arricam systeminstruction manual
THE ARRICAM SYSTEM
USERS’ GUIDE
11/2003
Software Version 03E
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Disclaimer
No part of this document may be copied or reproduced
in any form or by any means without prior written
consent of ARRI. ARRI assumes no responsibility for any
errors that may appear in this document. The information
is subject to change without notice. For actual design,
refer to the latest publications of ARRI data sheets or
data books, etc., for the most up-to-date specifications
of ARRI products. Not all products and/or types are
available in every country. Please check with an ARRI
Sales Representative for availability and additional information.
While ARRI endeavours to enhance the quality, reliability and safety of the ARRI products, customers agree
and acknowledge that the possibility of defects thereof
cannot be eliminated entirely. To minimize risks of damage to property or injury (including death) to persons
arising from defects in the ARRI products, customers must
incorporate sufficient safety measures in their work with
the system. ARRI or its subsidiaries does not assume any
liability for infringement of patents, copyrights or other
intellectual property rights of third parties by or arising
from the use of ARRI products or any other liability arising from the use of such products.
No license, express, implied or otherwise, is granted
under any patents, copyrights or other intellectual
property rights of ARRI or others. ARRI or its subsidiaries
expressly excludes any liability, warranty, demand or
other obligation for any claim, representation, or cause,
or action,or whatsoever, express or implied, whether in
contract or tort, including negligence, or incorporated in
terms and conditions, whether by statue, law or otherwise. In no event shall ARRI or its subsidiaries be liable
for or you have a remedy for recovery of any special,
direct, indirect, incidental, or consequential damages,
including but not limited to lost profits, lost savings,
lost revenues or economic loss of any kind or for any
claim by third party, downtime, good-will, damage to
or replacement of equipment or property, any costs or
recovering of any material or goods associated with the
assembly or use of our products, or any other damages
or injury of persons and so on or under any other legal
theory.
Preface
At the beginning of the 21st century, the entertainment
industry more than ever demands broader knowledge
and greater skill from contemporary cinematographers.
Being used for feature films, miniseries, documentary
films, music promos or advertisements, all these different
kinds of productions request dedicated and versatile
cinematographic equipment. Because of the variety
of assignments today and tomorrow, cameras must be
mounted on dollies and cranes, on tripods and special
rigs, on Steadicam and sophisticated three axis remote
controlled heads, operated from the shoulder or on the
lap, in several extreme atmospheric conditions – these
are only a few out of a wide range of different tasks –
nowadays equipment must be flexible enough to allow
the best possible work without having to accept compromises. So far, the inventive and creative cinematographer and his/her crew have to get hold of cameras and
accessories suitable for all kinds of working situations.
Based on the huge amount of expertise collected during
designing and producing such cameras as the ARRIFLEX
435, 535 and 765 or the MOVIECAM Compact
and SL as well as with the intention to fulfil most of the
desires of today’s customers, the two leading companies
in the field, ARRI and MOVIECAM, have joined their
knowledge and inventive power to build a new line of
equipment, unifying the best of two worlds.
It was a real challenge for us to develop a system which
allows each cinematographer to set up the appropriate
equipment for each particular job more easily than ever
before.
PREFACE
11/2003
The solution was to build up a wide range of
compatible accessories around two camera bodies,
each one optimised for dedicated operations.
Care and Cleaning
The ARRICAM System Users’ Guide we herewith
present to you is not simply an instruction manual to a
new camera, but a handbook of an equipment line that
includes the most quiet compact 35 mm camera for
multiple applications and increased utilization.
Please take time to read the following pages carefully.
You will see that the ARRICAM System offers you a great
variety of possibilities. Like the camera system itself, its
System Users’ Guide consists of several interchangeable
parts that will continuously be updated.
In visiting our home page www.arri.com, you will find
all updated information about all components of the system. Furthermore, interesting news and publications can
be downloaded from there.
Frédéric-Gérard Kaczek AAC and the ARRICAM Team
Preliminary Remarks
The ARRICAM System is based on two different camera
bodies, each one with special characteristics. Even
though there are some important differences, several
parts of the two bodies are comparable in function and
design. Therefore, you will find some common descriptions in the following pages.
3
Caution!
1. When cleaning the equipment, do not moisten
connectors!
2. Never use acetone!
When applied properly, compressed air is the best
cleaner; a vacuum cleaner or an air syringe will do fine.
Cotton tips, orangesticks, soft and hard brushes may be
used for gentle cleaning.
Caution!
1. Compressed air should only be used for
blowing the magazines! Apart from this, high
pressure does more harm than good,
especially to glass surfaces.
2. The camera should only be lubricated at a
ARRICAM Maintenance Centre!
Design and technical data are subject to change!
PREFACE
ARRICAM System Users’ Guide
The ARRICAM System is almost maintenance-free.
There is only one requirement for a smooth operation:
the cameras and the accessories have to be meticulously clean. Therefore you should protect them against
any dirt or smudges.
Clean the camera exterior with a glass cleaner. Only
when really necessary, e.g. to remove camera tape
gum, alcohol or benzine should be used.
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CARE AND CLEANING
ARRICAM System Users’ Guide
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Table of Contents
Copyright notes
Disclaimer
Preface
Preliminary remarks
Care & cleaning
Table of Contents
Safety and Product specifications
1
2
3
4
3
4
5
6
10
THE ARRICAM CAMERA BODIES
The cameras’ front, dust check, beeper, lens port
The cameras’ right sides
The cameras’ rear
The cameras’ left sides, Door
The Camera Control Panels
The list of warnings and messages
The cameras’ top
The camera bodies’ bases
The cameras’ interiors, Movement, Aperture Plate,
Spacer Plate, Format Masks
17
23
25
28
31
44
57
60
61
THE MAGAZINES & MAGAZINE ADAPTERS
The four ARRICAM Magazines
Care & cleaning
The Magazine Cover
The Coreholder
The Digital Footage Counter
Setting unit of measurement and ASA
The Tightening Wheels
The Remaining Footage Indicator
The Loop Protector
The ARRICAM Magazine Adapters
Mounting/removing the Magazine Adapters
Mounting Studio Magazines on Adapters
Adapters’ Carrying Handles
The Studio Mag to Lite Camera Adapter
73
76
77
78
79
80
81
82
84
85
88
90
94
97
LOADING THE MAGAZINES,
THREADING THE CAMERAS
Loading the Magazines
Mounting Magazines and threading
101
106
THE ARRICAM OPTICAL VIEWFINDERS
Introduction/Overview
The ARRICAM Viewfinders
The ARRICAM 100% Video Tops (1)
Mounting a Viewfinder
The Viewfinders’ housing
Viewing Filter Lever
121
125
130
132
134
135
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ARRICAM System Users’ Guide
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6
The Viewfinders’ Arms
Swivelling the Viewfinder Arms
Adjustment of the swivel friction
Ergonomy
Pivoting the Eyepiece
Levelling of the Viewfinder image
The swing-in de-squeezer
The Eyepiece
Mounting the Eyepiece
The Eyecup
The Heated Eyecup
The Eyepiece Extensions
Viewfinder Levelling Rod
The ARRICAM Fieldlens & Ground Glasses
The Frameglows
137
137
138
140
141
142
143
144
145
146
147
148
150
151
153
THE INTEGRATED VIDEO SYSTEM COMPONENTS
Important notes and safety specifications
The ARRICAM Video Assists’ components
The Video Assist
The 100% Video Tops (2)
Mounting the Video Assists
The connectors and the LED indicator
The mechanical adjustments of the CCD
The Video Assists’ Iris control dial
The Manual Gain Control button
The ON/OFF/CHECK/HIDE MENU switch & LED
The Menu/Store dial
The Video Assist On Screen Display (OSD)
The Video Menu Structure
The Video On Board Monitors
Control Menu of the 6.6” On Board Monitor
161
163
163
165
166
168
173
176
176
177
178
179
180
209
214
STUDIO READOUT, THE LENS DATA SYSTEM
Lens Data Screens
Mounting the Readout Unit & function
The Lens Data System (LDS)
The LDS Lenses
The Lens Data Boxes (LDB)
Mounting the Lens Data Boxes
The ARRICAM Studio LDB Adapter
Connectors and control LEDS
Connecting Lens Motors to the LDB
Lens Data Displays (LDD and LDD-FP)
Connecting the Lens Data Displays
The LDD and LDD-FP LEDs and controls
Function of the Lens Data Displays
The LDD Screen
The LDD-FP Screen
The LDD-FP Menu structure
Marking the Focus Scale
Focus Tracking
221
224
226
227
229
231
233
237
238
241
243
246
248
257
260
263
267
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THE MANUAL CONTROL BOX, THE SPEED CONTROL BOX,
THE TIMING SHIFT BOX
Introduction
271
Automatic exposure compensation
272
Stroboscopy, motion blur and depth of field.
272
The Manual Control Box (MCB)
274
The MCB Cable Adaptor
275
The Speed Control Box (SCB)
281
SCB connectors
284
SCB controls and displays
285
Functions and operations of the SCB
292
The ramping function
294
The synchronisation features
297
The Timing Shift Box
301
The Remote Control Station (RCS)
303
8
THE IN-CAMERA SLATE BOX
The In-camera Slate Box (ISB)
Mounting the ISB
The ISB LEDs and controls
Jam-syncing
The ISB Handheld PC/Menu Structure
309
315
319
320
328
9
THE CAMERA SUPPORTS
Supports
Carrying Handles
Power Bridgeplate
The Camera Handgrips
The Shoulder Set
The Accessory Holders
The Universal Low Mode Set
345
345
349
351
353
355
352
10
11
ARRICAM POWER MANAGEMENT
361
MISCELLANEOUS
Standard 35/Super 35 Conversion
3 Perforation/4 Perforation Conversion
The Work Light
Checking the Mirror Shutter manually
The Wired Handgrip Attachment (WHA-2 & 3)
The Accessory Power Box (APB)
Tools
371
372
373
374
376
378
380
12
APPENDIX
Technical Data
Acronyms and Abbreviations
ARRI Group Addresses
Status, Warning and Troubleshooting List
Cables and Connectors
Acknowledgment
TABLE OF CONTENT
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ARRICAM System Users’ Guide
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THE ARRICAM CAMERA BODIES
Lens Port, Camera Control Panels, Movement, Aperture Plate,
Gate, Spacer Plate, Format Masks
THE MAGAZINES AND MAGAZINE ADAPTERS
Studio Magazines, Lite Magazines, Dual Port Adapter, Back Load
Adapter, Top Load Adapter, Studio Mag to Lite Camera Adapter,
Lite Mag to Studio Camera Adapter
LOADING THE MAGAZINES,
THREADING THE CAMERAS
THE ARRICAM OPTICAL VIEWFINDERS
Studio Viewfinders, Lite Viewfinders, Viewfinder Extension, Eyepiece, Ground Glasses, Frameglows, Frameglow Masks
THE INTEGRATED VIDEO SYSTEM COMPONENTS
Studio Video Assist, Lite Video Assist, 100% Video Tops,
On Board Monitors
Safety Specifications
Important Notes
Warnings
• In wet weather the normal safety precautions for handling electrical equipment should be taken.
Notice
Operational error possible!
Danger of injury or equipment damage possible!
• Avoid operational errors!
General Safety Specifications
• Do not use solvents to clean the film gate!
Caution! Danger of injury! Never place your
hand in the lens port or inside of the camera
while it is RUNNING.
• Clean optical surfaces only with a lens brush or a
clean lens cloth! In case of solid dirt moisten a lens
cloth with pure alcohol.
• Do not remove any screws which are secured with
paint!
• In order to ensure optimal performance, it is essential
that you acquaint yourself with this Users’ Guide.
Product Specifications
LDS Lenses, Lens Data Boxes, Lens Data Displays,
Lens Data Screens
• Assembly and initial operation should be carried out
only by persons who are familiar with the equipment!
In case of enquiries or when ordering parts, please
advise camera serial number and model.
THE MANUAL CONTROL BOX, THE SPEED
CONTROL BOX, THE TIMING SHIFT BOX
MCB Adapter Cable, Remote Control Station
• Switch OFF the camera MAIN switch before making
electrical connections (i.e. plugging on accessory
boxes)!
THE ARRICAM IN-CAMERA SLATE SYSTEM
• Never RUN the camera without a lens or a protective
cap mounted in the lens port.
Notice
This Users’ Guide applies to the ARRICAM Studio and the ARRICAM Lite as well as the whole
ARRICAM Accessory range. Sections that only apply
to one camera model or accessory type are indicated as such in the heading.
Several items described in this Users’ Guide are in
preparation.
Because ARRI has already published several dedicated manuals about accessories, e.g. Follow Focus
or Matte Boxes, this components are not described
here.
The products and accessories recommended by the
manufacturer fulfill the specifications of the EU-Guideline 89/336/EWG.
STUDIO READOUT, THE LENS DATA SYSTEM
In-camera Slate Box, Exposure Module, Handheld PC, OCR
THE CAMERA SUPPORTS
• Never operate the movement locking mechanism
while the camera is RUNNING!
Power Bridgeplate, Shoulder Set, Carrying Handles, Brackets,
Universal Low Mode Set, Dovetail Attachment System
• Ensure that the camera is securely mounted!
ARRICAM POWER MANAGEMENT
• Repairs should be carried out only by authorized
service centres!
Batteries, Power Supply Unit
MISCELLANEOUS
35/Super 35 Conversion, Work Light, 3/4 Perforation Conversion,
Shutter Check, Wired Handgrip Attachment, Accessory Power Box, Tools
APPENDIX
Technical Data, Acronyms, Addresses, Cables and Connectors
• Remove the battery cable before transport or servicing!
• Use only original ARRI replacement parts and
accessories!
SAFETY SPECIFICATIONS
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10
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ARRICAM System Users’ Guide
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6
7
8
9
10
5
4
3
2
1
11
21
6
26
1
3
24
2
27
4
25 23 9
28
22
30
1
CAMERA MAIN SWITCH (ON/OFF)
2
POWER CONNECTOR (24 V)
3
CAMERA ACCESSORY CONNECTOR (CAC)
4
CAMERA ACCESSORY PORT COVERS
5
STUDIO VIDEO ASSIST
6
FOOTAGE COUNTER
7
STUDIO MAGAZINE 300/1000
8
STUDIO VIEWFINDER
9
LDS LENS
10
MATTE BOX (MB 14)
11
ATTACHMENT ROSETTE
12
FOLLOW FOCUS
13
STUDIO MEDIUM EXTENSION
14
MANUAL FOOTAGE INDICATOR
15
TIGHTENING WHEEL
16
TOP LOAD ADAPTER WITH HANDGRIP
17
CAMERA DOOR
18
TAPE MEASURE HOOK
19
STUDIO DOOR FRICTION ADJUSTMENT SCREW
20
CAMERA CONTROL PANEL WITH RUN BUTTON
21
BASE PLATE
22
LIGHTWEIGHT MATTE BOX (LMB 5)
23
LITE VIEWFINDER
24
LITE CARRYING HANDLE
25
LITE VIDEO ASSIST
26
LITE SHOULDER MAGAZINE
27
SHOULDER PAD
28
RISER PLATE (SHOULDER SET)
29
LEFT HANDGRIP
30
RIGHT HANDGRIP WITH RUN BUTTON
14
15
13
8
9
10
16
17
18
19
20
21
12
22 9 23
29
2
24 25
28 20 17
26
27
STUDIO
LITE
THE ARRICAM CAMERA BODIES
1
The Camera Bodies
The cameras’ front
On the front of both cameras, an LDS 54 mm ARRI PL
(positive lock) lens port accepts lenses (spherical or
anamorphic) fitted with either LDS PL or with the well
established regular PL mounts. Depending on the orientation of the lens port, the ARRICAM Cameras will allow
shooting in either Standard 35 or Super 35 format. The
shooting mode is shown by the number 1 (for 35) or 2
(for S35) facing the index.
Notice
It is recommended an ARRICAM Maintenance
Centre or rental house performs the change of format
from 35 to S35 or vice versa. If you must do it yourself, please see the related instructions in chapter
11 – Miscellaneous.
The ARRICAM Cameras are equipped with LDS PL
mounts which differ from the regular PL mounts of the
ARRIFLEX and MOVIECAM cameras in that they are
equipped with electrical contacts that communicate lens
data to the camera. Two sets of LDS contacts are integrated in each lens port to allow the fitting of the lens
according to the needs of the focus puller: The index
lines of the lens can be seen from the top and the bottom or left and the right side of the camera
Notice
Even though there is a difference between the LDS PL
mount and the regular PL mount, all 35mm lenses fitted
with PL mounts can be mounted in the new LDS PL port.
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ARRICAM System Users’ Guide
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Studio front fig.1/1
Lens Data Box connector
Beeper
Beeper volume control
Lens port lever
35/S35 index
Lens port
35/S35 markings
UNLOCK button
(only on extended
control panel)
DUST CHECK button
24 V dc outlet RS connector
Lite front fig.1/2
DUST CHECK button
24 V outlets
heatable eyecup/
work light
35/S35 index
35/S35 markings
Lens port
Lens port levers
24 V dc outlet RS connector
1 – THE CAMERA BODIES
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ARRICAM System Users’ Guide
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To remove a lens (or lens port cover), rotate the lens port
levers counter-clockwise as far as possible while grasping the lens firmly. Then carefully remove the lens.
To fit a lens, align guide groove in the lens flange with
locating pin in the lens port. Insert the lens flange flat on
the receptacle, making certain the pin engages the lensflange hole easily. Rotate lens lock gently clockwise to
secure until the lens is seated properly. Do not use force!
Notice
1. Especially with heavier lenses, great care must
be taken that the lens is mounted in a straight line
with the port.
2. The LDS Lens must be mounted in the 12 o’clock
or 3 o’clock position to enable the LDS functions.
3. When attaching the lens or lens port cover, take great
care not to harm any elements (e.g. LDS contacts).
4. Heavy and long lenses, such as ZEISS Variable
Prime Lenses or zoom lenses, must be supported
at all times by means of dedicated accessories.
5. When mounting an LDS Lens, one must be sure
that the contacts and the mount itself are perfectly
clean in order to assure good electricronic communication as well as an even fit of the lens on
the camera port.
Both Studio and Lite
THE DUST CHECK BUTTON
Because the mirror and the movement are driven separately, moving the mirror by means of the inching knob
is not possible. It is also recommended not to move
it manually, there is danger of damage. To check the
gate, either by looking through the lens or by removing it, turn the mirror out of the way by briefly pushing
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the DUST CHECK button. Even when shooting with a
reduced shutter angle, operating the DUST CHECK button, will open the shutter to 180° and DC will appear
on the FPS display(s).
Caution!
When you need to clean the gate, it is imperative
to turn OFF the camera power first.
After having cleaned the gate, turn the power ON and
briefly push the DUST CHECK button to turn the mirror
into the viewing position – the shutter will return to its
preset angle again automatically.
Studio front
fig.1/3
Beeper volume control
Lens Data Box connector
DUST CHECK button
24 V dc outlet RS connector
Lite front fig.1/4
DUST CHECK button
24 V dc outlet
Work light/heated eyecup
24 V dc outlet RS connector
On the Studio and Lite
24V OUTLET RS CONNECTOR
To the left of the lens port there is a 24 V outlet marked RS
(RUN). This three-pin Fischer connector is protected by a
1.6 A resettable fuse and may be used to remote control
the camera status RUN or STOP as well as for supply
power to any kind of 24 V accessory, e.g. a zoom drive.
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ARRICAM System Users’ Guide
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Only on the Studio
BEEPER AND BEEPER VOLUME CONTROL
Only the ARRICAM Studio is equipped with a beeper.
Its volume can be increased in three steps by turning
the switch clockwise. The number shown on the switch
will indicate the adjustment: 1=low, 2=medium and
3=loud. When selecting the position 0, the beeper is
OFF. When the beeper is not turned OFF, it will sound
briefly when the camera is in RUN UP or RUN DOWN
status. It will beep intermittently as long as the camera is
RUNNING in ASYNC status.
On the Studio
LDB CONNECTOR
Hidden behind the front right side camera cover (fig.
1/3), a large connector is mounted on the camera
front. When the cover is removed, either a Lens Data
Box Cable Adaptor or the Studio Lens Data Box itself
can be attached to this connector.
On the Lite
24 V HEATED EYECUP/WORK LIGHT OUTLETS
On both sides of the lens port, small connectors supply
the 24 V dc power for the following two accessories:
the Work Light and the Heated Eyecup.
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Studio right side
fig.1/5
CAC connector
accessory attachments
Attachments points for
accessory port covers
Lens port
levers
RS connector
for right
handgrip button
Threaded holes
for attaching
the lower cover
or ISB
Power
connector
Lite right side
Main
switch
In-camera Slate
Box connector
Right handgrip
rosette attachment
fig.1/6
Main switch
Magazine
release knob
Accessory attachments
Connector for
Lens Data Box
Lens port
levers
RS connector
for right
handgrip button
CAC
Power
connector connector
Attachment for
Lens Data Box
Attachment rosette
1 – THE CAMERA BODIES
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ARRICAM System Users’ Guide
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The cameras’ right sides
On the Studio and Lite
RIGHT HANDGRIP ROSETTE ATTACHMENT
The right handgrip is screwed into the threaded socket
in the rosette centre.
On the Studio and Lite
CONNECTOR FOR THE RIGHT HANDGRIP RUN
BUTTON
The 24 V RS connector can either be used to supply 24
V for accessories or to connect a switch for changing
between the RUN and STOP (i.e. Standby) status.
On the Studio and Lite
ACCESSORY ATTACHMENTS
The Carrying Handle or e.g. Universal Low Mode
Bracket is attached to the threaded sockets and gauged
holes on top of the right camera side.
On the Studio and Lite
PROTECTION COVERS
Covers fig.1/7
➔
➔
➔
➔
➔
Protection covers are components of the ARRICAM System and should be handled with care. When removing
them from the camera bodies, store them immediately in
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ARRICAM System Users’ Guide
23
their cases. When no accessory box or cable adapter
is mounted on the camera, the appropriate protecting
cover must be fitted instead of it to protect the sensitive
connectors!
On the Studio only
RELEASE KNOB OF THE UPPER PROTECTION COVERS
To remove an upper protecting cover, press the release
knob and slide the upper front cover forward or the
upper rear cover backwards. When mounting the protection covers, be sure that they are flush to the camera
before sliding them into the locked position.
Notice
Do not tilt the upper covers during mounting or removing, and do not use force!
By removing the upper front cover the connector for the
Studio Lens Data Box (ST-LDB) will appear.
