d-21 Manual

ARRIFLEX D‑21
INSTRUCTION MANUAL
March 2011
COPYRIGHT © 2011 ARNOLD & RICHTER CINE TECHNIK GMBH & CO BETRIEBS KG. ALL RIGHTS RESERVED.
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Accessory mounting
Eyecup
rosette
Eyepiece focus
adjustment
Eyepiece lock
REC button
LOCK switch
NORM - PS/CCU switch
SHUTTER button
MODE button
SEL button
SET button PHASE button Operation control LED

Tape hook
Image rotation knob
Image rotation release
PL mount Viewfinder arm
Ground glass Viewfinder

extension lock
Main camera switch
Viewfinder arm
friction adjustment
Accessory Lens control system Grip system Lens data display
(ACC) socket (LCS) bus socket (LDD) socket
Lens motor direction

switches
Lens data system

(LDS) status LED
Wireless control system

channel selection and
status LED
CLM-2 lens motor

connectors
RS socket
(remote RUN & 24 V)
24 V accessory
overload LED
Camera control unit (CCU) socket Accessory mounting

rosette
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
Composite video (ACC) socket
(SD output)
Camera control
Output board unit (CCU) socket
HD-SDI-2 link A/B
Output board Power supply

HD-SDI-1 link A/B 3/8-16 mounting holes (BAT) socket
(camera base)
Contents
1. Contents
D-21 Left/Right/Front/Rear View................................................................................... 2
1. Contents............................................................................................................... 6
2. Safety Instructions............................................................................................. 12
2.1. General Safety Instructions..................................................................................................12
2.2. Specific Safety Instructions..................................................................................................13
3. General Precautions........................................................................................... 14
3.1. Storage and Transport..........................................................................................................14
3.2. Electromagnetic Interference...............................................................................................14
3.3. Condensation........................................................................................................................15
4. Disclaimer........................................................................................................... 16
5. General Description............................................................................................ 18
Product Identification...................................................................................................................18
Scope............................................................................................................................................19
6. Power Supply..................................................................................................... 20
6.1. Mains Unit NG 12/26 R.........................................................................................................20
6.2. CINE VCLX/2 Battery............................................................................................................21
6.3. CINE VCLX/2 Charger...........................................................................................................21
6.4. Main Camera Switch............................................................................................................22
6.5. Accessory Power Supply......................................................................................................23
12 V Accessories..........................................................................................................................23
24 V Accessories..........................................................................................................................24
Overload Display..........................................................................................................................24
7. Installation of the Camera.................................................................................. 25
7.1. Minimal Equipment Required for Operation.........................................................................25
6
Contents
7.2. Tripod and Remote Heads....................................................................................................25
Horizontal Levelling.....................................................................................................................26
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
8. Optics................................................................................................................. 30
8.1. Lenses...................................................................................................................................30
Lens Mount..................................................................................................................................30
Lens Mount Position.....................................................................................................................30
Changing Lenses..........................................................................................................................30
8.2. Viewfinder System................................................................................................................31
Eyepiece.......................................................................................................................................32
Viewfinder Arm............................................................................................................................33
Image Orientation.........................................................................................................................34
Removing the Viewfinder System................................................................................................35
Universal Finder Arm....................................................................................................................36
8.3. Ground Glasses.....................................................................................................................37
Exchanging the Ground Glass......................................................................................................37
8.4. ARRIGLOW...........................................................................................................................38
Exchanging the ARRIGLOW Mask...............................................................................................38
9. Camera Setup .................................................................................................... 40
9.1. Output Interfaces..................................................................................................................40
9.2. Video Menu...........................................................................................................................40
7
Contents
Using the Video Menu..................................................................................................................41

Status Indications.........................................................................................................................41
9.3. Setting Operational Parameters............................................................................................42
Frame Rate...................................................................................................................................42
Shutter..........................................................................................................................................43
White Balance..............................................................................................................................44
Exposure Index.............................................................................................................................46
Output Board................................................................................................................................47
Output Format..............................................................................................................................48
Gamma.........................................................................................................................................49
Composite (CVBS)........................................................................................................................50
System..........................................................................................................................................51
10. Signal Connections............................................................................................. 55
10.1. Signal Monitoring.................................................................................................................55
10.2. Signal Wiring Instructions....................................................................................................56
ARRIRAW DL – Dual Link.............................................................................................................56
HD444 DL – Dual Link..................................................................................................................57
HD444 QL – 2x Dual Link.............................................................................................................58
HD422 SL – Single Link................................................................................................................59
HD422 DL – 2x Single Link...........................................................................................................60
Mscope 422 DL – 2x Single Link..................................................................................................61
11. Camera Operation............................................................................................... 62
11.1. Running and Stopping the Camera.......................................................................................62
11.2. Recording..............................................................................................................................63
Start/Stop using VariFrame (Variable Frame Rate).......................................................................64
Start/Stop using RS connector.....................................................................................................64
11.3. Operator Display...................................................................................................................65
Locking Camera Controls.............................................................................................................65
8
Contents
Overview of Display Symbols.......................................................................................................66
Setting a Programmed Frame Rate (Mode 2)...............................................................................67
11.4. Frame Counter and Battery Information...............................................................................70
Switching between Frame Counter and Shutter Angle (Mode 1)................................................70
Switching between Display of Frame Counter and Mirror Shutter Angle (Mode 1)....................71
Setting the Frame Counter Configuration (Mode 3).....................................................................71
Displaying the Power Supply Voltage (Mode 3)...........................................................................72
11.5. Mirror Shutter Angle and Warning Signal............................................................................73
Enabling/Disabling the Asynchronous Running Warning Signal (Mode 4)..................................73
Setting the Mirror Shutter Angle (Mode 5)..................................................................................74
12. Functional Expansion Module FEM‑2................................................................. 75
12.1. Lens Data System.................................................................................................................76
12.2. Wireless System...................................................................................................................77
Installing the URM‑3 Radio Receiver...........................................................................................77
Using the Wireless System..........................................................................................................78
12.3. Remote Lens Control............................................................................................................80
CLM-2 Status Indications.............................................................................................................80
12.4. Camera Remote Control.......................................................................................................81
12.5. Compatibility.........................................................................................................................82
ARRIFLEX D‑21 FEM‑2 Compatibility List....................................................................................82
Incompatible Accessories............................................................................................................83
12.6. Replacing the FEM‑2.............................................................................................................83
Removing the FEM‑2....................................................................................................................84
Attaching the FEM‑2....................................................................................................................84
13. Accessories........................................................................................................ 85
13.1. External Synchronization Unit ESU-1...................................................................................85
13.2. Heated Eyecup (HE-4/HE-5)..................................................................................................86
13.3. Isolating Power Adapter IPA-1..............................................................................................87
9
Contents
13.4. Low Mode Support...............................................................................................................88

13.5. Remote Run Switch (RS-4)...................................................................................................90
13.6. RS Socket Distributor (24 V Plug-on Module)......................................................................91
13.7. Shoulder Set S-5...................................................................................................................92
13.8. Fiber Link Unit FLU-1............................................................................................................93
Fiber Link Remote FLR-1..............................................................................................................93
13.9. Wireless Remote Control WRC-2.........................................................................................96
13.10. Work Light............................................................................................................................97
13.11. General Note.........................................................................................................................97
14. Camera Care....................................................................................................... 98
14.1. General Information..............................................................................................................98
14.2. Imager Check........................................................................................................................98
Imager Surface.............................................................................................................................98
Dust Check...................................................................................................................................99
Cleaning the Sensor Cover Glass...............................................................................................100
Condensation.............................................................................................................................102
Pixel Failure................................................................................................................................103
Cleaning the Field Lens..............................................................................................................105
15. Technical Data - ARRIFLEX D-21...................................................................... 106
16. Appendix...........................................................................................................110
16.1. Troubleshooting.................................................................................................................. 110
16.2. Glossary.............................................................................................................................. 116
Clipping....................................................................................................................................... 116
Color Signals and Chroma (Sub)Sampling................................................................................. 116
Data Mode.................................................................................................................................. 117
Dead/Defective Pixels................................................................................................................. 119
HD Mode.................................................................................................................................... 119
10
Contents
Mscope™....................................................................................................................................120
Scanning Methods (p, i, PsF)...................................................................................................... 121
Pixel Failure................................................................................................................................122
Signal Range...............................................................................................................................123
16.3. Image Artifacts................................................................................................................... 124
Aliasing....................................................................................................................................... 124
Clipping....................................................................................................................................... 124
Dark Spots.................................................................................................................................. 124
Dead/Defective Pixels................................................................................................................. 124
Horizontal Smear........................................................................................................................125
Noise 125
Pixel Failure................................................................................................................................125
Speckled Images........................................................................................................................125
17. Index................................................................................................................. 126
18. ARRI Group Addresses..................................................................................... 134
11
Safety Instructions
2. Safety Instructions 2.1. General Safety Instructions

Any violation of these safety instructions or Always follow these instructions to ensure
non-observance of personal care could cause against injury to yourself and damage to the
serious injuries (including death) and damage system or other objects.
to the equipment or other objects. This safety information is in addition to the
product specific operating instructions in
general and must be strictly observed for safety
Explanation of Warning Signs and Indications reasons.
Read and understand all safety and operating
Indicates a possible risk of injury or damage to instructions before you operate or install the
the equipment. system!
Retain all safety and operating instructions for
Indicates the risk of electric shock or fire danger future reference.
that could result in injury or damage to the
Heed all warnings on the system and in the
equipment.
safety and operating instructions before you
Note: Indicates further information or information operate or install the system. Follow all
from other instruction manuals. installation and operating instructions.
➪image indicates objects, which are Do not use accessories or attachments that are
shown in an illustration or picture. not recommended by ARRI, as they may cause
hazards and invalidate the warranty!
Do not attempt to repair any part of the system!
Repairs must only be carried out by authorized
ARRI Service Centers.
12
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
system! Never run the camera without a lens or a
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 Never place your hand in the lens mount
water or moisture! receptacle or the inside of the camera while it is
Do not subject the system to severe shocks! running!
Do not place the system on an unstable trolley/ Before removing the lens, always make sure to
hand truck, stand, tripod, bracket or table! The stop the mirror shutter! This not only prevents
system may fall, causing serious personal injury damage to the shutter in case a wrong lens is
and damage to the system or other objects. inserted (e.g. 16 format lens). The shutter in
"finder-open" position acts also as a protective
Operate the system using only the type of power cover to the sensor.
source indicated in the manual! Unplug the
power cable by gripping the power plug, not the Changing camera lenses should be done in a dry
cable! and dust-free environment. If this is not possible,
take extra care that no dust enters the camera
Never insert objects of any kind into any part of while the lens is off!
the system through openings, as the objects may
touch dangerous voltage points or short out When no lens is attached to the camera, use the
parts! This could cause fire or electrical shock. protective cap to avoid sensor contamination!
Unplug the system from the power outlet before After changing lenses, always perform a dust
opening any part of the system or before making check to make sure no dust has settled on the
any changes to the system, especially the sensor cover glass!
attaching or removing of cables!
Do not use solvents to clean!
13
Safety Instructions
Clean optical lens surfaces only with a lens 3. General Precautions

brush or a clean lens cloth. In cases of solid dirt,
moisten a lens cloth with pure alcohol. 3.1. Storage and Transport
Discard contaminated lens cloth after use!
Never clean a lens brush with your fingers! To prevent damage to the mirror shutter and the
sensor, a protective cap must be on the lens
If the sensor cover glass has been contaminated mount receptacle while no lens is attached.
NEVER USE CANS WITH COMPRESSED AIR
OR GAS TO BLOW OFF THE DUST! This can All cables have to be unplugged from the
severely damage both the mirror shutter and the camera when it is transported or stored inside a
sensor cover glass. camera case.
If the sensor cover glass has been contaminated When the camera is packed for transport, the
by solid dirt or grease, special optical cleaning ground glass should be removed and placed in
kits should be used very carefully for removal. If an appropriate box.
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. high humidity, severe vibration, or near strong
NEVER USE METHANOL OR ACETONE TO magnetic fields.
CLEAN THE SENSOR COVER GLASS!
3.2. Electromagnetic Interference
NEVER REMOVE THE SENSOR COVER GLASS! Portable communication devices, such as mobile
phones or walkie-talkies may cause interference
with video signals or even lead to malfunction
DO NOT POINT THE CAMERA INTO DIRECT of the camera. It is recommended to keep these
SUNLIGHT, VERY BRIGHT LIGHT SOURCES, OR devices turned off when near the camera.
HIGH-ENERGY LIGHT SOURCES (e.g. laser
beams)! This may lead to severe injury of your
eyes or loss of sight and may cause permanent
damage to the camera sensor.
14
General Precautions
3.3. Condensation it will be used, consider keeping the camera
powered (not running) from a mains unit in
When moving the camera from a cool to a warm location addition to using the air-drying cartridge.
or when the camera is used in a damp environment,
condensation may form inside the lens compartment, To speed up the process, the sensor can be heated
on the sensor cover glass, between sensor and its cover (System > Condensation Removal) via the camera
glass, and on internal or external electrical connections. menu. When condensation removal is activated, the
sensor will reach temperatures above 45 °C. This is
Operating the camera in this condition may completely normal and not harmful to the imager.
result in personal injury or damage to the
equipment. Push the video menu button to quit the
condensation removal/sensor heating.
Condensation on the optical components may
have a visible effect on the output images. Note: The air-drying cartridge has to be attached
To reduce the risk of condensation: during condensation removal. Otherwise, the
humid air will remain in the lens compartment.
• Find a warmer storage location.
• Attach the included air-drying cartridge (silica bottle) to Make sure that the silica bottle is securely
the PL-Mount of the camera when the camera is stored. fastened. Under no circumstances spill silica
into the lens compartment!
Note: The air-drying cartridge must be removed
while the camera is transported or
stored inside a transport case.
In ambient temperatures above 30 °C/86 °F and/
or humidity above 60%, always attach the air-drying
cartridge to the PL-Mount of the camera, whenever it
is not in use. This not only applies to storage, but also
to shooting breaks and situations when the camera
remains without an attached lens for an extended time.
If camera needs to be stored in a place that is
considerably cooler than the location where
15
Legal Disclaimer
4. Disclaimer any errors that may appear in this document. The

information is subject to change without notice.
Before using the products described in this manual be
sure to read and understand all respective instructions. For product specification changes since this manual
was published, refer to the latest publications of ARRI
The ARRIFLEX D‑21 is only available for commercial data sheets or data books, etc., for the most up-to-date
customers. The customer grants by utilization, specifications. Not all products and/or types are available
that the ARRIFLEX D‑21 or other components in every country. Please check with an ARRI sales
of the system are deployed for commercial use. representative for availability and additional information.
Otherwise the customer has the obligation to
contact ARRI preceding the utilization. Neither ARRI nor its subsidiaries assume any liability for
infringement of patents, copyrights or other intellectual
While ARRI endeavors to enhance the quality, reliability property rights of third parties by or arising from the
and safety of their products, customers agree and use of ARRI products or any other liability arising from
acknowledge that the possibility of defects thereof the use of such products. No license, express, implied
cannot be eliminated entirely. To minimize risk of or otherwise, is granted under any patents, copyrights
damage to property or injury (including death) to persons or other intellectual property right of ARRI or others.
arising from defects in the products, customers must
incorporate sufficient safety measures in their work with ARRI or its subsidiaries expressly exclude any liability,
the system and have to heed the stated canonic use. warranty, demand or other obligation for any claim,
representation, or cause, or action, or whatsoever,
ARRI or its subsidiaries do not assume any responsibility express or implied, whether in contract or tort, including
for incurred losses due to improper handling negligence, or incorporated in terms and conditions,
or configuration of the camera or other system whether by statue, law or otherwise. 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. incidental, or consequential damages, including, but
not limited to lost profits, lost savings, lost revenues
No part of this document may be copied or reproduced
or economic loss of any kind or for any claim by third
in any form or by any means without prior written
party, downtime, good-will, damage to or replacement
consent of ARRI. ARRI assumes no responsibility for
of equipment or property, any cost or recovering of any
16
Legal Disclaimer
material or goods associated with the assembly or use
of our products, or any other damages or injury of the
persons and so on or under any other legal theory.
In the case one or all of the foregoing clauses are
not allowed by applicable law, the fullest extent
permissible clauses by applicable law are validated.
ARRI is a registered trademark of
Arnold & Richter Cine Technik GmbH & Co Betriebs KG.
Note: This product and the accessories recommended
by the manufacturer fulfill the specifications
of the EU-Guideline 89/336/EWG.
17
General Description
5. General Description aspect ratio sensor and therefore easily accommodates

all image formats, including anamorphic 2.40:1. The
The ARRIFLEX D-21 combines leading edge digital anamorphic image can be recorded in the new and
technology with film camera features that have been innovative Mscope™ mode, utilizing a standard HD
refined over ARRI’s 90-year history. It allows directors workflow, or as ARRIRAW data in Data Mode.
and cinematographers to shoot in the same way as
they would with 35 mm film, while taking advantage Further film style features include variable frame
of the immediacy and economy of digital acquisition. rates from 1 to 60 fps, exposure compensated speed
ramps, compatibility with 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.
equipped with a number of unique features:
The ARRIRAW format enables the D-21 to output 12bit
An optical viewfinder, the Mscope™ anamorphic output, RAW uncompressed data. Alternatively the camera
a 4:3 format sensor, simple operation and an unequalled can output an uncompressed HD signal that works
film-like image quality. The D-21 is the only camera perfectly in the established HD infrastructure. With
capable of simultaneously outputting RAW data and HD. such flexibility, the ARRIFLEX D-21 easily adapts to
a variety of production requirements and budgets.
The bright optical viewfinder has zero delay, works
without power and shows an image area outside the Product Identification
primary image. Through ARRI Imaging Technology
(AIT), the camera produces brilliant images with a When ordering parts or accessories, or if any
cinematic look and feel, a high dynamic range, high questions should arise, please advise the model type
contrast and the most film-like motion and color and serial number of the product in question.
reproduction of any digital motion picture camera.
The camera's single, Super 35-sized CMOS sensor
exhibits the same cinematic depth of field as 35 mm
film. The industry standard PL lens mount accepts the
same vast variety of prime, zoom and specialty film
lenses used on 35 mm film cameras. The ARRIFLEX
D-21 is the only digital high-end camera with a 4:3
18
General Description
Scope
This instruction manual applies to the following
ARRIFLEX D‑21 software and firmware versions:
Camera software packet 1.18 - CRC 3a5b2
Color management version R2.30
E-cover software version 2.09
E-cover firmware version 5.02
FEM-2 software version: 2.05
FEM-2 firmware version: 0.98
Different software versions can
result in different behavior.
19
Power Supply
6. Power Supply
Mains unit
Available ARRI power supply solutions: NG 12/26
• CINE VCLX/2 battery (280 Wh)
• CINE VCLX/2 battery charger
• NG 12/26 R mains unit CINE VCLX/2 Battery
Do not open the batteries! CINE VCLX/2 Charger
Charge batteries only with original chargers!
Do not bypass the fuse or temperature switch!
Do not heat batteries!
Do not short-circuit batteries! • Ensure that the camera power is turned off.
• Set the voltage switch on the mains unit to 26 V.
The acceptable supply voltage for the • Plug the battery cable KC-20S or KC-29S (spiral
ARRIFLEX D‑21 ranges from 20.5 to 36 V DC. cable) into the power supply socket on the camera
and into the 26 V socket on the mains unit.
6.1. Mains Unit NG 12/26 R Note: The NG 12/24 R was the original design that
provided 12 & 24 volts output – it was superseded
Use of the mains unit is recommended for
by the NG 12/26 R, which outputs 12 & 26 volts.
shooting in the studio and when using electronic
The NG 12/24 R can easily be upgraded to NG
accessories with high power consumption.
12/26 R specification at an ARRI service center.
• First check that the correct mains voltage is
set on the mains unit (fuse on back of unit).
• Connect the mains unit to AC mains power.
20
Power Supply
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.
Note: When the battery voltage drops below the warning
level, the "bat" symbol will show in the camera
display. Once the "bat" symbol starts flashing,
the HD signal output is about to terminate.
Note: For more information on setting the low battery Power supply socket
warning level, see chapter: 11 Camera Operation.
Do not attempt to charge this battery with any LED Indication
other than the CINE VCLX/2 charger or other Alternating Evaluating battery and/or rejuvenating
models specified by Anton/Bauer! red & green low voltage battery.
Steady red Battery holding for temperature stabilization.
6.3. CINE VCLX/2 Charger
Flashing red Battery charging.
• Connect the charger to AC mains power.
Steady green Lifesaver mode, battery ready to use.
• Plug the charger cable into the charge
Flashing green Full battery installed, verifying charge state.
input socket of the battery.
• Once charged, batteries may be kept Indication of the LEDs
on the charger until required.

