM-3 .............. K2.52262.0 The FEM-2 is only compatible to ARRIFLEX D-21, WHA-2 .............. K2.54079.0 435 Xtreme and 435 Advanced models. Do not WHA-3.............. K2.52264.0 attempt to force the FEM-2 onto the ARRIFLEX WRC-2 ..............

  • Page 96: Incompatible Accessories

    Incompatible Accessories 13.6. Replacing the FEM‑2 Use of the following equipment is not permitted, The FEM-2 is part of the ARRIFLEX D-21 as it will cause permanent damage to the and 435 Xtreme and available as an optional camera or the FEM-2! expansion for the ARRIFLEX 435 Advanced.

  • Page 97: Removing The Fem-2

    Removing the FEM‑2 Fastening screw • Using a 3 mm Allen key, loosen the fastening screw of the FEM-2 electronic side cover ➪image. • Pull at the back end of the FEM-2 to remove it from the camera. Attaching the FEM‑2 •...

  • Page 98: Accessories

    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: •...

  • Page 99: Flash Mag Mounting Adapter Fma-1 (Discontinued)

    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 mounted on the rosettes on the back of the camera and can be rotated about 90°...

  • Page 100: Heated Eyecup (He-4/He-5)

    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. •...

  • Page 101: Isolating Power Adapter Ipa-1

    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.

  • Page 102: Low Mode Support

    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.
  • Page 103 To attach the low mode support: • Remove the camera grip system as explained in chapter 7: Installation. • If 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! •...

  • Page 104: Remote Run Switch (Rs-4)

    14.6. Remote Run Switch (RS‑4) The RS-4 has the same functions as the RUN button on the camera. • Attach the remote run switch with the spring clamp (e.g. to the pan handle). • Plug the RS-4 plug into the RS socket.

  • Page 105: Rs Socket Distributor (24 V Plug-On Module)

    14.7. RS Socket Distributor (24 V Plug‑on Module) The 24 V plug-on module provides an additional RUN button to facilitate operating the camera from the right side and two RS sockets for connecting 24 V accessories. The module is mounted on the right side of the camera in front of the electronic cover.

  • Page 106: Shoulder Set S-5

    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.

  • Page 107: Fiber Link Unit Flu-1

    14.9. Fiber Link Unit FLU‑1 FLR-1 remote socket 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).
  • Page 108 To use the D-21 with the fiber link unit: • Equip the D-21 with a low mode short set. Fastening screws • Attach the FLU-1 to the rear end of the short support Low mode short set plate using the three fastening screws ➪image. •...
  • Page 109 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. •...

  • Page 110: Wireless Remote Control Wrc-2

    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...

  • Page 111: Work Light

    14.11. Work Light • The work light 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: •...

  • Page 112: Camera Care

    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.

  • Page 113: Dust Check

    Dust Check In normal everyday use, removing the lens allows dust Mscope monitor or dirt to enter the lens compartment of the camera. Dark spot in the output output caused by dust particle Performing regular dust checks at least after every lens change helps preventing dust on the sensor.

  • Page 114: Cleaning The Sensor Cover Glass

    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.
  • Page 115 Step 2: Dry Cleaning Example 2: Texwipe Absorbond® Swab - TX762 The Absorbond® Swab with long handle can be used As an alternative to a blower bulb, dry cleaning to carefully swab dust off the sensor. Start wiping kits have a low probability of leaving residues from the inner area towards the edges first and or causing new particles on the surface.

  • Page 116: Condensation

    Step 3: Wet Cleaning NEVER USE METHANOL OR ACETONE TO CLEAN THE SENSOR COVER GLASS! While cleaning liquids of high purity offer the best These chemicals can dissolve paint which would results for solid dirt and often also for remains from then be spread across the sensor cover glass.

  • Page 117: Pixel Failure

    Pixel Failure Note: The air-drying cartridge must be removed while the camera is transported or ARRI Imaging Technology (AIT) in the D-21 provides stored inside a transport case. an automated Defect Pixel Correction (DPC), which • If camera needs to be stored in a place that is...
  • Page 118 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...

  • Page 119: Cleaning The Field Lens

    Cleaning the Field Lens • 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. • Before cleaning the field lens, switch the camera’s main switch off and disconnect the camera from the power supply! •...