By removing the upper rear cover the connector for the
Speed Control Box (SCB) will appear.
On the Studio only
RELEASE SCREWS OF THE LOWER COVER
Remove the lower cover for mounting the In-camera
Slate Box (ISB).
On the Lite only
RELEASE SCREW OF THE COVER
To mount the LT-LDB on the Lite, you must first remove the
cover by unscrewing one 3 mm hex screw.
1 – THE CAMERA BODIES
ARRICAM System Users’ Guide
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11/2003
01/2003
The cameras’ rear
On the Studio and Lite
CAC CONNECTOR FOR ACCESSORIES
The 16-pin Fischer connector, mounted obliquely for
convenience and labelled CAC (camera accessory connector) is the main communication port of the cameras.
Several accessories can be attached there. For further
information see the accessory descriptions and the fig.
1/8 and 1/9 on page 27.
POWER CONNECTOR
The 2-pin Fischer power receptacle, mounted obliquely
for convenience, is used to connect a 24 V battery
or a 24 V dc Power Supply Unit. Further information
about the power supply and power distribution of the
ARRICAM System is described in chapter 10 – Power
Management.
MAIN SWITCH
Protected by two flanges, the MAIN switch will interrupt
the power supply of all electronic components, except
the one of the clock in the In-camera Slate Box – it remains powered to keep the clock working.
SCREWS FOR MAINTENANCE PURPOSES ONLY
On both camera bodies, there are several screws which
are dedicated for maintenance work only. These screws
are marked with a special seal lacquer and/or a safety
label.
1 – THE CAMERA BODIES
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Caution!
Do not touch these screws, otherwise severe damage can occur!
CAMERA OPENINGS
One of the main differences between the two camera
bodies is that you are able to mount Studio Magazines
in one of three different positions (top, back or inclined)
on the Studio by means of the various magazine
adapters while the Lite allows the attachment of the
lightweight Lite Magazines at the rear only. In order to
install Studio Magazines on the Lite, you will have to
use the Studio Magazine to Lite Camera Adapter. Lite
magazines may now be mounted on the Studio, in the
rear position only, by means of the Studio Camera to
Lite Magazine Adapter.
On the Studio only
REAR CAMERA OPENING AND MAGAZINE ADAPTER
ATTACHMENTS
In order to mount one of the four Studio Magazine
Adapters, fit the adapter on the camera body while taking care that the two adjusting pins enter the threaded
holes easily. Then you will have to tighten the six retaining screws firmly – see caution on page 88.
On the Studio only
CONNECTORS FOR THE SCB AND MCB/TSB
These two connectors allow the mounting of the Speed
Control Box (SCB) and the Manual Control Box (MCB)
or Timing Shift Box (TSB) – see chapter 7.
Both connectors must be protected by covers if not used.
1 – THE CAMERA BODIES
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ARRICAM System Users’ Guide
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Notice
To use the Manual Control Box (MCB) or the Timing
Shift Box (TSB) and the Speed Control Box (SCB)
together, you must first mount the SCB and then the
MCB/TSB. To remove the SCB, you will first have to
remove the MCB/TSB from the camera: The MCB/
TSB physically blocks the attachment and removal of
the SCB
Studio rear fig.1/8
Threaded holes and connector for the
magazine adapters
Camera opening
MCB/TSB connector
SCB connector
Attachements for
magazine adapters
CAC connector
Power connector
Main switch
Door hinge
Lite rear fig.1/9
Setscrew for maintenance only
Release button for magazines/mag.adapter
Electric contacts
for the magazine/
mag.adapter
Main switch
CAC connector
Power connector
Camera opening
Rails for the magazines/mag.adapter
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The cameras’ left sides
On the Studio and Lite
THE CAMERA DOOR
The door is located on the camera’s left side. To open
the door, push the little spring-lock forwards and lift the
lock latch, then turn the lock latch counter-clockwise.
When closing the door, press it gently towards the camera body and then turn the lock latch clockwise. When
it is closed, the door lock latch must be flush with the
door; the spring-lock keeps the lock in this position.
Notice
When closing the door, be sure that the movement,
the film guides and the buckle switch are placed in
the correct position. When the movement is in its
loading position, the door cannot be closed.
Door Lock fig.1/10
door lock safety
door lock latch
2.
➦
➡
1.
➡
3.
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On the Studio and Lite
HOOK FOR TAPE MEASURE
The tape measure can be attached to the hook that indicates the image plane. Further hooks are provided on
several accessories.
On the Studio only
ADJUSTABLE DOOR HINGE AND REMOVABLE DOOR
Should you want to alter the friction of the door use a 2
mm metric hex wrench to adjust the screw at the top of
the lower hinge until the desired friction is set.
To remove the door, loosen this screw fully, then by
pressing and holding the lever, lift the door up clear of
the hinges. When mounting the door on the camera,
take care that the hinge-pins enter the hinges properly.
➡
Studio Door fig.1/11
2.
1.
➡
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Studio left side
fig.1/12
Viewfinder
mounting plate
Connectors 24 V for
heated eyecup
work light
Accessory
attachment
Door
Lens port
levers
Camera control panel
Indication of film plane/
Tape hook
Lite left side
Door lock latch Adjustable
door hinge
Door lock safety
fig.1/13
Viewfinder
mounting plate
Upper camera
control panel
Door lock
safety
Magazine/
adapter release
button
Lens port
levers
Door
Door
lock
latch
Threaded
hole for
magazine
adapter
Lower camera
control panel
Indication of film plane/
tape hook
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On the Studio only
CONNECTORS
Power (24 V) for the Heated Eyecup and the Work Light
is supplied via two co-axial connectors.
On the Studio only
ACCESSORY ATTACHMENT
The two threaded sockets and two gauged holes on top
of the camera left side allow mounting of several accessories including a bracket for Steadicam, a similar support system or the modular ARRICAM Carrying Handle
System.
The cameras’ control panels
On both, the Studio and the Lite, most of the functions
are controlled and monitored by means of the Camera
Control Panels. These Panels are located on the camera
left side to be easily accessible and visible for the operator and the focus puller. There are two types of Control
Panel in circulation: The original Standard Camera
Control Panel and the newer Extended Camera Control
Panel. (The Standard may be upgraded to an Extended
through a workshop procedure).
The Studio and the Lite Standard Control Panels are
equipped with FPS push wheel input units. On the
Extended Camera Control Panels, FPS and Shutter opening are set by means of finger operated buttons instead
of recessed ones that require a small poited tool to operate. Furthermore, the Studio Extended Camera Control
Panel has a third display to show the film length.
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The Extended Camera Control Panels also allow the
user to select several settings offered in the display
options’ menu.
BASICS
All messages shown on the displays of several components (Camera Body, Accessory Boxes, Video Assists,
Readout Unit, etc.) are generated by computer software
(SW). Together with a firmware (FW), the software is
integrated in the camera bodies and several system
components.
Depending on the type of Camera Control Panel
(Standard or Extended), different indications and messages will be shown on the FPS display. As with other
computer systems, and based on the feedback by
ARRICAM Users, the software and also the firmware will
be updated when necessary. Therefore it is advisable to
know the version of the software and firmware installed
in your camera.
Also when requesting information, the technician will
ask you the software and firmware version number. Last
but not least, is also necessary to be aware that some
messages can be changed without notice when the system is updated. This User’s Guide is updated to cover
the release of version 03E.
Because some messages are exclusively for the
ARRICAM Maintenance Personnel, they are not listed in
this Users’ Guide.
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OPERATIONS
The Option mode allows the user
• to define the threshold voltage value that must be
reached to initiate the low battery warning.
• to check the software/firmware version installed in
the system components.
Extended Camera Control Panel
fig.1/14
A
C
B
D
Setting the threshold voltage of the low battery
warning
To set the threshold voltage of the low battery warning,
first turn OFF the camera power. Then, enter the Option
mode by holding the BRIGHT button on the Camera
Control Panel (camera left side) pressed and turn ON
the camera MAIN switch.
Now the following messages will be displayed:
display:
text:
shutter
LBat
FPS
NiCd
Footage
or
User
Nicd shows that the low battery warning is set to a
default value for Nickel Cadmium batteries. This default
value is set in the factory and cannot be changed by
the users.
If a Lithium Ion or 26.2 volt NiCad battery is used, a different
low battery voltage is needed. To change it, select the User
mode by pushing the button “C” or “D” – see fig. 1/14 above.
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When User is displayed, pushing the button “B” will
change the display as follows:
display:
text:
shutter
LBat
FPS
Footage
V21.7
User
By pushing the buttons “C” or “D”, the threshold voltage
can be set anywhere from 20.0 V to 29.9 V.
To save the change of the threshold value in the system,
either push the PHASE button on the Extended Camera Control Panel or switch OFF and ON the camera
MAIN switch.
While pushing the PHASE button, the actual voltage of
the power supply will appear on the FPS display.
Checking the software and firmware version installed
in several components
To find out which SW or FW version is actually
installed, first turn OFF the camera power, then, enter
the Option mode by holding the BRIGHT button on the
Camera Control Panel pressed (camera left side) and
turn ON the camera MAIN switch.
Now the following messages will be displayed:
display:
text:
shutter
LBat
FPS
NiCd
Footage
or
User
By pushing button “B”, the display will change as follows:
display:
text:
shutter
CLD
FPS
V100
Footage
SW
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This means that the Software Version 100 has been
installed in the Camera Control Panel. (CLD=Camera
Left Display) By pushing either “C” or “D”, the display
will change to a next component or to FW if SW is
already shown.
display:
text:
shutter
SCB
FPS
104c
Footage
FW
Caution!
If a figure (software or firmware version) shown
on the FPS display is blinking, it means that the
installed software/firmware is incompatible with
other software/firmware already installed.
Whenever this happens, push the PHASE button to clear
the warning.
Notice
Only in case of a very serious problem (risk of damaging the camera, risk of wrong film exposure) will
the RUN LED glow red to indicate that the camera is
not ready to shoot. In this case, call your ARRICAM
Maintenance Centre.
Usually, a software/firmware incompatibility will not
affect the system and the camera will stay ready to
shoot. However, the indication of the incompatibility will
appear each time the camera is turned ON. This is to
remind you to consult a Maintenance Centre as soon as
you can. When the warning is displayed, basic camera
functions (correct exposure & film handling) will still work
although some accessories may not.
To leave the Option mode, push either the PHASE button or switch the camera MAIN switch OFF and ON.
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OPERATING THE EXTENDED CAMERA CONTROL
PANEL
In order to set fps or shutter angle on the Extended
Camera Control Panels, hold the unlock button while
pushing the selectors’ buttons. Otherwise LOCK will
appear in the related display when a setting button is
pushed.
ACRONYMS
SCB
MCB
TSB
LDB
LDD
WRC
ISB
CCB
SW
FW
CLD
speed control box
manual control box
timing shift box
lens data box
lens data display
wireless remote control
in-camera slate box
camera control box (ARRIMOTION/Jogbox)
software
firmware
camera left display (Camera Control Panel)
RUN BUTTON
Provided that the main power supply is switched ON
and the camera is READY (e.g. film is laced correctly,
power supply is ok), the camera will start to RUN when
either the RUN button on the Camera Control Panel or
one of the other RUN buttons, e.g. on the Handgrip,
on the Speed Control Box or on a remote control unit is
pressed. Any of those RUN buttons can be employed
alternately to change the status of the camera RUN or
STOP and vice versa.
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RUN LED INDICATOR
The RUN LED is off while the camera is in Standby or
not powered. When the camera is started, the RUN LED
will glow red while the camera is coming up to speed,
changing to green once the camera is RUNNING at
the preset frame rate. When a RUN button is pushed
again to stop the camera, the RUN LED will glow red
while the camera SLOWS DOWN, going out when the
camera has stopped RUNNING.
Notice
If the RUN LED glows red while the camera is not
RUNNING, it indicates that the camera is NOT
READY. – pushing a RUN button will have no effect.
If the camera is powered, the cause why the camera
is not in Standby status will be displayed on the FPS
displays – see page 44.
FPS SELECTOR
While the camera is NOT RUNNING, frame rates
from 1 to 40 (Lite) or 1 to 60 (Studio) can be preset.
If a higher rate is erroneously preset and the RUN button
is pressed, the camera will not start to RUN and the
display will show FPS! .
Notice
If an SCB is connected to the camera and it’s SPEED
CONTROL switch is set to ON, the FPS selector on the
camera left side is put overridden and either SCB will
show on the FPS display of the Standard Camera
Control Panel or the value preset on the SCB will show
on the FPS display of the Extended Camera Control
Panel while the camera is Standby. As soon as the camera is RUNNING, the actual fps rate will be shown.
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Studio Standard Camera Control Panel fig.1/15
RUN LED
SHUTTER angle selector
SHUTTER angle display
FPS display
FPS selector
RUN button
PHASE button
Studio Extended Camera Control Panel
fig.1/16
BRIGHT button
UNLOCK button
RUN
button
SHUTTER angle
selector
PHASE button
SHUTTER angle display
FPS selector
FPS display
RUN LED
FPS selector
RESET button
RAW STOCK button
Film length display
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Lite Standard Camera Control Panel fig.1/17
Film length display
RESET button
Battery LED
SHUTTER angle selector
SHUTTER angle display
RUN LED
FPS display
PHASE button
RUN button
FPS selector
Lite Extended Camera Control Panel
fig.1/18
Film length display
RAW STOCK button
RESET button
UNLOCK button
SHUTTER angle
selector
PHASE button
SHUTTER angle display
FPS selector
BRIGHT
button
FPS display
RUN button
RUN LED
FPS selector
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One advantage of the Extended Camera Control Panels
is that you can also enter the following preset frame rates:
shown on control panel
6.2 fps
12.5 fps
16.6 fps
23.9 fps
29.9 fps
33.3 fps
real setting
6.25 fps
12.5 fps
16.666 fps
23.976 fps
29.97 fps
33.333 fps
All settings are only possible while the camera is not
RUNNING. RUN will appear in the related display if a
setting button is pushed while the camera is RUNNING.
If a component such as the SCB, the MCB or the WRC
has control over the shutter opening, no setting of the
shutter angle is possible by means of the Camera
Control Panel buttons and the controlling device will be
displayed.
SHUTTER ANGLE SELECTOR
While the camera is in STANDBY, you may change
the shutter angle either by pushing with a pointed item
– e.g. toothpick – the little selector protected by the Plexiglas cover on the Standard Camera Control Panel or
by pushing the button on the Extended one. As soon as
one is pushed, the shutter advances to the new setting.
The value cycles through the following steps:
11.2° 22.5° 30° 43.2° 45° 60°
75° 86.4°
90° 105° 120° 135° 144° 150° 172.8° 180°
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PHASE BUTTON
Depending on the status of the camera, the PHASE
button allows two different operations.
When the camera is in STANDBY:
While pressing the PHASE button continuously, the
INCHING mode is activated and the movement will
RUN at 1 FPS as long as the button is held down.
When the button is released, the mirror shutter will
automatically park in the viewing position.
While the camera RUNS in the INCHING mode the
power supply voltage will be displayed in the FPS
display as e.g. V 24.6 .
When the camera is RUNNING:
pushing the PHASE button will increase the preset FPS
rate by 0.2 fps as long as the button is held down. This
also works when e.g. the SCB or another remote device
controls the fps rate.
Exceptions:
While the camera is controlled
• by an SCB, the SCB switch is set to SYNC and the
PHASE switch is set to FIXED,
• by a Video Assist external synchronization signal.
• by an In-camera Slate Box synchronization signal.
• by an external device and RUNNING a SPEED
RAMP the PHASE button is inactive. When it is
pushed, the FPS display will show FIXD as long as
the button is held pressed.
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RAWSTOCK
While the camera is in STANDBY press and hold the
RAWSTOCK button to display the film reserve as set by
the magazine.
BAT LED INDICATOR
The bat LED (Lite Standard Camera Control Panel only)
lights up red in case the supply voltage drops below the
threshold value defined in the option mode. The same
indication is provided on the other Camera Control Panels by a warning message on the FPS display.
FPS DISPLAY
Regarding the brightness control of displays
Many components of the ARRICAM System are fitted
with similar displays. The brightness of all these displays
can be adjusted to the needs of the users by means of
the dimmers located e.g. on the Speed Control Box, on
the Manual Control Box or on the Studio Readout. The
adjustment of the display brightness will automatically
affect all components connected to the camera body, so
individual adjustment for each display is not possible.
Regarding the messages shown on the FPS displays
All messages described on the following pages are
generated by the ARRICAM SW Version 3.0E When
requesting information from ARRICAM Maintenance
Technicians, please mention the version of the software
installed on your camera. (see Checking the Software
and Firmware section on page 34)
If another accessory has control over the camera the
Extended Camera Control Panel shows what speed the
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camera will run on its FPS display. At the same time, the
controlling component is shown e.g on the Studio Readout. As soon as you attempt to change the FPS value on
the Extended Camera Control Panel, its FPS display will
show the component which actually controls the camera
(e.g. MCB, SCB, WRC) – no changes will be possible
there.
The four digit display marked FPS will not only show
the actual frame rate while the camera is RUNNING,
but will also serve as an important central information
display. Warning messages will alternate with the fps
values. If there is more than one warning message, they
will alternate at a two seconds frequency.
When there is no reason for displaying warning messages, the FPS displays will inform about the following status.
Notice
As soon as the camera detects that the software of
any of the system components (e.g. Lens Data Box,
Video Assist) is incompatible, the warning SW will
appear on the FPS displays and the camera will go
to NOT READY. Simultaneously, Phse will appear on
the SHUTTER displays. By pushing one of the PHASE
buttons, the warnings will disappear and the camera
goes to Standby. The warnings will appear automatically when the camera is powered ON in order to
remind you to ask an ARRICAM Maintenance Centre
to up-date the system as soon as possible.
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Explanation of the message, glows
Explanation of the message,
glows alternately with an other message
MESSAGE
( MESSAGE )
(( MESSAGE ))
‹‹ MESSAGE ››
Explanation of the message, blinks
Explanation of the message, blinks fast
STANDBY
NOT READY
RUNNING
REMARK
The indicated status informs why the
camera is e.g. not ready or which component has control over the camera.
LIST OF MESSAGES AND WARNINGS on the FPS display
(Software Version 3.0E)
FPS DISPLAY
Camera is not powered.
....
REMARK
running point
REMARK
0.0
STANDBY
24.0
RUNNING
Electronic problem.
An electronic problem occurs that can only
be fixed by Maintenance Technicians.
Electronic problem.
An electronic problem occurs that can only
be fixed by Maintenance Technicians.
Camera is not RUNNING.
Camera is ready to shoot with the preset fps
shown on the FPS selector (Standard Camera
Control Panel) or displayed (Extended Camera
Control Panel).
Camera is RUNNING.
Camera is RUNNING with the preset fps
(e.g. 24 fps).
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FPS DISPLAY
Camera is RUNNING REVERSE.
The camera is RUNNING REVERSE with the
preset fps (e.g. 12 fps).
-12.0
RUNNING
Asynchronity.
Camera RUNS at another fps than the preset rate.
Asy
RUNNING
((
))
Bat
NOT READY
RUNNING
((
))
Bukl
NOT READY
(
CAL
)
STANDBY
RUNNING
CCB
STANDBY
–CCB
STANDBY
Battery low.
The power source does not supply the
requested voltage.
If the camera cannot reach the preset fps
rate, Bat and the current fps rate will alternatively light up on the display.
See more – chapter 10, page 363.
Buckle trip.
At least one of the buckle trip switches has
been tripped.
Lens calibration in progress
CAL alternates with FPS or further warning
message.
CAL alternates with FPS or further warning
message.
Camera Control Box.
The ARRIMOTION CCB controls the camera.
Camera Control Box.
The ARRIMOTION CCB controls the camera
for shooting REVERSE.
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FPS DISPLAY
(
Covr
)
STANDBY
RUNNING
((
))
DC
NOT READY
(
Door
)
STANDBY
RUNNING
End
STANDBY
RUNNING
Dual Port Adapter Cover is missing.
While a magazine is mounted on the Dual
Port Adapter, the remaining adapter opening is not light tight because the Dual Port
Adapter special Aluminium Cover is missing.
ATTENTION: camera remains in Standby even
if the Dual Port Adapter Cover is missing!
Covr alternates with FPS or further
warning messages.
ATTENTION: camera can RUN even when
the Dual Port Adapter Cover is missing!
Covr alternates with FPS or further
warning messages.
Dust check.
The DUST CHECK or PHASE button has
been pushed while the camera is STAND
BY.
Lite Magazine to Studio Camera Adapter
door is not closed.
Camera remains in Standby. Door alternates
with FPS or further warning messages.
Camera continues to RUN. Door alternates
with FPS or further warning messages.
Film end warning.
Less than 6 m/20 ft unexposed film remain
in the magazine. End will alternate with
0.0 .
Less than 6 m/20 ft unexposed film remain
in the magazine. End will alternate with
actual fps e.g.: 24.0 .
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FPS DISPLAY
No manual phase.
The PHASE button has been pushed while
the SPEED CONTROL switch on the SCB is
set on SYNC mode and the PHASE switch
has been set to FIXED.
Fixd
RUNNING
((
FPS!
))
STAND BY
((
!FW! ))
STANDBY
NOT READY
((
!SW! ))
STANDBY
NOT READY
((
Hbat ))
NOT READY
RUNNING
REMARK
Heat
STANDBY
NOT READY
RUNNING
Wrong preset fps.
An fps rate below or above the fps range of
the camera has been preset.
Firmware updating.
Firmware incompatibility.
Camera is not ready to shoot.
Software updating.
Software incompatibility.
Camera is NOT READY.
The power supply voltage is too high.
Camera is not ready.
The camera stops RUNNING and all camera components will be shut OFF.
This message will only be displayed on the
FPS display on the Camera Control Panel.
Camera Heater is ON.
The shutter value will alternate with Heat .
to show that the Heater is ON.
Camera remains in Standby.
By pushing the RUN button, the camera
should start to RUN. If not, the camera is
not warm enough to ensure correct running.
While the camera is RUNNING, the Camera Heater turns itself OFF.
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FPS DISPLAY
((
))
Jam
NOT READY
((
))
Mag
NOT READY
Manual Control Box controls camera.
An MCB has control over the camera and
the REVERSE shooting mode has been
selected on the SCB.
-MCB
STANDBY
m/ft
)
STANDBY
Movm
NOT READY
((
M/S! ))
RUNNING
((
MTmp ))
STANDBY
There is a problem with the magazine or
magazine adapter.
Camera is not ready.
Manual Control Box controls camera.
An MCB has control over the camera.