Note: For more information on CINE VCLX/2 battery and
charger, please check the corresponding manual.
21
Power Supply
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
• Set the main camera switch ➪image to the camera
"1" position to turn the camera on. switch
• Setting the main power switch to the "0"
position cuts off the power supply.
The camera has to boot before it enters standby mode.
During booting, the operation control LED and
imaging status LEDs on the rear of the camera
➪image light up red and the camera display shows
the busy indicator. When the camera is ready for
operation, the operation control LED turns off
and the imaging status LEDs light up green.
Do not operate the camera before all three imaging status
LEDs light up green! Using any of the camera’s buttons Imaging status
LEDs
before it is ready for operation may cause faulty behavior.
Note: When the camera is turned on, the mirror
shutter stays in the position it was set to
before the camera was turned off. If no
image can be seen through the viewfinder,
briefly press the PHASE button twice to
rotate the mirror into viewing position.
22
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
connected 12 V equipment.
Note: When the camera is powered from mains and
a 12 V onboard monitor is powered from the
camera, running a video connection between
this monitor and another device that is also
powered from mains is likely to cause a ground
loop. The Isolating Power Adaptor IPA-1 (see
chapter 14: Accessories) provides a 12 V isolated
output from the camera to avoid ground loops.
Note: The 11-pin accessory socket can only be used as
an output socket. Accessories that feed signals
into the camera will not function at this socket.
23
Power Supply
24 V Accessories
24 V accessories are normally attached to the RS- RS socket
socket ➪image. At 24 V, the available continuous Overload
current is 3 A maximum, and peak load is 5 A. warning
LED
The RS socket supplies the same voltage as the
camera power supply. Voltages over 32 V will be
limited to 32 V. In this case, the maximum
allowable continuous current is 2 A. Ensure that
the accessories to be used are suited for the
available voltage!
Overload Display
If the current drawn at the accessory sockets exceeds
the allowable maximum, a self-resetting safety circuit
interrupts the power supply and a red warning LED
lights up ➪image. If this happens, turn the camera
off, unplug all accessories from the camera, wait
for one minute and turn the camera back on.
24
Installation of the Camera
7. Installation of the Camera 7.2. Tripod and Remote Heads
Tripod heads and remote heads used with the ARRIFLEX
7.1. Minimal Equipment D‑21 have to provide enough load capacity to support
Required for Operation the camera and attached accessories. The table to the
• ARRIFLEX D‑21 right shows the camera weight for different components.
• 35 format lens with PL-Mount Note: Check for the payload of remote heads and cranes.
• Power supply cable KC-20S or KC-29S
In applications where the camera mount is
• Power supply NG 12/26 R or battery VCLX/2 subject to high forces (e.g. car or helicopter
• Compact video monitor with mounts) the camera must be additionally
composite video IN (video menu operation) secured with retaining cords. All fastening
and optionally HD-SDI IN (signal monitoring) screws must be tightened firmly with an
• 2 short 75 Ohm HD-compliant BNC cables appropriate screwdriver (not with the commonly
for connection to video monitor. used coin!).
• 3 long 75 Ohm HD-compliant BNC cables for HD signal
connection to recording unit and control monitor
• HD or data recording unit including Camera Weight lbs kg
power supply and power cables
• HD control monitor attached to the recording ARRIFLEX D‑21 incl. finder, eyepiece, 25.5 11.6
device including power supply and power cables FEM-2, and standard camera handle
Note: Details on signal connections, camera

output configuration and operation are ARRIFLEX D‑21 camera body 20.5 9.3
provided in the following chapters. Function expansion module FEM‑2 1.8 0.8
Viewfinder and eyepiece 5.0 2.3
BP-8 base plate top 1.0 0.5
Finder extension FE-3 2.0 0.9
Low mode support 2.0 0.9
25
Horizontal Levelling
The ARRIFLEX D‑21 is equipped with a spirit level
to aid horizontal levelling of the camera ➪image.
Please use caution when attaching accessories
or a recording device to the camera or the
support rods as the center of gravity may shift
towards the front or back, which can tip over the
camera.
7.3. Bridge Plate Set BP-8, BP-9

The bridge plates facilitate balancing of the camera Spirit level
on the tripod and mounting of accessories.
BP-8 is designed for 19 mm support rods.
BP-9 is designed for 15 mm support rods.
The bridge plate sets consist of the base plate, bridge
plate, and a pair of 440 mm support rods. 19 mm
support rods with lengths of 165, 185, 240, 340 and 440
mm or 15 mm diameter support rods with lengths of
340 and 440 mm are available separately as options.
Note: The bridge plate has to be adjusted to Super 35 Base plate
for use with the ARRIFLEX D‑21. This ensures
that the accessories are exactly adapted to
the optical center of the Super 35 format. Wedge plate
This also applies when anamorphic lenses
are used (unlike with 35 mm cameras).
26
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.
Putting the Camera on the Tripod
• Slide camera with the bridge plate into the dovetail Cylindrical pins
guide of the base plate until the spring-loaded stop
pin snaps back audibly. The camera’s position can Bridge plate
then be fixed with the clamping lever ➪image.
• Slide the support rods into the guides and clamp.
• Equip the camera with the required accessories
to determine the center of gravity. Loosen
the clamping lever, and by sliding the camera
on the base plate find the optimal balance
position. Then retighten the clamping lever.
Removing the Camera from the Tripod Support rods Bridge plate
• Before removing the camera make sure clamping lever
that all cables are disconnected and that
the eyepiece levelling rod is detached. Stop pin
• Loosen the clamping lever, push in the stop
pin and then pull the camera with the bridge
plate from the base plate ➪image.
27
7.4. Lens Support

Heavy or long lenses require support to avoid
overstressing the camera’s lens mount. Supporting
a lens is achieved by using either lens support LS-9 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. They
meet and screw together at a standard height.
• Mount the LS-9 lens support onto the support
rods from above and let it snap into place by
applying slight pressure. The LS-10 is mounted by Clamp
Knurled
pushing it onto the support rods from the front. screw
screw
• Fit the appropriate support ring ➪image
loosely onto the lens. Do not tighten.
• Then slide the lens into the lens mount receptacle
and lock. It is essential that you take the weight of
the lens mount until the lens support column of
the support ring can rest on the lens support.
• Move the LS-9/10 lens support so it is located under
the support column of the lens support ring.
• Fix the lens support in position by tightening
the knurled screw of the LS-9/10 ➪image.
• Complete the process by tightening the clamp
screw ➪image on the support ring.
Note: Mounting the support ring on the relevant lens
is usually carried out only once. The support
ring can then remain in position on the lens.
28
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.
Additional Hand Grips

Additional hand grips can be screwed onto the
grip system in various positions as required.
There are two types of hand grips.
Version without registering pins:
• Using a 5 mm Allen key, turn the 3/8" threaded
bold into the hand grip as far as it will go.
• Using a 3 mm Allen key, loosen both
• Turn the hand grip to screw it into the grip system.
the hexagon screws ➪image in the strut
• Pull tight to enable the safety mechanism and pull the grip system upwards.
which prevents loosening.
• To attach the grip system, proceed in the reverse order.
Version with registering pins:
Note: To provide an even sturdier hand grip
• Place the hand grip on the grip system so the system with additional attachment points for
registering pins are inserted into the provided holes. accessories, the camera can also be equipped
• Using a 5 mm Allen key, tighten the hand grip to with the low mode short set. See chapter
the grip system with the 3/8" threaded bolt. 14: Accessories for more information.
Removing the Grip System
In order to minimize camera height, the
entire grip system can be removed.
29
Optics
8. 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.
Lens Mount
The ARRIFLEX D-21 is equipped with Lens Data System
contacts ➪image for direct communication with LDS
lenses. The Lens Data System collects essential lens
and camera information for display on a dedicated
remote display and enables iris compensated speed Changing Lenses
ramps in conjunction with a Wireless Remote Control.
Changing camera lenses should be done
These features are also available for non-LDS lenses, in a dry and dust-free environment.
where focus, iris and zoom information is calibrated
Before changing or removing a lens, always
through the lens motor (CLM-2) position, which is then
make sure to stop the mirror shutter. This
stored into accessories, such as the Lens Data Archive
prevents damage to the shutter when an
(LDA) or the Wireless Remote Control (WRC-2).
inappropriate lens (e.g. 16 format lens) is
Lens Mount Position inserted by mistake. The shutter in "finder-open"
position acts also as a protective cover to the
The lens mount should always remain in Super
sensor (cover glass).
35 position (2) ➪image, although it is possible to
rotate the lens mount to Normal 35 configuration • Take care that dust cannot enter the lens
(1). Unlike with 35 mm cameras, this also compartment while no lens is attached.
applies when anamorphic lenses are used.
30
Optics
• Remove the mounted lens or protective cap from 8.2. Viewfinder System
the lens mount receptacle by turning the bayonet
ring ➪image counter-clockwise as far as it will go The ARRIFLEX D‑21 has an optical reflex
and then pulling out the lens or protective cap. viewfinder system with interchangeable ground
glasses. The viewfinder is adjustable in two axes,
Never put your fingers into the lens mount laterally extendable for left eye operation and
receptacle. shows illuminated frame lines (ARRIGLOW).
• Push the lens to be used into the lens mount receptacle
The viewfinder image stays upright and correct
without catching it at the edges. One of the four slots
left-to-right when the viewfinder is swiveled
on the lens mount must fit over the index pin ➪image.
within the main axis ➪image. Warning signals
• Press the lens flat onto the lens mount receptacle (BAT, ASY) are reflected into the viewfinder.
and pull the bayonet ring clockwise to tighten.
Note: When the camera is turned on, the mirror
Always perform a dust check after changing
shutter stays in the position it was set to
lenses to make sure no dust has settled on the
before the camera was turned off. If no
sensor cover glass!
image can be seen through the viewfinder,
Note: When no lens is attached to the camera briefly press the PHASE button twice to
for an extended period of time, use the rotate the mirror into viewing position.
protective cap to avoid dust entering the
lens compartment. See chapter 15: Camera
Care for dust check instructions.
Note: The sophisticated design principle of the camera’s
optical module delivers outstanding images
with a cinematic look and feel, but also makes
the imager sensitive to contamination. Dust
particles that have settled on the sensor cover
glass during a lens change may become visible
as dark spots in the output image, similar to lint
leaving marks on exposed film. The degree of
this effect depends on the aperture of the lens.
31
Optics
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°. See ‘Image Orientation’ below.
Removing the Eyepiece

• Hold the eyepiece with one hand and with the
other turn the knurled ring ➪image in the "OPEN"
direction until it unscrews from the eyepiece.
• Remove the eyepiece.
Attaching the Eyepiece
• With the knurled ring in "OPEN" position,
place the eyepiece on the viewfinder.
• Turn the knurled ring towards the "LOCK" position.
• Check that the eyepiece is correctly seated.
Diopter Compensation
The diopter compensation is fitted with a scale
of 1 to 12. Position "6" is normal focus.
• To adjust, turn the ring right/left until the
ground glass markings are in focus.
32
Optics
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.
Swiveling the Viewfinder Arm
The viewfinder arm can be swiveled approx. 270° Swivel release
left to right. On the left side of the camera the
viewfinder arm locks into the horizontal position.
The viewfinder arm friction can be altered if
necessary by turning the Allen screw ➪image.
• To adjust the viewfinder arm, release the locking
mechanism by pressing the swivel release ➪image.
• Turn the viewfinder arm to the desired position.
Extending the Viewfinder Arm Viewfinder arm
The viewfinder arm can be extended
continuously by approx. 50 mm/2 inches.
• Turn the extension lock ➪image
towards the "LOOSE" position.
• Pull the viewfinder arm out to the desired length.
• Retighten the knurled ring. Extension lock
33
Optics
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

• Press and hold the manual rotation release ➪image.
• Turn the manual rotation knob ➪image until the
viewfinder image is in the desired position.
Reactivating Image Orientation
• Turn the adjustment knob ➪image until this locks
in position. Do not press the locking key.
Note: The automatic image orientation mechanism
locks in two positions 180° apart.
Pivoting the Contrast Filter

To achieve a temporary subjective reduction
of viewfinder contrast, a contrast filter
(ND 6) can be pivoted into the optical beam
path by means of a lever ➪image.
• The contrast filter is brought into the
"ON" position by turning the lever.
• Releasing the lever switches the contrast
filter back into the "OFF" position.
34
Optics
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.
• Loosen the three fastening screws
using a 3 mm Allen key ➪image.
• Pull the viewfinder system up and off the camera.
Removing the viewfinder system exposes optical
surfaces on both camera and viewfinder. Do not
touch the cover glasses!
Never operate the camera with an open
viewfinder interface!
Attaching the Viewfinder System

• Place the viewfinder system on the camera from above.
• Tighten the three fastening screws.
35
Optics
If the camera shall be used without viewfinder system,

the viewfinder interface has to be protected using the Viewfinder
viewfinder cover plate ➪image from the D‑21 low mode cover plate
support K2.70004.0 or low mode short set K2.70010.0:
• Place the viewfinder cover plate on
the camera from above.
• Tighten the three fastening screws.
• Store the viewfinder system in a clean
environment laying it upside down to
avoid scratching the cover glass.
Universal Finder Arm
When using anamorphic lenses, the D‑21 can be
equipped with an AVF-1 universal finder arm ➪image,
which allows de-squeezed viewing of the ground
glass image. This viewfinder arm can also be switched
over to check the anamorphically squeezed image
or for use with a spherical lens. The universal finder Switching knob
arm can be fitted in place of the standard viewfinder
arm by a service center or in a rental house.
• To switch the viewfinder image to spherical or de-
squeezed anamorphic viewing, turn the switching knob
➪image. The knob does not need to be unlocked.
All other functions are identical to those of
the standard spherical finder arm.
Note: Anamorphic capture requires Mscope or
Data Mode/ARRIRAW output. See chapter
9: Camera Output Configuration.
36
Optics
8.3. Ground Glasses
The sensor aperture of the ARRIFLEX D‑21 is
slightly different from the camera aperture of the
ANSI and DIN Super 35 format. Therefore, Super 35
ground glasses for ARRIFLEX 235/435/535 do not
provide exact frame markings in the D‑21 viewfinder
image. For exact framing, only use ground glasses
that are listed for digital ARRIFLEX cameras. For
a list of available formats, please check the D‑21
price list or the D-21 configuration overwiew.
Note: When set to HD Mode output, the D-21 delivers
images at 1.78:1 (16:9) aspect ratio using the full
sensor aperture width. To utilize the 1.33:1 (4:3)
area, it has to be set to Mscope or ARRIRAW
output (e.g. to shoot with anamorphic lenses) Do not touch the mirror surface or the sensor
Other aspect ratios (e.g. 1.85:1) can be achieved cover glass surface!
by cropping the output image in postproduction.
• Check that the ground glass to be inserted as well
Exchanging the Ground Glass as the ground glass frame is completely clean.
• If the mirror shutter is not positioned in front of the • With the special forceps, push the chosen ground
sensor, briefly press the PHASE button in standby so glass into the holder as far as it will go. The red
the sensor cover glass is protected by the shutter. marker point must be on the left looking into the
• Turn the camera off and disconnect camera lens compartment. A ball catch fixes the
it from the power supply! ground glass exactly in the right position.
• Remove the lens or the protective cap. • Check that the ground glass is correctly locked in place.
• Using the special forceps (Hirschmann clamp) Note: Cleaning or exchanging the field lens,
from the camera’s toolkit, pull the ground glass see chapter 15: Camera Care.
out of the holder by its tongue ➪image.
37
Optics
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.
• To turn off the ARRIGLOW, turn the adjustment
knob counter-clockwise as far as it will go.
Exchanging the ARRIGLOW Mask

Each of the ground glasses available for the D‑21
should be used together with a matching glow
mask. For a list of available formats, please check
the D‑21 price list. To exchange the glow mask:
ARRIGLOW
• Remove the viewfinder system as explained above. cover
• Turn the viewfinder upside down and put
it on a clean surface that is covered with Locking screw
foam material or clean, lint-free cloth.
• Open the ARRIGLOW cover by gently turning the
locking screw 90° counter-clockwise ➪image.
38
Optics
• Using the special forceps (Hirschmann clamp) from
the camera’s toolkit, grab the glow mask at the
forceps hole and pull it out of the holder ➪image.
• Check that the glow mask to be inserted as well
as the glow mask frame is completely clean.
• Carefully push the glow mask into the holder Forceps hole
with the slanted edge facing towards the
rear end of the viewfinder system ➪image
without tilting it in the holder’s guides.
• Make sure the glow mask is inserted completely.
• Close and lock the glow mask door by gently
turning the locking screw 90° clockwise.
• Attach the viewfinder system.
• Turn on the ARRIGLOW and check that ground
glass and glow mask are correctly aligned.
Slanted edge
Forceps hole
39
Camera Configuration
9. Camera Setup
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. HD-SDI 2
• Both BNC connectors on the top right output S-Video, Y/C (SD output)
a HD sync pulse. See chapter 11: Camera
Operation for more information. Composite video (SD output)
• Two composite video outputs (CVBS 1 and 2) A link
and an S-Video output (Y/C) are located B link
on the bottom left side ➪image.
9.2. Video Menu

Main Menu
Most operational parameters for the ARRIFLEX D‑21
are set using a video menu. The video menu is shown
as an on screen display on all SD video outputs. Frame rate: 24.000 ( 12.000)
Shutter: 172.8° M
Note: Configuration of the camera outputs requires White Balance: 4300
an SD monitor to be connected to one of the Exposure Index: 400
composite video outputs or the S-Video output. Output Board: HD-SDI ALL (1+2)
Output Format: HD444 DL
Note: With SUP 1.18, the D-21 menu structure got Gamma: LogC
completely revised and updated to make the Composite (CVBS)
setup easier and adapt the workflow to ALEXA. System
Exit
40
Using the Video Menu Note: The SD video output can be set to output 50
• Briefly press the video menu button to show Hz PAL/60 Hz NTSC video (see: SD Mode).
the video menu on a connected SD monitor. The SD video format is independent of
• Rotate the button to select a parameter. the camera’s frame rate setting.
• Press the button to enter, use or confirm a selection. Status Indications
• Use "Cancel" to leave a submenu When changes are applied in the video menu, the camera
without changing a setting. will show a combination of these status indications:
• Use "Exit" to back out of the video menu.
Symbol Meaning
Locking Camera Controls
Operation control LED Camera is not ready.
The Video Menu button as well as the SEL, glows red and/or when Do not operate/turn off camera before
SET and SHUTTER button on the camera left in standby, 1st line of the operation control LED turns off.
camera display shows
can be locked by activating the LOCK switch busy indicator "__o_"
above the operator display ➪image.
Imaging status LEDs Applying settings to output electronics.
Notes: Rotating the video menu button while no menu is change state (red or off) Do not operate/turn off camera before
all three imaging status LEDs turn green.
shown will step through the SD overlay functions.
Also see: Composite (CVBS) at the end of this
chapter.
The D‑21 sensor readout operates at full sensor

aperture with 1.33:1 (4:3) aspect ratio up to
a standard frame rate of 25 fps. For frame
rates of 29.97 or higher, readout operates at a
reduced height with 1.78:1 (16:9) aspect ratio
while retaining the full sensor aperture width.
The camera image in the SD video output
therefore shows a 4:3 image up to 25 fps and a
16:9 letterbox display for 29.97 fps and above.
41
9.3. Setting Operational Parameters