  • Page 120: Technical Data - Arriflex D-21

    16. Technical Data ‑ ARRIFLEX D‑21 Lens mount 54 mm PL mount, centered for Super 35, with Lens Data System contacts (LDS) flange focal depth 52.00 mm nominal Aperture 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 & Mscope™ Shutter Spinning, electronically adjustable reflex mirror shutter adjustable to 11.2°, 22.5°, 30°, 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°, 150°, 172.8°...
  • Page 121 Power 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. Sound Less than 20 dB(A) @ 24 fps Temperature Range 0 to 40 °C or 32 to 104 °F Dimensions Length: 39 cm/15.35"...
  • Page 122 Frame rate 1 - 60 fps in HD Mode HD422 (16:9) 1 - 30 fps in HD Mode HD444 & Data Mode (16:9) 1 - 25 fps in HD Mode Mscope™ & 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 Flag.
  • Page 123 Accessories The ARRIFLEX D-21 accepts a wide range of production and lightweight matte boxes (15 or 19 mm system), follow focus units, Lens Control System (LCS) components, Wireless Remote System (WRS) components, electronic accessories and support systems. The camera fully supports the Lens Data System (LDS), expanding LCS and WRS functionality.

  • Page 124: Appendix

    Camera won’t start in Camera may not start/ ARRI or its subsidiaries do not assume responsibility for damage if low temperatures. run unstable in ambient camera is operated outside specified operating temperature range.
  • Page 125 Problem with internal Restart camera. power supply. Perform standard reset and restart camera. Take camera to ARRI service center if problem persists. Shutter angle measurement Mirror shutter angle Shutter angle measurement using PHASE button only works for shutter does not work using PHASE set below 90°.
  • Page 126 Optics Problem Possible Cause Remedy Condensation on the When camera is moved from Put camera in interim storage at temperature close sensor cover glass. a cool to a warm location or to ambient temperature during shooting. when used in damp climate, Attach air-drying cartridge to PL-Mount during storage in an condensation may form inside the environment that is cooler than the shooting location.
  • Page 127 Perform standard reset and restart camera. If issue cannot be resolved, take camera to ARRI service center. Camera HD-SDI output shows Camera may overheat in ambient ARRI or its subsidiaries do not assume responsibility for damage if a raised noise level or is offset temperatures above 40 °C/104 °F.
  • Page 128 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.
  • Page 129 Updating the dead pixel mask should only be e.g. air transportation, heavy performed by trained service technicians or an ARRI service center. vibration, mechanical shocks or electrostatic discharge. High noise level or offset in...

  • Page 130: Glossary

    17.2. Glossary influence on the impression of an image, as long as full luminance information is available. For this Clipping reason, the chroma channels of a component signal may be sampled with a lower frequency See section: Image Artifacts. than the luma channel – i.e. sub-sampling. Color Signals and Chroma (Sub)Sampling The notation of three or sometimes four digits separated RGB, YUV, 4:4:4 and 4:2:2 are terms often used for...

  • Page 131: Data Mode

    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 information for one color component.

  • Page 132: Arriraw T-Link

    Chroma (Sub)Sampling above) contrast characteristic. The output RGB images are then as a source format. The ARRIFLEX D-21 uses a special stored e.g. as 10 bit log dpx files, 16 bit tiff files, or other transport method, which maps the 12 bit raw Bayer file formats, depending on postproduction requirements.

  • Page 133: Dead/Defective Pixels

    Dead/Defective Pixels Shooting CinemaScope can be done not only using spherical (flat) lenses, but also anamorphic See section: Image Artifacts.. (scope) lenses, as the sensor can capture the whole image projected by anamorphic lenses. Shooting HD Mode 2.39:1 with anamorphic lenses uses a larger imager HD Mode provides a fully processed 1.78:1 (16:9) area which delivers twice as many output lines live image, ready to be used in HD workflows.

  • Page 134: Mscope

    Mscope™ If the recorder does not provide VariFrame support, even and odd frames may be recorded in the wrong order Mscope enables the use of anamorphic lenses without (frame swapping). This, however, is easily identified as the requirement for Data Mode compatible equipment. juddering motion in playback and can be resolved in postproduction without a loss of image quality.

  • Page 135: Scanning Methods (P, I, Psf)

    Scanning Methods (p, i, PsF) When shooting with anamorphic lenses, each stream therefore directly shows a de-squeezed Progressive Scan (p) image that can be used for preview and editorial. After each exposure, the full frame is captured/output Mscope Recording & Postproduction from the sensor.