MCB
STANDBY
(
Guides, jam.
At least one sprocket guide is open or a film
jam has occurred.
A magazine with a unit of measurement
different to its predecessor has been mounted.
m/ft alternates with FPS or further warning
messages. Acknowledge by pressing PHASE
or change the unit of measurement.
Movement open.
The movement block is not in the fully closed
position.
Movement/shutter async.
The mirror shutter and the movement have
lost synchronization.
Movement motor has overheated due to
overload.
The camera goes into NOT READY Wait for
motor to cool down.
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FPS DISPLAY
((
))
Out
NOT READY
RUNNING
REMARK
(
RAMP
)
NOT READY
((
Rev!
))
STANDBY
))
The camera has exceeded its speed limit.
The camera stops and goes into NOT READY.
Pressing the PHASE button resets the warning.
))
Software incompatibility.
Appears simultaneously with
on the SHUTTER display.
RUNNING
((
SW
REVERSE RUN not possible.
When REV is selected while an LT Mag.
is used, Rev! will show the incompatibility.
Speed Control Box controls camera.
An SCB has control over the camera and
the REVERSE shooting mode has been
selected.
– SCB
STANDBY
Spd!
Ramping problem.
Alternates with FPS or messages like SCB,
WRC, etc.
Check ramp values, at least, one of the
settings is out of the possible range.
Speed Control Box controls camera.
An SCB has control over the camera.
SCB
STANDBY
((
Stock out.
Shows that no film is left.
The camera stops and goes to NOT READY
the RUN LED will glow red.
To reset, take the magazine off.
NOT READY
Phse
warning
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FPS DISPLAY
(
Syn
)
STANDBY
RUNNING
(
–Syn
)
STANDBY
RUNNING
(
TcSy
)
STANDBY
RUNNING
REMARK
((
Time
STANDBY
RUNNING
))
Synchronization.
SCB controls the camera to RUN FWD (forward) and the SPEED CONTROL switch
is set to SYNC but no valid sync signal is
present.
Camera changes to NOT READY.
ATTENTION: Alternates with actual fps even
though the synchronization fails!
Synchronization.
SCB controls the camera to RUN REVERSE
and the SPEED CONTROL switch is set to
SYNC but no valid sync signal is present.
Camera changes to NOT READY.
ATTENTION: Alternates with actual fps even
though the synchronization fails!
Synchronization.
The In-camera Slate Box is set in SYNC
mode but there is no valid input signal
present.
Camera changes to NOT READY.
ATTENTION: Alternates with actual fps even
though the synchronization fails!
No REV filming is possible when TcSy
is displayed.
The camera has timed out after 350m of
continuous running to prevent it running
indefinitely.
Camera is NOT READY. This can be
cleared by pressing the PHASE button.
The camera stops and goes into NOT
READY.
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FPS DISPLAY
((
TkUp ))
NOT READY
RUNNING
Updt
STANDBY
NOT READY
V 24.6
NOT READY
RUNNING
ViSy
Software updating.
Software update in progress.
Camera is NOT READY.
Camera is INCHING.
Camera is NOT READY.
While the PHASE button on the Camera
Control Panel is pressed down, the camera
is INCHING and the actual voltage
(e.g. 24.6 V dc) is displayed.
In-camera Slate Box power management.
The ISB battery voltage (e.g. 3.3 V) will
appear while the TEST button on the
In-Camera Slate Box is pushed.
V 3.3
(
The take up side of the magazine has no
tension.
Camera is NOT READY.
The magazine feed side has tension but the
take up side RUNS free. Most likely the film
has not been attached correctly to the take
up core. Reload the magazine.
)
STANDBY
RUNNING
REMARK
Synchronization.
The Video Assist IVS controls the synchroni
zation of the camera but there is no valid
input signal present.
Camera changes to NOT READY.
ATTENTION: Alternates with actual fps even
though the synchronization fails!
No REV filming is possible when ViSy is
displayed
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FPS DISPLAY
Wind
NOT READY
RUNNING
REMARK
Magazine is taking up loose film.
Camera is NOT READY.
Either there is no film in the magazine, the
whole exposed film is still in the magazine
or, most likely, the film head has come out
of the take up core. Reload the magazine.
If an empty magazine is mounted on the
camera, Wind appears as soon as the
camera is powered – the camera is NOT
READY. The message will fade out after
about 25 sec. with a 120/400 Mag. or
about 35 sec. with a 300/1000 Mag.
Notice
Only when Wind fades out, you will be able to
start the camera.
Caution!
Do not turn the camera ON when a loaded
magazine is mounted but the film is not threaded.
For testing purposes without film, either remove the
loaded magazine or mount an empty magazine
on the camera.
WRC
STANDBY
– WRC
STANDBY
WRC controls the camera.
A Wireless Remote Control has control over
the camera.
WRC controls the camera.
A Wireless Remote Control has control over
the camera and the REVERSE shooting mode
has been selected.
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FURTHER MESSAGES ARE ONLY DISPLAYED ON THE
EXTENDED CAMERA CONTROL PANELS
FPS DISPLAY/EXTENDED CAMERA CONTROL PANEL ONLY
‹‹
CCB
STANDBY
‹‹
– CCB
STANDBY
›› CCB controls the camera.
No fps adjustment is possible on the Camera Control Panel because ARRIMOTION
CCB/Jogbox controls the camera.
›› CCB controls the camera.
No REVERSE fps adjustment is possible
because ARRIMOTION CCB/Jogbox
controls the camera.
Camera Control Panel is locked.
Press the UNLOCK button to adjust the fps.
LOCK
STANDBY
‹‹
MCB
STANDBY
‹‹
– MCB
STANDBY
›› MCB controls the camera.
No fps adjustment is possible on the Camera Control Panel because MCB controls
the camera.
›› MCB controls the camera.
No REVERSE fps adjustment is possible
because MCB controls the camera.
Camera is RUNNING.
No fps adjustment is possible while the camera is RUNNING.
RUN
RUNNING
‹‹
SCB
STANDBY
‹‹
– SCB
STANDBY
›› SCB controls the camera.
No fps adjustment is possible on the Panel
because SCB controls the camera.
›› SCB controls the camera.
No fps adjustment is possible because SCB
controls the camera.
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FPS DISPLAY/EXTENDED CAMERA CONTROL PANEL ONLY
‹‹
Syn
STANDBY
‹‹
– Syn
STANDBY
‹‹
TcSy
STANDBY
‹‹
ViSy
STANDBY
‹‹
WRC
STANDBY
‹‹
– WRC
STANDBY
›› SCB is in SYNC mode.
No adjustment of the fps is possible
because the Speed Control Box SCB controls the camera to RUN FORWARD and the
SPEED CONTROL switch is set to SYNC.
›› SCB is in SYNC mode.
No adjustment of the fps is possible
because the Speed Control Box SCB controls the camera to RUN REVERSE and the
SPEED CONTROL switch is set to SYNC.
›› ISB is active and SCB is in SYNC mode.
No adjustment of the fps is possible
because the In-camera Slate Box ISB controls the camera and the SPEED CONTROL
switch is set to SYNC.
›› IVS controls the camera.
No adjustment of the fps is possible
because Video Assist IVS controls the camera.
›› WRC controls the camera.
No fps adjustment is possible on the Camera Control Panel because WRC controls
the camera.
›› WRC controls the camera.
No REVERSE fps adjustment is possible on
the SCB because WRC controls the camera.
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LIST OF MESSAGES AND WARNINGS ON THE
SHUTTER DISPLAY (Software Version 3.0E)
SHUTTER DISPLAY
As long as the camera is Standby and the SHUTTER SET
button is pushed, the display will show the preset value.
While the camera is RUNNING, the SHUTTER display
will automatically show the actual shutter opening
angle.
Beside this, the SHUTTER display is also used to show
further information.
Shutter closed.
The In-camera Slate System is ON, the camera RUNS UP or DOWN, and the mirror
shutter is set to 0 degrees.
ISB0
RUNNING
((
CCB
))
CCB controls the camera.
No shutter adjustment is possible on the
Camera Control Panel because ARRIMOTION CCB controls the camera.
))
Shutter problem.
Shutter error. The actual shutter angle does
not equal the preset shutter setting.
When a shutter error occurs, the camera
stops and changes to NOT READY.
STANDBY
((
Err
STANDBY
NOT READY
Camera Control Panel is locked.
Press UNLOCK button to change the shutter
setting.
Lock
STANDBY
((
MCB
))
STANDBY
MCB controls the camera.
No shutter adjustment is possible on the
Camera Control Panel because MCB controls the camera.
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SHUTTER DISPLAY
((
Run
))
Camera is RUNNING.
The shutter adjustment is not possible while
the camera is RUNNING.
))
SCB controls the camera.
No shutter adjustment is possible on the
Camera Control Panel because SCB controls the camera.
RUNNING
((
SCB
STANDBY
(
TSB
)
STANDBY
RUNNING
((
WRC ))
STANDBY
The Timing Shift Box TSB is operational.
Alternates with shutter angle.
Alternates with shutter angle.
WRC controls the camera.
No shutter adjustment is possible on the
Camera Control Panel because WRC controls the camera.
REMARK: The following message will not be displayed
on the Extended Camera Control Panel.
(
MCB
)
STANDBY
RUNNING
((
Phse
))
NOT READY
Shutter selector is pushed while the Manual
Control Box MCB switch is set to control the
shutter.
Alternates with shutter angle.
Alternates with shutter angle.
Software incompatibility.
Appears simultaneously with the
warning in the FPS display.
SW
REMARK: By pushing one of the PHASE buttons the
camera goes in STAND BY status.
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The cameras’ top
On Studio & Lite
EXCHANGEABLE ENGRAVED VIEWFINDER
MOUNTING PLATE
The engraved Viewfinder Mounting Plate shows the format the camera has been set to – either STANDARD 35
or SUPER 35 format – see fig. 1/19.
Notice
The adjustment should be done by trained personnel
of ARRICAM Maintenance Centres or rental houses.
If, for some reason, you have to change the format of
the camera, please see the description of the
procedure in chapter 11 – Miscellaneous.
When attaching a viewfinder, carefully line up the pins
on the base of the viewfinder with the holes on the
Viewfinder Mounting Plate. Be sure that both plugs connect easily.
Viewfinder Mounting Plate
fig.1/19
Viewfinder attachments
(threaded holes)
Format label
Viewfinder attachments
(gauged holes)
On Studio & Lite
ADJUSTING SCREWS
Caution!
Do not touch the adjusting screws – they must
be used by technicians of the ARRICAM Maintenance Centres only!
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Studio top fig.1/20
Lens cap
Viewfinder
mounting plate
Viewfinder
connector
Viewfinder
window
Dovetail bracket
for accessories
Tape
hook
Magazine adapter
attachment
Adjustable
door hinge
Lite top
CAC connector
Connector for the
magazine adapters
fig.1/21
Lens cap
Viewfinder
mounting plate
Viewfinder
connector
Door
hinge
Tape
hook
Attachment for
accessories
Viewfinder
window
Release knob for magazines/adapter
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On the Studio only
MAGAZINE ADAPTER ATTACHEMENT
The magazine adapters are fixed to the Studio body by
six screws. Firmly screw them into the threaded sockets
on the camera top.
Notice
The two screws in the middle of the adapter should
be tightened first! (As indicated on the adapter.)
On the Studio only
CONNECTOR FOR THE MAGAZINE ADAPTERS
This connector provides communication between the
magazines and the Studio.
On the Lite only
FIXTURE FOR CARRYING HANDLE AND UNIVERSAL
LOW MODE SET
Several fixtures are provided for mounting either Carrying Handles or the Universal Low Mode Set or similar
support system. For mounting instruction see chapter 9
– Camera Supports.
RELEASE-KNOB FOR MAGAZINE UNLOCKING
To remove a camera opening cover, an Lite Magazine or either of the Lite Magazine Adapters, push the
RELEASE knob and, while holding it pressed down, carefully pull the magazine sideways out of the Lite body.
Caution!
Do not touch the adjusting screws!
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The camera bodies’ bases
When mounting the camera on a head or a Baseplate,
be sure that both plates, the gauged holes and the
threaded sockets are clean. When using the Power
Bridgeplate, slide the cover on the base of the cameraback to allow the supply of power to the contacts
provided on the plate.
Caution!
Before fixing the camera, please check that the
3/8” tightening screws will not penetrate the
camera base more than 0.27” or 7 mm.
Both camera bases are similar.
Caution!
Any screws not previously described are strictly
reserved for Maintenance Technicians only! Do
not touch any of these adjusting screws!
Lite base
Studio base fig.1/22
Threaded
holes
Gauged holes
Sliding cover of the
power connectors
Attachment for
shoulder pad
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The camera bodies’ interiors
Despite the different sizes of the cameras’ interiors, both
cameras are equipped with similar components.
THE MOVEMENT
Either a 4 or 3 perforation pull-down movement can be
installed in both camera bodies by trained Maintenance
Technicians. Both movements are fitted with similar
operational items. By turning the movement locking lever
clockwise, the movement will slide back into the loading position. By turning the lever counter-clockwise, the
movement block will slide forwards to the Aperture Plate
and finally lock in place.
Caution!
• Before sliding the movement to the loading
position, turn the INCHING knob until the index
is in the LOOP position.
• In order to secure the movement in its shooting
position, push the lever counter-clockwise to
overcome a mechanical resistance with a click,
which will hold the movement firmly in this front
shooting position.
Movement
fig.1/23
Front film guide
Spacer plate handle
Spacer plate safety spring
Movement
locking lever
Spacer plate
Inching knob
Movement
adjustment screw
Pitch
adjustment screw
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Studio Interior
Lower loop marking
Lower buckle trip
Lower film guide releasing knob
Lower film guide
Lower sprocket/loop adjustment sprocket roller
Rrear buckle trip
Upper film guide
Upper sprocket/loop adjustment sprocket roller
Aperture plate locking lever (see fig. 1/25 and 1/28)
Upper film guide releasing knob
Upper buckle trip
Upper loop marking
Lite Interior
fig.1/24
THE PITCH ADJUSTMENT SCREW
In order to adjust the movement to the properties and
dimensions of the film material in use, and at the same
time achieve the quietest and most gentle film transport,
the pitch can be controlled. The PITCH Adjustment
screw has marks and buffer stops; the adjusting range is
a narrow segment of a screw turn. While the camera is
running at the normal frame rate (24 or 25 fps), slowly
turn the PITCH Adjustment screw with a 3 mm metric
hex wrench back and forth until the noise level reaches
its minimum. In this position, the camera RUNS smoothly
and quitely. This PITCH Adjustment should be repeated
whenever the raw stock type is changed.
THE MOVEMENT ADJUSTMENT SCREW (FW/REV)
Because some Black & White films have unusual
mechanical properties, it is recommended to set the
movement to REV, in order to obtain the optimum steadiness when shooting in REVERSE with these materials.
To do so, turn the screw with a 3 mm metric hex
wrench.
THE INCHING KNOB
The large knurled knob allows manual INCHING of the
camera. Be aware that turning this INCHING knob will
only move the pull-down claws and register pins but not
move the shutter. While the camera is powered, the film
in the magazine is tensioned automatically. If you want
to prevent this, e.g. when threading the camera, first
move one of the buckle trips out of its rest position.
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THE APERTURE PLATE
These Aperture Plates are made of extremely hard material; the film touches the Plate only in the perforation
area. The openings for the registration pins are located
left and right of the gate. A side guide rail is attached
to the Aperture Plate right side. Clean the Aperture Plate
carefully and regularly. Only when it is badly smudged
– which will rarely be the case when handled meticulously – you should clean it very carefully with a small
brush or a toothpick.
Caution!
Never lubricate the Aperture Plate!
The film gate with the Aperture Format Mask and Filter
Holder is integrated in the Aperture Plate. A set with
several Aperture Format Masks is available. If it is
intended to shoot with open gate, it is recommended
to use the Universal Aperture Format Mask in order to
avoid the risk of image overlapping and flare.
Aperture Plate
fig.1/25
Gate
in-camera
slate window
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UNIVERSAL (open gate)
1 : 1.33 Full aperture (ANSI)
1 : 1.375 Academy
1 : 1.66
1 : 1.85
1 : 2.35
S35 / 1 : 1.78
S35 / 1 : 1.85 (ANSI)
S35 / 1 : 1.85 (Asymmetric)
S35 / 1 : 2.35 (ANSI)
MOUNTING AND REMOVING THE APERTURE PLATE
In order to check the gate, to exchange a Aperture
Format Mask or a filter, the Aperture Plate must be
removed from the camera body.
To extract the Aperture Plate:
1. turn the camera MAIN switch OFF
2. turn the INCHING knob until its marking matches the
LOOP index
3. swing the movement locking lever clockwise until the
movement reaches its rear position
4. lift the Aperture Plate locking lever while holding the
black handle of the Aperture Format Mask in order to
avoid that the Aperture Plate hits the movement block
5. take hold of the Aperture Plate by the Aperture Format
Mask handle, lift it and extract the Aperture Plate.
Caution!
• The surfaces where the Aperture Plate meets the
camera body must be meticulously clean – any
dirt might alter the flange focal distance.
• In case the Aperture Plate is slanting, start inserting again.
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fig.1/26
Studio Interior
Aperture plate
locking lever
To insert the Aperture Plate:
While holding the Aperture Format Mask handle, insert
the Aperture Plate on the mouting rail. Gently press it forward while lifting the spring loaded Aperture Plate locking lever. As soon as it is in place, bring the lever back
to its resting position (=lock) again. You can only insert
the Aperture Plate parallel to the shaft!
Notice
For mounting, the Aperture Plate has a V-shaped
notch at its bottom edge. This notch must be absolutely clean to make sure the Aperture Plate can be
seated properly.
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Studio Interior
fig.1/27
Aperture plate
v-shaped notch
Caution!
When inserting the Aperture Plate in the camera,
be sure that the locking lever completely returns fully.
The correct resting position is flush with the Plate.
THE APERTURE FORMAT MASKS AND FILTER HOLDER
Caution!
• An Aperture Format Mask and a Filter Holder
must always be inserted in the Aperture Plate.
• The Aperture Plate can only be locked if the
Filter Holder and the Aperture Format Mask are
correctly inserted.
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To remove a Aperture Format Mask or a Filter Holder:
1. remove the Aperture Plate from the camera body
2. pull the Filter Holder sideways out of the Aperture
Plate
3. press the Aperture Format Mask lightly on its side flap
towards the film gate and then pull it out sideways
To insert a Aperture Format Mask or a Filter Holder:
1. check that the Aperture Plate and the contact surface
are absolutely clean
2. push the new Aperture Format Mask sideways into
the Aperture Plate
3. check that the film gate is perfectly clean
4. insert (or preferably not) a gelatine filter into the
Holder and cut it appropriately
5. check meticulously if the filter is free of imperfection,
dust, dirt, fingerprint, etc.
6. push the Filter Holder behind the Aperture Format
Mask into the Aperture Plate
7. insert the Aperture Plate into the camera body.
Aperture Plate
fig.1/28
Filter holder
Aperture
Format Mask
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Notice
• Sliding the movement block forwards when the
Aperture Plate is not correctly in place can cause
damage to the camera!
• The presence of a filter in the film gate will be
shown on the Lens Data Display and on the System
Line on the video monitor.
Caution!
• Be careful not to damage Aperture Plate or gate
– this might have serious consequences!
• Unless absolutely necessary, avoid placing a
gelatine filter in the film gate. Even a microscopic air bubble or speck of dirt will be seen
extremely enlarged on the screen.
• If there is no other alternative and you have to
use a filter in the gate, do not forget to clearly
mark the type of filter inserted in the camera.
THE IN-CAMERA SLATE WINDOW
The Aperture Plate has two slots for the pull-down claws
and a round window that allows the exposing of the
In-camera Slate on the film. The slots as well as the
surface of the Aperture Plate and the little window must
always be clean – check regularly.
THE SPACER PLATE
In the centre of the front film guide, there is an opening
for the Spacer Plate. This Plate – held firmly in place
by magnets – has raised surfaces that hold the film
in the gate plane. Smudged surfaces may cause film
scratches!
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To clean the Spacer Plate, it must be removed first
1. slide the movement to its rear position.
2. press the safety spring fixture downwards, at the
same time press the Spacer Plate backwards by its
handle.
3. remove the Spacer Plate by pulling it upwards
4. check Spacer Plate thoroughly and – if necessary –
clean it with lint-free cloth or a toothpick. Also clean
the rear of the Spacer Plate.
Caution!
While manipulating the Spacer Plate, great care
must be taken not to touch the Aperture Plate and
the gate with the Spacer Plate. If you take the
Spacer Plate out of the camera, it is paramount
to slide the movement to its rear position before
removing or inserting the Plate.
To install the Spacer Plate
1. take hold of the Spacer Plate by its handle and insert
it at an angle from above into the movement block.
2. push the Spacer Plate downwards until it locks
audibly in place.
Spacer Plate
fig.1/29
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THE MAGAZINES AND MAGAZINE ADAPTERS
2
The Four ARRICAM Magazines
Convention: In the following description, the cover is
considered being the magazine front. So a mounted
magazine will have the latches on the camera left side.
All ARRICAM Magazines are built to ensure the
smoothest and quietest operation possible. Therefore
high-end electronics and mechanical components have
been assembled in rugged but lightweight shells. Due to
the characteristics of the material used and the special
treatment of the surfaces, temperatures up to 40° C/
104° F will not affect proper operation of the ARRICAM
Equipment. If the ambient temperature drops below -10°
C/-14° F, thermostatically controlled heaters will automatically ensure an adequate temperature in the cameras and the Studio Magazines. In case of heavy frost, a
Heated Barney will help. Motors, heater and digital footage counter are located at the rear of the magazines.
The roller assemblies contain three or four rollers. Roller
bearings should be serviced at an ARRICAM Maintenance Centres only. The roller assembly is best cleaned
with a small vacuum cleaner.
The ARRICAM System includes four application specific
magazines.
1.
2.
3.
4.
Studio Magazine 300/1000 for Studio and Lite
Studio Magazine 120/400 for Studio and Lite
Lite Shoulder Magazine for Lite and Studio
Lite Steadicam Magazine for Lite and Studio
Caution!
No other ARRI or MOVIECAM Magazine can be
used with the ARRICAM Cameras.
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Studio Magazine 300/1000
fig.2/1
Studio Magazine 120/400 fig.2/2
Lite Shoulder Magazine
fig.2/3
Lite Steadicam Magazine fig.2/4
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The two main differences between the Studio and Lite
Magazines are that only the Studio Magazines allow filming in REVERSE mode and they are equipped with heaters.
