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 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 I/O connectors (service) 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) Camera control...
Page 6: Table Of Contents
Contents Safety Instructions and Legal Disclaimer ............. 12 1.1. Safety Instructions .......................12 Explanation of Warning Signs and Indications ..............12 General Safety Instructions ....................12 Specific Safety Instructions ....................13 1.2. Disclaimer ..........................14 General Description ..................16 Product Identification ......................16 Scope ..........................17 Power Supply ....................18 3.1.
Page 7 Attaching the Bridge Plate to the Camera .................26 Putting the Camera on the Tripod ..................26 Removing the Camera from the Tripod ................26 4.6. Lens Support ........................27 4.7. Grip System .........................28 Additional Hand Grips ......................28 Removing the Grip System ....................28 Optics ......................29 5.1.
Page 8 User Mode .........................42 White Balance ........................44 Standard Frame Rate ......................47 Output Board (Advanced Mode) ..................48 HD-SDI Mode ........................50 Overview of Available Output Formats................51 Output Range (Advanced Mode) ..................52 Color Matrix (Advanced Mode) ..................53 Suitable Combinations of Contrast Characteristics, White Balance and Color Matrix ..54 Contrast Characteristics ....................54 SD Mode ..........................59 Diagnostics ........................61...
Page 9 8.3. Standard and Programmed Frame Rates ................76 General Procedure for Changing Frame Rates ..............76 Setting a Programmed Frame Rate (Mode 2) ..............77 8.4. 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 3) ............81 Displaying the Power Supply Voltage (Mode 3) ..............82 8.5.
Page 10 10.6. Replacing the FEM-2 ......................96 Removing the FEM-2 ......................97 Attaching the FEM-2 ......................97 Accessories ....................98 11.1. External Synchronization Unit ESU-1 ..................98 11.2. Flash Mag Mounting Adapter FMA-1 ..................99 11.3. Heated Eyecup (HE-4/HE-5) ....................100 11.4. Isolating Power Adapter IPA-1 ...................101 11.5.
Page 11 14.1. Troubleshooting .........................122 14.2. Glossary ..........................128 Clipping ..........................128 Color Signals and Chroma (Sub)Sampling ...............128 Data Mode ........................130 Dead/Defective Pixels ......................132 HD Mode .........................132 Mscope™ .........................133 Pixel Failure ........................134 Scanning Methods (p, i, PsF) ...................134 Index ......................138 ARRI Group Addresses ................146...
Page 12: Safety Instructions And Legal Disclaimer
Do not use accessories or attachments that are not Explanation of Warning recommended by ARRI, as they may cause hazards Signs and Indications and invalidate the warranty! Do not attempt to repair any part of the system! Repairs must only be carried out by authorized Possible risk of injury or damage to equipment.
Page 13: Specific Safety Instructions
Specific Safety Instructions Operate the system using only the type of power source indicated in the manual! Unplug the power Never run the camera without a lens or a protective cable by gripping the power plug, not the cable! cap in the lens mount receptacle! Never insert objects of any kind into any part of the Remove the all cable connections before transport system through openings, as the objects may touch...
Page 14: Disclaimer
ARRIFLEX D-21/D-21 HD or contamination cannot be removed, the camera other components of the system are deployed for should be taken to an ARRI Service Center for commercial use. Otherwise the customer has the cleaning. obligation to contact ARRI preceding the utilization.
Page 15 In no event shall ARRI or its subsidiaries be liable for or have a remedy for recovery of any special, direct, indirect, Note: This product and the accessories recommended...
Page 16: General Description
1 to 60 fps (D-21)/1-30 fps (D-21 HD), As the top of the line digital cameras from ARRI, exposure compensated speed ramps, compatibility the market leader in professional imaging, they are...
Page 17: Scope
Scope This instruction manual applies to the following ARRIFLEX D-21/D-21 HD 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. Note: Unless noted otherwise (corresponding sections will be marked with a footnote), all instructions and descriptions stated in this...
Page 18: Power Supply