  • Page 136: Pixel Failure

    Interlaced Scan (i) Progressive Segmented Frame (PsF) After each exposure, odd (1,3,5…) or even (2,4,6…) lines This is not a scanning method used for capturing, of the full frame are alternately captured/output from but a transmission method. Basically, a progressively the sensor, as so called fields.
  • Page 137 Signal Range 110 % 100 % The luminance levels in a scene are represented as 90 % amplitude levels in a recorded video signal. More 80 % exposure outputs higher signal levels. Overexposure 70 % eventually results in white clipping – image areas 60 % with a signal level at the upper limit with no definition 50 %...

  • Page 138: Image Artifacts

    Variable Frame Rate (VariFrame)/ 17.3. Image Artifacts Shooting Ramps Aliasing Recorders supporting VariFrame are able to distinguish Image elements containing very fine structures or between so-called valid and invalid frames. patterns may cause jagged lines, flickering areas or When using variable frame rate/speed ramps, the link shifting colors in the output image.

  • Page 139: Horizontal Smear

    Noise on location by a trained D-21 service technician, in Increasing the camera's sensitivity setting (EI an ARRI service center or at an ARRI rental facility. characteristic) or adding electronic gain in post Speckled Images production produces more visible noise in the...

  • Page 140: Index

    Index Symbols ALL (1>2>SD) ..............48 anamorphic viewfinder AVF-1 ........36 4:2:2 YCbCr ...........51, 86, 131, 133 aperture .................120 4:4:4 RGB ............51, 86, 131, 134 ARRIGLOW ..............38 11-pin Fischer socket ..........23, 101 adjusting brightness ............ 38 12 V accessory socket ..........23, 101 exchanging the format mask ........
  • Page 141 camera ................continous current ............23, 24 camera body ............... 25 contrast filter ..............34 camera care ............... 112 controlled lens motor CLM-2 ......30, 88, 93–95 camera display ........22, 40, 72–85, 98 check imager.............. 112 dark spots ..............138 cleaning ..............114 Data Mode ............
  • Page 142 link speed ..............138 programmed frame rate ..........47, 77 EI characteristic curves ..........55 ramping ............... 78 EI setup ................56 setting and storing ..........47, 76 electromagnetic interference ..........14 shifting phase .............. 78 ESU-1 ................. 79, 98 standard frame rate ....41, 47, 76–79, 125, 127, 138 extended range ..............
  • Page 143 progressive scan ............135 progressive segmented frame ........136 image orientation ............... scanning methods............135 automatic ..............34 signal range ..............137 manual ................ 34 variable frame rate .............138 imager check ............72, 112 VariFrame ..............138 imaging status LED ............22 grip system ..............29 incompatible accessories ..........
  • Page 144 log F setup ..............58 orange peel structure ............139 low mode support ........ 29, 36, 102, 103, 108 OSD tools ..........41, 44, 59, 64, 118 output ................40 data mode/ARRIRAW ......51, 70, 86, 127, 131 main camera switch ............22 dynamic range distribution .........
  • Page 145 power supply for accessories ........23 power supply voltage display ......... 82 S-5 shoulder set ............106 power switch ..............22 safety instructions ............12 PROG button ............. 74, 75 SD mode ................. 59 programmed frame rate ..........47, 76 SD video ............40, 41, 59, 60 programmed frame rate, setting ........47, 76 SEL button ..............
  • Page 146 CCU ..............88, 94, 95 CLM-2 ..............88, 93 technical data ............120–122 LCS bus ............. 88, 93, 94 temperature range ........15, 117, 121, 124, 127 LDD ................ 88, 89 transport ................14 RS ................. 24, 105 tripod ............... 13, 25, 26, 27 software version ..............19 troubleshooting .............124 sound ................121...
  • Page 147 output range ............... 52 output zebra ..............59 warning displays ............31 overview of available output formats ......51 warnings ................. 31 SD mode ..............59 warning signal ..............82 SD video mode ............60 settings ............... 82 setup information digits ..........49 switching on and off ...........

  • Page 148: Arri Group Addresses

    Phone: +49 (89) 3809 0, FAX: +49 (89) 3809 1245 Email: digitalservice@arri.de Great Britain: ARRI GB Ltd / London (Sales & 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...
  • Page 149 Phone: +1 (416) 255 3335, FAX: +1 (416) 255 3399 Email: seb@arrican.com Australia: ARRI Australia Pty Ltd / Sydney (Sales & 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...
  • Page 150 Technical data subject to change without notice. © ARRI 2009 Available languages: English - Ident-No. K5.70403.0 ARNOLD & RICHTER CINE TECHNIK Türkenstr. 89 D-80799 München Phone +49 89 3809-0 Fax +49 89 3809-1244 www.arri.com...

Table of Contents