Both Studio Magazines allow FORWARD filming from 1
to 40 fps on the Lite and from 1 to 60 fps with the
Studio. With both cameras, the Studio Magazines
allow shooting REVERSE from 1 to 32 fps.
Notice
• When using the Studio with a Steadicam, no
special magazine is needed because of the
orientation of the Back Load Adapter.
• To mount Studio Magazines on the Studio, one of
the three magazine adapters is necessary – see
fig. 2/15 and 2/16 on page 86.
• To use Studio Magazines on the Lite, the Studio
Mag to Lite Camera Adapter must be used – see
fig. 2/28 on page 97.
• To use the Lite Magazines on the Studio, the Lite
Mag to Studio Camera Adapter must be used
– see fig. 2/18 on page 87.
• Lite Magazines mount directly on the Lite without
any adapters – see fig. 2/28 on page 97.
Because of the size of the Studio Magazine 300/1000,
secure it when the equipment is used in high g-force conditions by mounting the Magazine Stabilization Bracket.
Magazine Stabilization Bracket fig.2/5
Magazine
Stabilization
Bracket
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CARE & CLEANING
Magazine Interior
The magazines interior’s coating has to be thoroughly
clean. Remove any smudges immediately! Clean the
interior and film plates from dust carefully with a vacuum
cleaner.
Notice
Do not use compressed air because you will risk
blowing dust or film particles into inaccessible areas!
A rubber o-ring light trap is in the lid – inspect it regularly
for mechanical damage and clean it with a dry cloth
– do not use solvents!
Magazine Exterior
Clean magazine painted surfaces and Plexiglas cover
with a window cleaner (caution – do not moisten connector!). Keep connector, tightening wheels and footage
counter clean and inspect them regularly for mechanical
damage. Clean the light trap plate thoroughly before
attaching it to the camera. Check the connector and
remove possible dust out of the recesses by blowing
carefully, e.g. with an aerosol spray (avoid blowing on
the roller assembly), or better, with a vacuum cleaner.
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MAGAZINE COVER
To open a magazine, lay it down carefully on its rear
(digital footage counter side). Push the small safety catch
and hold it; then flip up the latch and turn it.
To open a Studio Magazine 120/400 or either of the
Lite Magazines, turn the latches counter-clockwise. To
open the Studio Magazine 300/1000, turn the left
latch counter-clockwise and the right one clockwise.
Studio Magazine 300/1000 Door Latches fig.2/6
➦
➡
Caution!
When closing the magazine, be sure that nothing gets caught between the door and the
magazine’s body. Be careful that the safety catch
engages properly in the latch, both parts must fit
flush together when the magazine is closed.
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COREHOLDER
By pressing the release knob on top of the coreholder,
the three core locks move inwards. Now slide a plastic
film core on the coreholder until it reaches the film plate
and you hear a first ”click”. Hold the coreholder (without
pressing the release knob) and – simultaneously – rotate
the core gently to the left or right until you hear a second ”click”. Only now the core is properly seated.
If you do not hear the ”clicks”, the coreholder pin has
engaged in the slit of the core already at the beginning.
If it is not properly seated – have another try.
Locked cores are released by pressing the release knob
on the coreholder.
Caution!
In case of a malfunction of a coreholder, do not
disassemble it – the magazine should be serviced
at an ARRICAM Maintenance Centre only.
Coreholder
fig.2/7
Core
release
knob
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DIGITAL FOOTAGE COUNTER
All four ARRICAM Magazines are equipped with a
digital footage counter. Being powered by its own onboard buffer battery, the memory of the counter will display the remaining footage, regardless if the magazine
is mounted to a camera or not. When a magazine is
attached to a powered camera, the magazine’s buffer
battery recharges automatically.
In case nothing is displayed (which can happen if the
magazine has been left unused for a long time), simply
mount the magazine to a powered camera to reactivate
the display. The magazine battery usually recharges
automatically during the shooting period. There are also
Studio and Lite Magazine Charge Cables available
to charge the counter batteries without the need for a
camera body.
Studio Magazine Footage Counter
Lite Magazine Footage Counter
fig.2/8
fig.2/9
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To set the RAW STOCK display, first use the preset
selector switches to indicate the amount of filmstock
loaded. Then push the button marked SET RAW
STOCK for 2 seconds until the footage counter stores
the input figure.
When the camera is RUNNING, the footage counter
counts down (e.g. from 0305 m to 0000 m). The display on the magazine will always show the remaining
footage. If the camera is set to REVERSE the counter will
count back up.
SETTING THE UNIT OF MEASUREMENT
Remaining film length is displayed in either feet or
meters – a mark next to the counter figure indicates
the option selected. In order to change the unit of
measurement, depress the SET RAW STOCK and the
SHOW/SET ASA buttons simultaneously for about 3
seconds. This can be done either while the magazine is
not mounted or when the magazine is mounted but the
camera is not powered. The displayed unit (m or ft) will
affect all film length displays on the camera. If the unit of
measurement on a new magazine is different to the previous magazine, then the camera will display a warning
that can be reset by pressing the PHASE button.
SETTING ASA FOR IN-CAMERA SLATE EXPOSURE
In order to achieve the best readability of the In-camera
Slate information, all ARRICAM Magazines allow the
setting of the film speed to control the exposure of the
markings. By pushing the button marked SHOW/SET
ASA next to the footage counter display with a toothpick, the cursor will move on the display, from m or ft to
ASA, and the set sensitivity will appear for about 3 sec.
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By using the push wheel switches, the desired sensitivity
can be preset and by pushing the SET ASA button for 2
seconds it will be fed into the system.
Notice
• When feeding the ASA rate of the film in the system, please consider if the film will be processed
to its actual sensitivity or if it will be pushed. So
e.g. if a 250 ASA film is to be pushed 1 stop, a
rate of 500 ASA should be fed in.
• Because the displays of the Lite Magazines have
only four digits, no cursor will appear when selecting the ASA rate.
Caution!
All four digits must always be used in feeding the
rate, so for example 0320 .
TIGHTENING WHEELS (STUDIO MAGAZINES ONLY)
As long as power is supplied to the camera, the magazine’s incorporated electronically controlled motors will
provide a permanent and appropriate film tension.
However, it is recommended you tighten the film manually in the magazine by turning the tightening wheels
before connecting the camera to the power supply. This
will take up any loose film that may have unwound prior
to mounting the magazine on the camera.
A tightening wheel for each side is built into the cover
of the two Studio Magazines. By depressing the tightening wheel, you may the core via friction plates in the
direction of the arrow. The spring which brings the tightening wheel back to its resting position can be checked
by depressing it slightly.
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81
Studio Magazine Tightening Wheel
fig.2/10
Caution!
Do not press the tightening wheels while the camera is RUNNING!
If a tightening wheel does not pop back into its
resting position, the magazine has to be repaired
at an ARRICAM Maintenance Centre.
Notice
The fed raw stock – wound emulsion in – winds off
left hand spindle clockwise. The film winds onto the
right hand spindle clockwise – the emulsion is always
facing into the roll.
REMAINING FOOTAGE INDICATOR
As well as the digital footage counter, the Studio Magazine 300/1000 also has a remaining film length indicator. Only when the camera is not RUNNING, move
the indicator gently towards the upper side of the magazine; the footage indicator lever will swing towards the
film roll. The film length remaining in the magazine’s left
half – usually the unexposed film – is shown on a scale
located between the tightening wheels.
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Although the footage indicator lever is spring-loaded to
return to a neutral position when released, it should be
moved back manually. The footage indicator arm should
lie flat on the magazine cover interior. Check spring and
arm attachment by gently moving them.
Caution!
Due to the length of the footage indicator lever,
care should be taken when checking it!
Studio Magazine remaining footage indicator fig.2/11
➡
Studio Magazine footage lever fig.2/12
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83
LOOP PROTECTOR
Magazines should always be protected by a clean Loop
Protector.
Two different Loop Protectors are provided, one for the
Studio Magazines, the other one for the Lite Magazines.
Studio Magazine Loop Protector
fig.2/13
Lite Magazine Loop Protector
LABEL
Self-adhesive labels, supplied by the ARRICAM Maintenance Centres, can be slid into a holder on the outside
of the magazines. Use these labels to identify film during shooting and stick them onto the film cans later.
Label
fig.2/14
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The ARRICAM Magazine Adapters
STUDIO MAGAZINE ADAPTERS
Preliminary remarks
There are two ARRICAM Studio magazines:
• the Studio Magazine 300/1000
• the Studio Magazine 120/400
The only other magazines that can be mounted on the
ARRICAM Studio are the ARRICAM Lite magazine by
means of a special adapter.
The use of an adapter is always necessary for mounting
a magazine on the ARRICAM Studio.
There are four possibilities for mounting magazines on
the ARRICAM Studio:
1. Studio magazine horizontally at the top with the
Top Load Adapter or the Dual Port Adapter e.g. for
operation with geared or fluid head
2. Studio magazine inclined at the rear with the Dual
Port Adapter e.g. for shoulder operation or with a
geared or fluid head
3. Studio magazine vertically at the rear with the Back
Load Adapter e.g. for handheld or Steadicam operation
4. Lite magazine only at the rear with the Lite Mag to
Studio Camera Adapter
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85
Studio –Top & Back Load Adapters fig.2/15
Studio – Dual Port Adapter
fig.2/16
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Studio – Magazine Overview
fig.2/17
Top Load Adapter
Studio Magazine 300/1000
Dual Port Adapter
ARRICAM Studio
Studio Magazine 120/400
Back Load Adapter
Lite Shoulder Magazine
Lite Mag to
Studio Camera Adapter
Lite Steadicam Magazine
Studio – Lite Mag to Studio Camera Adapter fig.2/18
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87
The four adapters are equipped with similar safety locks
and connectors for the mounting and electronic linking
of the magazines to the camera body
Notice
• If one of the Lite Viewfinders or the Lite 100%
Video Top together with its Lite Video Assist is
mounted on the ARRICAM Studio, top mounting of
magazine is not possible.
• When using the Dual Port Adapter the Lite Video
Assist cannot be installed.
MOUNTING/REMOVING THE ADAPTERS
The four adapters are fastened on the camera body by
six 3 mm hex screws: two on top, two on the top-rear
edge and two at the lower rear of the camera body
opening. Pins on the adapter fit into holes on the camera body and ensure a perfect fit of the adapters on the
camera.
After checking that all contact surfaces are absolutely
clean, offer the adapter forward towards the camera
until the register pins engage.
Caution!
Depress gently on the adapter and first tighten
both 3 mm hex screws on the top-rear edge (middle) of the adapter.
Then tighten the four remaining screws. When
removing the adapter, also unscrew the middle
screws first – see fig. 1/8 on page 27.
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Studio –Magazine Adapter mounting fig.2/19
Studio – Dual Port Adapter mounting
fig.2/20
Mounting
screws
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89
MOUNTING STUDIO MAGAZINES ON ADAPTERS
Position the back part of the magazine’s roller assembly on the rear/lower dovetail of the magazine
adapter. Pull the film loop with your left hand through
the adapter opening into the camera. Push the magazine carefully into the adapter until it engages in the
magazine latch.
Caution!
When attaching the magazine, be careful that the
film does not get caught between the magazine
and the dovetail on the adapter opening!
Because the lock mechanism is very quiet, make
sure that the magazine is mounted firmly before
releasing it. To double check that the magazine is
properly seated and locked, briefly pull the magazine away from the camera.
Caution!
To prevent the powered camera automatically
pulling the film into the magazine when mounting
it, either switch the power OFF or open one of the
film guides first – see chapter 3, fig. 3/7.
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REMOVING STUDIO MAGAZINES FROM ADAPTERS
Before removing a magazine, be sure that no film is
threaded in the movement. To remove the magazine,
hold the safety button depressed when moving the
release lever clockwise while holding the magazine
firmly!
Studio – Top Load Adapter, release button
fig.2/21
Studio – Back Load Adapter, release button
fig.2/22
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91
CAMERA COVER CAP
If no magazine is mounted on the camera, you
should always fit a Camera Cover Cap to the
adapter. The engraving ‘ARRICAM’ should cover the
electrical contacts.
Studio – Back Load Adapter, Camera Cover Cap
fig.2/23
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Notice
• While shooting with the Dual Port Adapter, its
Cover Cap, complete with handgrip, obviously
must be installed to avoid light entering the camera. In order to be safe, the warning Covr will
appear on the FPS displays to remind you to cover
the cavity.
• The Dual Port Adapter Cover Cap with detachable
handgrip is not compatible with the one of the
other magazine adapters.
Studio – Dual Port Adapter, Cover Cap and Handgrip
fig.2/24
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93
ADAPTERS’ CARRYING HANDLES
Each Studio Magazine Adapter is equipped with a
handle.
Notice
When using a Lite Viewfinder or the Lite 100% Video
Top on the ARRICAM Studio, you must first remove
the handgrip from the Back Load Adapter before you
can install the Lite Video Assist.
To do so, unscrew the four 3 mm hex screws by using a
3 mm metric hex wrench and remove the Carrying Handle. (The two rear screws are concealed in the uprights
of the rear handle riser). Now unscrew the two 3 mm
screws out of the bottom part of the previously removed
Carrying Handle and fix them in the two threaded sockets on the adapter’s front. Do not forget to replace these
screws when remounting the Carrying Handle!
To carry the camera in this configuration, replace
the removed Handle with the Studio Centre Carrying
Handle.
Caution!
On the Dual Port Adapter, the handgrip is part
of the removable Cover Cap. Therefore you must
be sure that the cover is mounted firmly to the
adapter before carrying the camera.
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Studio – Back Load Adapter, Handgrip mounting
fig.2/25
Mounting screws
Studio – Back Load Adapter, Handgrip mounting
fig.2/26
Concealed screws
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95
MOUNTING LITE MAGAZINES ON THE ARRICAM LITE
Before being able to install a magazine, the ARRICAM
Lite Camera Cover Cap must be removed. Press the Lite
Magazine release button and slide the cover out of the
camera body. Now carefully slide the Lite Magazine
onto the rails until you hear a gentle click. When closing
the camera door, the magazine will automatically be
held in the correct position.
Lite – Magazine attachment
fig.2/27
Threaded holes for Lite
Magazine Adapter
Lite Magazine release
button
Camera
cover cap
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THE STUDIO MAG TO LITE CAMERA ADAPTER
In order to mount the Studio Magazines on the Lite,
there is an adapter for the LIte that replicates the receptacle of the ARRICAM Studio Magazine Adapters. The
adapter door located at the left side of the Studio Mag
to Lite Camera Adapter can be swung towards you to
facilitate the threading of the film.
Lite – Studio Mag to Lite Camera Adapter
fig.2/28
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97
MOUNTING THE STUDIO MAG TO LITE CAMERA
ADAPTER ON THE ARRICAM LITE
Instead of a Lite Magazine, the Studio Mag to Lite
Camera Adapter can be mounted on the ARRICAM Lite.
As soon as the adapter sits tightly in place, secure it by
tightening the three hex screws with a 3 mm metric hex
wrench.
Lite – Studio Mag to Lite Camera Adapter fig.2/29
➡➡
MOUNTING AND REMOVING STUDIO MAGAZINES
ON/FROM THE LITE
Because the Studio Mag to Lite Camera Adapter has
the same mechanism as the one of the Studio Magazine
Adapters, please see previous instructions for that section.
Caution!
Before closing the camera door, be sure that the
adapter door is closed first.
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LOADING THE MAGAZINES, THREADING THE CAMERAS
3
Loading The Magazines
Preliminary remark
The Lite Shoulder and Steadicam Magazine are loaded
in the same way as the Studio Magazines.
The main differences between the Studio and Lite
Magazines are:
• the magazines’ throats (roller assemblies)
• that before loading an active displacement type
Lite Magazine, you have to move the coreholders
to the right in order to be able to feed a120m/
400ft roll of film.
1. Clean darkroom/changing tent.
2. Remove the loop protector.
3. Lift the magazine’s cover. Check and clean
magazine.
4. Lay the magazine down carefully in the darkroom
or changing tent onto footage counter side; roller
assembly is facing you.
5. Insert core on the take up side.
Lite Magazine fig.3/1
➡
Feed
side
Take up
side
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101
From now on in total darkness!
6. Put film roll on the empty can and place it to the
magazine’s left side.
7. Wind off just enough film to insert it into the roller
assembly to the left of the main roller. Push the film
gently into the slot until it emerges from the other side.
Studio Magazine
fig.3/2
Take up
side
Opposite view
Feed
side
8. Pull approx. 30cm/1ft film towards you.
Unlock the left coreholder by depressing the core
release knob.
Place film roll onto the coreholder – caution: do
not press, film might be scratched! – the roll should
slide towards magazine bottom smoothly until you
hear a first ”click”.
Hold the plate or the coreholder – but without
pushing the core release knob and – simultaneously – turn the roll gently clockwise until you hear
a second ”click”. Only now the roll is properly
seated. If you don’t hear a second ”click”, lift the
roll from the coreholder and repeat the operation.
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9. From outside insert film into the roller assembly
between central and right roller.
Studio Magazine
Studio Magazine
fig.3/3
fig.3/4
Opposite view
Take up
side
Feed
side
10. Attach to take up core. Feed film into core slot so
that no acute angle forms when turning the core
clockwise. Wind just enough film around take up
core to make sure it will not accidentally slide out
again. Wound up film has to be flush with the core
and lie flat on take up plate or coreholder disk.
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103
Tighten the two rolls by holding the left one and
turning the right one clockwise.
Core – film inserting fig.3/5
Correct
Incorrect way
Do not tighten the film too much because it will be
scratched!
The film windings on the feed side must not protrude below the plate; film might touch the magazine bottom.
11. Close and latch magazine after checking that film
is properly seated and nothing is caught between
magazine bottom and cover! Before turning light on
or open the changing bag, check that the door is
closed properly.
Caution!
When closing the magazine, care should be
taken that nothing (e.g. changing tent, film bag,
etc.) is caught between magazine cover and
magazine base.
Especially with the Studio Magazine 300/1000,
closing the lid too forcibly might lead to light
leakage! Furthermore, the rubber light seal might
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ARRICAM System Users’ Guide
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become damaged!
Gently pull at the door to make sure that the
magazine is safely closed.
From now on in the light
12. Attach a loop protector.
13. Input length and ASA rate of unexposed film into
footage counter – see page 79, fig 2/8 and 2/9
and insert a label into the dedicated holder.
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105
Mounting A Magazine And
Threading The Cameras
Preliminary remark
Despite small differences – the release mechanism of the
film guides and the buckle switch – both cameras are
threaded in the same way.
Caution!
• Because no tightening wheels are provided on
the Lite Magazines, it is imperative to control
the adequate winding before shooting. To
do so, check the film to ensure the magazine
motors provide the correct tension. When RUNNING UP and then DOWN, no free film loop
should remain in the chamber.
• If a short end remains in an Lite Magazine that
has to be removed from the camera, it is recommended to separate the rolls because it will not
be possible to tension the film manually before
re-mounting the Lite Magazine on the camera
again (reloading). By pushing a film loop in the
magazine manually, a risk of jam is given.
1. Open the camera door and remove the Camera
Cover Cap.
On the ARRICAM Studio
Remove the cover from the Magazine Adapter.
While pushing the silver magazine release safety button, push down the release lever to remove either the
cover or a magazine.
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Notice
• Be sure to put the cover in a safe place in order to
find it easily when you will remove the magazine.
• When using the Dual Port Adapter, place and
secure firmly the special cover on the opening you
will not use to mount the magazine.
On the ARRICAM Lite
Open the camera door.
Push the silver release button down to slide out the
Camera Cover Cap.
Lite Magazine fig.3/6
Release
button
➡➡
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107
On both cameras
2. Swing away the rear film guides by pushing the
upper and lower release buttons.
Studio – threading
Lite
fig.3/7
Release
button
Release
button
3. Slide the movement to its rear position by rotating
the lever clockwise.
Studio – threading
Lite
fig.3/8
4. Pull some film out of the magazine until the loop is
about one hand width long.
Caution!
For the following steps, make sure
• that the film will not get caught between the
magazine and the adapter!
• that the magazine is firmly attached to the
magazine adapter
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On the ARRICAM with a Studio Magazine Adapter:
5. Carefully place the magazine onto the adapter. Pull
some more film out of the magazine feed side and
lay the film into the proper path. Swing magazine
towards camera body until it engages in the latch.
Double check that the magazine is secured firmly.
Studio – threading
fig.3/9
Studio – threading
fig.3/10
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109
On the ARRICAM Lite:
5. From the side, push the magazine halfway into the
dovetail guide on the camera.
Place the film in the movement so that it lies
between the sprocket guides and the sprocket rollers, and between the movement and the film gate.
Now push the magazine fully into the camera.
On the ARRICAM Lite with Studio Mag to Lite Camera
Adapter:
5. Open the adapter door.
Place the magazine carefully onto the Studio Mag
to Lite Camera Adapter.
Pull some more film out of the magazine feed side
and lay the film into the proper path.
Lite – threading Studio Magazine fig.3/11
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Lite – threading Studio Magazine
fig.3/12
On both cameras
6. Position the film on the lower sprockets so that the
teeth engage the film perforations. Close the lower
film guide by pushing it towards the sprocket.
Repeat for the upper sprocket.
Notice
The sprocket teeth must engage properly in film perforations! If you cannot close a film guide easily, the
teeth probably are not engaged in the film perforations properly. Open the film guide and reposition
the film. Never force a film guide!
7. Rotate the INCHING knob so the index point is at
12 o’clock.
Thread film between Aperture Plates and movement
block in a generous loop.
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111
8. Turn the movement locking lever with one hand gently counter-clockwise to move the movement block
into its front position. At the same time, twist the
INCHING knob with the other hand to the left and
right (as in the drawing below) to engage the pulldown claws gently and properly in the film perforations. Only then lock the movement block by further
turning the lever counter-clockwise until it engages
in its front position with a slight click.
Studio – twisting
fig.3/13
Lite
9. To adjust loop length, turn INCHING knob to the
position (dot) labelled ”LOOP”.
Studio – Loop adjustment
fig.3/14
Lite
10. Form upper film loop by depressing and turning the
sprocket roller. It should follow the ”LOOP” mark
engraved on the rear of the camera interior.
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11. Repeat this procedure with the lower film loop.
On the ARRICAM Studio only
12. Move the buckle switch to its centre position and
check film transport by turning the INCHING knob
clockwise. Now film should be tensioned by the
winders. If not, check that the locking levers and the
buckle switches are in the shooting position.