Frame Rate [fps]
Frame Rate
The D-21 can be set to run at: 23.976
• Standard frame rates (23.976, 24, 25,
24.000
29.97, 30, 48, 50, 59.94 and 60 fps).
25.000
29.970
• Programmed or variable speeds between 30.000
1 and 60 fps (0.001 fps increments).
48.000
Note: Changing the frame rate above 30 fps 50.000
automatically also changes the output format to 59.940
the according high-speed mode. 60.000
Also see: Overview of Available Output Formats. Cancel
Standard frame rates can be changed using the Frame
Rate submenu.
Note: While a new frame rate is applied, the operation
control LED lights up red. Operating or restarting
the camera before the LED turns off may cause
the camera to run at the wrong speed. NORM
PS/CCU
To set the camera to a programmed/variable frame rate: switch
• First set the required standard system frame rate. The
standard frame rate determines the maximum frame
rate selectable for programmable/variable speeds.
• Adjust the standard frame rate using the video menu.
• Switch the operator display to mode 2.
42
• Use SEL and SET to adjust each digit. A final depends on the supply frequency. To achieve constant
confirmation of the set frame rate is not necessary. exposure, the camera’s frame rate, the supply frequency
Note: Also see chapter: 11.3 Operator Display. of the lighting, and the angle of the mirror shutter
must all relate to each other. As the camera frame
Note: If the programmed speed is active (NORM – PS/ rate and the supply frequency of the lighting are
CCU switch set to PS), the video menu will show usually given circumstances, the angle of the mirror
the setting in brackets behind the standard speed. shutter has to be used for compensation. The table to
the right shows examples for different situations.
Shutter
Supply frequency 50 Hz 60 Hz
The exposure time of each frame is controlled using the
open sector of the mirror shutter in combination with Frame rate 25 fps 23.976/24 fps 25 fps 23.976/24 fps
an electronic shutter. The mechanical spinning mirror Shutter angle 180° 172.8° 150° 180°
shutter is adjustable to standard shutter angles of 11.2 Exposure time 1/50th 1/50th 1/60th 1/48th
to 180 degrees. To achieve longer exposure times, the
camera can also be switched to electronic shutter mode
Always verify the results of these settings with a
enabling "open shutter angles" up to 270 degrees.
test shoot!
Mechanical Shutter
Operating the camera using only the electronic shutter
means: 11.2
22.5
• No image can be seen in the optical viewfinder. 30.0
• Image capture is subject to rolling shutter effects. 45.0
60.0
• The image output is limited to the 16:9 format. 75.0
90.0
Note: Switching between mechanical and electronic 120.0
shutter requires the camera to be stopped. 135.0
144.0
Filming with HMI Light 150.0
172.8
When shooting scenes with non-electronic ballast 180.0
HMI or fluorescent lighting, the pulsing light intensity Cancel
43
White Balance
The camera can be adjusted to different lighting using a White Balance
selection of common color temperatures, as well as an
automatic and manual white balance function in case 3200
the preset values do not deliver satisfying results. 4300
5600
Automatic White Balance 7000
WB 1 (man. 5500 K) RGB 1.14 1.10 1.21
To perform an automatic white balance: WB 2 (auto defined) RGB 1.04 1 00 1.39
• Point the camera at an evenly lit, neutral grey surface. WB 3 ( 4812 K) RGB 1.00 1.00 1.25
• Adjust iris or lighting so the output video
Automatic
Manual Kelvin
level is between 40 and 70%.
Manual RGB
• Enter "White Balance", "Automatic" and make Cancel
sure that the target covers the measuring
window ➪image before processing is started.
• Save the processed white balance to
one of the three available slots.
R: 1.00
Note: Automatic white balance settings should be
checked with a waveform monitor in RGB
waveform parade mode or vector scope mode.
G: 1.08
Auto White Balance
B: 1.95
Measuring window CCT: 3267 K
OK
Start Processing
Save Settings
Cancel
44
Manual White Balance
Manual White Balance
Preset or automatic white balance settings can be fine
tuned using manual white balance. It is possible to
modify the active white balance setting by altering the
color temperature or by altering the individual
RGB channels.
To apply a manual white balance:
• Enter "White Balance", "Manual Kelvin" to R: 1.00
adjust the white balance in 100 K steps. G: 1.11
• Enter "White Balance", "Manual RGB" to B: 2.00
individually adjust the red, green and blue gain. Save Settings
Cancel
• Save the manual setting to one of
the three available slots
Note: Manual white balance settings should be
checked with a waveform monitor in RGB
waveform parade mode or vector scope mode.
45
Exposure Index
white
white
white
clip
clip
clip
D-21 has a base sensitivity of 200 ASA. At this rating, the
dynamic range has a relatively even distribution above
Exposure
Output
and below neutral grey with low noise in the blacks and
a very soft clip in the whites. The ASA rating/Exposure
Index can be set in a range from EI 100 to 500 ➪image.
EI 100
Changing the rating influences how the dynamic 18%
EI 200
range will be distributed. Using a low EI increases the
18%
dynamic range below neutral grey and reduce the range EI 400
above. Using a higher rating will do the opposite. 18%
At EI 100, the image contains approx. 4 ½ stops

above and 6 ½ stops below 18% grey.
At EI 200, it will be approx. 5 ½ stops
noise
noise
noise
black
black
black
above and 5 ½ stops below.
At EI 400, it will be approx. 6 ½ stops
above and 4 ½ stops below.
46
Output Board
• The settings for white balance, frame rate, Output Format
shutter and exposure index apply as a system-
HD422 SL
wide setting. Settings for output format and
Gamma can be applied to all output boards
at once or to each board individually. HD422 DL
Note: Using a frame rate above 30 fps requires HD444 DL
the use of both HD-SDI boards. HD-SDI 2 HD444 QL
therefore is not available for these speeds. Mscope 422 DL
ARRIRAW DL
ARRIRAW QL
Cancel
47
Output Format
The D-21 offers HD 4:2:2, HD 4:4:4, anamorphic Mscope 4:2:2, as well as ARRIRAW as uncompressed signal
types on the HD-SDI 1 and 2 outputs. The table below gives the full overview of available formats.
Overview of Available Output Formats

Output format Output resolution Aspect ratio HD-SDI Gamma Standard speeds Fps range
ARRIRAW DL 2880 x 2160 1.33:1 (4:3) Dual link – 23.976, 24, 25 1 – 25
ARRIRAW DL 2880 x 1620 1.78:1 (16:9) Dual link – 29.97, 30 1 – 30
HD444 DL 1920 x 1080 1.78:1 (16:9) Dual link Rec709, LogC 23.976, 24, 25, 1 – 30
29.97, 30
HD444 QL (2xDL) 1920 x 1080 1.78:1 (16:9) 2x Dual link Rec709, LogC 48, 50, 59.94, 60 1 – 60
HD422 SL 1920 x 1080 1.78:1 (16:9) Single link Rec709, LogC 23.976, 24, 25, 1 – 30
29.97, 30
HD422 DL (2xSL) 1920 x 1080 1.78:1 (16:9) 2x Single link Rec709, LogC 48, 50, 59.94, 60 1 – 60
Mscope 422 DL 1920 x 1440 1.33:1 (4:3) 2x Single link Rec709, LogC 23.976, 24, 25 1 – 25
Which of the formats can be selected depends on the set standard speed/frame rate.
• Up to 25 fps, all of the formats are available and can be mixed individually for HD-SDI 1 and 2.
• Starting from 29.976 fps, the output formats are limited to the 16:9 modes.
• At 48 fps and above, the camera still offers the 16:9 modes at full aperture, but both HD-SDI 1 and 2 are
required to transmit the signal, so the camera cannot provide a second individual output format.
Notes: Data Mode/ARRIRAW requires an ARRIRAW T-Link compatible recorder that
is capable of recording uncompressed, SMPTE 372M-compliant RGBA HD-SDI
signals. For more information see the glossary in chapter 17: Appendix.
Mscope requires a recorder capable of 2x single link 4:2:2 HD recording -
i.e. two parallel 1920 x 1080 4:2:2 YCbCr HD video streams.
Wiring instructions for all HD-SDI modes can be found the following chapter
48
Gamma
Gamma defines the contrast curve that is applied to the Gamma
output images. The D-21 offers three different gamma
settings:
• REC 709 lin Normal Range: Gamma according to Rec709 Normal Range
ITU.R-BT709 standard using video levels in the range
of 0 to 100% (10bit CV 64 to 940). The images are
Rec709 Extended Range
suitable for viewing on standard broadcast monitors. Log C
Cancel
• REC 709 lin Extended Range: Gamma according
to ITU.R-BT709 standard using video levels in
the range of -7 to 109% (10bit CV 4 to 1019).
Standard broadcast monitors need to be calibrated
in order to display the images correctly.
• LOG C: Gamma based on Cineon specification. These
images are prepared for film printing or DI workflows.
As a Log C image looks very flat and desaturated on a
standard broadcast monitor, they need to be adapted
using e.g. a LogC to Video conversion Look Up Table
(LUT)..
Note: Conversion LUTs are available in many

different formats and variations. ARRI offers
a free online utility that allows creating
LUTs for digital ARRI cameras. For more
information visit http://www.arridgital.com.
49
Composite (CVBS)
This menu controls what is output via the composite
(CVBS 1/2 and Y/C) outputs.
Composite (CVBS)
SD Video Mode
The composite outputs can be set to deliver a 50 Hz PAL Zebra Off
or 60 Hz NTSC signal.
SD Video Mode: PAL
SD Overlay Functions Frame Markers: 1.78
The camera also provideds a zebra function, frame Histograms: On
markers, grids and histograms as overlay on the Exit
composite (SD) output.
To access one of the SD overlay functions:
• Completely exit the video menu.
• Rotate the menu button to step through the functions.
Zebra Setup Zebra
The zebra shows a slanted color pattern overlay in image
areas reaching the set threshold exposure level. The
zebra setup allows setting a high and a low threshold
High Zebra: Off
as well as different colors for the overlay pattern. High High Zebra Level: 83.0 %
zebra will mark signal levels above the threshold level High Zebra Color: Red
and low zebra will do so for levels below the threshold.
Low Zebra: Off
Note: Both high and low zebra can be enabled Low Zebra Level: 20.0%
independently. It is not possible to show a
zebra pattern between low and high level.
Low Zebra Colour: Yellow
Cancel
50
Frame Markers System
The camera can overlay a format marker on the The system menu can be used to obtain system
SD output. Available presets are 1.78:1, 1.85:1, information, perform maintenance tasks and to manage
2.35:1 and 1.33:1 (HD Crop - shows a center camera settings.
crop 4:3 frame within the 16:9 image).
Camera Setups
• To select a format, enter "Format", rotate the
In order to make switching camera setups easier or
menu button to step through the available options
simply as a safety feature (to make sure everything
and press the button to confirm the selection.
is back to the way it was set before the lunch break),
• To change the color of the frame marker, three different user setups can be stored in the camera.
use the "Color" submenu. Next to the user setups, a fourth setup can be stored as
• To setup the individual Format 1 and Format 2, default, which is intended for e.g. rental companies as
enter "Edit Format", adjust the left, right, top "delivery condition setup".
and bottom border and save the settings.
To save a user setup, enter "Save Current Setup"
Histograms and select one of the three user setup slots.
The camera offers individual and combined histograms
To save the default setup, select "Save Current
for the red, green, blue and luminance channel.
Setup", press and hold the menu buttons for
5 seconds. This will make "Default" appear as
an option next to the three User Setups.
Note: The camera also offers a "Factory Reset", which
Frame Marker will reset the camera to factory defaults.
Format: 1.78
Color: Black
Edit Format
Exit
51
SDI Remote Master

The D-21 can send a flag within the HD output to signal
a recorder that the REC button has been pressed.
Recorders such as the Sony SRPC/SRW-1 can be setup
to identify this flag and trigger the recording ➪image.
Condensation Removal
The imager can be heated to speed up the process of
removing condensation built up on the imager surface
or inside the lens compartment. When condensation
removal is activated, the sensor will reach temperatures
above 45 °C. This is completely normal and not
harmful to the imager. Pushing the video menu button
quits the condensation removal/sensor heating.
Note: The air-drying cartridge has to be attached
during condensation removal. Otherwise, the
humid air will remain in the lens compartment.
Also see chapter 3.3: Condensation.
52
Status
The camera status is shown in three pages:
Status 1 ➪image displays information on general camera status and output board configurations.
Status 2 ➪image displays camera system check status, CRC and version information for the color management (CM).
Status 3 ➪image displays internal temperature and voltage readings.
Status 2
Status 1
Status 3
ECU: OK!
Camera Status: RUN SENSOR: OK!
Shutter Mode: MECHANICAL ADGOC0: OK! Sensor Temp: 32.0 °C
Shutter Pos.: ROTATING ADGOC1: OK! Sensor Board Temp: 43 °C
Shutter Angle: 180.0° M ADGOC2: OK! ECU Board Temp: 47 °C
Image Size: 2880x2160 ADGOC3: OK! VDD 2.5 V: 2.41 V
Framerate: 25.000 fps PIM1: OK! VDD 3.3 V: 3.19 V
CDS: ON PIM2: OK! VDD 5.0 V: 4.92 V
Mode HD-SDI 1: HD444 CRC: VDD 8.0 V: 7.95 V
Mode HD-SDI 2: HD4444 CM:
Next
Next Next Back
Exit Back
Note: Do not record the camera signal while the Status Menu is active.
53
Status and Imaging Status Indications

The imaging status LEDs on the back of the camera
provide basic information on the general status of the
camera's imaging and image processing module.
Power
Temperature
Diagnostics
Indicator Meaning
Diagnostics Green All system checks normal.
Red One/more system check failed. Restart camera. Perform standard reset.
Take camera to ARRI service center if problem persists.
Temperature Green Sensor temperature at nominal level.
Off Slight sensor temperature deviation from nominal level. Turn camera off and wait 5 minutes before turning
it back on. Make sure that air can flow through the ventilation shafts at the back of the camera body.
Red Sensor temperature deviation from nominal level above acceptable limit. Possible malfunction of internal cooling
system. Turn camera off and wait 5 minutes before turning it back on. Make sure that air can flow through the
ventilation shafts at the back of the camera body. Take camera to ARRI service center if problem persists.
Power Green Internal power supply levels normal.
Red Problem with internal power supply. Restart camera. Take camera to ARRI service center if problem persists.
Red blinking Standard reset performed. Restart camera to complete.
54
Signal Connections
10. Signal Connections 10.1. Signal Monitoring
In HD Mode, the ARRIFLEX D‑21 can be General recommendations:
connected to any HD recording device offering • Always verify that all recordings are free of defects!
HD-SDI input and 1080PsF/i recording. • All recording setups should include a control
Always use HD-SDI-compliant BNC cables for the monitor to allow checking the recorded material.
signal connection. The cable length should not • If a (waveform) monitor is used directly on the
exceed 40 m/130 ft, but may be increased by using camera to check the signal output, it is recommended
high quality cables with low signal damping. to feed the image from the recording system's
monitoring output unless the recorded signal
If a signal is recorded via two connections
is checked using another control monitor.
(dual link), using two cables of the same
length offers better signal performance. If power and signal is supplied from two
different sources, i.e. power from camera,
If connection cables show any type of damage image from "video village", always use the
(crush/tear), they should be replaced isolating power adapter IPA-1 to avoid damage
immediately! to the camera caused by ground loops.
Never use cables with damaged connectors!
• If the recording cannot be monitored directly
ARRI does not assume responsibility for incurred (e.g. shoulder or steadicam operation with an
losses due to defective signal connections. on-board recorder), it should be checked as
soon as possible (e.g. during shooting breaks
To avoid damage to the BNC connectors,
or during transfer from recording media).
arrange for a cable strain relief. Adapters that
would stick out from the back should not be
connected directly, but with a short cable.
Note: The maximum length for reliable a connection
depends on quality and condition of the
cable in use. To provide more security in case
of minor defects, the length stated here is
intentionally shorter than what is commonly
specified by cable manufacturers.
55
Signal Connections
10.2. Signal Wiring Instructions

This chapter illustrates how recorder and control monitor
would be connected for the different output formats.
ARRIFLEX D-21 Camera Display:
Note: Camera settings shown here are only an
example for the illustrated output format. ∢ 180.0
HD-SDI 2 HD-SDI 1 fps 25.000
ARRIRAW DL – Dual Link
• Set "Frame Rate" up to 30PsF. On Screen Menu:
• Set "HD-SDI Mode" to ARRIRAW DL. A A
25.000
• Set the recording system input format to ARRIRAW ARRIRAW
T-Link using the frame rate set on the camera.
• Connect link A of the configured output board to B B
recording input A.
• Connect link B of the configured output board to DATA DATA HD-SDI
Recording System
Control Monitor
recording input B. IN OUT IN
• Connect recorder HD-SDI MON OUT to USB
control monitor input HD-SDI IN A or B.
A A
Note: HD-SDI output boards set to ARRIRAW require link A and B for IEEE 1394
signal output. Always use link A and B from the same output
board. Setting both HD-SDI 1 and 2 to HD444 and using link 1A
and 2B or 1B and 2A is may cause problems in the output signal. B Gig E B
Note: Data Mode/ARRIRAW requires an ARRIRAW T-Link compatible
recorder which is capable of recording uncompressed, SMPTE Input Format: MONITOR
372M-compliant RGBA HD-SDI signals. ARRIRAW HD-SDI OUT
Recorders without ARRIRAW T-Link certificate may
offer limited or no preview output. Please refer to the 25 fps
recording system’s user manual for information and
instructions on setting up ARRIRAW T-Link recording.
Note: For more information on Data Mode/ARRIRAW,

see the glossary in chapter 16: Appendix.
56
Signal Connections
HD444 DL – Dual Link
• Set "Frame Rate" up to 30PsF.
• Set "HD-SDI Mode" to HD444 DL.
• Set the recording system input format ARRIFLEX D-21 Camera Display:
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
• Connect link A of the configured output
board to recording input HD-SDI IN A. On Screen Menu:
• Connect link B of the configured output A A
23.976
board to recording input HD-SDI IN B.
HD444 DL
• Connect recorder HD-SDI MON OUT to the monitor.
B B
Notes: HD-SDI output boards set to HD444 require
link A and B for signal output. Always use
link A and B from the same output board. HD-SDI HD-SDI HD-SDI
Recording System
Control Monitor
Setting both HD-SDI 1 and 2 to HD444 and IN OUT IN
using link 1A and 2B or 1B and 2A is may
cause problems in the output signal.
A A A
If the control monitor supports 4:4:4
signals, you may also use HD-SDI OUT
A and B to connect to the monitor. B B B
Input Format: MONITOR