Use of the mains unit is recommended for The NG 12/24 R can easily be upgraded to NG shooting in the studio and when using electronic 12/26 R specification at an ARRI service Center. accessories with high power consumption. •...
Page 19: Battery Vclx/2
4.2. Battery VCLX/2 The battery VCLX/2 has a capacity of 280 watt hours. • Ensure that the main switch on the camera is off. • Plug the battery cable KC-20S or the spiral battery cable KC-29S into the power supply socket on the camera and into the battery-socket.
Page 20: Main Camera Switch
4.4. 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 21: Accessory Power Supply
4.5. 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. Ground 11-pin accessory socket loops may cause damage to camera or connected Overload warning LED...
Page 22: 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 23: Installation Of The Camera
5. Installation of the Camera When the ARRIFLEX D-21 is transported or stored, cables have to be unplugged from the camera. 5.1. Minimum equipment Note: It is recommended that when shipping needed for operation: the ARRIFLEX D-21 the ground glass is removed from the camera and placed •...
Page 24: Tripod And Remote Heads
When the ARRIFLEX D-21 is transported or stored Camera Weight inside a transport case, the air-drying cartridge has to be removed. ARRIFLEX D-21 incl. finder, eyepiece, 25.0 11.4 bridge plate set, handle 5.3. Tripod and Remote Heads Tripod heads and remote heads used with the ARRIFLEX ARRIFLEX D-21 camera body 19.0 D-21 have to provide enough load capacity to support...
Page 25: Horizontal Levelling
5.4. 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 26: 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 27: Lens Support
5.6. 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 28: Grip System
5.7. 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. Additional Hand Grips Additional hand grips can be screwed onto the grip system in various positions as required.
Page 29: Optics
6. Optics 6.1. 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 30: Changing Lenses
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"...
Page 31: Viewfinder System
6.2. 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.
Page 32: Eyepiece
Eyepiece The camera can be equipped with an 8x or 10x wide- angle eyepiece. The eyepiece can be extended with Dioptre compensation scale 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 Swiveling the Viewfinder Arm knob 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.
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
Attaching the Viewfinder System • Place the viewfinder system on the camera from above. • Tighten the three fastening screws. 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.
Page 37: Ground Glasses
6.3. 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.
Page 38: Arriglow
the full sensor aperture width. To utilize the full ARRIGLOW module sensor aperture width and height with the aspect ratio of 1.33:1 (4:3), the camera has to be set Brightness adjustment to output Mscope or Data Mode/ARRIRAW knob Different aspect ratios (e.g. 1.85:1) can be achieved by cropping the output image in postproduction.
Page 39 • Open the ARRIGLOW cover by gently turning the locking screw 90° counter-clockwise ➪image. • 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. •...
Page 40: Camera Output Configuration
7. Camera Output Configuration 7.1. 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) are HD-SDI 1 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
7.3. 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 •...
Page 48: Output Board (Advanced Mode)
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 The color matrix selection offers settings for each 5600 K white balance preset and additional 125% and 75% 7000 K saturation settings for tungsten and daylight.
Page 54: Suitable Combinations Of Contrast Characteristics, White Balance And Color Matrix
Suitable Combinations of Contrast Characteristics, White Balance and Color Matrix Contrast EI 100 – 800 Log C characteristic Log F White balance 3200 K 4300 K 5600 K 7000 K automatic manual Color matrix 3200 K 4300 K 5600 K 7000 K best match best match...
Page 55 EI characteristic curves The EI 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 EI, a different transfer EI 100 function (non-linear gain) is applied to keep middle EI 200...
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 Log F (Advanced Mode) LOG F characteristic curve The Log F characteristic curve provides a signal clipping level according to Filmstream™ specifications. This characteristic is intended for HD workflows adapted to Filmstream™ signals. Log F delivers an ISO equivalent/ EI of 200. When Log F is used, the EI cannot be adjusted in the camera.
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: Format Marking Setup