Then push the PHASE button. The camera will start
to INCH over at 1 fps which allows you to check
the correct threading.
Notice
While the PHASE button is pushed, the actual
voltage of the power supply will show up in the
FPS displays.
Studio – buckle switch
fig.3/15
Buckle trip
Caution!
As soon as you switch the camera power ON,
the magazine motors are activated to tighten the
film. To prevent this when mounting a magazine
or loading film, just open a film guide by pushing
a sprocket guide release button or set the camera
MAIN switch to OFF.
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113
RUN the camera briefly at 24 or 25 fps to check for
proper threading. With a little practice you will be able
to hear if there is any problem by the sound of film
RUNNING through the camera at 24 or 25 fps.
To improve the noise level with the film stock you will
use, turn the PITCH Adjustment screw with a 3 mm metric hex wrench while the camera is RUNNING at 24 or
25 fps until you find the quietest position.
When the camera is set to RUN REVERSE, the best
image steadiness can be achieved by setting the FWD/
REV Adjustment screw to REV.
When closing the camera door, care should be taken
that the camera interior is clean and the door lock is
flush with the door.
Studio – Top Load Adapter
fig.3/16
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Studio – Back Load Adapter
fig.3/17
Studio – Dual Port Adapter (rear) fig.3/18
(Will also top mount: see fig 3/16)
Studio – Lite Mag to Studio Camera Adapter fig.3/19
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Lite – Shoulder Mag
Lite – Steadicam Mag
fig.3/20
fig.3/21
Lite – Studio Mag to Lite Camera Adapter fig.3/22
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THE ARRICAM OPTICAL VIEWFINDERS
4
FIX
OPEN
LOCK
ARRICAM System Users’ Guide
fig.4/1b
4 – THE OPTICAL VIEWFINDER COMPONENTS
120
11/2003
FIX
ARRICAM System Users’ Guide
Studio Medium Extension
Studio Zoom Extension
Studio
Anamorphic Extension
Studio 100%
Video Top
Studio Integrated Video System (IVS)
Studio Universal Viewfinder
Studio Medium Extension
Studio Zoom Extension
LOCK
11/2003
OPEN
119
UNLOCK
4 – THE OPTICAL VIEWFINDER COMPONENTS
MINIMONITOR
ARRICAM System Users’ Guide
Studio
Anamorphic Extension
Studio 100%
Video Top
Studio Integrated Video System (IVS)
Studio Viewfinder fig.4/1a
MINIMONITOR
11/2003
CAUTION: HOLD TUBE
DURING RELEASE
4 – THE OPTICAL VIEWFINDER COMPONENTS
121
Studio Mask
Frameglow
Studio Mask
Frameglow
Lite Universal Eyepiece
Studio Eyepiece
LCD
N35
Studio Eyepiece
Lite Universal Eyepiece
Studio LCD
Frameglow
Studio Readout
LCD
N35
Studio LCD
Frameglow
Studio Readout
Heated
Eyecup
Eyecup
Heated
Eyecup
Eyecup
11/2003
FIX
Studio Medium Extension
Studio Zoom Extension
Studio
Anamorphic Extension
Lite 100%
Video Top
Lite Universal Viewfinder fig.4/1d
Lite 100%
Video Top
Lite Viewfinder fig.4/1c
LOCK
ARRICAM System Users’ Guide
OPEN
4 – THE OPTICAL VIEWFINDER COMPONENTS
UNLOCK
122
Lite Mask
Frameglow
Lite Integrated Video System (IVS)
Lite Extension
Lite Mask
Frameglow
Studio Eyepiece
Lite Eyepiece
Lite Universal Eyepiece
Lite Integrated Video System (IVS)
Heated
Eyecup
Eyecup
Heated
Eyecup
Eyecup
The Optical Viewfinder System
Components
INTRODUCTION
ARRI offers a versatile modular ARRICAM Viewfinder
System. All Viewfinders are usable without the need of
adapters on both cameras, the ARRICAM Studio and
the ARRICAM Lite.
THE ARRICAM VIEWFINDERS
The user may choose between four Optical Viewfinders:
The Studio Viewfinders for spherical and anamorphic
cinematography.
It offers an exceptional viewing quality favoured by a
large optical design. Special care has been taken to
avoid the unpleasant vignette effect that could occur
by moving the eye. Two types of Studio Viewfinder are
available. The attachment of the Arms to the Viewfinder
Block makes the difference between the two types.
1. The “Hinge type” has a permanently hinge mounting of the Viewfinder Arm that can be swivelled to
both sides of the camera. Even though a Long Zoom
Anamorphic Extension Tube with a swing-away desqueezer is attachable on this Viewfinder, it is mainly
foreseen for spherical cinematography.
2. The “Bayonet type” has an exchangeable Viewfinder Arm. A mini PL bayonet port allows not only the
exchange of the Viewfinder Arm but also its swivelling to both sides of the camera. Two different Arms
are provided, the regular Studio Viewfinder Arm for
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ARRICAM System Users’ Guide
125
spherical cinematography and the Universal Studio
Viewfinder Arm with an integrated swing-in de-squeezer.
The Lite Viewfinders for spherical and anamorphic
cinematography.
Even though the Lite Viewfinders are smaller and lighter
than the Studio Viewfinders, they offer versatile possibilities and an excellent viewing quality. Two types of Lite
Viewfinders are available.
3. The Lite Viewfinder for spherical cinematography
only. It has been specially conceived for handheld
operation.
Lite Viewfinder fig.4/2
Video assist
Swivel mounting screws
friction
adjustment
Lite Video Assist
Swivelling
viewfinder
arm
Filter
lever
Lite Mask
Frameglow
Module
Eyepiece
rotation
lock
Eyecup
Image
rotation knob
Lite eyepiece
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4. The Lite Universal Viewfinder for spherical and
anamorphic cinematography. This viewfinder contains a
swing-in anamorphic de-squeezer lens.
All four Viewfinders permit the use of an Eyepiece and
a Video Assist at the same time. A beam splitter with a
ratio of 80% for the Eyepiece and 20% for the Video
Assist allows a very bright viewfinder image.
Studio Viewfinder fig.4/3
Studio video assist
Mini monitor
connector
Swivelling
viewfinder
arm
MINIMONITOR
Arm
hinge
IN
Viewfinder mounting screws
Studio Readout port cover
Studio LCD Frameglow
Filter lever
Hinge release knob
Viefinder
extension
lock
Eyepiece
rotation
friction
Studio Medium
Extension
Eyecup
Studio
eyepiece
Image rotation knob
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127
Bottom View
Lite Viewfinder fig.4/4
Image rotation
knob
Viewfinder
arm
Viewfinder connector
Mounting screw
Mounting screws
Fixing pin
Viewfinder window
Viewfinder
block
Lite Universal Viewfinder
fig.4/5
Image rotation
knob
Viewfinder
arm
Viewfinder connector
Mounting screw
Mounting screws
Fixing pin
Viewfinder window
Viewfinder
block
Studio Viewfinder (bayonet) fig.4/6
Image
rotation
knob
Viewfinder
arm
Swivel
friction
adjustment
Mini PL
bayonet
port
Mounting
screws
Bayonet flange
Viewfinder connector
Filter lever
Mounting screw
Fixing pins
Viewfinder window
Viewfinder block
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Top View
Lite Viewfinder fig.4/7
Video assist connector
Swivel friction
adjustment
Filter lever
Video assist
mounting
holes
Image rotation
knob
Video assist
window
Eyepiece rotation
friction
Mounting screws
Swivel friction adjustment
Lite Universal Viewfinder fig.4/8
Swing-in
de-squeezer
Viefinder
extension
lock
Video assist
connector
Image levelling
knob
Video assist
window
Eyepiece rotation
friction
Swivel unlock lever
Mounting screws
Studio Universal Viewfinder fig.4/9
Swivel friction adjustment
Image levelling
knob
Viefinder
extension
lock
FIX
Swing-in
de-squeezer
CAUTION: HOLD TUBE
DURING RELEASE
LOCK
LOCK
OPEN
OPEN
UNLOCK
Swivel unlock lever
Filter lever
Studio Readout cover
Mounting screws
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THE ARRICAM 100% VIDEO TOPS
As well as the four Optical Viewfinders, ARRICAM also
offers the option of framing pictures by means of a
Video Viewfinder. This gives the operator the choice
between the possibility of using the optical image as
well as the video image or only to use the video image
alone. The latter option would be chosen when looking
through the Viewfinder is not possible or not desirable
– e.g. Steadicam or remote head operation. To work
with the ”flexibility of a mini-DV camera”, the operator
can use one of the On Board Monitors instead of looking through an Eyepiece.
When no Optical Viewfinder is needed, the Video
Assists can be mounted directly to the ARRICAM Studio
or to the ARRICAM Lite by means of the lightweight
100% Video Tops.
Depending on the type of Video Assist used, either the
Studio 100% Video Top or the Lite 100% Video Top will
be used. Both Video Tops can be mounted on either
camera body.
On the base of all Viewfinders and of the two 100%
Video Tops, the Viewfinder’s window, the connector,
the fixing pins and retaining screws are protected by a
cover. Unscrew the hex screws with an 3 mm metric hex
wrench to remove the cover and mount the Viewfinder
or the 100% Video Top to the camera.
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Studio 100% Video Top fig.4/10
Video top
connector
Video top window
Bottom view
Lite 100% Video Top
Video top
connector
Video top window
Fixing pins
Fixing pins
Mounting screws
Studio 100% Video Top fig.4/11
Lite 100% Video Top fig.4/12
Studio video assist
mounting holes
Video assist
window
Video assist connector
Right side
Lite video assist mounting
holes
Top view
Video assist
window
Video assist
connector
THE ARRICAM VIDEO ASSISTS
ARRI offers two technically similar Video Assists – for
description see chapter 5 – to be installed on the
appropriate Optical Viewfinder or 100% Video Top.
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MOUNTING THE OPTICAL VIEWFINDERS OR
THE 100 % VIDEO TOPS
Notice
Because all the components are quite similar, the
following description is valid for all four Viewfinders
and both 100% Video Tops. Differences between the
components are described separately.
After removing the protection cover (fixed with two 3
mm hex screws) and checking that both parts (connectors, glass surfaces) are absolutely free of dust and fingerprints, mount the Viewfinder or 100% Video Top on
the camera. The pins must engage easily in the gauged
holes. While tightening the three 3 mm hex screws, the
connectors will fit together automatically. Therefore be
sure that the Viewfinder or 100% Video Top sits securely
on the camera.
Because ARRICAM offers the possibility to shoot in
STANDARD 35 or in SUPER 35, the Viewfinder must be
mounted to fit these formats.
Viewfinder mounting plate
fig.4/13
Viewfinder attachment
(threaded holes)
Format label
Viewfinder attachment
(gauged holes)
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Studio Viewfinder
fig.4/14
Threaded
holes
Lite Viewfinder fig.4/15
Threaded
holes
Studio 100% Video fig.4/16
Opposite view
Mounting
screws
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Notice
The change between formats should be carried
out in the rental house. In addition to the lens port,
the desired Viewfinder Mounting Plate will also
be installed. In ARRICAM Maintenance Centre,
skilled technicians are not only trained to adapt the
ARRICAM to the production needs, but also have all
the control instruments to check e.g. the flange focal
distance. Nevertheless, if you would like to change
the format yourself, please see the instruction in
chapter 11 – Miscellaneous. The engraving on the
Mounting Plate top shows the format.
THE VIEWFINDER’S HOUSING
The four Viewfinder’s housing have similar characteristics.
On the left side of all Viewfinders a Frameglow module
attachment is covered by a removable cover plate.
Unscrew the hex screws with an 3 mm metric hex
wrench to remove the cover plate and to mount the
Frameglow module – see fig. 4/43.
Studio Frameglow attachment
fig.4/17
Frameglow
attachment
Left side
Frameglow
window
Eyepiece
bayonet
Frameglow connector
Left side
Frameglow
attachment
Eyepiece
bayonet
Frameglow
window
Lite Frameglow attachment
Frameglow connector
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On the right side of the Studio Viewfinders and on the
top of all Lite Viewfinders, a Video Assist attachment is
covered by a removable cover plate. Unscrew the two
hex screws with an 3 mm metric hex wrench to remove
the cover plate to mount the corresponding Video Assist
– see chapter 5 – Video Assist.
Studio Video Assist attachment fig.4/18
Right side
Video assist
attachment holes
Video assist
connector
Video assist window
VIEWING FILTER LEVER
On the front of all Viewfinders, a viewing filter lever is
located next to the Viewfinder Arm attachment.
When depressing the filter lever, an ND 0.6 filter will
be swung into the Viewfinder optical beam path.
Lite Viewfinder Filter lever fig.4/19
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Studio Viewfinder arm (bayonet)
fig.4/20
Viewfinder block
Filter lever
Mini PL bayonet lever
Image rotation
knob
Viewfinder extension lock
Front
Image rotation
lock
Eyepiece rotation
friction
Studio Universal Viewfinder arm fig.4/21
Eyepiece unlock
safety button
LOCK
Eyepiece
bayonet
OPEN
Arm stop
UNLOCK
Swivel friction
adjustment
CAUTION: HOLD TUBE
FIX
Top
Swing-in
de-squeezer
Image rotation
locking button
Image rotation knob
Studio Viewfinder arm (hinge type) fig.4/22
Viewfinder extension lock
Viewfinder
extension lock
Image rotation
knob
Front
Arm
hinge
Eyepiece rotation
lock
Image rotation
lock
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THE VIEWFINDER ARMS
The Viewfinder Arms can easily be swivelled to both
sides of the camera. On the Lite Viewfinders as well as
the hinge type Studio Viewfinder, the swivelling arms
are mounted on the Viewfinder but they are only removable, e.g. for servicing in ARRICAM Maintenance Centres. On the bayonet type Studio Viewfinders, the Arm
mount itself is rotatable. If necessary, e.g. for placing
the Eyepiece on the camera right side while a Studio
Magazine 300/1000 is mounted on top of the Studio, remove the Arm from the Viewfinder housing and
remount it in the desired position.
SWIVELLING THE VIEWFINDER ARM
Only with the hinge type Studio Viewfinder and only
when a Studio Magazine 300/1000 is mounted on
top of the camera, the orientable Viewfinder Arm must
be tilted forward in order to be able to swing the Arm
over to the other side of the camera. To do so, loosen
the Eyepiece rotation friction knob first. Then turn the
Eyepiece upwards in its vertical position. Now press
the hinge release knob and swing the Arm carefully
forward. After pivoting the Arm to the other side of the
camera, close the Viewfinder again. It locks automatically when a fixing pin entered one of the gauged
holes.
Two optional Brackets, that can be attached with a
3 mm hex screw on the Viewfinder Block, enable the
Viewfinder Arms to rest on the camera right side. The Lite
Universal Viewfinder Bracket is dedicated to the Lite Universal Viewfinder. The Studio Viewfinder Bracket is dedicated to the Studio and Studio Universal Viewfinders.
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Notice
If using either of the Lite Viewfinders on a Studio
and you want to swing the arm over to the right side
when a Studio Magazine 300/1000 is mounted
on top, you must remove the magazine first in order
to swivel the Viewfinder Arm to the right side of the
camera.
ADJUSTMENT OF THE SWIVEL FRICTION
Preliminary remark:
Because this operation is quite sensitive, Maintenance personnel will carry out the adjustment before the equipment
leaves the rental house.The friction of the swivel mechanism
can be adjusted by means of a 2 mm metric hex wrench
and a special ARRI tool (A 16SR 3) with the part number
K5.26129.0 – it is a twin-pronged driver. To increase
or decrease the tension, first loosen the locking sleeve by
turning it counter-clockwise one turn. Once it has been
loosened, turn the 2 mm metric hex wrench clockwise to
increase – or counter-clockwise to decrease the tension.
After that, do not forget to lock again the locking sleeve
by turning clockwise the twin-pronged driver! Do not turn it
more than one turn – its sufficient for a safe operation!
Swivel Friction Adjustment fig.4/23
swivel
friction
screw
twinpronged
driver
A 16SR 3
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Lite Universal Viewfinder Arm Bracket fig.4/24
Arm bracket
Caution!
1. No dirt must get into the open Viewfinder
System!
2. With well maintained cameras, pivoting is
easily possible without having to apply force.
Studio Viewfinder (hinge type) fig.4/25
Release
knob
Studio Viewfinder (bayonet) fig.4/26
Studio Viewfinder (bayonet) fig.4/27
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ERGONOMY
On all Studio and the Lite Universal Viewfinders, an
extending feature allows the Eyepiece to move in and
out from the camera body to facilitate left or right eye
viewing. The Arms can be telescoped up to approximately 40 mm. Shifting does not change size, sharpness or quality of the viewfinder image. To extend or
reduce the Viewfinder Arm length, turn the knurled ring
towards the position labelled loose, then pull or push
the Arm elbow to the desired length and retighten the
knurled ring.
Studio Viewfinder extension arm fig.4/28
fix
loose
➡➡
The other end of the Viewfinder Arm provides a mini
PL bayonet mount to attach the Eyepiece. In order to
adjust the Eyepiece position for a comfortable viewing,
loose the eyepiece rotation friction knob located on the
bottom side of the Viewfinder Arm.
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FRICTION ADJUSTMENT OF THE PIVOTING EYEPIECE
The Eyepiece mounted to the Viewfinder’s Arm rotates
vertically through 360°. To turn an Eyepiece, loosen
the eyepiece rotation friction knob below the Eyepiece
mount, turn the Eyepiece and tighten the knob again.
To loosen tension, turn counter-clockwise. To tighten tension, turn clockwise. Although this rotation friction adjustment can hold the weight of an Eyepiece Extension, we
recommend to use the Levelling Rod – see fig.4/39.
Caution!
The tension has to be loosen when using the
Levelling Rod!
Eyepiece rotation friction adjustment fig.4/29
loose
fix
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LEVELLING OF THE VIEWFINDER IMAGE
While rotating and/or swivelling the Viewfinder Arm,
all Viewfinders automatically give an upright erect and
correct left-to-right image, regardless of the angle of
view. When mounting or removing an Extension Tube
between Viewfinder Arm and Eyepiece, however,
the image orientation has to be adjusted manually by
turning the prism assembly 180°. In case a different
image orientation is desired, you can turn it as you like.
Except on the Studio Universal Viewfinder Arm, all other
Viewfinder Arms have knurled image levelling adjustment knobs located at the bottom as well as on top.
Loosen the knob at the bottom while holding the one on
top; then turn the upper knob until you get the desired
image. To fix the new position, tighten the knob at the
bottom again while holding the one on top.
Image levelling adjustment
fig.4/30
image
rotation
knob
loose
fix
Image
rotation
lock
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When using the Studio Universal Viewfinder Arm, hold
the locking button pressed down and turn the image
rotation knob until the image is levelled as you wish.
To re-activate the automatic image levelling, turn the
image levelling knob until it locks in one of the four locking positions. If the image is inverted, depress again
the locking button and turn the levelling knob, while
releasing the locking button, until it stops in the opposite
locking position.
Studio Universal Viewfinder – image rotation
fig.4/31
CAUTION: HOLD TUBE
THE SWING-IN DE-SQUEEZER
The Studio and Lite Universal Viewfinders enable the
switching between a regular and a de-squeezed viewfinder image. The de-squeezed viewfinder image will
always stay levelled when the Viewfinder Arm rests in
the “normal” horizontal position, regardless if the Eyepiece is on the left or on the right side of the camera
or even when the Eyepiece is rotated. Only when the
Viewfinder Arm is swivelled, the de-squeezed viewfinder
image is not usable in the “in-between” position. Therefore, if the Eyepiece must be placed e.g. on the top
rear of the camera, the use of the Studio Anamorphic
Extension Tube is recommended.
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THE EYEPIECES
Three Eyepieces are provided for the ARRICAM Viewfinders. A large Studio Eyepiece can be mounted on all
Viewfinder Arms except on the Lite Viewfinder. Specially
conceived for handheld operations, the Lite Universal
Eyepiece can be mounted on the Lite Universal Viewfinder, but also can be used with the Studio Viewfinders.
The Lite Viewfinder has its own smaller and lightweight
optimised Eyepiece. The three Eyepieces may be
focused by turning the knurled barrel. With the help of
a scale labelled from 1 to 12, the assistant can easily
adjust the lens to the eyesight of different operators.
Corrections may be made in a range from approx. -5.5
to +5.5 dioptres; exception: when the Lite Universal
Eyepiece is mounted on a Studio Viewfinder only -2 to
+5.5 dioptres adjustment is possible.
Eyepieces
fig.4/32
Studio
Lite Universal
Lite
Eyepiece flange
Eyepiece focus
Eyecup mount
Caution!
Because of the different mounts, the Lite Eyepiece
is not interchangeable with the other Eyepieces.
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MOUNTING THE EYEPIECE
By means of bayonet mounts, the Eyepieces and
Extension Tubes can be mounted and removed effortlessly from the Viewfinder Arms. To mount the Eyepiece,
remove the protection cap by rotating the bayonet
counter-clockwise. After checking that both parts are
immaculately clean, gently insert the Eyepiece or
Extension tube into the port and lock it by rotating the
retaining bayonet clockwise until it is correctly seated.
In order to prevent the Eyepiece or Extension Tube from
falling out when it is not held firmly during its removal, an
additional UNLOCK safety button has been incorporated
into most Eyepiece bayonets. So, after rotating the
bayonet lever, push the little button to release the
Eyepiece or Extension Tube.
Eyepiece mini PL bayonet mount
fig.4/33
Unlock safety button
UNLOCK
➡
OPEN
Locking
lever
Locking
lever
LOCK
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Eyepiece mounting
fig.4/34
THE EYECUPS
ARRI provides two rubber cushionable Eyecups that can
be mounted on all ARRICAM Eyepieces.
The rubber Eyecup is mounted on a holder which integrates a shutter mechanism. By moving the lever the
Viewfinder can be opened or closed.
Eyecup fig.4/35
The difference between both Eyecups is that one is
equipped with a heater that prevents the entry pupil
from fogging in low temperatures, e.g. when filming
outdoors in winter.
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Heated Eyecup fig.4/36
To mount the Heated Eyecup, pull the Regular Eyecup
off the Eyepiece retaining ring and replace it with the
Heated one by pushing it into the Eyecup attachment
of the Eyepiece. In order to activate the heater, switch
OFF the camera, plug one end of the short coiled cable
into the Eyecup connector, the other end into one of the
power outlets on the camera – see fig. 1/4 and 4/37.
On the ARRICAM Studio, two connectors are located
on the camera left side on top of the Camera Control
Panel; on the ARRICAM Lite, the connectors are located
on top of the camera front, left and right of the lens port.