4:4:4 HD-SDI OUT
23.98PsF/59.94i
57
Signal Connections
HD444 QL – 2x Dual Link

• Set "Frame Rate" between 48 and 60PsF.
• Set "HD-SDI Mode" to HD444 QL (2xDL).
• Set the recording system input format to 2x 4:4:4 ARRIFLEX D-21 Camera Display:
RGB1080PsF/i and a frame rate half the speed of the ∢ 180.0
camera. For example Camera 48 fps/Recorder 2x 4:4:4 HD-SDI 2 HD-SDI 1 fps 50.000
24 fps or Camera 59.96 fps/Recorder 2x 4:4:4 29.98 fps.
• Connect camera and recorder: On Screen Menu:
HD-SDI 1A to HD-SDI IN A, A A
50.000
HD-SDI 1B to HD-SDI IN B,
HD444 QL
HD-SDI 2A to HD-SDI IN C,
HD-SDI 2B to HD-SDI IN D. B B
• Connect recorder HD-SDI MON OUT to the monitor.
Notes: Frame rates above 30 fps require both HD- HD-SDI HD-SDI
Control Monitor
SDI 1 and 2 to transmit the signal. Each OUT IN
board outputs the same signal on link A
and B. Using link A is recommended.
C A A A
Recording HD444 above 30 fps using 2x dual
link signals is not supported by all recording
HD-SDI
systems. Depending on the recording system, D IN B B B
live monitoring of these signals may not be
possible or restricted to output of every other Input Format: MONITOR
frame. For more information on 2x dual link, 2x 4:4:4 HD-SDI OUT
see the glossary in chapter 17: Appendix.
25PsF/50i
For information on custom frame rates and
ramps see chapter 11: Camera Operation. Recording System
58
Signal Connections
HD422 SL – Single Link
• Set "HD-SDI Mode" to HD422.
• Set the recorder's input format to 4:2:2 YCbCr ARRIFLEX D-21 Camera Display:
1080PsF/i using the frame rate set on the camera. ∢ 172.8
• Connect camera output HD-SDI 1 or 2, link HD-SDI 2 HD-SDI 1 fps 24.000
A to recording input HD-SDI IN A.
• Connect recorder output HD-SDI OUT A On Screen Menu:
or HD-SDI MON OUT to the monitor. A A
24.000
Note: When set to "HD422", the camera output HD422 SL
boards transmit the same signal on link A
B B
and B. Using link A is recommended.
HD-SDI HD-SDI HD-SDI
Recording System
Control Monitor
IN OUT IN
A A A
B B B

4:2:2 HD-SDI OUT
24PsF/48i
59
Signal Connections
HD422 DL – 2x Single Link

• Set "Frame Rate" between 48 and 60PsF.
• Set "HD-SDI Mode" to HD422.
• Set the recording system input format to 2x 4:2:2 ARRIFLEX D-21 Camera Display:
YCbCr 1080PsF/i and a frame rate half the speed of the ∢ 180.0
camera. For example Camera 48 fps/Recorder 2x 4:2:2 HD-SDI 2 HD-SDI 1 fps 50.000
24 fps or Camera 59.96 fps/Recorder 2x 4:2:2 29.98 fps.
• Connect camera and recorder: On Screen Menu:
HD-SDI 1A to HD-SDI IN A, A A
50.000
HD-SDI 2A to HD-SDI IN B.
HD422 DL
• Connect recording HD-SDI MON OUT to the monitor.
Notes: Frame rates above 30 fps require both HD-SDI 1 and B B
2 to transmit the signal. Each board outputs the same
signal on link A and B. Using link A is recommended.
Recording System
Control Monitor
Recording HD422 above 30 fps using 2x single link signals is not
IN OUT IN
supported by all recording systems. Depending on the recording
system, live monitoring of these signals may not be possible or
restricted to output of every other frame. For more information
on 2x single link, see the glossary in chapter 17: Appendix. A A A
For information on custom frame rates and
ramps see chapter 11: Camera Operation.
B B B

2x 4:2:2 HD-SDI OUT
25PsF/50i
60
Signal Connections
Mscope 422 DL – 2x Single Link
• Set "HD-SDI Mode" to Mscope HD422.
• Set the recording system input format to ARRIFLEX D-21 Camera Display:
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 50.000
• Connect link A of the configured output
board to recording input HD-SDI IN A. On Screen Menu:
• Connect link B of the configured output A A
50.000
board to recording input HD-SDI IN B. HD422 DL
• Connect recording HD-SDI MON
B B
OUT to control monitor.
Notes: Mscope is intended for use with anamorphic lenses. The full
sensor area with a 4:3 aspect ratio is output as a 1920 x 1440
Recording System
Control Monitor
image using two parallel single link signals. Each link contains IN OUT IN
1920 x 720 lines of the frame. A display connected to one
camera link or the recorder's monitor OUT will display a de-
squeezed preview image. For more information on Mscope as
well as 2x single link, see the glossary in chapter 17: Appendix. A A A
HD-SDI output boards set to Mscope require link A and B for
signal output. Always use link A and B from the same output
board. Setting both HD-SDI 1 and 2 to HD444 and using link 1A B B B
and 2B or 1B and 2A is may cause problems in the output signal.
2x single link/dual camera recording is commonly used Input Format: MONITOR

for stereoscopic capture with two camera heads. Please HD-SDI OUT
2x 4:2:2
refer to the recording system’s user manual for information
and instructions on 2x 4:2:2/dual camera recording. 25PsF/50i
61
Camera Operation
11. Camera Operation

Along with SUP 1.18, the D-21 usually received
a new operator side panel (E-Cover). Like the
new menu structure, this new E-cover brings
a few changes to camera operation.
• RUN button becomes REC:
• PROG button becomes SHUTTER.
11.1. Running and Stopping the Camera

The operation control LED next to the REC button indicates the camera run state:
RUN State Description Indication

STANDBY The camera is turned on, but the mirror shutter is not moving. The REC led is off.
Accessories will report the camera state as "standby".
LIVE The mirror shutter is running. In this state you get The REC led flashes green.
an image out of the camera. Accessories can still The operator display shows a running shutter icon behind
be configured. Lens motors can be calibrated. the shutter angle. Accessories will display "standby"
and some indication for the running shutter.
RECORD/RUN The mirror shutter is rotating, This state will only be The REC led lights up green.
entered if ‘SDI Remote Master’ has been enabled. The operator display shows a running shutter icon behind
the shutter angle. Accessories will display "RUN".
NOT READY The control electronics are not ready and the camera will not run. The REC led lights up red.
PS speed higher than frame rate set in the menu (see 11.3)
62
Camera Operation
Note: After turning the camera on, wait for 11.2. Recording
the three imaging status LEDs on the
camera backside ➪image to light up The camera offers different ways that would
green before operating the camera. allow triggering a recorder. Please refer to
the recorder's operation manual to learn if it
• Pressing the SHUTTER button ➪image will start can be started and stopped remotely.
and stop the mirror shutter and switch the camera
between STANDBY and LIVE state. If the shutter Always verify that the recorder's setup matches
has been set to electronic shutter mode, the camera the output format of the camera!
also provides a live picture in STANDBY state.
Start/Stop using SDI Remote Master
• Pressing the RUN button ➪image will start and
stop a recorder if 'SDI Remote Master' is enabled • Enable System > SDI Remote Master
in the menu and the recorder supports the HD-SDI on the camera and the recorder.
start/stop flag. If the camera is in STANDBY state, • Put the camera in LIVE state and the recorder
pressing the RUN button will also start the mirror into record-standby/record-pause.
shutter. Accessories aware of the run state will • Pressing the RUN button will start
act as if they were working with film cameras. and stop the recording.
Note: Going from STANDBY to RECORD
directly by pressing the RUN button
may fail to start the recorder.
There is no return signal and therefore no tally
light on the camera. Always check that the
recorder actually started running!
63
Camera Operation
Start/Stop using VariFrame Do not connect a recorder to the camera's RS

(Variable Frame Rate) socket if it does not support 24V supply voltage
or offers a dedicated RS/ARRI remote start
• Enable VariFrame on the recorder. VariFrame
socket!
is always enabled on the D-21.
• Put the camera in LIVE state and the recorder There is no return signal and therefore no tally
into record-standby/record-pause. light on the camera. Always check that the
• Pressing the RUN button will start recorder actually started running!
and stop the recording.
Note: For more information on variable frame rate
(VariFrame), see chapter 16: Appendix - Glossary.
Start/Stop using RS connector

The D-21 sends a shutter pulse over the 24V/RS
connectors. Some recorders support the input of this
pulse either in conjunction with the 24V as supply
voltage or on dedicated remote start socket.
• Connect camera and recorder using
the appropriate RS cable.
• Put the camera in LIVE state and the recorder
into record-standby/record-pause.
• Pressing the RUN button will start
and stop the recording.
64
Camera Operation
11.3. Operator Display
The operator display at the front left of the camera ➪image usually displays shutter angle and fps information. This
display used to be the only menu on 35mm cameras and in the beginning, also played a central role in D-21 operation.
Over time, more and more functions were moved over to the video menu.
To access the menu functions:
• Use the MODE button next to the display to step through the menu pages.
• The SEL and SET button are used to select or alter a value.
1st display line 2nd display line Adjustments
MODE 1 Shutter angle Frame rate (fps) or Switch first line display between shutter
or total frame counter. ESU" in standby and frame rate (fps) while angle and total/take frame counter.
running (external control connected). (not recommended)
MODE 2 "PS" or "ESU" (external control connected) Programmed frame rate (fps). Change programmed frame rate
Current shutter angle if a program is active. within limits of menu fps setting.
MODE 3 Take frame counter. Power supply voltage (V). Show/set low battery warning level
(Lobat).
MODE 4 Beeper enabled (–) or disabled (_) at Rotating shutter enabled (–) or disabled (_). Enable/disable start/stop beep, volume
camera run/stop and beeper volume. of beep.
MODE 5 Mirror shutter angle, "OFF" if in Frame rate (fps). Set shutter angle unless in electronic
electronic shutter mode. shutter mode. Can also be set using the
video menu.
Note: Mode 1 is indicated in the display by a black horizontal bar in the top right corner ➪image.
Note: The operator display returns to MODE 1 after pressing the SHUTTER or RUN button or 30 seconds after the last
operation.
Locking Camera Controls

The SEL, SET and the SHUTTER button as well as the video menu button can be locked by activating the LOCK switch
above the operator display.
65
Camera Operation
Overview of Display Symbols
Symbol Meaning
■ continuous The display is in mode 1.
bat continuous Power supply voltage
reached warning level. 1 2 3 4
PROG
asy continuous Asynchronous operation (camera 5 6 7 8 asy
is not running at set frame rate) fps
blinking Shutter out of Sync bat
fps blinking ESU is connected, but no sync-
frequency is available
PROG continuous The stored program is activated and
can be started while the camera is
running by pressing the PROG button.
blinking The activated program cannot be run
with the set values: Out of range fps
or shutter, or battery voltage too low
∢ blinking The symbol blinks and the operation

control LED glows red: The electronic
shutter adjustment is defective.
__o_ in 1st line Video menu changes being
applied (standby).
66
Camera Operation
Setting a Programmed Frame Rate (Mode 2)
• First set the required standard system frame rate. The
standard frame rate determines the maximum frame
rate selectable for programmable/variable speeds.
• Adjust the standard frame rate using the video menu.
• Switch the operator display to mode 2.
• Use SEL and SET to adjust each digit. A final
confirmation of the set frame rate is not necessary.
fps
Note: Also see chapter 9.3 Setting Operational
Parameters – Frame Rate.
Note: An internal buffer battery ensures that the
programmed frame rate is stored even if the
camera is not switched on at the main switch.
This battery has a lifetime of approx. 10 years.
If the programmed frame rate is not
available when the camera is switched Shifting Phase
on again, the buffer battery has to be To capture quartz-synchronized monitors, hold
replaced by an ARRI service center. the PHASE button pressed after the camera has
run up until the horizontal bar is no longer visible
in the viewfinder. The frame rate will increase by
0.2 fps for the duration PHASE is pressed.
Note: Shifting phase causes unsynchronized operation
of mirror shutter and HD output. Shifting
phase during recording may cause drop
frames. As shifting phase should be required
only once, it is recommended to first adjust
the phase and then start the recording.
67
Camera Operation
Changing the Frame Rate while Fine-Tuning the Programmed

the Camera is Running Frame Rate (PS-Mode)
Note: Also see chapter 9.3 Setting Operational Note: Also see chapter 9.3 Setting Operational
Parameters – Frame Rate. Parameters – Frame Rate.
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
CCU) while the camera is running by means of the buttons SEL (slower) and SET (faster). The setting can be
NORM/PS-switch. Changing the frame rate is a adjusted in increments of 0.001 fps (1.000 to 60.000).
mechanical operation, as the rotation speed of the • Set the NORM/PS switch to "PS/CCU".
mirror shutter has to be increased/decreased. Therefore
• Run the camera.
changing the frame rate cannot happen instantly.
• Press the MODE button once to change to mode 2.
If the programmed speed has been set prior to • With the buttons SEL (slower) and SET
changing the standard frame rate (video menu) (faster) change the frame rate.
and exceeds the standard frame rate limit:
Note: Fine-tuning the programmed frame rate should
• Switching the camera to PS/CCU in standby causes always remain below the set standard frame
the RUN LED to light up red. The camera will not run. rate to avoid asynchronous operation.
• Switching to PS/CCU while the camera is
running causes the RUN LED to turn off. The Controlling the Frame Rate Using
camera will not change its running speed. Electronic Accessories
Note: Changing the frame rate with the NORM/PS Note: Also see chapter 9.3 Setting Operational
switch while the camera is running creates Parameters – Frame Rate.
a basic speed ramp. This operation does not
allow automated exposure compensation. Depending on the electronic accessory in
use, the camera can be controlled:
• With the NORM/PS switch set to NORM, whereas
an accessory will replicate the camera display.
68
Camera Operation
• With the switch set to PS/CCU, enabling e.g. variable This method allows synchronizing the cameras to
speeds or exposure compensated ramps using a WRC. standard frame rates between 23.976 and 30 fps.
• Regardless of the NORM/PS switch position, Note: Using this method does not allow
e.g. when synchronizing the camera to another adjusting the shutter phase.
D-21 or a video signal using an ESU-1.
Note: This method requires a special cable, which
Note: With the camera set to NORM, using a
is available from ARRI on request.
programmed speed does not work if it has
been set prior to changing the standard frame Synchronizing using the ESU-1
rate (video menu) and exceeds the standard
The sync signal is picked up from the ACC socket
frame rate limit. The camera will indicate this
of the master camera and connected to the ESU-1
problem as explained under: Changing the
input using a special cable. The output of the ESU-1
Frame Rate while the Camera is Running.
is connected to the ACC socket of the slave camera.
Note: With the camera set to PS/CCU, using a
This method allows synchronizing the cameras to frame
programmed speed or ramp that exceeds the
rates over 30 fps and to adjust the phase of the shutter.
standard frame rate (video menu) does not
work. The electronic accessory will show a To adjust the phase of the slave camera's shutter:
corresponding message. More information
• Use the Phase Adjust wheel of the ESU-1 to shift the
on operation of electronic accessories can
slave camera's shutter completely out of phase.
be found in the respective manuals.
• Then slowly adjust the phase to a match.
Synchronizing two D-21 Cameras Note: Checking approximate speed and shutter
There are two approaches for synchronized phase requires a strobe gun.
operation of two cameras.
Note: This method requires a special cable, which
Synchronizing using the HD clock pulse is available from ARRI on request.
The sync signal is picked up from the HD clock Note: See chapter 14: Accessories for more
pulse output (top connector on one of the information on the ESU-1.
output boards) and then routed back into both
camera's ACC socket using a special cable.
69
Camera Operation
11.4. Frame Counter and

Battery Information
The operator display can show a total exposed
frames counter and a take length counter
(indicated with a "t"). Both, however, can be
considered irrelevant, as they represent no relation
to the material that was actually recorded.
Switching between Frame Counter

and Shutter Angle (Mode 1)
• Press the SEL button to toggle between
shutter angle and frame counter.
• Within three seconds, press the SET button.
Note: We recommend having mode 1 show
shutter angle and fps at all times.
70
Camera Operation
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 fps
counter value is not put to use, as when shooting on
film, it most likely does not have any relevance.
• In mode 1, press the SEL button to toggle
between shutter angle and frame counter.
• Within three seconds, press the SET button.
Setting the Frame Counter
Configuration (Mode 3)
To exchange the frame counter type
displayed in modes 1 and 3: fps
• Change from mode 1 to mode 3 by
pressing the MODE button twice.
• Press the SEL button; the first digit in
the upper display line blinks. Resetting the Frame Counter
• Within three seconds, press the SET button. (Modes 1 and 3)
The currently set counting value of mode 3 is displayed. • Change to the mode showing the total
The corresponding counting value optionally amount of captured frames by pressing
shown in mode 1 is automatically altered. the MODE button repeatedly.
• Press the SET button for at least 3 seconds
Note: The take length counter automatically starts from while in standby to reset the total frame counter.
zero each time the mirror shutter is started.
71
Camera Operation
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
on the type of battery in use. To change the voltage level:
• Change from mode 1 to mode 3 by
pressing the MODE button twice.
• Press SEL twice to change to the voltage level setting.
• Press the SET button repeatedly until the desired
value is reached (values below 20 V cannot be set).
• Repeat this procedure until all digits are set to the
desired values. A final confirmation is not necessary.
Note: For NiCd batteries, the voltage level should
be set to approximately 22 - 23 V. For Li-ion
batteries, a higher value of approximately
26 - 28 V should be used, as these batteries
sustain a high voltage level, but then have a
steeper discharge characteristic. These are only
approximate values as the actual voltage warning
level has to be identified by battery type, age
and capacity and by the desired safety reserve.
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Camera Operation
11.5. Mirror Shutter Angle and Warning Signal
Enabling/Disabling the Asynchronous
Running Warning Signal (Mode 4)
• Change from mode 1 to mode 4 by pressing
the MODE button three times.
• Press the SEL button once to access
the warning signal settings.
• Within three seconds, press the SET button to select
one of the four settings 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.
Display Warning signal on start Warning signal on stop

Setting the Volume of the Warning Signal
• Change from mode 1 to mode 4 by pressing
LS _ _ off off
the MODE button three times.
LS – _ on off
• Press the SEL button twice to access
LS _ – off on the warning signal volume setting.
LS –– on on • Select the desired volume with the SET button
(0 = off, 3 = maximum volume)
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Camera Operation
Setting the Mirror Shutter Angle (Mode 5)

Starting with SUP 1.18, the mirror shutter angle can be
conveniently set using the video menu. Alternatively,
this setting can be made using the operator display:
• Use the MODE button to get to mode 5.
The display looks like mode 1 without fps
the bar in the top right corner.
• Press the SEL button repeatedly until the
desired shutter angle appears in the display.
• Within three seconds, confirm the selected
shutter angle with the SET button.
Note: If the selected shutter angle is not confirmed
within three seconds, the shutter angle
will revert to the previously set value.
With electronic accessories such as the WRC unit,
the shutter angle can be set in 0.1° increments
in the range of 11.2 – 180°. The procedure is
described in the respective instruction manual.
74
Functional Expansion Module FEM-2
12. Functional Expansion Module FEM‑2
The ARRIFLEX D‑21 includes the FEM‑2 electronic side cover, which offers the following functions:
• LDS (Lens Data System).
• Motor drivers for up to three CLM-2 motors.
• Two LCS bus interfaces for CLM-1 motors, WHA‑2, WHA‑3 and ZMU-3.
• LDD (Lens Data Display) interface.
• ACC interface for ESU-1.
• CCU interface (RS 232) for connection of electronic accessories, such as WRC‑2 or the Cine Tape Measure System.
• URM port for optional URM‑3 to enable wireless lens- and camera control.
LDD socket
Lens motor status LED
CLM-2 direction switch
LCS bus sockets

LDS status LED
Radio status RDY LED
Channel selection switch
ACC socket
CLM-2 plug-in module
URM port
CCU socket
Battery compartment
75
12.1. Lens Data System

LDD socket
The lens data system allows lens and camera
information to be shown on connected Lens Data
Displays. This information includes focus, iris and
zoom values for any position on the lens ring, the
resulting depth of field, fps, shutter and battery voltage.
The LDS enables iris compensated speed ramps
and delivers precise and reliable information about LDS status LED
lens and camera status for e.g. crane or Steadicam
Radio status LED
setups in wired or wireless configuration. Together
with external distance measuring devices (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 LED Status
LDS status LED ➪image: Green LDS OK
Lens data displays are connected to the LDD Off No LDS lens
socket ➪image on top of the FEM‑2 module. Red LDS transfer error
• To connect an LDD, use LDD cable K4.55855.0.