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 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, which is available as an optional accessory. Status Standard Reset Standard Reset...
Page 64: Osd Tools
7.4. 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
This ensures maximum signal the recorded signal is checked using another quality and reliability. ARRI does not assume control monitor. In applications where the responsibility for incurred losses due to defective recorded signal cannot be monitored directly signal connections.
Page 66: Hd422 Setup (Standard Mode)
HD422 Setup (Standard Mode) • Set "Frame Rate" up to 30PsF. • Set "HD-SDI Mode" to HD422. Camera Display: • Set the recording system input format to 4:2:2 YCbCr ARRIFLEX D-21 ∢ 1080PsF/i using the frame rate set on the camera. 172.8 •...
Page 67: Hd422 High Speed Setup (Standard Mode)
HD422 High Speed Setup (Standard Mode) [10] • 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)
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)
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)
Data Mode/ARRIRAW Setup (Advanced Mode) [11] • 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 •...
Page 71: Camera Operation
9. Camera Operation PHASE button Operation 9.1. 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 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
9.3. 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 Switching between standard and programmed frame...
Page 77: Setting A Programmed Frame Rate (Mode 2)
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.
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: Shifting Phase
Controlling the Frame Rate Using Shifting Phase Electronic Accessories To capture quartz-synchronized monitors, hold the PHASE button pressed after the camera has Note: See General Procedure for Changing Frame Rates. run up until the horizontal bar is no longer visible Depending on the electronic accessory in in the viewfinder.
Page 80: Frame Counter And Battery Information
9.4. 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
10. Recording 10.1. Recording Format Setup Make sure the format setting on the recording system matches the output configuration of the Some recording systems are "auto-sensing", which camera! means they can automatically detect the incoming 10.2. Starting and Stopping signal format. If this is not the case, the recording format must be set manually to match the camera the Recording configuration for frame rate, HD-SDI mode setting...
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
11. Functional Expansion Module FEM‑2 The ARRIFLEX D-21/HD 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
ARRIFLEX D-21 and D-21 HD use 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 –...
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
11.3. Remote Lens Control LCS bus sockets Both CLM-1 and CLM-2 motors can be Status LED used with the ARRIFLEX D-21/HD. 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
11.4. 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
ARRIFLEX 435 Xtreme/ Incompatible accessories or accessories not Advanced together with the FEM-2 module approved by ARRI could damage the FEM-2, the can be found in the FEM-2 manual. camera or the accessory itself. Note: As new electronic accessories become...
Page 96: Incompatible Accessories
Incompatible Accessories 11.6. Replacing the FEM‑2 Use of the following equipment is not permitted, as The FEM-2 is part of the ARRIFLEX D-21, D-21 it will cause permanent damage to the camera or HD and 435 Xtreme and available as an optional 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
12. Accessories 12.1. External Synchronization Unit ESU‑1 The external synchronization unit ESU-1 can be used with the ARRIFLEX D-21/HD, 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
12.2. Flash Mag Mounting Adapter FMA‑1 The FMA-1 is used as a docking platform for the Flash Mag HD Mode recorder. It is mounted 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: •...
Page 100: Heated Eyecup (He-4/He-5)
12.3. 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
12.4. Isolating Power Adapter IPA‑1 The isolating power adapter provides two 12 V Fischer 11-pin 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
12.5. 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 5: Installation. • If the camera shall be used without viewfinder, remove the viewfinder system as explained in chapter 6: Optics. Never operate the camera with an open viewfinder interface! •...
Page 104: Remote Run Switch (Rs-4)
12.6. 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)
12.7. 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
12.8. 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) ➪image With left and right grips including run/stop switch and ergonomically shaped shoulder pad for D-21.