Set the heating level with the toggle switch to LO for
lower heat output or to HI for higher heat output.
Heated Eyecup Cable – KC 63-SP-S fig.4/37
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Caution!
If the camera is powered by battery, it is recommended to switch OFF the Eyecup heating during
extended breaks in filming.
To clean the entry pupil, remove the Eyecup by simply
pulling it straight out.
Eye friendly covers, such as chamois or cotton cloth,
can be easily attached with a rubber band. Another
useful cover are the terry cloth “wrist bands“, well-known
from tennis, as they are sweat absorbing, reusable and
easy to attach.
THE EYEPIECE EXTENSIONS
ARRICAM supplies four different bayonet-mount extension tubes – three for the Studio and Lite Universal Viewfinders, and a lightweight one for the Lite Viewfinder
– which can be mounted between the Viewfinders and
the Eyepieces. The extension tubes, fitted with a receptacle for the ARRICAM Eyepiece Levelling Rod, are:
1. The Studio Medium Extension that brings the entry
pupil of the Eyepiece about 15 cm/5.9” behind the
film plane.
2. The Studio Zoom Extension with variable image
magnifier (2x) brings the entry pupil of the Eyepiece
about 30 cm/11.8” behind the film plane.
3. The Studio Anamorphic Extention with variable
image magnifier and flip-in de-squeezer lens brings
the entry pupil of the Eyepiece about 30 cm/11.8”
behind the film plane.
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Notice
Both the Zoom and Anamorphic Extensions have
built-in magnifiers that allow even more critical eyefocusing. Turn the zoom ring to magnify the image of
the Ground Glass in a continuous range. A mark on
the ring indicates the standard image size.
4. The Lite Extension brings the entry pupil of the
Eyepiece about 25 cm/9.8” behind the film plane.
It has a built-in image magnifier that allows even
more critical eye-focusing. Turning the knob switches
the image of the Ground Glass from normal size to
2x magnification.
Eyepiece Extensions
fig.4/38
Studio Medium Extension
Levelling rod attachment
Studio Zoom Extension
Studio Anamorphic Extension
Zoom ring
Lite Extension
Anamorphic/
spherical lever
Magnifier knob
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Notice
It is recommended to use the zoom or magnifier only
when checking and not when shooting because only
the centre part of the image appears in the Eyepiece.
VIEWFINDER LEVELLING ROD
A Viewfinder Support Levelling Rod may be attached to
the Viewfinder Extensions. This rod is attached by sliding
the sprung loaded dovetail into the holder. To remove
it press the spring. The support is clamped to the head
and its lenghts is adjustable.
Levelling rod
fig.4/39
Levelling rod attachment fig.4/40
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Caution!
The Eyepiece rotation friction adjustment has to be
loosen when using the Levelling Rod!
FURTHER VIEWFINDER COMPONENTS
ARRI also offers several Ground Glasses as well as three
Frameglow Modules and a Readout Unit.
THE ARRICAM FIELDLENS AND GROUND GLASS
The Fieldlens is located on top of the interchangeable
Ground Glass.
All Ground Glasses of the ARRICAM Cameras are
mechanically identical and may be used with the
ARRICAM Studio as well as with the ARRICAM Lite.
Ground Glass & Fieldlens fig.4/41
Threaded hole (2.5 or 3 mm)
Threaded hole
(3 mm )
Fieldlens
Ground Glass
Caution!
• The Fieldlens should only be removed by
ARRICAM Maintenance Personnel, e.g. for
cleaning purposes.
• The ARRICAM Ground Glasses are not
compatible with any other ARRI or MOVIECAM
Ground Glasses.
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The ARRICAM Ground Glass lies flat above the mirror
shutter and has a metal holder with a thread in the right
front corner.
HANDLING THE GROUND GLASS
Use the ARRICAM Combi Tool to remove or install a
Ground Glass as follows:
Ground Glass mounting fig.4/42
1. Push the DUST CHECK button in order to move the
mirror out of the lens port cavity.
2. Switch the Camera MAIN switch OFF!
3. Screw the Combi Tool into the metal holder of the
Ground Glass.
4. When the Combi Tool is screwed fully home, pull out
the Ground Glass gently.
5. Clean the Ground Glass gently with a lens brush or
small vacuum cleaner. Using an aerosol spray may
be dangerous because of the pressure and the
possibility for chemicals to drop on the glass.
6. When screwing the Combi Tool in or out, hold the
Ground Glass holder only.
7. Push the Ground Glass frame gently all the way in
until it rests against the stop and then unscrew the
Combi Tool.
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Notice
Do not touch with fingers or a solid object!
Do not moisten or wipe!
Never place the Ground Glass on its edges.
Do not use force!
THE FRAMEGLOWS
In order to make the frame lines of the Ground Glass
visible while shooting dark scenes, ARRI provides small
attachments for all Viewfinders called a Frameglow. Three
different Frameglows, one for all Lite Viewfinders and
two for the Studio Viewfinders, are available. The differences between the Frameglows are not only in the design
but also in the technology employed. The difference in
design is marked by the engraved letters LT and ST which
show on which Viewfinder they can be attached.
The difference in technology is marked by the words LCD
or MASK. The Studio LCD Frameglow, is usable only for
shooting in Standard 35 format (not for Super 35!), and
can only be mounted on a Studio Viewfinder.
With the Studio LCD Frameglow, beside two preset
frame outlines, also a reticule can be faded in and out
the viewfinder image by pushing the CROSSHAIR button. With the Mask Frameglows, a crosshair is permanently visible if it is marked on the exchangeable Mask.
Last but not least, the brightness of all displayed lines
on all three Frameglows can be continuously adjusted
by turning the DIMMER knob. When turning the knob
counter-clockwise, the brightness will diminish until it is
no longer visible in the Viewfinder. Turning the knob all
the way clockwise will set the Frameglow outlines and
the crosshair of their maximum brightness.
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The brightness of the frame line illumination is independent from the brightness adjustment of the camera
displays.
Notice
1. Frameglows cannot be mounted on the 100%
Video Tops.
2. If a Magazine is attached on top of the ARRICAM
Studio, the Lite Frameglow will not fit on the Lite
Viewfinder.
3. On top of the Lite Frameglow, a shoe for
accessories as well as a connector for the Lens
Data Display are provided.
MOUNTING THE FRAMEGLOWS
After removing both protection covers, attach the appropriate Frameglow to the Viewfinder with one 3 mm hex
screw.
Lite Mask Frameglow
fig.4/43
Lite viewfinder
Lens Data
Display
connector
Mounting
screw
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Notice
Care should be taken that:
1. the camera is switched OFF by camera MAIN
switch (also important when removing the
Frameglow),
2. the Frameglow sits correctly on the Viewfinder,
3. the pins engage easily in the gauged holes and
the connectors are properly seated,
4. both glass surfaces are absolutely clean.
Frameglow Dimmer fig.4/44
Dimmer
ADJUSTING THE ALIGNMENT OF THE MASK
This operation should be done by the ARRICAM Maintenance Centre before delivering equipment. In the case
of a change of shooting format or when the luminous
frames are not correctly aligned with the Ground Glass
marking, the focus puller can improve the positioning of
the frames. All adjustments can be made with a 1.5 mm
metric hex wrench. Three adjusting screws allow the fine
adjustment to the positioning of the Frameglow Mask.
Caution! Never use force.
Notice
On the Lite Mask Frameglow, a small cover must first
be slid away by moving the button in order to access
to the adjusting screws.
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Frameglow Adjustment
fig.4/45
Studio Mask
Frameglow
Studio LCD
Frameglow
Lite Mask
Frameglow
Accessory shoe
Mounting screws
Access holes cover bolt
B
B
C
C
Adjusting screws
A
B
AB
➡
A
➡
A
C
Frame brightness
adjustment
C
THE STUDIO LCD FRAMEGLOW
(for Studio Viewfinder only)
Studio LCD Frameglow
fig.4/46
Viewing filter lever
Mounting screw
Frame selector 1
Frame selector 2
Crosshair button
Frame brightness
adjustment
Access holes for
frame alignment
By means of a sophisticated electronic design, the Studio LCD Frameglow fades in one or – simultaneously
– two luminous frames. Four frame outlines with the
following aspect ratios are provided in the Studio LCD
Frameglow:
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1
1
1
1
:
:
:
:
1.33 (TV)
1.375 (Academy)
1.78 (16/9 or HDTV)
1.85 (US/UK Wide Screen)
HANDLING THE STUDIO LCD FRAMEGLOW
While the camera is powered and no figure is displayed on the Frameglow, just push one of the buttons,
so the Studio LCD Frameglow shows the preselected
aspect ratio(s). Accordingly, the frame outlines will glow
red in the Viewfinder. By pressing either the SELECT 1
or SELECT 2 button, you may step through the aspect
ratios preset in the factory. After having displayed four
different aspect ratios, the display will extinguish, showing that no aspect ratio has been selected. After five
button pushes, the list will repeat. If figures are visible in
FORMAT 1 and FORMAT 2 displays, two aspect ratios
are set simultaneously.
The Frameglow memory stores the latest options chosen,
even when the camera is disconnected from its power
supply.
Notice
In order to save power, the figures displayed on the
Frameglow Module will fade out if no control has
been used in the last 5 sec. To reactivate the display,
just push one of the buttons.
THE STUDIO & LITE MASK FRAMEGLOWS
Instead of using LCD technology, thE Mask Frameglow
inserts the luminous frame outlines of a single or combined aspect ratio(s) into the viewfinder image. A set of
Masks with different aspect ratios and/or aspect ratio
combinations is provided by ARRICAM.
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To exchange the Mask, first remove the cover (unscrew
the retaining 2 mm screws), then take the Mask out of
the receptacle by means of the ARRICAM Combi Tool
and slide carefully the requested one into the Mask
Frameglow. Except for three Masks, the same physical
Masks can be used with the Studio or Lite Mask
Frameglows.
Studio & Lite Mask Frameglows
fig.4/47
Frameglow
Mask
Cover
plate
Studio Mask
Frameglow
Cover
plate
Lite Mask frameglow
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THE INTEGRATED VIDEO SYSTEM COMPONENTS
5
The Video Assist System
Components
Important notes and safety specifications
• Turn OFF the Video Assist immediately in case of
malfunction!
• Do not use in the presence of flammable gas!
• Do not disassemble!
• Use only ARRI cables!
• Use ARRICAM Video Assist components only with
ARRICAM Cameras and only as described in this
manual!
• Assembly and initial installation should be carried out
only by persons who are familiar with the equipment!
• Remove all cables before transport or servicing!
• Repairs should be carried out only by authorized
ARRICAM Maintenance Centres!
• Use only original ARRI replacement parts and accessories!
• Check all operations on the corresponding monitor!
• In wet weather the normal safety precautions for handling electrical equipment should be taken!
• Keep the equipment dry and free of salt, sand or dust!
• Keep optical surfaces clean!
• Do not remove or turn any screws which are secured
with paint!
• Turn the camera MAIN switch OFF before mounting
or removing electric components or when connecting
or removing the power supply!
• Keep equipment away from strong magnetic fields!
• Avoid sudden changes in temperature!
• Never feed power onto sync or video lines!
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162
Lite 100%
Video Top
ARRICAM System Users’ Guide
Studio 100%
Video Top
Studio Video
Assist PAL
ARRICAM
Lite
Studio
Viewfinders
Studio Video
Assist NTSC
Viewfinders
ARRICAM
Studio
Lite Universal
Viewfinder
Lite Video Assist
NTSC
Lite Video Assist
PAL
6.6” Monitor
PAL/NTSC
Video Assist
Lite Viewfinder
2” Monitor
NTSC
2” Monitor
PAL
On-Board
Monitors
Cameras
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The ARRICAM Video Assist System offers more than just
a video tap picture. As well as the viewfinder picture,
most of the camera status and LDS Lens information can
be displayed on the monitor and/or recorded on tape
or hard disc. This information, together with the identification of the shot, e.g. provided by the In-camera Slate
Box (ISB), will be useful for further steps in production
and post-production. By means of a sophisticated, but
intuitive and user-friendly menu, several options can be
selected. For example, a flicker compensation, a
picture storage capability, a frame line generator and
the ability to insert a man and/or machine readable
information in the picture are provided.
To access all the different options, only a single dial
needs to be operated. However, the main parameters
can be changed straightaway by pushing dedicated
buttons.
THE ARRICAM VIDEO ASSISTS’ COMPONENTS
Both Studio and Lite Viewfinders have dedicated Video
Assist systems: The Studio Video Assist for Studio Viewfinders and the Lite Video Assist for Lite Viewfinders.
ARRI also provides two small, colour on-board video
monitors (2” and 6.6”) which can be mounted on the
ARRICAM Cameras, by means of articulated arms.
THE VIDEO ASSIST
Apart from the different housings, both ARRICAM Video
Assists are identical in their video characteristics and
almost similar in handling. Only the position of the
Video Assist iris and the positioning and focusing of the
CCD sensor are different.
Both Video Assists are equipped with lenses that
cover the Super 35 acquisition format.
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Therefore no mechanical change to the Video Assist needs
to be done when changing the format from Standard 35
to Super 35.Depending on the video standard used,
each Video Assist component is labelled either PAL or
NTSC. Please be aware that only components working
on the same standard are compatible (except the dualstandard 6.6” on-board monitor).
Studio Video Assist – front fig.5/1
Video signal
mode button
White Balance button
Signal
LEDs
Mounting
screws
White Balance
mode LEDs
Access
hole
Access hole
MENU/STORE/
MGC dial
Mini monitor
connector
CCD
ON/OFF/ adjustment
CHECK/
cover
HIDE MENU screws
switch & LED
Manual Gain
Control button/led
Lite Video Assist – front fig.5/2
MENU/
STORE/
MGC dial
White Balance button
White Balance
mode LEDs
MINI
MONITOR
connector
Video signal
mode button
ON/OFF LED
signal LEDs
Manual Gain Control LED
Manual
Gain
Control
button
ON/OFF/
CHECK/
HIDE MENU
switch
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Studio Video Assist – top fig.5/3
right
Accessory
shoe
MINI MONITOR
connector
MENU/STORE/
MGC dial
Lite Video Assist – top fig.5/4
Video lens IRIS
Video lens IRIS
Access hole for
viewfinder release screw
Mounting
screws
Accessory
shoe
MENU/STORE/MGC dial
THE 100% VIDEO TOPS
If an Optical Viewfinder is not required, e. g. when the
camera is mounted on a Steadicam or a remote head,
both Video Assists can be mounted on the ARRICAM
Cameras by means of 100% Video Top. ARRI provides
one 100% top for each Video Assist. These 100%
Video Tops are mounted on the camera bodies in the
same way as the Viewfinders. Both 100% Video Tops
may be used on the STUDIO as well as on the LITE but
only with its respective Video Assist.
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MOUNTING THE VIDEO ASSISTS
On the two Studio Viewfinders and the Studio 100%
Video Top, the Studio Video Assist is mounted on
the right hand side. The Lite Video Assist, specially
designed for the two Lite Viewfinders and the Lite 100%
Video Top is be mounted on the top.
Studio Video Assist: mounting fig.5/5
Threaded holes
Mounting
screws
Lite Video Assist: mounting fig.5/6
Mounting
screws
Threaded
holes
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Studio 100% Video Top mounting fig.5/7
Mounting screws
Studio Video Assist mounting on 100% Video Top fig.5/8
Mounting
screws
Threaded
holes
After removing the protection cover (two 3 mm hex
screws) and checking that both parts (connectors, glass
surfaces) are absolutely free of dust and fingerprints,
mount the Video Assist to the Viewfinder or 100% Video
Top. While tightening the screws, the connectors will fit
together automatically. Therefore be sure that the Video
Assist sits securely on the Viewfinder or Video Top.
Caution!
Be sure that the camera is not powered during
mounting or removing a Video Assist.
Do not slant the Video Assist while mounting it on
a Viewfinder or on a 100% Video Top Adaptor!
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THE CONNECTORS AND THE LED INDICATOR
On top of the Studio Video Assist housing, a 4 pin
Fischer connector is covered by a aluminium cap. By lifting this cap, you will be able to connect one of the two
ARRICAM On Board Monitors. On the Lite Video Assist,
this Mini Monitor connector is located on the right side
of the housing.
Video Assist connector for Mini Monitor fig.5/9
Composite
video out, Pin 3
+12 V (1.3 A continous
1.5 A peak, pin 4
Signal shield, pin 2
GND, pin 1
On the left side of the Video Assists, four connectors and
one LED are located:
The LED lights up green when an external video sync
signal is successfully fed to the Video Assist – see fig.
5/10 and 5/11.
Notice
When attaching a cable to one of the connectors,
be sure not to bend it. Providing a strain relief will
do fine.
In order to avoid interference, be sure not to install
the video cable close to electric drives, e.g. lens
motors.
Be sure the cable has enough slack to accomodate
the full range of camera movements, either if it is
operated manually or by a remote head! We recommend the use of Y/C cables, which are delivered
with the units, for even better image quality.
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Studio Video Assist – rear fig.5/10
Video out without
data or C
Lite Video Assist – rear fig.5/11
Video out without data or C
Video out with
data or Y
Ext. sync led
Ext.sync in
S-video
out
(Y/C)
S-video
out (Y/C)
Video out
with data or Y
Ext.sync in
Ext. sync led
THE VIDEO OUT SIGNAL (BNC CONNECTORS)
By means of the (video signal) BNC MODE button – see
fig. 5/1 and 5/2 – you may select the kind of video signal you would like to output. Three options are available
and the selected choice will be indicated by an LED.
Studio BNC connectors fig.5/12
A
Lite BNC connectors
fig.5/13
B
A
B
video with data on screen Y= luminance signal
video without data
C= chrominance signal
composite video with on-screen data
COMP. composite video
without on-screen data
Y portion of the video,
with on-screen data
Y/C.
C portion of the video signal,
with on-screen data
Y portion of the video,
without on-screen data
Y/C.
C portion of the video signal,
without on-screen data
A
B
A
B
A
B
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Notice
If you would like the video picture in Black & White,
please select either Y/C
or
and connect
the video cable to ”A” output – see fig. 5/12 and
5/13.
Standard BNC connection:
Video Cable Connections fig.5/14
video monitor
video recorder
BNC cable
video assist
THE S-VIDEO SIGNAL
Provided that the monitor has an S-Video connector,
using the S-Video signal instead of the composite one
will provide an even better video picture. S-Video
cables allow connection up to about 3 m/10 ft.
Video Cable Connections
video assist
fig.5/15
S-Video
video monitor
video recorder
For longer distances a pair of more durable BNC
cables can be used.
Another possibility is to use two BNC cables and an
S-Video adapter cable: Red = C, White = Y
Video Cable Connections
fig.5/16
BNC cable
video assist
video monitor
video recorder
BNC cable
S-Video adapter
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This configuration will provide the best possible result
when the distance between the ARRICAM and the
monitor(s) is longer than 10 m/33 ft.
Caution!
The length of the two BNC cables should be
roughly the same.
Notice
If video pictures with and without inserted data are
needed simultaneously, e.g. viewing on monitor without data while recording on hard disc with the data
inserted, two separate connections must be installed.
Video Cable Connections
fig.5/17
BNC cable 1
video assist
BNC cable 2
(hard disc)
recorder
video monitor
no visible data
video monitor
inserted data
Caution!
A standard S-Video connector has no retaining
fixture similar to a BNC one. Therefore, the
S-Video connected cable must be secured in order
not to slip accidentally out of the connector.
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THE EXT. SYNC SIGNAL
When video images are provided from several
ARRICAM Video Assists, e.g. when cameras are used
in a multiple camera application and the video images
must be mixed together, they should be synchronized.
To do so, a BNC cable must connect the Video Assist
e.g. of the camera A with the one of the camera B. The
cable will be plugged in a VIDEO OUT connector on
camera A and connected to the EXT SYNC IN connector
on Camera B. In the Video Config. menu, EXT SYNC
(not TC) has to be selected.
Video Cable Connections
ARRICAM A
video assist
ARRICAM B
video assist
fig.5/18
BNC cable
video out (BNC)
BNC cable
ext sync in (BNC)
video monitor
A and B mixed
video mixing
console
(hard disc)
recorder
monitor
video A
monitor
video B
Notice
The synchronization provided by connecting a
VIDEO OUT connector to a EXT SYNC IN connector
will only affect the video signal. If a synchronization
of the ARRICAM Cameras itself is required, please
see the dedicated explanations later in this chapter
under On Screen Display menu (Sub-menu CAMERA
SYNCED), page 189 or consult chapter 7 – Camera
Control Boxes (synchronization with the Speed
Control Box), page 299.
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THE MECHANICAL ADJUSTMENTS OF THE CCD
Notice
This operation should be done by the rental house
before delivering equipment. Once set, these adjustments should not move, but if adjustment does
become neccessary, the focus puller can improve the
alignment and the focus of the video image. Adjustments are made with a 1.5 mm metric hex wrench.
Caution!
Never use force.
CCD ADJUSTMENTS ON THE STUDIO VIDEO ASSIST
In order to access to the controls, first the cover must
be removed from the Video Assist by unscrewing two
screws with a 1.5 mm metric hex wrench.
Studio Video Assist CCD adjustment fig.5/19
CCD adjustments
cover retaining screws
S2
S1
S3
S4
Three screws allow the fine positioning of the CCD and
one screw (S4) moves it in and out to obtain the best
possible focus.
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Screw S1 moves the video image on the monitor horizontally.
Screw S2 and S3 rotate the image around a point
which is located in the middle of the left side respectively right side of the image. To shift the image vertically,
you will have to alternate the adjustments of both screws
S2 and S3 to obtain the desired position.
Studio Video Assist image adjustment fig.5/20
S1
S2
Video
image
of the
groundglass
S3
S1 adjustment
Image on the
video monitor
CCD ADJUSTMENT ON THE LITE VIDEO ASSIST
Four 1.5 mm screws to be turned with an metric hex
wrench allow the CCD adjustment on the Lite Video Assist.
Lite Video Assist image adjustment fig.5/21
Video
lens IRIS
Accessory shoe
CCD adjustment
screws
IRIS
FOCUS
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THE BNC MODE BUTTON AND THE THREE LEDS
See page 169 for explanations.
THE WHITE BALANCE BUTTON AND THE FOUR LEDS
By pushing the WHITE BAL button several times, you
cycle through the four options to adapt the Video Assists’
CCD to the lighting conditions (colour temperature) and
the photographic conditions (use of compensation or
coloured filter).