• To connect an LDD‑FP, use LDD‑FP cable K2.54172.0.
Note: Instructions on how to use the lens
data displays can be found in the
respective instruction manuals.
76
12.2. Wireless System
Equipping the FEM‑2 with a URM‑3 radio receiver
enables wireless communication of lens control and lens
data as well as remote control of camera functions.
The D‑21 uses the latest ARRI WRS protocol,
denoted by a yellow rubber washer on the
antenna. All ARRI WRS products can be
upgraded to the new protocol – consult your
ARRI service center. URM port
cover screws
Installing the URM‑3 Radio Receiver
Installing a URM‑3 radio receiver to the FEM‑2 allows
wireless communication of positioning information
for lenses and remote control of camera functions.
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. The RF modem could be damaged
URM‑3!
and conformance to standards cannot be
The installation of the URM‑3 has to be carried ensured.
out on a static-free workstation.
• Using a 2.5 mm Allen key, loosen the
two screws of the URM port cover.
• Remove the two screws from the holes in the cover.
• Apply the URM‑3 to the FEM‑2.
• Secure the URM‑3 to the FEM‑2 using
the two screws from the cover.
77
Using the Wireless System Channel Frequency Use

The channel selection switch is used to adjust the 0 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. Make sure to
set both camera and assigned wireless main unit 1 2406 – 2345 MHz Europe except France and Spain.
To be used in the USA, Canada,
to the same channel to enable communication.
Mexico, New Zealand.
Note: If two yellow washer remote systems are used on 2 2444 – 2472 MHz Europe except Spain
the same set, it is recommended to set one system 3 2406 – 2345 MHz USA, Canada, Mexico,
to an even and the other to an odd channel. New Zealand, France
Regional radio guidelines must be observed. Do 4 2444 – 2472 MHz Japan

not use RF channels that are not permitted in 5 2406 – 2345 MHz Australia
your country! 6 2444 – 2472 MHz Australia
7 2406 – 2345 MHz Spain
8 2444 – 2472 MHz Corresponds to channel setting 0
9 Radio device deactivated
78
Changing the Radio Channel RDY LED Status
Use one of the methods described below Off Wireless remote control deactivated
to set the URM‑3 to a radio channel: (channel 9) or camera deactivated
or camera without power
• With the camera turned off, set the
Red/green, alternating Radio modem initialization in progress.
channel and turn the camera on. Do not activate wireless main until ready.
• Set the channel selection switch to 9 Green, blinking Wireless remote control is ready.
(deactivated) and then turn it to the Activate wireless main unit.
designated channel within half a second. Green Wireless remote control OK
• To change the channel while the system is active,
Red Channel selection has been changed while
select the new channel. The RDY LED will light up red, system was active. Turn the camera off and
but the wireless will continue to work on the previously on again to change the channel or reset the
set channel until the camera is turned off and on again. channel selection switch to the previously
set channel if the change was unintentional.
Wireless System Status Indications Red, blinking Hardware malfunction in the URM radio
The RDY LED of the radio system indicates module. If this error still occurs after
restarting the camera, replace the radio
the status of the radio (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.
Select another channel.
79
12.3. 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.
• CLM-2 motors should be connected to the zoom,
focus or iris socket on the CLM-2 plug-in module,
according to their position on the lens ➪image. IRIS socket
• CLM-1 and CLM-2 motors may be used FOCUS socket
simultaneously, but only on different lens axes.
ZOOM socket
Note: CLM-1 motor function has priority over
the CLM-2 motors. If a CLM-1 motor is set
to the function zoom, focus or iris and is
connected to the FEM‑2, the corresponding Status LED Status
CLM-2 connection is deactivated. Off No motor connected
Each CLM-2 motor connection has a status Red Motor connected, remote control not found
LED and a direction switch ➪image. Green Motor OK
Green, blinking Motor OK, but at an end position
CLM-2 Status Indications
Red, blinking Motor conflict.
The status for each CLM-2 motor is displayed CLM-1 assigned to the same function
by its own status LED (see table).
Red/green, alternating Motor calibration in progress
Note: More information on LCS and WRS setups can
be found in the FEM‑2 instruction manual.
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12.4. Camera Remote Control
The ARRIFLEX D‑21 can be remotely controlled by cable
and/or via the wireless remote system. The WRC‑2
can control the camera wirelessly (when attached to
WMU‑3), by cable to the LCS bus (when attached to
WHA‑2 or WHA‑3), or by cable to the CCU socket (direct
connection). When connected using the first or second
option, the CCU LED on the camera will light up red
to indicate that the CCU connector is not available.
Only one camera control unit can be used to control
the ARRIFLEX D‑21, while more than one WMU‑3
can be used in parallel to control lens functions.
Note: More information on LCS and WRS setups can
be found in the FEM‑2 instruction manual.
Note: For details on how to use the WRC‑2, please see
the instruction manual supplied with this unit. WRC-2
The image to the right shows a wired remote control Camera & iris
remote control
setup with the WRC‑2 connected directly to the
CCU socket and one CLM-2 motor to allow iris-
compensated or shutter & iris-compensated ramps.
Note: If WRC and ESU are used in parallel, the WRC has
to use either a wireless connection or the LCD bus.
CLM-2
connected to
IRIS socket
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12.5. Compatibility ARRIFLEX D‑21 FEM‑2 Compatibility List

The ARRIFLEX D‑21 components require the following The following devices are compatible to the
software/firmware versions for proper function: ARRIFLEX D‑21 including the FEM‑2 module:
ARRIFLEX D‑21: SW 1.14, CRC: 65b8c or higher CLM-1................................................................ K2.41378.0

E-cover (435): SW 2.00 or higher, FW 1.07 or higher CLM-2................................................................ K2.52036.0
FEM‑2: SW 1.34 or higher, FW 0.84 or higher EXD-1................................................................ K2.55013.0
LDD: SW 2.82 or higher LDD Classic....................................................... K2.54012.0
LDD‑FP: SW 2.89 or higher LDD‑FP.............................................................. K2.54163.0
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............................................................... K0.60042.0
435 or 435 ES. This will result in damage to the (via WHA‑2 or direct to CCU, only SW 1.1.0 or higher
equipment. ZMU-3...............................................................K2.65003.0
Use only accessories that are compatible with Note: This compatibility list only applies to the
the FEM‑2! Accessories not included in the ARRIFLEX D‑21 in conjunction with the
compatibility listing below must not be used. FEM‑2 module. Information on compatible
Incompatible accessories or accessories not accessories for the ARRIFLEX 435 Xtreme/
approved by ARRI could damage the FEM‑2, the Advanced together with the FEM‑2 module
camera or the accessory itself. can be found in the FEM‑2 manual.
Note: As new electronic accessories become
available for use with the FEM‑2, please
check the respective manuals for
compatibility with the ARRIFLEX D‑21.
82
Incompatible Accessories 12.6. 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.
UC-C2 Run Cable.............................................. K2.52076.0 If the FEM‑2 module is interchanged between
LC-S1 Power Cable............................................ K4.46859.0 cameras, always make sure that the software
LC-S2 Power Cable........................................... K2.47146.0 and firmware requirements listed above are
LC-S3 Power Cable............................................K2.47147.0 met!
LC-A1 Battery Adapter Cable............................ K2.41385.0
LC-A2 Battery Adapter Cable............................ K2.41386.0 Switch off the camera and disconnect all cables
LC-A3 Battery Adapter Cable............................K2.44022.0 from the camera and FEM‑2 before removing
LC-C1 Run Cable............................................... K2.41398.0 the FEM‑2!
LC-C Run Cable................................................. K2.41399.0
This procedure must be carried out on a static-
free workstation.
Note: The camera should be securely placed on a
stable flat surface or fixed on a pivoting head
to provide a secure working environment.
83
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
• Insert both pins on the front of the FEM‑2 into
the guides on the camera body ➪image.
• Press the back end of the FEM‑2 on the camera
to connect the FEM‑2 to the camera interface.
• Secure the FEM‑2 with its fastening screw.
Guides
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Accessories
13. Accessories
13.1. External Synchronization
Unit ESU-1
The external synchronization unit ESU-1 can be used
with the ARRIFLEX D-21, 235, 435 models, 535, 535B,
16SR3/Advanced, 416 models. It allows the camera to be
synchronized to other equipment, such as TV monitors.
The unit offers:
• A BNC socket for synchronization of the camera
to an external standard video signal (50/60 Hz).
• An RCA socket for synchronization to a pulsed
signal (see ESU-1 manual for specifications).
• An input for an inductive pickup to allow
synchronization to a computer or video monitor.
When connected, the camera display shows "ESU"
in the upper line. The ESU-1 can be used for frame
rates from 3 to 60 fps. The frame rate is indicated
on the camera display in Mode 2. The external
synchronization unit also provides a phase shifter
and a pilot tone generator. The synchronization is
retained even when the camera is switched off.
Note: For more information, see TECHN. INFORMATION
“External Synchronization Unit ESU-1”.
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Accessories
13.2. Heated Eyecup (HE-4/HE-5)

The heated eyecup prevents the eyepiece from fogging
in low temperatures e.g. when filming outdoors in
winter. HE-5, in addition, is equipped with an automatic
capping shutter that prevents “sensor fogging” when
the operator takes the eye away from the eyepiece.
• Pull the regular eyecup off the eyepiece and
place the heated eyecup on the eyepiece.
• The connector housing can be rotated, which allows
easy mounting on all cameras in all positions.
• Use cable KC-42-SP-S to connect the
heated eyecup to the RS socket.
• Set the heating level with the toggle switch.
"LO": low heat output,
"HI": higher heat output,
"OFF" no heat output.
If the camera and accessories are powered by
battery, it is recommended to switch off the
eyecup heating during extended breaks in
filming.
Note: The HE-5 cannot be pulled off the eyepiece like
the HE-4. To unlock its retainer clip, press the
button next to the heating level toggle switch.
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Accessories
13.3. Isolating Power Adapter IPA-1
The isolating power adapter provides two
11-pin Fischer 12 V sockets ➪image.
The upper socket, labelled ‘12 V Isolated Power’,
is intended for powering electronic 12 V video
equipment from the camera, e.g. a video/waveform
monitor. The adapter ensures electrical isolation of
video ground and camera ground to avoid ground
loops and potential damage to the camera.
The 11-pin accessory socket is looped through
to the lower socket on the adapter.
To use the isolating power adapter:
• Switch off the camera.
lower accessory socket. The red LED below the
• Attach the power adapter to the accessory
accessory socket on the camera indicates overload.
socket (11-pin Fischer) of the camera E-cover.
• Screw down the mounting bolt of the power adapter.
• Connect the video monitor to the video Only the upper socket supplies 12 V isolated.
source (camera SD or HD-SDI output) and to
the upper socket of the power adapter.
The lower socket supplies non-isolated 12 V for
• Switch on the camera and the video monitor.
standard camera accessories. Using it for video
When 12 V isolated output is available,
monitors connected to the camera is not
the LED on the IPA lights up green.
recommended.
• If the LED does not light up, make sure that the
12 V supplied by the camera are not overloaded,
e.g. by another device that is connected to the
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Accessories
13.4. Low Mode Support

The low mode support is available in two versions.
• Low mode support (K2.70004.0) improves camera
handling on a Steadicam rig and enables underslung
use. Consists of a low mode handle, two mounting
supports, a short support plate for operation with the
viewfinder on the camera and a long support plate and
finder cover plate for operation without viewfinder.
The finder cover plate offers a take-up for an included
set of two 19 mm diameter 80 mm support rods
and two 15 mm diameter 145 mm support rods.
• Low mode short set (K2.70010.0) provides a sturdy
camera handle with various mounting options for
accessories. Consists of a low mode handle, two
mounting supports and a short support plate for
operation with the viewfinder on the camera.
Note: The short support plate, included in both versions
of the low mode support is used to mount the
Fiber Link Unit FLU-1 on top of the camera.
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Accessories
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!
• Place the low mode support on top of the camera.
• Using a 5 mm Allen key, screw the left side mounting
support on the rosette below the ARRIGLOW module.
• Using a 3 mm Allen key, tighten both screws
of the right side mounting support on the
hand grip attachment point of the camera.
• If the viewfinder has been taken off, the viewfinder
interface has to be protected with the finder cover
plate. In configuration with the long support plate,
the finder cover has to be attached at the front
end of the support plate. In configuration with the
short plate, the finder cover can be placed on the
viewfinder interface by itself. Tighten the three
screws of the finder cover plate to the camera.
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Accessories
13.5. 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.
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Accessories
13.6. RS Socket Distributor
(24 V Plug-on Module)
The 24 V plug-on module provides an additional RUN
button to facilitate operating the camera from the
right side and two RS sockets for connecting 24 V
accessories. The module is mounted on the right
side of the camera in front of the electronic cover.
• To attach the 24 V plug-on module, plug
its connector into the RS socket.
• Tighten the fastening screw.
Note: When a UMC-3 radio modem is attached to the
FEM-2 electronic side cover, the antenna socket
of the radio module will block access to one of
the RS sockets of the 24 V plug-on module.
The camera provides a total power output The RS sockets supply the same voltage as the
of 72 watts on the 24 V sockets. camera power supply. Voltages over 32 V will be
limited to 32 V. Ensure that the accessories to be
At 24 V, this results in 3 A maximum used are suitable for the available voltage!
continuous current and 5 A peak load.
Ensure that the accessories to be used are
At 32 V, the maximum allowable suited to the available voltage and that the
continuous current is 2 A. connected accessories do not overload the
camera's power outlets.
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Accessories
13.7. Shoulder Set S-5

The shoulder set S-5 allows switching the camera
from tripod to shoulder without having to remove the
optical accessories. Available set and components:
Shoulder Set S-5 complete (K0.70410.0)
With left and right grips including run/stop switch and
ergonomically shaped shoulder pad for the D-21 ➪image.
Shoulder Set S-5 (K2.70450.0)
With left and right grips including run/stop
switch for the D-21 and other ARRIFLEX cameras
(shoulder pads available separately).
Shoulder Pad for D-21 (K2.70011.0)
Ergonomically shaped shoulder pad for the D-21.
To attach the shoulder set to bridge plate BP-8 or BP-9: To detach the shoulder set:
• Screw the shoulder pad to the back of the shoulder set. • Open the clamping lever on the bridge plate.
• Slide the shoulder set from the rear into the • Pull the latch pin on the bottom of the shoulder
dovetail guide of the bridge plate as far as it set and slide the shoulder set backwards and
will go. A latch pin will automatically keep out of the bridge plate's dovetail guide.
the shoulder set in the correct position.
• Clamp the shoulder set using the
bridge plate clamping lever.
• Plug the cable for the remote RUN button
into the camera's RS socket.
• Check that the shoulder set is firmly
seated on the camera.
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Accessories
13.8. 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). It supports all frame rates of
the D-21, including variable frame rate output.
The cable can measure up to 500
meters/0.3 miles in length and uses industry HD-SDI
24 V in/out RS sockets
standard SMPTE fiber connectors. monitor OUT Fiber cable connector
Using the FLU-1 allows recording of up to HD-SDI IN A/B
59.94 fps on a connected Sony SRW-1/
SRPC-1 HDCAM SR field recorder.
Note: Sony SRPC-1 has to be equipped with a Tally LED REC/PAUSE switch
Sony Fiber Optic Adapter Board (HKSR-101) Review button Remote connector
providing the fiber interface on the recorder.
Variable frame rate recording additionally Ready LED
requires Sony Cache Board (HKSR-102).
Fiber Link Remote FLR-1

The FLR-1 can be used to control the record and
review function on a Sony field recorder via the
fiber cable connection. The remote has LEDs for
tally (green LED) and recorder ready (blue LED).
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Accessories
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.
• Connect the 24 V power cable included in
the Flash Mag/Sony Fiber Adapter Cable Set
(K2.70410.0) to the 24 V RS socket of the camera
and the RS power input socket on the FLU-1.
• Connect HD-SDI output A and B from one HD-SDI
output board to HD-SDI input A and B on the FLU-1.
Even in an HD422 setup, both connections are required.
• The HD-SDI monitor output on the FLU-1
delivers a 4:2:2 return signal from the Sony
HDCAM SR field recorder that can be displayed
e.g. on the camera's onboard monitor. General requirements:
• Connect the SMPTE fiber cable to FLU-1 and recorder.
• Sony SRW-1/SRPC-1 HDCAM SR field
• Set the desired output format parameters as described recorder with an HKSR-101 fiber optic
in chapter 9: Camera Output Configuration. adapter or another compatible recorder.
• On the recorder, setup the corresponding input • Variable frame rate recording on the Sony field recorder
format and select the fiber interface input[1]. additionally requires an HKSR-102 cache board.
Note: Using the FLU-1 requires no additional • Low mode short set (K2.70010.0).
setup on the camera side. Check the • Flash Mag/Sony Fiber Interface Cable Set
instruction manual of the recorder in use for (K2.70410.0) for power and signal from camera.
information on setting up the corresponding
• Fiber optic cable 30 m/100 ft (K2.70500.0)
recording format using the fiber input.
or 100 m/330 ft (K2.70501.0) for signal
connection to the recorder.
[1] On the Sony SRW-1/SRPC-1, the optical input is selected by
setting Video I/O in the video setup menu to CAM(optical).
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Accessories
To use the fiber link remote:
• Connect the FLR-1 to the RECORDER
REMOTE socket on the FLU-1.
• Set the Sony field recorder to record-pause
mode. The ready LED lights up blue when
the recorder is ready for recording.
• Setting the recording switch to REC starts
the recording. The tally light will light up
green when the recorder is running.
• Setting the recording switch to PAUSE
puts the recorder into record-pause.
• Pressing the blue REVW button will play back
the last few seconds from the HDCAM SR tape
and afterwards put the recorder into record-
pause again. The ready LED lights up blue
when the recorder is ready for recording.
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Accessories
13.9. Wireless Remote Control WRC-2

The WRC-2 is a modern and user-friendly remote
control and program unit for all new-generation
ARRIFLEX and ARRICAM cameras. It combines
the functionality of the RCU-1 and WRC-1. Beyond
that, the WRC-2 provides unique new features and
due to the touch screen user interface, remote
controlling a camera was never faster and easier.
The range of functions is automatically adapted
to the attached camera. Since the functionality
of the unit is software based and therefore
expandable, the WRC-2 is the most flexible
remote control unit ARRI has ever provided.
The WRC-2 enables the user to remotely control the
camera speed, the shutter angle of the mirror shutter and
the aperture of the lens (iris) when used together with
FEM-2 and a CLM-1 or CLM-2 motor, providing a wide
range of compensation options for constant exposure.
Note: More information on variable speeds/ramping can
be found in the glossary in chapter 16: Appendix.
Note: For more information and operation instructions,
see chapter 13: FEM-2 and the WRC-2 manual.
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Accessories
13.10. 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:
• Attach the dovetail adapter to the
hand grip using the screw.
• Slide the work light into the dovetail guide and clamp.
• Connect the plug to the RS socket.
13.11. General Note

Note: For further information on the accessories,
please refer to the corresponding instruction manual.
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Camera Care
14. Camera Care 14.2. Imager Check