Page 107: Fiber Link Unit Flu-1
12.9. 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
12.11. 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
13. Camera Care 13.2. Imager Check A film camera exchanges its “sensor” – i.e. the piece of 13.1. General Information film negative holding a frame – after a single exposure. The sensor of a digital camera is used for countless When maintaining and cleaning the camera exposures and generally remains in its place unless it and accessories, pay careful attention...
Page 113 If the cover glass of the sensor has been scratched or glass makes checking for dust easier. punctured, it can be replaced by an ARRI service center. Do not use a magnifying glass if sunlight is used for illumination, as focused sunlight can cause...
Page 114 Cleaning the Sensor Cover Glass The sensor surface should only be cleaned with a blower bulb ➪image or brushed off with a clean optical brush. If the sensor surface has been contaminated by solid dirt or grease, special optical cleaning kits should be used for removal. NEVER CLEAN AN OPTICAL BRUSH WITH FINGERS! This will cause the bristles to absorb grease and...
Page 115: Condensation
Condensation Pixel Failure When moving the camera from a cool to a warm ARRI Imaging Technology (AIT) inside the D-21 & D-21 location or when the camera is used in a damp climate, HD provides an automated Defect Pixel Correction...
Page 116 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 117: Cleaning The Field Lens
13.3. 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 118: Technical Data - Arriflex D-21 & D-21 Hd
14. Technical Data ‑ ARRIFLEX D‑21 & D‑21 HD Lens mount 54 mm PL mount, centered for Super 35, with Lens Data System contacts (LDS) flange focal depth 52.00 mm nominal Display Camera display on left side with individual buttons for: camera RUN, PHASE, NORM-PS/CCU control, LOCK, MODE, SEL and SET.
Page 119 Height without handle: 23 cm/9.06" Temperature Range 0 to 40 °C or 32 to 104 °F Accessories Accepts the whole range of ARRI matte boxes (15 or 19 mm rods), follow focus and ARRI electronic accessories, Lens Control System (LCS), Lens Data System...
Page 120: Technical Data - Arriflex D-21
14.1. Technical Data ‑ ARRIFLEX D‑21 Output interface 2x dual link HD-SDI 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 121: Technical Data - Arriflex D-21 Hd
14.2. Technical Data ‑ ARRIFLEX D‑21 HD Output interface 1x dual link HD-SDI Frame rate 1 - 30 fps in HD Mode HD422 & HD444 (16:9) 1 - 25 fps in HD Mode Mscope™ (4:3) Frame rates other than the standard frame rates of 23.976, 24, 25, 29.97 and 30PsF can be achieved with a recorder that interprets the VariFrame Flag.
Page 122: 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 123 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 124 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 125 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 126 Updating the dead pixel mask should only be mechanical shocks or after performed by trained service technicians or an ARRI service center. electrical connections. High noise level or offset in Material captured with Log...
Page 127 Output Problem Possible Cause Remedy Order of frames is swapped Inverted cable connection. Make sure cables are correctly connected: when recording ramps or HD-SDI 1 link A to recorder input A or 1 frame rates > 30 fps. HD-SDI 2 link A to recorder input B or 2 Problem with standard Repeat standard frame rate setting (video menu).
Page 128: Glossary
15.2. Glossary Chroma (Sub)Sampling The bandwidth required by component signals Clipping can be further reduced by chroma sub-sampling. In digital cameras, clipping is an effect resulting from The idea behind this technique utilizes human too much over or underexposure. Overexposing a vision.
Page 129 • 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.
Page 130: Data Mode
ARRIRAW data can be processed in production luminance, not color. Hence, the incident light has to quality using the ARRI software tool Image be separated into color components. As the D-21 uses Booster or can be output by ARRIRAW T-Link...
Page 131 ARRIRAW T-Link Shooting CinemaScope can be done not only using spherical (flat) lenses, but also anamorphic There are different source formats that can be sent (scope) lenses, as the sensor can capture the whole over a dual link HD-SDI connection. Next to 4:4:4 RGB, image projected by anamorphic lenses.
Page 132: Dead/Defective Pixels
Dead/Defective Pixels If the recorder does not provide VariFrame support, even and odd frames may be recorded in the wrong order See Pixel Failure. (frame swapping). This, however, is easily identified as HD Mode juddering motion in playback and can be resolved in postproduction without a loss of image quality.
Page 133: Mscope