1. When shooting in daylight condition (about 5.600°K
natural daylight, HMI or blue filtered tungsten luminaries) and when no compensation filter is used, you
may obtain a good result in selecting OUTDOOR.
If a Wratten 85 or similar filter is used to compensate daylight because the film used is balanced for
3.200°K, selecting INDOOR will offer a good result.
2. When shooting in interior conditions (about 3.200°K
electrical light or studio halogen luminaries) and
when no coloured filter is used, you should obtain a
good result in selecting INDOOR.
3. By selecting AUTO, the electronics will adapt automatically the CCD in order to obtain a ”natural”
rendition of the scene.
Notice
When using the AUTO mode for adjusting the white
balance, one should be aware that the colour of the
Frameglow will affect the result. So, the more ”red
light” that surrounds the frame, the more cyan the
video picture will appear.
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4. A better result, specially when shooting in mixed
lighting situation, will be obtained by using the
MANUAL white balance adaptation. By using this
option, you are able to change the white balance
settings in the menu. For more details see the WB/
GAIN description on page 183.
THE VIDEO LENS IRIS CONTROL
To control the brightness of the video image, two parameters can be changed on the Video Assist: the video
gain setting and the video lens iris adjustment.
The lens of each Video Assist is equipped with an iris to
control the amount of light falling on the CCD. However, because of the very effective AGC (Automatic Gain
Control), which works over many f stops, it is suggested
to normally leave the Video iris fully open.
THE MGC (MANUAL GAIN CONTROL) BUTTON AND
THE LED
The gain is the electronic amplification of the video
signal. Higher gain provides a brighter image but the
video picture quality deteriorates with increased video
‘noise’. That may bother the Director and other on the set.
Beacause of this it is preferable to first set the iris of the
Video Assist lens wide open before increasing the gain
manually.
Since the Automatic Gain Control (AGC) averages the
image brightness, in some lighting situations (strong
backlight, for instance) Manual Gain Control (MGC) will
yield a better video image. Push the MGC button to toggle between Manual Gain Control (MGC LED ON) and
Automatic Gain Control (MGC LED OFF). When MGC
is ON, rotate (do not push it) the dial clockwise to
increase or counter-clockwise to decrease the video gain.
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Notice
If the video image looks too dark or if there is too
much electronic noise,
• first check the iris setting of the lens on the camera;
it should be set for the correct film exposure.
• secondly check the iris setting of the Video Assist;
it must be wide open.
• now check if the gain control is set on AGC.
If the video image is still too dark,
• it is possible that the video exposure time is set to
FILM (see submenu VIDEO CONFIG/EXPOS.TIME
on page 185), the shutter opening is very small
(e.g. 22.5°) or a high frame rate (e.g. 50 fps) is
selected.
• it is possible that a strong light is coming directly
into the lens (e.g. strong backlight from a window
or from the sun during sunset).
In these cases, switch to MGC (Manual Gain Control) and raise the gain a bit.
ON/OFF/CHECK/HIDE MENU SWITCH AND LED
Before switching ON the video system, first make sure
that the camera is powerded ON. Now move the ON/
OFF/CHECK/HIDE MENU switch on the Video Assist to
the ON position. The ON LED will light up.
CHECK OR HIDE THE MENU
To display a summary of all options chosen from the
menu while the OSD (On Screen Display) is not visible,
push the ON/OFF/CHECK/HIDE MENU switch all
the way down to CHECK/HIDE MENU. The OSD will
automatically fade out after a few sec. To hide the OSD
menu, push the ON/OFF/CHECK/HIDE MENU switch
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all the way down to CHECK/HIDE MENU. This
is useful if the image needs to be checked while selecting
options or making adjustments in the On Screen menu.
See the configuration summary on page 208.
THE MENU/STORE DIAL
In order to navigate through the elaborate menu of the
Video Assist functions, only handling one single userfriendly dial is needed. The dial can be pushed briefly
or longer (about 3 sec.) and turned to the left and to the
right. By means of these four operations, each one of the
video functions can be selected, activated, and stored.
Video Assist – menu/store dial fig.5/22
MGC
–
MGC
+
MENU/STORE
Notice
1. When the navigation function has not been
activated and the Manual Gain Control (MGC)
is ON, the dial serves to increase (by turning it
clockwise) or decrease (by turning it counterclockwise) the gain level.
2. As soon as the On Screen Display (OSD) is
activated (by having pushed the dial for about
3 sec.), there will always be data to all outputs in
order to be able to use the menu.
Caution!
By pushing the dial while the OSD is not visible,
the actual image will be stored in the Video Assist
memory, deleting the previous stored image.
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While the OSD menu is ON, no changes of the settings
by means of the buttons are possible. The data in the
inserted windows are not updated.
THE VIDEO ASSIST ON SCREEN DISPLAY (OSD)
Beside the ”normal video tap” function of the ARRICAM
Video Assist System, many features are offered to the
users in order to facilitate not only the work on the set, but
also the processes in post production houses.
In order to adjust the various settings, first you have to
make yourself familiar with the easy to use navigation
system. To navigate, only the MENU/STORE dial is
used; it is either pushed or turned.
Notice
No OSD is available while the camera is RUNNING.
By pushing the dial briefly while the OSD
is visible, you will activate the function or
option marked by the menu-cursor –> .
By pushing the dial for about 3 sec. – this
can be done at any time – you will either
open or close the On Screen Menu. While
closing the OSD, the latest displayed options
are automatically activated.
By turning the dial, you will either:
• move the menu-cursor –> ,
• move the character-cursor X ,
• change the option between e.g. ON , and
OFF , SMALL , and LARGE , etc.
• adjust a value, e.g. from 48 to 12 or
to 54 ,
• position a line, a frame or a window on
the display.
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THE MENU STRUCTURE
The menu is structured dynamically. This means that the
various related levels (Sub-menus) will appear automatically when a higher menu level is selected. The first level
– the Main Menu list (A) – will appear when the dial is
pushed for about 3 sec.
The cursor –> will face one of the Sub-menu titles. By
turning the dial, the cursor will scroll up and down.
Each of the Sub-menus offers different options. By pushing the dial, the selected Sub-menu will show its list of
options (B). Each option offers the possibility of selecting
one of several settings (C) listed on the third level.
On each displayed level, the option EXIT, is provided.
By selecting exit and pushing the dial shortly, you will
climb the program to the next superior level (D). When
you push more than 3 sec., the latest changes will be
activated and the OSD will fade out.
(A)
–> MENU
MENU
MENU
MENU
MENU
1
2
3
4
5
(B)
EXIT
(C)
OPTION
OPTION
–> OPTION
OPTION
1
2
3
4
EXIT
SET 1 = OFF
–> SET 2 = HIGH
SET 3 = 48
EXIT
(D)
SET 1 = ON
OFF
SET 2 = LOW
HIGH
SET 3 = XX
EXIT
(xx = 0 to 99)
THE CURSOR
While turning the dial, the cursor –> will move from line
to line. As soon as the desired option is reached,
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a short push on the dial will select it. Remember, if the
dial is pushed longer than 3 sec., the OSD will fade
out. When an option is selected, all its functions and
settings will appear in a list. Now a function or a setting
can be selected by turning the dial.
When the cursor –> shows a function, a push on the
dial will activate this function and the setting can be
chosen again by turning the dial. While pushing the
dial briefly, the selected setting is confirmed.
The navigation in the menu is very simple and, because
of its logical structure, can be learned in a few minutes.
THE SETTINGS
By turning the dial, the following changes can be made:
Changing of options: e.g. ON > OFF; LIGHT > DARK
Cycling several preset settings: e.g. SMALL > MEDIUM
> LARGE; DEFAULT > CONFIG USER1 > CONFIG
USER 2 > etc.
Changing of position: e.g. vertical shift, horizontal shift
Entering text: while turning the dial, the character-cursor
X will mutate to letters and numbers. As soon as the
desired character is On Screen, it will be saved and the
cursor will move left to the next possible place by pushing the dial briefly.
Leaving the OSD menu: There are two ways to exit the
menu:
1. To leave the actual menu level and to return to one
menu level higher, move the cursor to EXIT and push
the dial.
2. To close all menus and to leave the On Screen Display, push the dial for about 3 sec.
Notice
The menu can be left at any time.
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Caution!
The following menu description is related to the
Software Version V2.04 Dec. 2002. To be sure
that the latest software is installed, please check
it by selecting the Sub-menu CONFIG SET. See
page 207.
THE FIRST LEVEL – THE MAIN MENU
MAIN MENU
–> CONFIG = 1 (USR1
)
WB/GAIN
VIDEO CONFIG
FORMAT MARKING
COMPARE/STORE
TEXT INSERTER
VITC/WHITELINE
CONFIG SET
EXIT
THE SECOND AND FURTHER LEVELS –
THE SUB-MENUS
MAIN MENU
–> CONFIG = 1 (USR1
CONFIG
)
By pushing the MENU/STORE dial for about 3 sec.,
the first menu level will appear. On top of the menu
window, the name of the actual displayed level (here
MAIN MENU) is indicated.
In the first line the cursor shows CONFIG = 1 (USR1 )
. Beside the possibility to use the default configuration
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= 0 , the MAIN MENU offers the possibility of selecting
between six customised configurations available in the
Video Assist memory.
The settings of these six configurations (WB/GAIN,
VIDEO CONFIG, FORMAT MARKING, COMPARE/
STORE, TEXT INSERTER and VITC/WHITE LINE) will
be done with the Sub-menu CONFIG SET – see pages
182–209. There, the six individually preset configurations will automatically be numbered from 1 to 6 and
you may also add a name for them in the brackets. The
memory will save the configurations even when the camera is not powered.
Notice
To check a summary of the settings saved in the
memory (see page 209) of the selected configuration,
close the OSD by pushing the dial for 3 sec. and
push the ON/OFF/CHECK/HIDE MENU switch all
the way down to CHECK/HIDE MENU position.
MAIN MENU
WB/GAIN
–> WB/GAIN
While activating the WB/GAIN Sub-menu, you will be
able to manually adjust the colour balance and the gain
of the Video Assist. For ”normal use”, the selection of the
colour balance as well as the gain can be made using
the WHITE BAL button as well as the MGC button. The
OSD menu allows fine adjustments of all preset settings
besides the default one. By selecting e.g. IND. RED in
the WB=INDOOR Sub-menu, you will be able to alter
the factory presetting by reducing or raising the value in
a range of 0 to 99.
If the individual factory setting of the colour saturation is
e.g. 52, you will be able to change it from 52 to 0
(–52 steps) or 52 to 99 (+47 steps).
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In AUTOMATIC, the electronics will analyse the light
entering the camera and offer a neutral rendering of the
colours, e.g.
–> WB = AUTOMATIC
INDOOR
OUTDOOR
MANUAL
▼
▼
WB = MANUAL
MAN. RED = 50 + 00
MAN. BLUE = 50 + 00
WB = OUTDOOR
OUT. RED = 38 + 00
OUT. BLUE = 51 + 00
▼
WB = INDOOR
IND. RED = 52 + 00
IND. BLUE = 43 + 00
In the same way, the MANUAL GAIN can be adjusted
in a range from 0 to 99.
GAIN = AGC
= MGC
GAIN = MGC
MANUAL GAIN = 0
MAIN MENU
VIDEO CONFIG
–> VIDEO CONFIG
The VIDEO CONFIG Sub-menu allows the selection of
several options related either to the video image rendering, the signal provided by the Video Assist or the
synchronization of the camera.
MENU VIDEO CONFIG
–> FLICKERFREE
EXPOS. TIME
LINE INTERP.
Y/C (SVHS) DATA
MINI MON. DATA
VID SYNC
CAMERA SYNCED
PHASE 0 – 356
=
=
=
=
=
=
=
=
ON
FILM
ON
ON
OFF
EXT (NOT TC)
OFF
0.0
EXIT
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MAIN MENU
FLICKERFREE
VIDEO CONFIG
–> FLICKERFREE = ON
= OFF
The flicker effect on video monitor results from the difference between the frame rate of the film camera and
that of the Video Assist. In selecting the option ON, the
flicker will be fully eliminated. This is achieved by storing the digital image into a video frame storage while
the mirror is in the viewing position and then displaying
this picture in the correct timing of the video system. The
FLICKERFREE option works when the frame rate of the
camera is set faster than 1 fps.
Notice
The storage of the digital image causes a slight
delay, which is not desirable in some crucial time
conditions, e.g. motion control or shooting singers or
musicians with play-back sound. Therefore it is possible to select the FLICKERFREE = OFF option.This will
eliminate the delay at expense of the return of flicker.
Caution!
The time-code information such as time-code, user
bits, VITC and WHITELINE is not valid if FLICKERFREE = OFF is selected.
MAIN MENU
EXPOS. TIME
VIDEO CONFIG
–> EXPOS. TIME = FIXED
= FILM
When the mode FIXED is selected, the exposure time
of the CCD will automatically be calculated accordingly to the formula 1/(fps x 2) regardless whether the
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video standard is PAL or NTSC. The shutter opening is
considered 180° fixed. Example: the fps rate is 24; the
exposure time will be 1/(24 x 2) = 1/48 Sec.
In selecting the option FILM, the Video Assist electronics
calculates the film exposure time while the film camera
is in Standby status, by calculating to the preset frame
rate and the preset shutter aperture. So for example, if
30 fps and 90° shutter angle are selected, the resulting
exposure time will be 1/120 sec. In toggling between
FIXED and FILM exposure time, you will see a difference
in the image brightness.
A practical use of the option FILM is the ”video visualization” of motion blur and stroboscopic effect that will
be recorded on film.
HOW TO PREVIEW MOTION BLUR OR
STROBOSCOPIC EFFECT
When a fast moving object is filmed with a slow frame
rate and a wide open shutter angle, the object will
appear blurred on film. This is called motion blur. The
more motion blur will affect the picture, the less the
stroboscopic effect will be perceptible. The amount of
motion blur or stroboscopic effect generated by the combination of fps, shutter angle, camera movement and
object movement can be previewed with the ARRICAM
Video Assist System.
• Remove the magazine from the camera to save film.
• In the VIDEO CONFIG Sub-menu, set FLICKERFREE
to ON.
• In the VIDEO CONFIG Sub-menu, set EXPOS. TIME
to FILM.
• Exit the On Screen menu.
• RUN the camera.
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Now you see a close approximation of the motion blur
or the stroboscopic effect that will be exposed on film.
Varying degrees of motion blur can be achieved by
changing camera speed, shutter angle, lighting contrast and the speed with which objects move through
the image. Motion blur is most visible at slow camera
speeds and at wide open shutter angles (try for instance
6 fps and 180°). Stroboscopic effect is most visible
when the shutter angle is narrow (between 45° and
11,25°) and the object and/or the camera is/are moving fast.
MAIN MENU
LINE INTERP.
VIDEO CONFIG
–> LINE INTERP. = ON
= OFF
In order to enhance the quality of the Video Assist picture, you may virtually double the vertical resolution in
adding so called interpolated lines.
MAIN MENU
Y/C (SVHS) DATA
VIDEO CONFIG
–> Y/C (SVHS) DATA = ON
= OFF
By selecting ON, the video image supplied by the Y/C
(S-VHS) connector will include the data information.
MAIN MENU
MINI MON. DATA
VIDEO CONFIG
–> MINI MON. DATA = ON
= OFF
By selecting ON, the video image supplied by the On
Board Monitor connector will include the data information.
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MAIN MENU
VID SYNC
VIDEO CONFIG
–> VID SYNC = EXT (NOT TC)
= TC
With this menu, the reference used to synchronize the
Video Assist can be selected.
Notice
Without selecting CAMERA SYNCED ON (VID,
TC), this synchronization is only related to the Video
Assist, not to that of the camera! Therefore, the
external sync signal must be fed in the Video Assist
connector and not into the Speed Control Box.
While selecting EXT, the Video Assist will be synchronized to an external signal e.g. video or clock fed in the
EXT. SYNC IN BNC connector. The green LED located
next to the connector will light up to indicate that the
incoming synchronization signal is OK.
If EXT is selected, either a standard video composite or
a TTL (0 and 5 V) signal should be fed in the EXT SYNC
IN connector.
The range of frequencies is 25 or 50 Hz for the PAL
standard and 30 or 60 Hz for the NTSC standard.
A divergence smaller than ± 0.1% is tolerated. The
input impedance will automatically switch between
10 K Ω for TTL and 75 Ω for video signals.
If TC is selected, the reference used to synchronize the
Video Assist is generated by the In-camera Slate Box
(ISB). Therefore this box must be mounted on the camera
and the switch set to ON (TC mode). If no ISB is mounted or if the switch is not set to TC mode, this option will
not appear on the OSD.
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Caution!
If no usable external signal is fed to the EXT.
SYNC IN connector, the Video Assist will run on
its own internal oscillator.
The LED next to the connector will show by lighting green if the signal is suitable. The use of the
ARRI Pick-up Unit in connection with the Video
Assist connector is not possible.
MAIN MENU
CAMERA SYNCED
VIDEO CONFIG
–> CAMERA SYNCED = OFF
= VID
= TC
With this Sub-menu, the synchronization reference of the
film camera can be selected.
OFF means that the reference signal is provided by the
film camera’s own quartz crystal generator.
VID means that the film camera will use the video signal
for synchronization.
By selecting TC, the film camera will be synchronized
with the time-code generated in the In-camera Slate
Box.
Caution!
TC selection is only possible when an In-camera
Slate Box is connected.
Whenever the Video Assist is switched ON, the
CAMERA SYNCED function is always set to OFF
in order to avoid wrong speed.
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MAIN MENU
PHASE 0 – 356
VIDEO CONFIG
–> PHASE 0 – 356 = 0.0
When VID is selected in the CAMERA SYNCED Submenu, the next menu level PHASE 0 – 356 allows to
adjust the phase between the external sync signal and the
film camera. By turning the dial, the phase can be adjusted with increments of 3.6° in a range 0° to 356.4°.
MAIN MENU
FORMAT MARKING
–> FORMAT MARKING
The FORMAT MARKING Sub-menu allows to design
and insert one or two sets of frame lines – either individually or simultaneously – into the Video Assist image. As
well as the following already programmed and named
aspect ratios, the Sub-menu allows the design of a further twelve frames which can be labelled individually.
FORMAT No.
1
2
3
4
NAME
TV 4:3
TV 16:9
1.85
2.35
ASPECT RATIO
1:1.333
1:1.777
1:1.85
1:2.35
Even with the four listed frames, their sizes, their brightness and their positions on the TV screen can be adjusted. The positioning allows precise lining up the electronic frames with the Ground Glass Format Markings.
Notice
If the electronic Format Markings are not parallel to
the Ground Glass Format Markings, readjust the CCD
chip with the Adjusting screws as explained on
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page 173. Be aware that first the Ground Glass Format Markings must be positioned on the TV monitor by
means of the CCD chip adjustment before positioning
the generated frame lines. It is recommended to point
the film camera towards a plain, bright surface and to
turn OFF the Frameglow so that the Format Markings
on the Ground Glass are clearly visible.
Furthermore, the appearance of the surrounding area of
one of the selected frames can be adjusted accordingly
to the users needs.
MENU FORMAT MARKING
FORMAT 1
= FRAME
–> FORMAT 2
=
WHITELEVEL
OUTS. AREA
1(TV 4:3
)
OFF
= DARK
= BRIGHT
CONFIG FORMAT
1
RESET FORMAT
1 = YES
EXIT
The following explanations are valid for both FORMATs
and for all FRAMEs
MAIN MENU
FORMAT 1
–> = FRAME 1
(TV 4:3
MENU FORMAT MARKING
)
While FRAME is activated and the dial turned, all the
preset configurations related to this selected FORMAT
will appear cyclical.
OFF will appear at the end of the list; it can be activated if no frame saved under the selected FORMAT is
to be inserted.
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MAIN MENU
MENU FORMAT MARKING
–> WHITELEVEL = DARK
= MEDIUM
= BRIGHT
While WHITELEVEL is activated, the brightness of the
frame lines can be adjusted.
MAIN MENU
MENU FORMAT MARKING
–> OUTS. AREA =
=
=
=
BLACK
DARK
BRIGHT
VIDEO
While OUTS. AREA is activated, the brightness of the
surrounding of the selected frame can be adjusted.
While selecting VIDEO, the video image will appear
accordingly to the settings bright or dark. If BLACK is
selected, the surrounding will show no video images but
only a neutral black surface.
Notice
This function is only available if only FORMAT 1 or
FORMAT 2 is activated. No darkening function is
available if there is no FORMAT Marking or if two
FORMAT Markings are switched ON.
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MAIN MENU
MENU FORMAT MARKING
CONFIG FORMAT
MENU CONFIG FORMAT 1
NAME
=
1(TV 4:3
)
MOVE LINES
ALL
HORIZONTAL
–>
VERTICAL
LEFT
RIGHT
TOP
BOTTOM
EXIT
The Sub-menu CONFIG FORMAT 1 (or 2) allows the
design and labelling of a frame.
While NAME is activated, it is possible to select the
already displayed name, to clear it and to set a new one.
A cursor will indicate where characters can be placed.
While ALL is activated, turning the dial will either
increase or decrease the size of the frame.
While HORIZONTAL or VERTICAL is activated, the
whole frame can be positioned.
MAIN MENU
MENU FORMAT MARKING
CONFIG FORMAT
FORMAT 1
–> = FRAME 1
(TV 4:3
)
Beside the possibility to change the size and position of
a frame, each line (LEFT, RIGHT, TOP, BOTTOM) can
be positioned individually. How to write a CONFIG
NAME is described on page 207.
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MAIN MENU
MENU FORMAT MARKING
CONFIG FORMAT
–> RESET FORMAT = YES
= NO
= UNDO
While RESET FORMAT is activated, the actual frame
design can be reset to the factory default setting.
While selecting UNDO, the last changes will be
deleted and the previous setting activated.
UNDO is only available when the OSD has not been
left before.
MAIN MENU
COMPARE/STORE
–> COMPARE/STORE
The Video Assist allows the storage of one image in
its own memory (the stored image) and to compare it
with the image currently displayed (the live image). The
stored image will remain in the memory as long as the
Video Assist is powered and obviously as long as it is
not replaced by a new image.
MENU COMPARE STORE
–> VIEW MODE
=
LIVE
STORE IMAGE
CLEAR IMAGE
EXIT
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Three options are provided in the VIEW MODE:
LIVE the live image is shown on the video
monitor
STORED the stored image is shown on the video
monitor
COMPARE the live and the stored image are shown in
rapid alternation on the video monitor.
Notice
• Whenever the Video Assist is turned ON, the “live”
image is displayed.