A film camera exchanges its “sensor” – i.e. the piece of
14.1. General Information film negative holding a frame – after a single exposure.
When maintaining and cleaning the camera The sensor of a digital camera is used for countless
and accessories, pay careful attention exposures and generally remains in its place unless it
to the following notes and tips: is damaged and replaced. It is therefore recommended
• Camera and accessories should be placed on to perform an imager check prior to or at the end of
a stable, flat and clean surface that is covered each day of shooting to ensure the camera’s imager
with foam material or clean, lint-free cloth. has not taken any mechanical or electrical damage.
• For cleaning, it is recommended to use soft, lint- Imager Surface
free cloths and swabs. Also suitable are special
The camera's sensor and optical filters are located
cleaning tissues and small sponges as used for
behind a protective cover glass (filter). This cover glass
cleaning computers and video equipment.
can be replaced in case it is damaged. Nevertheless,
Under no circumstances use acetone or nitro- opening the lens compartment should always be done
thinner! These chemicals dissolve paint and with care to avoid mechanical damage to the mirror
damage highly polished surfaces. shutter, the sensor cover glass and the sensor.
Disconnect the camera from the power supply Before removing a lens, always make sure to
and other connecting cables whenever power or stop the mirror shutter. This prevents damage to
signal connections are not required. the shutter when a inappropriate lens (e.g. 16
format lens) is inserted by mistake. The shutter
Working on the imager and attaching or
in "finder-open" position acts also as a protective
detaching electronic accessories has to be
cover to the imager.
carried out on a static-free workstation.
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.
98
Camera Care
Dust Check
In normal everyday use, removing the lens allows dust
or dirt to enter the lens compartment of the camera. Mscope monitor Dark spot in the output
Performing regular dust checks at least after every output caused by dust particle
lens change helps preventing dust on the sensor.
Dust Check using the HD output

A very effective method of checking for dust
is to use the camera's live Mscope HD output.
Dust on the sensor cover glass will beome Dust particle in vertically
View on sensor
visible as dark spots in the output image. flipped position
• Attach a lens and set the focus to infinity.
• Point the camera towards a bright, evenly lit surface
or put a diffuse white glass plate in front of the Note: See chapter 9: Camera Output
lens and point the camera into a light source. Configuration for more information.
• Set the camera output to Mscope, so it shows
the full sensor aperture as a squeezed image. Dust Check Looking at the Imager Surface
• Set the contrast characteristic to EI 500 or higher. • Make sure the mirror shutter is not running.
• Start the mirror shutter to see a live image. • If the mirror shutter is in front of the sensor, briefly
• Close the iris to T11 or higher and press the PHASE button to rotate it out of view.
chech the image for dark spots. • Turn the camera off to avoid accidental operation
• To localize a particle on the sensor, remember that the of the RUN button or electrical discharge.
image on the sensor is vertically flipped ➪image. • Use a bright flashlight to illuminate and
check the sensor cover glass for dust.
Do not point the camera towards the sun, as
focused sunlight can cause permanent damage Do not use a magnifying glass if sunlight is used
to the sensor! for illumination, as focused sunlight can cause
permanent damage to the sensor!
99
Camera Care
Cleaning the Sensor Cover Glass

There are many different options to clean a sensor
cover glass. The best solution is to provide for a
clean and dust-free environment whenever the lens
compartment is opened. However, if the sensor has
been contaminated it is recommended to follow the
instructions below to clean the sensor cover glass.
Always make sure the camera is turned off!
Never touch the sensor cover glass with fingers
or lens cleaning cloth!
Step 1: Contact-Free Cleaning

The safest way of cleaning the sensor cover
glass is to do so without touching it. Try blowing
off the dust using a bulb blower ➪image.
Do not use dust guns! High-pressure air might
Note: DUST-AID offers a bulb blower with damage the sensor cover glass or the mirror
an exchangeable air filter. shutter. High-pressure blower bulbs therefore
should also not be used.
Never use blowers/cans with compressed air or
gas! The extremely cold stream of air may cause Do not use blow brushes! Their bristles tend to
the sensor cover glass to crack. Propellants used absorb grease and dirt.
in these products could deposit on the surface.
Furthermore, this may lead to a static electricity
charge on the sensor’s surface, which causes
the sensor to attract dust.
100
Camera Care
Step 2: Dry Cleaning Example 2: Texwipe Absorbond® Swab - TX762
As an alternative to a blower bulb, dry cleaning The Absorbond® Swab with long handle can be used
kits have a low probability of leaving residues to carefully swab dust off the sensor. Start wiping
or causing new particles on the surface. from the inner area towards the edges first and
then around the edges in a circular movement.
Example 1: DUST-AID™ Platinum
Always leave the swabs inside the original bag
DUST-AID™ Platinum is a small wand with
and
a special cleaning silicone pad at one end
never use swabs twice!
that is used to dab dust off the sensor.
Use a new swab if the cleaning head has been
Do not touch the cleaning silicone pad with
touched with fingers or oils.
fingers or oils and do not let it touch the inner
walls of the lens compartment. If the sensor cover glass is contaminated with
particles bigger than dust (e.g. a grain of sand),
Do not drag the pad across the sensor cover
carefully pick the particle off the sensor and
galss. Always tap, lean and lift.
continue with a new swab to avoid scratching
Note: This tool is intended to pick particles off the cover glass surface.
the sensor cover glass and cannot be used
Note: To avoid smudging the inner area, always
to remove liquids or water stains.
swab around the edges as a final step.
Note: For more information and usage
Note: For more information please visit the Texwipe
instructions please visit the DUST‑AID
website at http://www.texwipe.com/.
website at http://www.dust-aid.com/.
101
Camera Care
Step 3: Wet Cleaning NEVER USE METHANOL OR ACETONE TO

While cleaning liquids of high purity offer the best CLEAN THE SENSOR COVER GLASS!
results for solid dirt and often also for remains from These chemicals can dissolve paint which would
oily substances they all leave residues. The following then be spread across the sensor cover glass.
liquids are considered suitable for cleaning: This would irrecoverably damage the sensor
cover glass.
• Petroleum ether, a.k.a. benzene (high purity).
• Isopropyl alcohol, a.k.a. isopropanol (high purity). Note: To avoid smudging the inner area, always
swab around the edges as a final step.
• Ethyl alcohol, a.k.a. ethanol (high purity).
It is recommended to use moistened, lint‑free swabs, Note: Some liquids like petroleum ether or
such as Texwipe® Absorbond Swabs mentioned above. isopropyl alcohol are not allowed on
planes due to flight safety regulations.
• Use the swab to apply the liquid.
• Start wiping from the inner area towards the edges first Condensation
and then around the edges in a circular movement. When moving the camera from a cool to a warm location
Always leave the swabs inside the original bag or when the camera is used in a damp environment,
and condensation may form inside the lens compartment,
never use swabs twice! on the sensor cover glass, between sensor and its cover
glass, and on internal or external electrical connections.
Never touch the cleaning head of the swab with
fingers. If the head needs to be shaped to better Operating the camera in this condition may
reach an area, press it against the inside of the result in personal injury or damage to the
lid from the cleaning liquid's bottle. equipment.
If the sensor cover glass is contaminated with Condensation on the optical components may
particles bigger than dust (e.g. a grain of sand), have a visible effect on the output images.
carefully pick the particle off the sensor and To reduce the risk of condensation:
continue with a new swab to avoid scratching • Find a warmer storage location.
the cover glass surface. • Attach the included air-drying cartridge (silica bottle) to
the PL-Mount of the camera when the camera is stored.
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Camera Care
Note: The air-drying cartridge must be removed Pixel Failure
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
• In ambient temperatures above 30 °C/86 °F and/or instantly identifies a pixel failure and corrects it
humidity above 60%, always attach the air-drying with information gathered from the surrounding
cartridge to the PL-Mount of the camera, whenever it pixels. This correction is not visible as the number
is not in use. This not only applies to storage, but also of dead/defective pixels typically accounts for a
to shooting breaks and situations when the camera very small fraction of the total pixel count.
remains without an attached lens for an extended time.
The probability of a cluster of adjacent pixels
• If camera needs to be stored in a place that is failing is very low in comparison to a single pixel
considerably cooler than the location where becoming defective. DPC corrects failing pixel
it will be used, consider keeping the camera clusters based on a dead/defective pixel map.
powered (not running) from a mains unit in
addition to using the air-drying cartridge. Checking for Pixel Failure Clusters
• To speed up the process, the sensor can be heated Despite the low probability of its occurrence,
(System > Condensation Removal) via the camera it is recommended to check for cluster pixel
menu. When condensation removal is activated, the failures at the end of each shooting day or prior
sensor will reach temperatures above 45 °C. This is to shooting. A cluster of defective/dead pixels is
completely normal and not harmful to the imager. relatively easy to spot in the output image.
• Push the video menu button to quit the
condensation removal/sensor heating. Defective pixels deliver improper luminance
values causing bright red, green or
Note: The air-drying cartridge has to be attached blue spots in the output image.
during condensation removal. Otherwise, the
humid air will remain in the lens compartment. Dead pixels deliver no signal at all causing
dark spots or spots with a cyan, magenta or
yellow color cast in the output image.
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Camera Care
To check for defective and dead pixels: Note: When checking for cluster pixel failures, it is
• Connect the camera signal output (HD- recommended to use a display providing a pixel-
SDI output) to a suitable HD display. to-pixel output. When the full 4:3 sensor aperture
is used, short sequences should be captured and
• Start the mirror shutter if it is not running.
processed for each step to provide a pixel-to-
• Put a lens cap on the camera lens. pixel display of the camera’s output. Using the
• Set the contrast characteristic (video preview output of an ARRIRAW T-Link certified
menu) to the highest EI value. recorder is a possible option, but may not allow
• If no colored bright pixels appear, take the lens cap off. identification of very small cluster pixel failures.
• Point the camera at a homogeneously lit, neutral grey Note: Updating the camera’s defective/dead pixel map
surface that covers the full output image and defocus can be carried out on location by a trained D-21
the lens or put a diffuse white glass plate in front of service technician, in an ARRI service center
the lens and point the camera into a light source. or at an ARRI rental facility. This procedure
• Adjust iris or lighting so the output video level takes about 20 to 30 minutes, whereas in
reaches 40 to 50% on a connected waveform monitor postproduction, removal of dead pixels can
or in the RGB-Histogram from the OSD Tools. be a lengthy process depending on the image
• If no colored bright pixels appear, set the contrast content. It is therefore highly recommended
characteristic (video menu) to an EI value of 250. to take care of dead and defective pixels right
• With the camera still pointing at the same target, away instead of fixing them in postproduction.
adjust iris or lighting so the output video level
reaches 60 to 70% on a connected waveform
monitor or the OSD RGB-Histogram.
• If no dark pixels or spots with a green color cast
appear, the camera is ready for shooting.
• If defective or dead pixels do appear, the camera’s
defective/dead pixel map has to be updated.
104
Camera Care
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!
• Remove the lens or the protective cap.
• Do not touch the sensor or the mirror surface!
• Using the special forceps (Hirschmann clamp)
from the camera’s toolkit, pull the ground
glass out of the holder by its tongue.
• Using the special forceps, first lift the field lens
upwards by its tongue then pull it out of its holder. • With the special forceps, push the ground
• Clean the field lens with a dry, lint-free cloth. glass into the holder as far as it will go. The red
• Check that ground glass and field lens to marker point must be on the left looking into the
be inserted are completely clean. camera lens compartment. A ball catch fixes the
• Using the special forceps, push the field lens into the ground glass exactly in the right position.
holder as far as it will go. The red marker point must be • Check that the ground glass is correctly locked in place.
on the left looking into the camera lens compartment.
A ball catch fixes the field lens in the correct position.
• Check that the field lens is locked in place.
105
Technical Data
15. 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 reflex mirror shutter, electronically adjustable to
11.2°, 22.5°, 30°, 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°, 150°, 172.8° and
180°. Additional, electronic shutter only settings of up to 270°.
Viewfinder Optical reflex viewfinder with interchangeable ground glass; spherical or universal
(adjustable to spherical or anamorphic) viewfinder available. Viewfinders are adjustable
in two axes with automatic or manual image compensation, laterally extendable for left
eye operation and show illuminated frame lines (ARRIGLOW, adjustable in brightness).
Optional medium or long finder extender including magnifier. Optional heated eyecup.
Display Camera display on left side with individual buttons for: REC, SHUTTER, PHASE, NORM-PS/
CCU control, LOCK, MODE, SEL and SET. Composite video menu for setting up: output
mode, frame rate, white balance, output range, contrast characteristic and sensitivity.
Video assist SD monitoring (PAL/NTSC video downscaled from captured image)
with composite video or S-Video outputs.

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Technical Data
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"
Width (viewfinder left): 27 cm/10.83"
Height with handle: 30 cm/11.81"
Height without handle: 23 cm/9.06"
Weight Body only: 9.3 kg/20.5 lbs
Body and viewfinder: 11.6 kg/25.5 lbs
Connections 1x power in (BAT)
1x 12 V accessory power out (Fischer 11-pin)
1x 24 V accessory power out (RS)
1x lens data display (LDD)
2x lens control system bus (LCS)
1x accessory interface (ACC)
1x camera control unit (CCU)
1 each focus, iris, zoom for lens motors
1x 2 V HD clock pulse out (v-sync)
2x composite video out (CVBS), 1x S-Video out (Y/C)
2x dual link HD-SDI
107
Technical Data
Frame rate 1 - 60 fps 4:2:2 and 4:4:4 HD (16:9)

1 - 30 fps ARRIRAW (16:9)
1 - 25 fps ARRIRAW and Mscope (4:3)
Frame rates other than the standard frame rates of 23.976, 24, 25, 29.97, 30,
48, 50, 59.94 and 60 fps available through VariFrame flagging. All speeds
crystal and can be set with 0.001 fps precision. Does not run in reverse.
Signal output HD422 SL – single link HD-SDI:

1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30PsF
Requires a recorder supporting HD-SDI (SMPTE 292M) signals.
HD422 DL – 2x single link HD-SDI (2x SMPTE 292M):
1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF
Requires a recorder supporting 2 parallel HD-SDI (SMPTE 292M) signals (dual camera input).
HD444 DL – dual link HD-SDI:
1920 x 1080 4:4:4 RGB/YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30PsF
Requires a recorder supporting dual link HD-SDI (SMPTE 372M) signals.
HD444 QL – 2x dual link HD-SDI:
1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF
Mscope 422 DL – 2x single link HD-SDI:
1920 x 1080 4:2:2 YCbCr 10 bit @ 23.967, 24, 25PsF
ARRIRAW DL – T-Link:
2880 x 2160 RAW 12 bit Bayer data @ 23.976, 24, 25p
2880 x 1620 RAW 12 bit Bayer data @ 29.97, 30p
Requires an ARRIRAW T-Link certified recorder or a system offering ARRIRAW
T-link compatible RGBA HD-SDI (SMPTE 372M) uncompressed recording.
108
Technical Data
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.
Specifically for ARRIFLEX D-21: Low mode support set for Steadicam operation or
underslung use and top-mounting of accessories without bridge plate, Fiber Link
Unit (FLU-1) and Fiber Link Remote (FLR-1) for an optical link to the recorder.
Misc. Extra attachment points for rigging.
109
Appendix
16. Appendix
16.1. Troubleshooting
Operation
Problem Possible Cause Remedy
Blown fuse 12 V or 24 V output overload. Camera is equipped with self-resetting thermal fuses.
To reset, disconnect all accessories and wait for one minute.
Camera Display: Monitoring Fault in the electronic control of CAUTION: May result in faulty exposure!
Defective the mirror shutter drive system.
Warning can be overridden by switching camera’s main switch off
and on. If “Monitoring Defective” is overridden, additional faults
in electronic control of drive system will not be detected.
fps
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.
temperatures below 0 °C/32 °F.
Turn on camera at least an hour before shooting with ambient temperature
not lower than 0 °C/32 °F. Then take heated camera outside.
Cover camera with a blanket if necessary.

Diagnostics LED red. One or more system Restart camera. Perform standard reset and restart camera.
checks failed.
Flash Mag does not turn on Flash Mag Adapter not turned on. Power on Flash Mag Adapter using power switch on left side of adapter.
when connected to Flash Mag
Mounting Adapter FMA-1.
No access to camera control LOCK switch engaged. Disengage LOCK switch above camera left side display.
functions or video menu.
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Appendix
Operation
On screen menu is hardly Camera set to RUN or video Do not operate camera before all 3 status LEDs below
readable or does not appear. menu accessed before all imaging the video menu button on the back light up green.
diagnostics LEDs light up green.
If video menu is visible, toggle the SD output format (NTSC/PAL and
back) or restart camera and wait until status LEDs light up green.
Power LED red, blinking. Standard reset performed. Restart camera to complete standard reset.
Camera does not operate.
Power LED red. Problem with internal Restart camera.
power supply.
Perform standard reset and restart camera.

Shutter angle measurement Mirror shutter angle Shutter angle measurement using PHASE button only works for shutter
does not work using PHASE set below 90°. angles above 90°. Set mode 1 to permanently display shutter angle.
button in standby.
Speed ramp does not Maximum ramp speed Adjust standard frame rate (video menu) to frame rate higher
work. RUN LED is off. exceeds standard frame than or equal to programmed or maximum ramp speed.
rate set in video menu.
Temperature LED off. Slight sensor temperature Turn camera off and wait 5 minutes before turning it back on.
deviation from nominal level. Make sure that air can flow through the ventilation
shafts at the back of the camera body.
Temperature LED red. Sensor temperature Turn camera off and wait 5 minutes before turning it back on.
deviation from nominal Make sure that air can flow through the ventilation
level above acceptable limit. shafts at the back of the camera body.
Possible malfunction of
internal cooling system. Take camera to ARRI service center if problem persists.
111
Appendix
Optics
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,
condensation may form inside the Attach air-drying cartridge to PL-Mount during storage in an
lens compartment, on the sensor environment that is cooler than the shooting location.
and on the electrical connections.
If camera needs to be stored in a place that is considerably cooler than the
location where it will be used, consider keeping the camera powered (not
running) from a mains unit in addition to using the air-drying cartridge.
In ambient temperatures above 30 °C/86 °F and/or humidity above 60%,

always attach air-drying cartridge to PL-Mount whenever camera is not
in use. This applies to storage (outside transport case) shooting breaks
and situations when no lens is attached to camera for an extended time.
To speed up the process, the sensor can be heated (System >

Condensation Removal) via the camera menu. When condensation
removal is activated, the sensor will reach temperatures above 45 °C.
This is completely normal and not harmful to the imager. Push the
video menu button to quit the condensation removal/sensor heating..
Ground glass alignment is off. Ground glass shifted Open lens compartment and check that ground glass
during transport. is correctly inserted into ground glass holder.
Image is shifting when PL-Mount not set to Super 35. The D-21 PL-Mount has to remain in Super 35 position (2) at all times.
using a zoom lens.
Viewfinder image is all red. No ARRIGLOW mask inserted. Insert glow mask matching the ground glass or turn off ARRIGLOW.
Viewfinder image is upside down. Image orientation not adjusted Press locking key on far right of viewfinder arm and turn
after finder extender was rotation adjustment knob until it locks in next position.
attached/detached.
Viewfinder shows no image Mirror shutter not in Turn on camera and press PHASE button.
when mirror shutter is viewing position. Mirror shutter always returns to last position it was set to.
stopped or camera is off.
112
Appendix
Output
ARRIRAW output Recording system not compatible ARRIRAW/Data Mode output can be recorded using ARRIRAW T-Link
shows no image/strange to ARRIRAW T-Link. HD display certified recorders or recorders supporting 4:4:4:4 RGBA HD-SDI
image on recording or cannot display ARRIRAW directly. streams according to SMPTE 372M. Recorders without ARRIRAW
connected HD display. T-Link certificate may offer limited or no preview options.
Inverted cable connection Make sure cables are correctly connected:
or problem with standard HD-SDI link A to recorder input A or 1
frame rate setting. same output board link B to recorder input B or 2
Automatic white balance Target used for automatic Make sure target used for automatic white balance is evenly
produces a color cast. white balance was not evenly lit and does not reflect colors from surrounding objects.
lit or shows color cast.
Camera HD-SDI output is Camera boot problem or Change standard frame rate (video menu) to other setting and back again.
black, shows a freeze frame HD-SDI output cannot be
or vertical stripe pattern. SD synced to connected display If the problem persists, restart camera. Wait until all status LEDs
output OK, or also showing or recording system. on back of camera turn green before running the camera.
vertical stripe pattern.
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. camera is operated outside specified operating temperature range.
to the side, or output freezes “Temp” LED off means a slight
in high temperatures. sensor temperature deviation. Turn camera off for 5 minutes to let system cool down.
“Temp” LED red means Ensure airflow through ventilation shafts at the back of the camera body.
sensor temperature deviation
If camera is used in vertical position (pointed towards floor or ceiling)
above acceptable limit.
tilt it back to horizontal position between takes to allow better cooling.
Use accessory fan to increase airflow through vent shafts.
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Appendix
Output
Camera signal has dropouts. Power supply voltage insufficient. When on mains power, make sure the camera
power supply voltage set to 24 V (26 V).
When using batteries, check battery voltage level.