Mscope™ Split segments Anamorphic Mscope enables the use of anamorphic lenses without 1920 HD recorder image (1.33:1) the requirement for Data Mode compatible equipment. dual stream IN A link 1920 Mscope Output 1920 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.
Page 134: Pixel Failure
If a whole cluster of adjacent pixels fails, the DPC relies on a defective/dead pixel map, which can be updated on location by a trained D-21 service technician, in an ARRI service center or at an ARRI rental facility.
Page 135 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 136: Signal Range
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 137 Variable Frame Rate (VariFrame)/ 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.
Page 138: Index
Index anamorphic viewfinder AVF-1 ........36 aperture ..............120, 121 Symbols ARRIGLOW ..............38 4:2:2 YCbCr ..........51, 86, 121, 129, 132 adjusting brightness ............ 38 exchanging the format mask ........38 4:4:4 RGB ..........51, 86, 121, 129, 132 ARRIRAW .......... 50, 51, 70, 86, 125, 130 11-pin Fischer socket ..........21, 101 ARRIRAW T-Link ............131 12 V accessory socket ..........21, 101...
Page 139 camera body ............... 24 contrast filter ..............34 camera care ............... 112 controlled lens motor CLM-2 ......29, 88, 93–95 camera display ........ 20, 40, 72–85, 98, 125 check imager.............. 112 Data Mode ........... 50, 70, 125, 130 cleaning ............... 114, 117 dead/defective pixels .............132 configuration ...............
Page 140 extended range .............. 52 shifting phase .............. 79 external synchronization unit ESU-1 ......98 standard frame rate ...41, 47, 76–79, 123, 125, 127, 137 variable frame rate ......... 47, 77, 79, 87, 137 eyepiece ................. 32 adjusting the diopter ........... 32 friction ................
Page 141 variable frame rate .............137 installation ..............23 VariFrame ..............137 interlaced scan ..............135 grip system ..............28 IPA-1 .................21, 101 low mode support ......28, 35, 102, 103, 108 isolating power adapter IPA-1 ........101 removing ..............28 ground glasses ............... 37 KC-20S ................18 exchanging ..............
Page 142 enable/disable ............. 84 video menu ..............40 position ............... 20 output board ..............47 set angle ..............85 output range ............52, 136 Mode 1 ..............73, 75, 81 output zebra .............. 59, 64 Mode 2 ..............73, 77, 98 overload display .............
Page 143 shutter angle for HMI light ..........85 shutter angle measurement ........... 75 radio receiver URM-3 ............. 90 shutter off ............... 84 ramping .............. 78, 79, 137 signal connections ............65 recording ............86, 118, 120 data mode/ARRIRAW setup ........70 connections ..............65 HD22 high speed setup ..........
Page 144 status ............41, 61, 62, 92, 93 EI setup ............... 56 Super 35 ..............25, 29 format marking setup ..........60 HD-SDI mode .............. 50 support rings ..............27 LOCK switch ............41, 75, 122 support rods ..............25 log C setup ..............57 15 mm ..............25, 27, 102 log F setup ..............
Page 145 displays in viewfinder ..........31 image orientation ............34 removing ..............35 voltage range ..............18 warning displays ............31 warnings ................. 31 warning signal ..............82 settings ............... 82 switching on and off ........... 83 volume ................ 83 weight..............120, 121 white balance ............
Page 146: Arri Group Addresses
ARRI Group Addresses World Wide Web: http://www.arri.com Australia: ARRI Australia PTY Limited (Sales & Service) Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia Phone: +61 (2) 9855 4308, FAX: +61 (2) 9855 4301 Email: ssedlmeier@arri.com.au Canada: ARRI Canada Limited (Sales & Service) 415 Horner Ave.
Page 147 Phone: +1 818 841 7070, FAX: +1 818 848 4028 Email: brussell@arri.com ARRI CSC Camera Service Center (Film Equipment Rental, NY) 619 West 54th St, New York, NY 10019, USA Phone: +1 212 757 0906, FAX: +1 212 713 0075 Email: ctamarro@arricsc.com...
Page 148 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...

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Arriflex d?21 hd

ARRI ARRIFLEX D?21 Instruction Manual

1 Safety Instructions and Legal Disclaimer

2 General Description

3 Power Supply

4 Installation of the Camera

5 Optics

6 Camera Output Configuration

7 Signal Connections

8 Camera Operation

9 Recording

10 Functional Expansion Module FEM-2

11 Accessories

12 Camera Care

13 Technical Data - ARRIFLEX D-21 & D-21 HD

14 Appendix

15 Index

16 ARRI Group Addresses

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