If below 20.5 V, replace the battery.
Maximum length of signal Use shorter signal cable.
cable exceeded. Recommended maximum length for HDTV BNC cable is 40 m/130 ft.
Recommended maximum length for fiber cable is 0.5 km/0.3 mi.
Cable or connectors damaged. Check connectors and cable and along entire length.
If cable or connectors show damage, replace immediately.
If the cable has bent connectors, check if connectors
on back of camera show damage!
Camera Zebra does not Log Characteristics do not use Point the camera towards a bright surface so it produces clipping
work when using Log the full signal level range. and adjust the zebra level to this maximum output level.
Contrast characteristics.
Dark spot(s) in output image. Dust, liquid or solid dirt on Make sure mirror shutter is not running! Perform dust check and
sensor or back of lens. clean sensor cover glass. NEVER USE METHANOL, ACETONE
OR DUST OFF/COMPRESSED AIR TO REMOVE DUST!
Change lenses in a dry and dust-free environment.
Use protective cap when no lens is attached to camera.
If contamination cannot be removed on location,

opening the iris reduces the visibility of spots.
If cover glass has been damaged, take camera

to an ARRI service center for repair.
114
Appendix
Output
Defective/dead pixel Temporal or permanent Groups of defective/dead pixels should be immediately taken care
clusters in output image. failure of sensor photocell of with an updated dead pixel mask, as removal in postproduction
cluster as consequence of is a costly procedure. 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 Material captured with Log For correct viewing on HD displays or in digital projection a log/lin
output image when using Log C Characteristics requires conversion LUT (Log C) or Filmstream™/lin conversion LUT (Log F)
or Log F contrast characteristics. adapted viewing equipment. must be applied to the signal. Preview LUTs available in editing
software, via dedicated hardware linked between playback and
display device, or as integrated hardware in some display devices.
Order of frames is swapped Inverted cable connection. Make sure cables are correctly connected:
when recording ramps or
frame rates > 30 fps. HD-SDI 1 link A to recorder input A or 1
HD-SDI 2 link A to recorder input B or 2
Problem with output setup. Repeat the complete output setup (video menu).
115
Appendix
16.2. 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
See section: Image Artifacts. signal may be sampled with a lower frequency
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 by colons represents the relationship of sub-sampling.
digital video. While RGB and YCbCr (correct denotation
for the digital component signal often called YUV) • The first digit represents the relative horizontal
represent different forms of color signals, 4:4:4 and sampling frequency of the luma channel (simply
4:2:2 are a denotation for chroma sampling. speaking: the amount of information per line).
“4” is just a historical reference to standard
Color Signals definition television and provides a base value.
• RGB means an analogue or digital form of signals for • The second digit represents the horizontal sub-
the three color components red, green and blue. RGB sampling factor of the chroma channels (i.e.
signals deliver very high quality images providing high the chroma/luma information ratio per line).
creative freedom for postproduction. At the same time • The third digit represents the vertical sub-sampling
RGB signals require high bandwidth and storage space. factor of the chroma channels (i.e. chroma/
• YCbCr is a component signal consisting of a luma luma information ratio for two subsequent
channel (luminance) and two chroma channels lines). Only consumer products make use of
(color difference channels). These components this kind of sub-sampling. In professional video,
are calculated from an RGB signal. YCbCr signals this digit is identical with the second.
require less bandwidth than RGB signals and thus • If a fourth digit is given, it indicates the presence
are more common for economical reasons. of an alpha channel. An alpha channel contains
Chroma (Sub)Sampling transparency/opacity information used in
postproduction (e.g. keying, compositing) and is
The bandwidth required by component signals
provided for each pixel without sub-sampling.
can be further reduced by chroma sub-sampling.
The idea behind this technique utilizes human
vision. A reduction of color information has lesser
116
Appendix
In a 4:4:4 signal, each pixel has full luminance
R R R R R
and chrominance information. As the luma
component of an RGB signal is a part of all color
channels, an RGB signal is always 4:4:4.
GB GB GB GB GB
In a 4:2:2 signal, each pixel contains full luminance
information, but only every other pixel per line also
Y Y Y Y
contains chrominance information. An RGB signal
has to be transformed into a color difference signal, Cb Cr Cb Cr Y Cb Cr
such as YCbCr, before it can be subsampled. YCbCr
signals can be delivered as a signal using 4:2:2 sub-
sampling, or as a 4:4:4 signal without sub-sampling. information for one color component. One form of a
CFA is the Bayer pattern with red, green, and blue
The ARRIFLEX D-21 can be set to output sensing pixels, which is used for the D-21 sensor.
4:4:4 RGB or 4:2:2 YCbCr signals.
ARRIRAW Processing
Data Mode As the RAW Bayer data only contains luminance
Data Mode delivers a single channel 12 bit raw Bayer information, ARRIRAW processing assigns one color
data image without compression. No image adjustment component to each pixel, based on the CFA alignment
other than white balance is applied. This raw data on the sensor. The image now contains three color
could be described as a digital negative, which has to components, but only one component per pixel. To
be converted to an RGB image before it can be used. obtain the remaining two color components for each
pixel they have to be interpolated from the surrounding
Bayer Pattern - Color Filter Array
pixels – i.e. color reconstruction. There are different
An imaging sensor can only differentiate a change in methods for color reconstruction based on processing
luminance, not color. Hence, the incident light has to speed vs. output quality. Before the RGB image is
be separated into color components. As the D-21 uses ready for viewing, the colors need to be transformed to
a single chip, the color separation is done by means the desired output color space (e.g. for output on HD
of a color filter array (CFA). A CFA is a small mosaic displays, print on film or digital cinema projection) and
pattern of color filter dyes. Each pixel is covered the tonal balance has to be adapted using the intended
with one dye, so it only captures the luminance
117
Appendix
contrast characteristic. The output RGB images are then above) as a source format. The ARRIFLEX D-21 uses
stored e.g. as 10 bit log dpx files, 16 bit tiff files, or other a special transport method, which maps the 12 bit
file formats, depending on postproduction requirements. raw Bayer data into this 4:4:4:4 RGBA signal so it
can be sent to the recording system via a dual link
ARRIRAW data can be processed in production
HD‑SDI connection called T-Link. At frame rates
quality using the ARRI software tool Image
above 30 fps, two parallel T-Links are required. This
Booster or can be output by ARRIRAW T-Link
method is called ARRIRAW T-Link (transport link).
(see below) certified recorders and playback
devices as live HD preview or production quality ARRIRAW Recording
images depending on their specifications. Any system capable of recording and playing back
Note: Please check the Image Booster reference an SMPTE 372M-compliant RGBA signal without
for more information on ARRIRAW compression/encoding can be used to record this signal.
processing and output options. ARRIRAW T-Link certified recorders furthermore offer
real-time image processing (e.g. look up tables, image
ARRIRAW Output resizing and cropping) for live preview on an HD monitor.
When set to ARRIRAW, an output board
delivers the raw data with:
Data Mode Benefits
• Best Image Quality
• 2880 x 2160 pixels in 1.33:1 (4:3) aspect ratio Data Mode output offers uncompressed, unprocessed
using the full sensor aperture up to 25 fps, 12 bit ARRIRAW data with the highest dynamic
• 2880 x 1620 pixels in 1.78:1 (16:9) aspect ratio range and lowest noise, allowing image quality to be
using the full sensor aperture width up to 30 fps. maximized through advanced image processing in post.
ARRIRAW signals require a dual link HD‑SDI connection. • Aspect Ratio Range
The D-21 is equipped with a 1.33 (4:3) format sensor.
ARRIRAW T-Link Data Mode on the D-21 allows output of this full sensor
image at full sensor resolution, extending the choice of
There are different source formats that can be sent
available aspect ratios.
over a dual link HD‑SDI connection. Next to 4:4:4
Shooting CinemaScope can be done not only
RGB, SMPTE 372M also defines 4:4:4:4 RGBA (A for
using spherical (flat) lenses, but also anamorphic
alpha channel, see section: Chroma (Sub)Sampling
(scope) lenses, as the sensor can capture the whole
118
Appendix
image projected by anamorphic lenses. Shooting HD422
2.39:1 with anamorphic lenses uses a larger imager When set to HD422, an output board delivers standard
area which delivers twice as many output lines 1920 x 1080 4:2:2 YCbCr 10 bit HD signals. These
compared to images shot with spherical lenses. signals are sent over a single link HD‑SDI connection,
Note: D-21 also offers 1.33:1 (4:3) output using can be recorded with any system offering 4:2:2
the Mscope process (see below). HD‑SDI input (SMPTE 292M) and can be edited
• Flexibility using standard HD postproduction equipment.
D-21 can simultaneously output ARRIRAW for HD422 DL – 2x Single Link
recording and production quality HD for monitoring and
When the D-21 is set to HD422 and a frame rate
editorial. ARRIRAW T-Link certified recorders broaden
higher than 30 fps, the camera automatically changes
the options for monitoring and editorial by allowing a
the output format to the 2x 422 high-speed mode.
larger set of non-destructive image manipulations.
• Postproduction At e.g. 50 fps, both HD-SDI output boards are used
Data Mode output delivers finer detail, crisper edges to transmit two synchronized HD video signals
and higher resolution. Images can be processed at 25PsF (each containing either even or odd
to provide the same resolution and colorimetry numbered frames) composing the 50 fps signal.
as 2K film scans for use in familiar 2K workflows. The output frames are marked/flagged (see variable
Decisions on output color space and image frame rate) so the recording system can correctly
characteristics can be made in post. Upgraded merge both signals to the 50 fps sequence.
image processing algorithms can be applied to
Any recorder supporting two or more simultaneous 422
archived raw data for better image quality.
inputs input should be able to support these signals. If
Dead/Defective Pixels the recorder does not provide VariFrame support, even
See section: Image Artifacts.. and odd frames may be recorded in the wrong order
(frame swapping). This, however, is easily identified
HD Mode as juddering motion in playback and can be resolved
in postproduction without a loss of image quality.
HD Mode provides a fully processed 1.78:1 (16:9)
Recording systems supporting dual link input for
live image, ready to be used in HD workflows.
119
Appendix
4:4:4 RGB HD signals do not necessarily support Once recorded, the material can be played back
2x 422 input, as this signal type makes different at a lower frame rate, e.g. 25PsF, allowing the
demands on the recording hardware. signals to be transmitted using a single link HD-SDI
connection. Therefore, the material can also be edited
Once recorded, the material can be played back
using standard HD postproduction equipment.
at a lower frame rate, e.g. 25PsF, allowing the
signals to be transmitted using a single link HD-SDI HD444
connection. Therefore, the material can also be edited When set to HD444, an output board delivers standard
using standard HD postproduction equipment. 1920 x 1080 4:4:4 RGB 10 bit HD signals. These
HD444 QL – 2x Dual Link signals are sent over a dual link HD‑SDI connection
and can be recorded with any system offering
When the D-21 is set to HD444 and a frame rate
4:4:4 dual link HD‑SDI input (SMPTE 372M).
higher than 30 fps, the camera automatically changes
the output format to the 2x 444 high-speed mode. The full potential of 4:4:4 RGB images can only be
used if postproduction is able to maintain these signals
At e.g. 50 fps, both HD-SDI output boards are used
without converting them to 4:2:2 signals until final
to transmit two synchronized HD video signals
delivery. Green/blue screen material shot in 4:4:4 should
at 25PsF (each containing either even or odd
not be converted to 4:2:2 until after chroma-keying.
numbered frames) composing the 50 fps signal.
Productions requiring elaborate color timing/correction
The output frames are marked/flagged (see variable
should maintain 4:4:4 at least until after this step.
frame rate) so the recording system can correctly
merge both signals to the 50 fps sequence. Mscope™
Any recorder supporting two or more simultaneous 444 Mscope enables the use of anamorphic lenses without
inputs input should be able to support these signals. If the requirement for Data Mode compatible equipment.
the recorder does not provide VariFrame support, even
and odd frames may be recorded in the wrong order Mscope Output
(frame swapping). This, however, is easily identified Mscope, like HD Mode, outputs fully processed images,
as juddering motion in playback and can be resolved but uses the full 1.33:1 sensor aperture to create a
in postproduction without a loss of image quality. 1920 x 1440 oversized HD image. In order to output
Recording systems supporting dual link input for this oversized image using standard HD interfaces it
has to be split into two separate HD‑SDI streams.
120
Appendix
As the Mscope image has a de‑squeezed aspect ratio of
Split segments
Anamorphic 1920 2.66:1, it provides some room for repositioning a shot
image (1.33:1) HD recorder
1920 A link dual stream IN before it is cropped on the sides to the desired output
aspect ratio (2.40:1, 2.39:1, 2.35:1). With a deliverable
1080
720
aspect ratio of 2.40:1, the output may be recombined,
1440 cropped and de-sqzeezed (for flat formats) to e.g.:
1920
• 1728 x 1440 pixels for a 35 mm release print (scope)
1080
720
B link
• 3546 x 1440 pixels for digital cinema release (flat)
single link
preview OUT
• 1920 x 800 pixels for release on HDTV (flat)
1920 Mscope Benefits
• Fully processed live HD for preview and editorial.
1080
De-squeezed
720
HD preview (2.66:1) • Mscope image contains approximately 80% more
scanning lines than equivalent 2.39:1 images cropped
from 16:9 HD images shot with a spherical lens.
Each 1920 x 1080 4:2:2 YCbCr 10 bit HD‑SDI stream • Mscope combines the use of anamorphic
contains a 1920 x 720 letterbox image in 2.66:1 aspect lenses with the economy of HD acquisition.
ratio. Link A contains all odd lines from the original
image (line count starts at 1), link B only even lines. Scanning Methods (p, i, PsF)
When shooting with anamorphic lenses, each Progressive Scan (p)
stream therefore directly shows a de-squeezed After each exposure, the full frame is captured/output
image that can be used for preview and editorial. from the sensor. This scanning method provides the
highest resolution per frame and is comparable to
Mscope Recording & Postproduction the way images are captured on film. It delivers good
Any recorder supporting SMPTE 274M dual stream/ material for keying or masking in postproduction. The
dual camera input can record Mscope signals. only problem is fast motion or fast panning, which
easily results in jittering/juddering images. Shooting
Depending on the recording system in use, recombining with higher frame rates eliminates this effect.
both streams to the original 1920 x 1440 image may be
done automatically or may have to be done after ingest.
121
Appendix
Progressive material is denoted with the • 25i - interlaced material at 25 fps i.e. 50 fields/sec
letter “p”, attached to the image format: • 1080/25i as a combination of the above.
• 720p - progressive HD with 1280 x 720 resolution Some people prefer relating to fields per second
• 24p - progressive HD at 24 frames per second rather than frames per second, e.g. 50i or 60i.
• 1080/24p - progressive HD with As current cameras also offer progressive
1920 x 1080 resolution at 24 fps. capture of 50 or 60 fps, the declaration of
fields per second can be rather confusing.
Interlaced Scan (i)
After each exposure, odd (1,3,5…) or even (2,4,6…) lines Progressive Segmented Frame (PsF)
of the full frame are alternately captured/output from This is not a scanning method used for capturing,
the sensor, as so called fields. Two sequentially output but a transmission method. Basically, a progressively
fields make up one frame. Fields are output at twice captured frame is segmented into two fields, which
the frequency of frames from progressive capture. This are then transmitted similarly to an interlaced signal.
principle is based on the afterglow of CRT phosphors and This enables devices that usually work with interlaced
the characteristics of human vision, which results in two material to also work with progressive material. The
fields being perceived as a continuous image once the notable difference to an interlaced scan signal is that
frequency is high enough. Due to the higher frequency both fields originate from the same frame and have not
of the fields, this scanning method provides a smooth been captured sequentially. Therefore, transmitting
motion representation. Fast horizontal movement or progressive scan material using PsF means no loss in
quick pans, however, cause jagged vertical edges in the image quality. Motion representation and resolution
image, as the two fields composing a frame are captured is exactly the same as in progressive scan material.
one after another. This reduces the quality of keying or
Progressive segmented frame material is denoted
masking in postproduction. Interlaced material usually
with the letters “PsF", attached to the image format:
has to be de-interlaced (combining fields to frames),
before it can be worked on using today’s post processes. • 1080/25PsF - progressive HD with 1920x1080
resolution at 25 fps, transmitted as PsF.
Interlaced material is denoted with the letter
“i”, attached to the image format: Pixel Failure
• 1080i - interlaced HD with 1920x1080 resolution See section: Image Artifacts.
122
Appendix
Signal Range 110 %
The luminance levels in a scene are represented as

100 %
90 %
amplitude levels in a recorded video signal. More 80 %
exposure outputs higher signal levels. Overexposure
Extended range
Standard range
70 %
eventually results in white clipping – image areas 60 %
with a signal level at the upper limit with no definition 50 %
left. In analogue video, the signal amplitude is 40 %
expressed as voltage or IRE units. In digital video, 30 %
a set of discrete digital code values is used to 20 %
represent the continuous luminance range. 10 %
0 %
The signal range defines upper and lower –10 %
limit of the video signal representing the

luminance values of black and pure white:
• Normal range (also called legal or safe range) signals
use code values from 64 to 940 (0 – 100%). The choice whether to use extended or normal range
• Extended range (also called full range) signals signals should not be made by the cinematographer
use code values from 4 to 1019 (-10 – 110%). alone, as it greatly depends on the options
As both ranges describe the same luminance postproduction can offer. Material exposed without
range of a scene, an extended range signal does clipping in an extended range signal can still be clipped
not provide more dynamic range, but a finer at 100% and/or 0% video level in postproduction,
gradation of the same dynamic range. This mostly either due to unknowingly wrong settings or due
improves the quality of black level reproduction. to equipment limitations. This destroys important
detail information in highlights and/or dark areas. Of
Normal range is commonly used for HD signals course, the information can be recovered by ingesting
with 4:2:2 chroma sub-sampling. Extended range the material once more. However, if the problem
4:2:2 HD signals are rather unusual. 4:4:4 HD is based on equipment limitations it may require
signals use either normal or extended range, additional hardware. To save costs, it is therefore
depending on the postproduction workflow. important to agree on a signal range in advance.
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Appendix
Variable Frame Rate (VariFrame)/ 16.3. Image Artifacts

Shooting Ramps
Aliasing
Recorders supporting VariFrame are able to distinguish
between so-called valid and invalid frames. Image elements containing very fine structures or
patterns may cause jagged lines, flickering areas or
When using variable frame rate/speed ramps, the link shifting colors in the output image. As this effect
speed (standard frame rate in the video menu) set on depends on the spatial frequency of the image
the camera and on the recording system has to be element in the frame, it often can be eliminated
higher or equal to the maximum speed that will be by moving the camera slightly closer to or further
used. When a recording is started, camera and recorder away from the object – or, if a zoom lens is used,
then "talk" at this link speed, which ensures that the by a slight change of the focal length setting.
HD‑SDI connection is maintained. The camera keeps
sending frames at the set link speed even while the Clipping
actual frame rate, at which it captures new images, is In digital cameras, clipping is an effect resulting from
lower. Every time a new image is captured, the output too much over or underexposure. Overexposing a
image is updated. The difference between captured sensor pushes bright image areas into full saturation,
fps and link speed is filled up with duplicates of the last resulting in nothing but white image areas.
exposed frame. These duplicates are tagged as invalid Underexposure of a sensor leaves dark image areas
frames, causing a recording system with VariFrame below the noise floor resulting in black image areas.
support to either not record these frames or skip
them during playback (depending on the recorder). Dark Spots
VariFrame tagging can be used for different applications. Dust particles that have settled on the sensor cover glass
The D-21 also uses VariFrame to mark even and odd may become visible as dark spots in the captured image.
frames in the HD422 dual link/high speed output. The degree of this effect depends on the aperture of the
lens and usually can be avoided by regular dust checks.
Note: Even though VariFrame allows recording
e.g. with link speed set to 30PsF and mirror Dead/Defective Pixels
shutter speed set to 25 fps, this mode is not See Pixel Failure.
recommended for standard operation.
124
Appendix
Horizontal Smear to be defective when it outputs false signal levels.
Bright image elements inside or around the edges Defective pixels may recover over time, whereas
of the captured frame may produce horizontal dead pixels have no chance of recovery.
trails in the output image. The degree of this effect ARRI Imaging Technology (AIT) in the D-21 provides
depends on the scene contrast caused by these an automated Defect Pixel Correction (DPC), which
image elements. Under certain circumstances instantly identifies a pixel failure and corrects it with
the output image may show a slight difference in information gathered from the surrounding pixels. If
luminance between the left and right image half. a whole cluster of adjacent pixels fails, the DPC relies
on a defective/dead pixel map, which can be updated
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
production produces more visible noise in the Speckled Images
output image and may cause image artifacts, Slight variations of thickness in the sensor's filter
such as the above to become apparent. pack may cause a speckled structure in the output
image, which can be described as orange peel
Pixel Failure structure. The degree of this effect depends on
There are two types of pixel failures: dead or defective. the aperture of the lens and may become visible
when closing the iris of the lens beyond T11.
Dead pixels deliver no signal at all causing dark
spots or spots with a green or cyan color cast in the
output image. Dead pixels may occur e.g. after air
transportation, in case of an electrical discharge or when
a camera is exposed to severe vibration or shocks.
Defective pixels deliver improper luminance values
causing bright red, green or blue spots in the output
image. If a pixel failure occurs after a camera has
arrived on the set, this is more likely a matter of a
defective than a dead pixel. A pixel is considered
125
Index
17. Index acoustic warning............................................................. 73

air-drying cartridge............................................ 15, 102, 112
aliasing...........................................................................124
anamorphic viewfinder AVF-1......................................... 36
Symbole aperture......................................................................... 106
4:2:2 YCbCr...............................................................117, 119 ARRIGLOW...................................................................... 38
4:4:4 RGB........................................................................ 117 adjusting brightness..................................................... 38
11-pin Fischer socket.................................................. 23, 87 exchanging the format mask....................................... 38
12 V accessory socket................................................ 23, 87 ARRIRAW............18, 36, 37, 4 8, 56, 104, 108, 113, 117, 118, 119
24 V accessory socket.......................................... 24, 91, 94 ARRIRAW T-Link............................................................118
24 V plug-on module....................................................... 91 AVF-1 anamorphic viewfinder......................................... 36
A B
acceptable temperature range..........................107, 110, 113 battery information......................................................... 70
accessories...................................................................... 85 bridge plate..................................................................... 26
external synchronization unit ESU-1............................ 85 attaching to camera..................................................... 27
fiber link unit FLU-1...................................................... 93 BP-8, BP-9.................................................................... 26
heated eyecup HE-4/HE-5........................................... 86 converting to Super 35................................................ 26
incompatible accessories............................................. 83 buffer battery, replacing.................................................. 67
isolating power adapter IPA-1................................. 23, 87 buttons................................................................................
low mode support........................................................ 88 PHASE.......................................................... 22, 67, 99, 111
remote run switch RS-4............................................... 90 RUN.............................................................................. 91
RS socket distributor.................................................... 91
wireless remote control WRC-2................................... 96
work light..................................................................... 97
accessory power supply............................................ 23, 24
accessory socket.............................................. 23, 24, 75, 91
ACC socket...................................................................... 75
126
Index
C HD-SDI connector.............................................. 40, 87, 94
cable.................................................................................... S-Video connector....................................................... 40
KC-20S............................................................... 20, 21, 25 Y/C connector............................................................... 40
KC-29S............................................................... 20, 21, 25 continous current....................................................... 23, 24
camera................................................................................. contrast filter................................................................... 34
camera body................................................................ 25 controlled lens motor CLM-2.......................... 30, 75, 80–82
camera care................................................................. 98 CVBS................................................................... 40, 50, 107
camera display........................................................ 22, 85
camera setup............................................................... 40
check imager............................................................... 98
cleaning...................................................................... 100
D
dark spots.......................................................................124
installation.................................................................... 25
Data Mode............................................................... 113, 117
main switch.................................................................. 22
menu............................................................................ 62 dead/defective pixels......................................................119
operation...................................................................... 62 diagnostics.....................................................................110
recording.................................................. 63, 113, 118, 121 dimensions.....................................................................107
remote control................................................... 77, 80, 81 diopter adjustment.......................................................... 32
starting/stopping.......................................................... 62 Disclaimer.................................................................... 6, 16
troubleshooting...........................................................110 display battery information............................................. 70
CCU socket............................................................ 75, 81, 82 frame counter.............................................................. 70
channel selection............................................................ 78 Mode 1.................................................................... 65, 71
CINE VCLX/2 Battery................................................... 6, 21 Mode 2............................................................... 65, 67, 85
CINE VCLX/2 Charger.................................................. 6, 21 Mode 3............................................................... 65, 71, 72
clipping...........................................................................124 Mode 4.................................................................... 65, 73
Mode 5.................................................................... 65, 74
compatibility.................................................................... 82
monitoring defective...................................................110
condensation...................................................... 15, 102, 112
symbols........................................................................ 66
silica bottle....................................................................15
distributor........................................................................ 91
connections.........................................................................
dust..............................................13, 30, 31, 99, 100, 114, 124
composite video connector......................................... 40
CVBS connector........................................................... 40
127
Index
E shifting phase............................................................... 68
electromagnetic interference...........................................14 standard frame rate................................... 41, 111, 113, 124
ESU-1.......................................................................... 69, 85 variable frame rate............................................67, 68, 124
external synchronization unit.......................................... 85 friction.................................................................................
eyepiece.......................................................................... 32 eyepiece....................................................................... 33
adjusting the diopter.................................................... 32 viewfinder arm............................................................. 33
attaching...................................................................... 32 fuses..........................................................................20, 110
removing...................................................................... 32
G
F gamma.................................................................. 47, 4 8, 49
FEM-2.............................................................................. 75 general description...........................................................18
compatibility................................................................ 82 general precautions..........................................................14
radio channel, changing.......................................... 78, 79 glossary..........................................................................116
radio receiver URM-3................................................... 77 ARRIRAW.................................................................... 117
replace......................................................................... 83 ARRIRAW recording...................................................118
status indicators...................................................... 76, 79 ARRIRAW T-Link.........................................................118
fiber link unit FLU-1......................................................... 93 bayer pattern............................................................... 117
fine-tuning the programmed frame rate......................... 68 chroma (sub)sampling......................................... 116, 118
firmware version..............................................................19 clipping.......................................................................116
FLR-1............................................................................... 93 color signals................................................................116
FLU-1............................................................................... 93 data mode................................................................... 117
frame counter............................................................. 70, 71 dead/defective pixels........................................... 119, 124
frame rate................................................................... 42, 46 HD422.........................................................................119
changing while camera is running............................... 67 HD422 DL – 2x Single Link....................................60, 119
fine-tuning.................................................................... 68 HD444.........................................................................120
link speed....................................................................124 HD444 QL – 2x Dual Link..........................................120
programmed frame rate............................................... 67 HD mode.....................................................................119
ramping........................................................................ 68 interlaced scan............................................................122
setting and storing....................................................... 46 Mscope.......................................................................120
128
Index
pixel failure.............................................103, 122, 124, 125 horizontal levelling........................................................... 26
progressive scan.........................................................121 horizontal smear.............................................................125
progressive segmented frame....................................122 H-smear..........................................................................125
scanning methods......................................................121 humidity.................................................................... 13, 112
signal range.................................................................123
variable frame rate......................................................124
VariFrame....................................................................124
grip system...................................................................... 29 I
low mode support....................................29, 36, 88, 89, 94 image artifacts.......................................... 116, 119, 122, 124
removing...................................................................... 29 image orientation................................................................
ground glasses................................................................ 37 automatic..................................................................... 34
exchanging................................................................... 37 image orientation.................................................... 32, 34
special forceps............................................................. 37 manual......................................................................... 34
ground loop..................................................................... 23 imager check................................................................... 98
imaging status LED......................................................... 22
incompatible accessories................................................ 83
index pin.......................................................................... 31
H installation....................................................................... 25
handgrip.......................................................................... 29 interference......................................................................14
HD422.............................................. 48, 59, 94, 108, 119, 124 interlaced scan...............................................................122
HD422 DL........................................... 8, 4 8, 60, 108, 119, 128 IPA-1........................................................................... 23, 87
HD422 SL......................................................... 8, 4 8, 59, 108 isolating power adapter IPA-1......................................... 87
HD444............................................................... 48, 108, 120
HD444 DL........................................................ 8, 4 8, 57, 108
HD444 QL.......................................... 8, 4 8, 58, 108, 120, 128
HD clock pulse......................................................... 69, 107 K
HD Mode........................................................................119 KC-20S............................................................................. 20
HD-SDI........................................67, 87, 94, 104, 107, 113, 115 KC-29S................................................................... 20, 21, 25
HE-4/HE-5....................................................................... 86
heated eyecup HE-4/HE-5............................................... 86
HMI light.......................................................................... 43
129
Index
L Mode 5....................................................................... 65, 74

LCS bus socket................................................................ 75 Mscope.........................................36, 37, 4 8, 99, 119, 120, 121
LDD socket................................................................. 75, 76 Mscope 422 DL................................................ 8, 4 8, 61, 108
Lens Data System......................... 9, 30, 75, 76, 106, 109, 130
Lens Data System LDS.......................................... 30, 75, 76
lenses.............................................................................. 30 N
attaching...................................................................... 30 noise...............................................................................125
lens support LS-9/LS-10.............................................. 28
remote control............................................................. 80
support......................................................................... 28
lens mount............................................13, 14, 28, 30, 31, 112 O
lens mount position......................................................... 30 onboard monitor............................................................. 23
lens sopport ring............................................................. 28 operational parameters................................................... 42
Locking Camera Controls............................................41, 65 operation control LED........................................... 22, 41, 66
LOCK switch...................................................................110 operator display.......................................................... 43, 65
low mode support.......................................29, 36, 88, 89, 94 optics............................................................................... 30
viewfinder.................................................................... 31
orange peel structure.....................................................125
OSD tools...................................................................... 104
M output data mode/ARRIRAW.................................. 113, 117
main camera switch........................................................ 22 HD422.................................................................. 119, 124
mains unit NG 12/26 R.................................................... 20 HD444.........................................................................120
maintenance.................................................................... 98 interfaces..................................................................... 40
mirror shutter................................................................ 106 Mscope.................................................... 36, 119, 120, 121
enable/disable...............................................................74 signal.......................................................................... 108
position........................................................................ 22 video menu.................................................................. 40
set angle........................................................................74 output board.......................................................... 40, 47, 53
Mode 1....................................................................... 65, 71 output range...................................................................123
Mode 2.................................................................. 65, 67, 85 overload display.............................................................. 24
Mode 3.................................................................. 65, 71, 72 overview of display symbols........................................... 66
Mode 4....................................................................... 65, 73
130
Index
P RGB................................................................................116
peak load, current........................................................... 24 RS-4................................................................................. 90
PHASE button................................................. 22, 67, 99, 111 rs connector.................................................................... 64
shifting phase............................................................... 68 RS socket..........................................24, 86, 90, 91, 92, 94, 97
phase shifting.................................................................. 68 RS socket distributor....................................................... 91
pixel failure..............................................................103, 125 RUN button..................................................................... 91
Pixel Failure Clusters......................................................103 Running and Stopping the Camera................................. 62
PL-Mount...............................................13, 14, 28, 30, 31, 112
Power........... 20, 23, 25, 54, 65, 66, 72, 83, 87, 107, 110, 111, 114
power cable......................................................................... S
KC-20S............................................................... 20, 21, 25 S-5 shoulder set.............................................................. 92
KC-29S............................................................... 20, 21, 25
safety instructions............................................................12
power supply............................................................ 20, 107
Scope........................................................................... 6, 19
power supply for accessories......................................... 23
SDI Remote Master........................................ 52, 62, 63, 132
power supply voltage display.......................................... 72
SD Overlay Functions...................................................... 50
power switch................................................................... 22
SD video..................................................................... 40, 41
PROG button................................................................... 66
SD Video Mode............................................................... 50
progressive scan............................................................121
shifting phase.................................................................. 68
progressive segmented frame.......................................122
shoulder pad.................................................................... 92
PS/CCU....................................................................... 68, 69
shoulder set S-5.............................................................. 92
PS-Mode......................................................................... 68
shutter.......................................43, 66, 70, 71, 73, 74, 106, 111
shutter angle adjustment.................................................74
shutter angle display........................................................71
R shutter angle for HMI light.............................................. 43
radio receiver URM-3...................................................... 77 shutter off.........................................................................74
ramping................................................................67, 68, 124 signal connections.......................................................... 55
recording connections.................................................... 55 HD422 setup................................................................ 56
remote control............................................................ 80, 81 signal monitoring......................................................... 55
remote run switch RS-4.................................................. 90 signal range....................................................................123
131
Index
signal wiring instructions................................................ 56 synchronize..................................................................... 69

silica bottle......................................................... 15, 102, 112
sockets................................................................................
11-pin........................................................................... 23
ACC.............................................................................. 75
T
technical data.........................................................106–108
BAT............................................................................... 20
temperature range.............................................107, 110, 113
CCU.................................................................... 75, 81, 82
CLM-2..................................................................... 75, 80 transport...........................................................................14
LCS bus.............................................................. 75, 80, 81 tripod................................................................ 13, 25, 26, 27
LDD......................................................................... 75, 76 troubleshooting..............................................................110
RS............................................................................ 24, 91
software version...............................................................19
sound..............................................................................107 U
special forceps.....................................................37, 39, 105 URM-3 radio receiver............................................ 75, 77, 79
speckled images............................................................125
speed range................................................................... 108
spirit level........................................................................ 26
standard frame rate...................................... 41, 111, 113, 124 V
starting/stopping the camera.......................................... 62 variable frame rate/VariFrame..............................67, 68, 124
Start/Stop using SDI Remote Master......................... 62, 63 variframe............................................................... 64, 124
status........................................................... 41, 53, 54, 79, 80 video assist................................................................41, 106
storage.............................................................................14 video menu...................................................................... 40
sunlight....................................................................... 14, 99 LOCK switch...............................................................110
OSD tools................................................................... 104
super 35..................................................................... 26, 30
standard frame rate...................................................... 46
support rings................................................................... 28
status........................................................................... 53
support rods.................................................................... 26
using the video menu...................................................41
15 mm................................................................ 26, 28, 88
white balance......................................................... 44–46
19 mm................................................................ 26, 28, 88
viewfinder arm................................................................ 33
S-Video............................................................................ 40
extending..................................................................... 33
sync................................................................................. 69
friction adjustment....................................................... 33
132
Index
swivelling..................................................................... 33 Y
turning the eyepiece.................................................... 33 YCbCr.............................................................................116
universal....................................................................... 36
viewfinder system.....................................................31, 106
adjusting...................................................................... 34
ARRIGLOW.................................................................. 38 Z
attaching...................................................................... 35 Zebra Setup..................................................................... 50
displays in viewfinder.................................................. 31
image orientation......................................................... 34
removing...................................................................... 35
voltage range................................................................... 20
W
warning displays............................................................. 31
warnings.......................................................................... 31
warning signal................................................................. 72
settings........................................................................ 72
switching on and off.................................................... 73
volume......................................................................... 73
weight...................................................................... 25, 107
white balance............................................................ 44–45
wireless remote control WRC-2...................................... 96
wireless system...........................................................77, 81
WL-3................................................................................ 97
work light........................................................................ 97
WRC-2............................................................................. 81
133
ARRI Sales & Service
18. ARRI Group Addresses

World Wide Web: http://www.arri.com
Germany: Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245
Italy: ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga, [email protected]
Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692
ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00118 Morena (Roma), Italy
Camera Sales: Mauro Sembroni, [email protected]
Tel: +39 (06)79 89 021, Fax: +39 (06)79 89 02 206
134
ARRI Sales & Service
USA: ARRI Inc. (Sales & Service)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell, [email protected]
Tel: +1 (818)841 7070, Fax: +1 (818)848 4028
ARRI Inc. (Sales & Service)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer, [email protected]
Tel: +1 (845)353 1400, Fax: +1 (845)425 1250
ARRI Inc. (Sales)
2385 Stirling Road, Fort Lauderdale, FL 33312, USA
Technical Sales Representative: Jeffrey Reyes, [email protected]
Tel: +1 (954) 322 4545, Fax: +1 (954) 322 4188
Canada: ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux, [email protected]
Tel: +1 (416)255 3335, Fax: +1 (416)255 3399
Australia: ARRI Asia Limited
3B, 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan, [email protected]
Tel: +852 2571 6288, Fax: +852 2875 9181
Asia ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier, [email protected]
Tel: +61 (2)9855 4308, Fax: +61 (2)9855 4301
135
Technical data subject to change without notice.
© ARRI 2011
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

NORM - PS/CCU switch

SET button PHASE button Operation control LED

Image rotation knob

Image rotation release

PL mount Viewfinder arm

Ground glass Viewfinder

Lens motor direction

Lens data system

Wireless control system

CLM-2 lens motor

Camera control unit (CCU) socket Accessory mounting

Video menu button Lens control system

Output board Power supply

Using the Video Menu..................................................................................................................41

13.4. Low Mode Support...............................................................................................................88

2. Safety Instructions 2.1. General Safety Instructions

Clean optical lens surfaces only with a lens 3. General Precautions

4. Disclaimer any errors that may appear in this document. The

5. General Description aspect ratio sensor and therefore easily accommodates

Do not bypass the fuse or temperature switch!

Do not heat batteries!

on the charger until required.

6.4. Main Camera Switch

Note: Details on signal connections, camera

7.3. Bridge Plate Set BP-8, BP-9

7.4. Lens Support

Additional Hand Grips

Removing the Eyepiece

Manually Adjusting Image Orientation

Pivoting the Contrast Filter

Attaching the Viewfinder System

If the camera shall be used without viewfinder system,

8.4. ARRIGLOW ARRIGLOW module

Exchanging the ARRIGLOW Mask

9.2. Video Menu

The D‑21 sensor readout operates at full sensor

9.3. Setting Operational Parameters

At EI 100, the image contains approx. 4 ½ stops

Overview of Available Output Formats

Note: Conversion LUTs are available in many

SDI Remote Master

Status and Imaging Status Indications

10.2. Signal Wiring Instructions

Note: For more information on Data Mode/ARRIRAW,

Input Format: MONITOR

HD444 QL – 2x Dual Link

HD-SDI HD-SDI HD-SDI

Input Format: MONITOR

HD422 DL – 2x Single Link

Input Format: MONITOR

2x single link/dual camera recording is commonly used Input Format: MONITOR

11. Camera Operation

11.1. Running and Stopping the Camera

RUN State Description Indication

Start/Stop using VariFrame Do not connect a recorder to the camera's RS

Start/Stop using RS connector

1st display line 2nd display line Adjustments

Locking Camera Controls