• It is always possible, the dial by pushing for 1
sec., to store an image, even though the OSD is
not activated. Therefore it is not necessary to enter
the menu for storring an image.
• When showing the two images simultaneously, the
Video Assist will interlace the pictures. This option
offers the possibility to compare both images but a
moiré effect can occur in certain situations.
MAIN MENU
COMPARE/STORE
–> STORE IMAGE – STORE
DONE
While the menu-cursor points towards STORE, pushing
the dial briefly will store the actual image and DONE
will appear.
MAIN MENU
COMPARE/STORE
–> CLEAR IMAGE
While the menu-cursor points towards CLEAR, pushing
the dial briefly will delete the stored image.
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MAIN MENU
TEXT INSERTER
–> TEXT INSERTER
The Video Assist enables the display of a number of
windows containing assorted data on the video monitor.
In each window, the size and appearance of the data
can be set. The position of each window can also be
individually adjusted.
MENU TEXT INSERTER
–> SYSTEM/LDS/STATUS
TIME CODE
TC USER BITS
USER TEXT LINE
PULL DOWN
WHITELEVEL
BRIGHT
INVERS
OFF
SET TO DEF.
NO
=
=
=
While VERT: FINE POSITION is activated, all visible
data can be precisely positioned vertically.
MAIN MENU
TEXT INSERTER
SYSTEM/LDS/STATUS
SYSTEM LINE
LDS LINE
STATUS LINE
=
=
=
=
=
=
OFF
ON
OFF
ON
OFF
ON
VERTICAL POSITION
BACKGRD.
=
=
FILM COUNTER =
=
=
=
EXIT
BLACK/WHITE
VIDEO
REMAIN
FOOTAGE
TAKE
OFF
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While one of the three options has been activated,
you may, by turning and pushing the dial, choose if the
selected line should be inserted on the video screen or
not. Within the three windows, the following data will
appear:
Examples of displayed data
SYSTEM LINE - filter in the gate
- movement open
LDS LINE
- actual iris
- actual focal
- actual focus
- near (depth of field)
- far (depth of field)
or “no lens”
STATUS LINE - actual voltage of the power supply
- camera status
(RUN, STAND BY, NOT READY)
- shooting direction (FWD, REV)
- actual/preset fps
- actual shutter opening
- film length (remain, exposed, take)
While all three lines are selected and an In-camera
Slate Box is activated, the slate data will appear for a
few seconds in these lines at the beginning and end of
each take. Time-code and userbits have their own individual windows.
The three lines labelled SYSTEM, LDS and STATUS are
parts of one block. While one of the lines is activated,
the entire block will be moved by turning the dial at
once.
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Video Assist data – markings display
Generated
format
frame
surrounding
Time-code
fig.5/23
Format frame
surrounding
groundglass
Generated format
frame (1:1.78)
Userbits
Pull-down
User text line
11:24:30/03
Prod. Name
100297C1
Unit A
A1
Take 35
Scene 11/III
Filter in the gate
UP65
24.6 V
11+ 9/10
65mm
STBY
FWD
Crosshair
System line
7.17m(
0.0/24.0 fps
4.20m–
180.0
22.10m)
267 m
Image area
LDS line
Status line
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While BACKGRD is activated, either the video image
or a box can be selected. The background box will be
black or white depending if the INVERSE option has
been selected OFF or ON.
While one of the windows is activated, e.g. the
SYSTEM LINE, its background colour can be switched
between black or white.
In the STATUS LINE, a FILM COUNTER will display
either REMAIN (raw stock length), FOOTAGE (exposed
film length), TAKE (length of the last take) or OFF (no
data are shown). Depending on the preset unit on the
magazine, either “meters” or “feet” will be shown. If the
counter is set to TAKE, also the amount of frames can be
displayed.
MAIN MENU
TEXT INSERTER
TIME CODE
TC USER BITS
USER TEXT LINE
PULL DOWN
TIME CODE
The time-code (TC) is the identification of a video image
in relation to the time of its generation. To create a timecode, the In-camera Slate Box electronics must be set
with a clock.
If no In-camera Slate Box is connected to the camera, or
if the ISB switch is not set to TC, this option will not be
shown on the OSD.
Caution!
It is recommended to check the requirements of
all facilities involved in post-production prior to
shooting.
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The ARRICAM Video Assist can insert the film camera’s
time-code into the video image to create a direct link to
the post-production. It is possible to insert the time-code,
which is related to the film camera speed e.g. 24 fps
or to a time-code which counts according to the type of
Video Assist used: 25 full video frames per sec. with PAL
or 30 full video frames per sec. with NTSC.
Several Video Assists can be either synchronized or
individually set by means of the same clock. If a number
of Video Assists are synchronized, one will be called
the master and the other ones slaves. So, e.g., one of
the ARRICAM Cameras or the sound recorder can be
the master – the other cameras will be slaved. If the
ARRICAM Cameras are equipped with In-camera Slate
Boxes, no permanent cable connection is necessary (to
maintain synchronization) after having set the internal
clocks – see page 319, chapter 8 – In-camera Slate
System. The time-code identification numbers contain
two digits for the hours, two digits for the minutes, two
digits for the seconds and two digits for the frames. The
last two numbers are provided by a counter.
THE FRAME COUNTER
This counter can be set to count either the FILM or the
VIDEO frames. Depending on the preset fps, the FILM
counter will count from 0 to the maximal frame rate;
e.g. if the camera is set to 35 fps, it will count from 0 to
34. When it is set to VIDEO, the counter will display the
amount of video fields.
Very often the camera is set to RUN at a different frame
rate than the video system. In areas with NTSC video
standard for example, the film camera would RUN at
24 fps whereas the video system works with 30 full
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video frames per sec. In order to adapt it to the specific
needs, there are two different time-code formats possible.
To have the time-code related to the film camera, select
the mode FRAME COUNTER FILM, which is often
referred to as ”film related time-code”. In this mode, the
frame counter of the time-code (the last two digits of the
TC display) is increased by 1 if the film is advanced by
one frame e.g. 24 times in a sec. at 24 fps. By this, it
is easy to identify one particular film frame by looking
at the video image. On the other hand, this mode will
create an unusual time-code count because some video
images are duplicated to cope with the different frame
rates of the video and the film camera. These repeated
images will get duplicated time-code words which will
create error messages on some time-code readers.
To relate the time-code count to the video system, select
mode FRAME COUNTER VIDEO. This is often referred
to as ”video related time-code”. Every full video frame
will advance the time-code by e.g. 25 times a sec. in
PAL or 30 times a sec. in NTSC. By this the ARRICAM
Video Assist creates a standard time-code. On the other
hand, it is more difficult to get the link back to the timecode, whose “start cue” and “end cue” was exposed on
film by the ISB. To get a reliable relation, it is necessary
to utilize the Pull-down – see page 202 – or Whiteline flag information – see page 205.
At every full sec., both time-code counts are identical!
Notice
The FRAME COUNTER FILM is identified with
a slash: 11:24:30/03
The FRAME COUNTER VIDEO is identified with
a colon: 11:24:30:03
While the camera is not RUNNING or when the
time-code Generator built into the connected ISB
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is not working properly, two symbols will appear
instead of the frame counter. 11:24:30/VV
**
Caution!
• When no In-camera Slate Box is installed on
the camera, no TC window is available.
• Time-code is only valid when the option
FLICKERFREE is set to ON! – see page 185.
THE USERBITS
As well as the eight digits of the time-code, a further
eight digits can be used for additional information.
These eight digits are called userbits (UB) because the
user can define the kind of displayed information. Userbits can be entered in the system either with a handheld
PC/laptop or by means of a time-code generator. Userbits can contain the numbers 0–9 and the letters A–F.
Example:
Video Assist time-code fig.5/24
time-code
11:24:30/03
hours minutes seconds frames
userbits
userbits
100297C1
free definable figures
THE PULL-DOWN
The Video Assist can generate information on whether
the current video image corresponds with a new film
frame or it is a repeated video image. The pull-down
information displays it in man readable form.
All Video Assists are based either on PAL or NTSC
video standard, with a fixed video frequency of either
25 full video frames per second with PAL or
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29.97 full video frames per sec. with NTSC. The frame
rate of the film camera on the other hand can be selected over a wide range. At every film frame rate which
is different from the video frequency, the Video Assist
has to add repeated video fields (1 field is 1/2 video
frame) to compensate for the different frame rate. In
practice the most important case is a film camera frame
rate of 23.976 fps and a NTSC Video Assist. This
creates a situation described in the fig 5/25.
From the first film frame, two video fields are derived,
the second film frame, three video fields are derived,
from the next film frame, two video fields and so on.
The pull-down information is created as follows:
Every time, the video field corresponds with a new film
frame, the letter will change either from A to B to A and
the number will be set to 1. As long as no new film
frame is taken, the video fields are counted, beginning
from 1. Consequently A2 is the first repetition of A1,
B2 would be the first repetition of B1, B3 would be
the second repetition. In spite of the fact that the name
pull-down comes from the working practice in the NTSC
system, where on a telecine the film is RUNNING on
23.976 fps and gets converted to 29.97 fps, the definition of pull-down information on the Video Assist can
also be applied to PAL and to film frame rates other than
23.976 fps.
Like all man readable information, the data can be
inserted as a window on the monitor.
Notice
Pull-down information is only inserted when time-code
is actually exposed on film. If there is no time-code
exposing, for example because the film camera is
not RUNNING on a time-code speed, only A1 will
be displayed.
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Frame 1
Film frames
MAIN MENU
▼
▼
▼
B1
▼
A2
▼
A1
▼
B3
▼
Frame 2
B2
B2
B1
▼
Frame 3
B3
A2
▼
Frame 4
▼
Pull-down diagram fig.5/25
A1
Video fields
TEXT INSERTER
–> USER TEXT LINE
While USER TEXT LINE is activated, a new line and a
character-cursor X appear. The line has the width of
the video screen.
–> EDIT TEXT
In activating EDIT TEXT, three short lines appear. By turning the dial, the cursor moves back and forward. By
pushing the dial, a character appears on the position
marked by the cursor. While turning the dial, you will be
able to select a letter, a number or a symbol. By pushing the dial, the chosen character will be saved and the
cursor will be activated again.
Notice
While writing the user text, briefly push the dial,
otherwise the OSD menu will fade out.
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WINDOWS ADJUSTMENTS
Following settings and adjustments can be done for
most Sub-menu windows and characters:
• While one window is activated, you may select ON
to display it or OFF to fade it out.
• While either HORIZONTAL or VERTICAL POSITION
is activated, the position of the windows can be
adjusted accordingly. By activating VERT. FINE POSITION a precisely vertical positioning of all windows
is possible.
• Most characters or windows can be set SMALL,
MEDIUM or LARGE when SIZE is activated.
• The characters or windows can be shown with either
black on white background or reverse.
• The brightness of the white background or digits can
be adjusted when WHITE LEVEL is activated.
MAIN MENU
VITC/WHITELINE
–> VITC/WHITELINE
VITC
Time-code information can be man and machine readable – the first one is the TC window as described on
page 199, the other takes the form of LTC. (Linear Timecode) or VITC. (Vertical Interval Time-code). The Video
Assist can convert the visible TC into a VITC and place
it in non active video lines.
WHITELINE
The Video Assist can generate information on whether
the current video image corresponds with a new film
frame or whether it is a repeated video image. The
WHITELINE flag displays this in machine readable form.
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Notice
The time-code that is used (film related TC or video
related TC) depends on the settings of the line
FRAME COUNTER in the Sub-menu TIME CODE
– see page 200.
VITC and WHITELINE are only outputted if the timecode is actually exposed on film. This happens only
when the camera is equipped with the In-camera
Slate Box and the camera RUNS at a TC speed.
The WHITELINE has priority over the VITC lines. If the
same line is selected for WHITELINE as well as for
VITC, WHITELINE will appear.
MENU VITC/WHITELINE
–> VITC
= ON
LINE 1
LINE 2
WHITELINE
LINE
=
=
10
12
=
11
= ON
EXIT
Both lines, the VITC and the WHITELINE, can be individually activated or deactivated by setting ON or OFF
in the Sub-menu.
Both lines can be positioned vertically by turning the
dial when the related LINE is activated.
The insertion of the VITC can be a single line or multiple
lines between line 6 and 22. If the same position is
selected for LINE 1 and LINE 2, the insertion will be a
single line, otherwise multiple lines.
The insertion of the single WHITELINE must be chosen
between line 6 and 22. Avoid placing the WHITELINE
on the same position as the VITC line(s).
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MAIN MENU
CONFIG SET
–> CONFIG SET
By pushing the dial, the option to (re)name a configuration is given. By turning the dial, you will cycle the
six names already saved in the memory. As soon as a
name appears that should be changed, you may edit it
by activating EDIT NAME.
SET NAME INDIVIDUAL
NAME = 4 (TEST
)
> x
<
The name can be deleted (CLEAR NAME) and the
selected configuration can be put to TO DEFAULT.
Whilst activated, you will have three options to chose
from: YES, NO or UNDO.
Furthermore, if you would like to erase a setting and
replace it by the default setting, you will be asked if you
are sure about it.
The TO DEFAULT configuration cannot be renamed.
In choosing SET LIKE, you can assign a previous setting
to the actual configuration.
MENU CONFIG SET
SW VERSION
CONFIG
=
=
1.11
2(USR2
EDIT NAME
CLEAR NAME
=
UNDO
SET LIKE
(NO
TO DEFAULT
=
)
)
NO
EXIT
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MAIN MENU
EXIT
–> EXIT
You may select EXIT at the bottom of each menu level
(Main or Sub-menus) to leave the actual level and to
access one menu level higher. While being in the Main
Menu, you will close the OSD by activating EXIT.
CHECKING THE CONFIGURATION
While the OSD menu is OFF and the ON/OFF/
CHECK/HIDE MENU switch is pressed all the way
down, a summary of the actual configuration, of the
VIDEO STATUS, will be screened.
EXP
FLCK
FORMAT 1
FORMAT 2
GAIN
LDS
LIP
MODE
PD
STATUS
SYS. MSG
TC
UB
UT
VITC
WB
WL
Video exposure mode
Flickerfree
Frame 1 aspect ratio
Frame 2 aspect ratio
Manual CG or Automatic CG
LDS Line
Line Interpolation
Compare LIVE or STORE
Pull-down
Status Line
System Line
Time-code
Userbits
User Text
Vertical Interval Time-code
White Balance
Whiteline
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Example:
VIDEO STATUS
WB
FLCK
EXP
= AUTOMATIC
= ON
= FILM
FORMAT
FORMAT
UT
UB
1
2
= OFF
= OFF
MODE =
LIP
=
= 1
SYS. MSG
= OFFSTATUS
=
LDS
TC = OFF
WL = ON
PD
VITC
=
=
LIVE
ON
= ON
ON
= ON
OFF
ON
EXIT
Caution!
The OSD will be switched OFF automatically
when the camera starts UP.
THE ON BOARD VIDEO MONITORS
ARRI provides three ARRI LCD Colour Monitors which
can be mounted on and connected to both Video
Assists. The 2” On Board Monitor is available in either
NTSC or PAL standard. Be sure to have the correct one
before leaving the rental house. The 6.6” On Board
Monitor operates both video standards.
Caution!
ARRICAM On Board Monitors are not compatible
with the MOVIECAM Video Assist.
The 2” ON BOARD VIDEO MONITOR
The 2” On Board Monitor is mounted on a ball joint.
This attachment, fixed on a small bracket, can be
mounted on several Accessory shoes on both cameras
where it is tightened by a screw. The tension of the ball
joint can be regulated by turning the ring. Turn the On
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Board Monitor ON and OFF with the ON/OFF switch.
Colour saturation, colour hue (NTSC only), brightness
and contrast can be adjusted with four rotary knobs.
2“ On Board Monitor fig.5/26
Contrast
Brightness
Colour
saturation
Colour hue
(NTSC only)
On/off switch
Tightening
screw
Tension control
Caution!
This 2” Video Monitor is primarily concieved for
shooting Standard 35 format. While shooting in a
Super 35 format smalll portions of the image are
not visible on the left and right.
The 6.6” VIDEO ON BOARD MONITOR
The 6.6” On Board Monitor is mounted on an extension
arm. This fixture can be mounted on several Accessory
shoes on both cameras and is capable of hanging the
On Board Monitor upside down. In this case, push the
UPSIDE DOWN button to flip the image.
Caution!
Because of the possible extension of the articulated arm, secure firmly the two tightening screws.
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6.6“ On Board Monitor
fig.5/27
Menu on button
Upside down button
On/off switch
Tightening screws
Menu
Menu
Menu
Menu
button
button
button
button
(+) and contrast +
(-) and contrast (UP) and brightness +
(DOWN) and brightness -
CONNECTING THE ON BOARD MONITORS
Be sure that the 2” On Board Monitor has the same
standard (PAL, NTSC) as the Video Assist. The 6.6”
On Board Monitor automatically detects and switches
between PAL and NTSC standards.
2“ On Board Monitor, mounting
fig.5/28
Studio Video Assist
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A collapsible Sunshade can be attached with velcro to
the 6.6“ Video Monitor.
6.6“ On Board Monitor, connecting
2“ On Board Monitor, mounting
fig.5/29
fig.5/30
Studio Video Assist
Lite Video Assist
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6.6“ On Board Monitor, mounting
fig.5/31
Lite Video Assist
Caution!
Be sure that the camera is not powered when
connecting or disconnecting a Video Monitor.
Notice
While powering up a On Board Monitor, the image
on an external monitor might disappear briefly.
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CONTROL MENU OF THE 6.6” ON BOARD MONITOR
Preliminary remark
Beside the menu of the ARRICAM Video Assist, the 6.6”
On Board Monitor’s adjustments can also be monitored
by means of its own menu displayed on the screen (OSD).
After the On Board Monitor is powered up, push the
menu button on the right side to open the On Screen
Display (OSD).
To leave the OSD, wait for it to time out. The time can
be set in the Menu utilities/OSD time out.
The OSD allows the configuration of the video image
on the On Board Monitor. This local configuration will
not influence the images on other video screens. The
menu is structured in two levels: on the left side the Main
Menu and on the right the Sub-menus.
Four buttons make it easy to navigate through the menu
and to set all the parameters. The principle of navigation is very simple: first select and confirm one of the
four options in the Main Menu by pushing the contrast+
and contrast- buttons. To change into the related Sub-menu, press the menu button. After having selected and
activated one of the parameters to be changed, the
desired setting can be done by pushing the brightness+
and brightness- buttons. The activated menu or parameter will be highlighted.
By leaving the Main Menu, a Sub-menu or the OSD, all
changes will be saved and activated. This happens also
when the OSD turns OFF automatically as programmed
in time out in the Sub-menu utilities.
Notice
By means of the four buttons, the brightness and the
contrast can also be adjusted directly – entering the
OSD menu is therefore not necessary.
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brightness
50
–
+
picture
contrast
50
–
+
advanced
color
50
–
+
utilities
tint
50
–
+
options
sharpness
50
–
scaling
+
1
In the picture Main Menu:
Being in the Sub-menus brightness, contrast, color
(saturation), tint (colour hue) and sharpness you may
adjust the parameters in a range from 0 to 100%.
The default is 50%.
The Sub-menu scaling enables the selection
between several default aspect ratios: 1 = 1:1.333,
2 = 1:1.777
gamma
linear
picture
color temp
5000 7300 9300 user
crt
advanced
user red
–
+
utilities
user green
–
+
options
user blue
–
+
In the advanced menu:
The Sub-menu gamma allows following adjustments:
In selecting linear, the rendition of the video picture
will maintain the characteristics of the signal delivered by the Video Assist. The displayed option crt is
not valid for this monitor.
The Sub-menu color temp enables the following
adjustments: By selecting 5000, the whites will look
“warmer” than by selecting a higher colour temperature. When user is selected in the color temp Submenu, the amount of each primary colour can be set
in a range from 0 to 100%.
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osd timeout
35 seconds
picture
osd background
opaque
translucent
advanced
test pattern
off
color bars
utilities
factory reset
options
power on time
press <+> to select
75:39
backlight on time
GUL C14G04V7
ROM: C14F03V1
In the utilities menu
After the last change, the OSD will stay visible for
the duration preset here. After the OSD times out, all
changes will automatically be saved.
Depending on the osd background setting, the data
will appear in a box or on the video image.
The Sub-menu test pattern switches on color bars to
calibrate the On Board Monitor.
By pressing “+” all settings will be replaced by factory default values.
In the Sub-menus power on time and backlight on
time as well as in the last Sub-menu line, information
for the Maintenance Personnel will be displayed.
osd
picture
osd h pos
50 –
+
advanced
osd v pos
48 –
+
utilities
language
options
backlight
98 –
dpms
blank color
+
on
red
green
off
blue
black
In the option menu
Select the position of the OSD by activating one of
the icons.
The horizontal and vertical position of the OSD can
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be precisely adjusted by means of these two settings.
Select the language of the OSD: either english or
german.
Set the intensity of the screen backlight.
Sub-menu dpms is reserved for ARRICAM Maintenance Personnel.
Select the colour of the screen when no video signal
is supplied to the On Board Monitor.
Caution!
The default setting of the backlight is 50%.
By increasing this setting, the video image will
appear brighter but the power consumption will
increase. Therefore you should first adjust the
brightness of the image before altering the
backlight setting.
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THE STUDIO READOUT, THE LENS DATA SYSTEM
6
THE LENS DATA DISPLAY
The LDD Screen – feet and inches
The LDD Screen – metric
camera is stand by
camera is inching
camera is stand by – Lens Data System not initiated
camera is not ready
camera is running
camera is stand by – focus marks setting
THE LENS DATA DISPLAY
The LDD-FP Lens/Status Screen – metric
The LDD-FP Lens/Status Screen – feet and inches
camera is stand by
camera is inching
no cam status
short cam status
camera is not ready
camera is running
long cam status
option menu
The Studio Readout
Although the Studio Readout is not a component of the
viewfinder system but its mounting is only possible on
top of a Studio Viewfinder.
MOUNTING THE STUDIO READOUT
After having removed – by unscrewing one 3 mm hex
screw – the cover from the top of the Studio Viewfinder,
place the Studio Readout on the Viewfinder and fix it
firmly by tightening the screw. By placing the 3 mm metric hex wrench in the access holes, the Studio
Viewfinder can be removed or fixed to the camera without having to remove the Studio Readout first.
Studio Readout fig.6/1
FUNCTION OF THE STUDIO READOUT
On both sides of the Studio Readout, the FPS display as
well as a RUN LED are provided. The FPS displays will
either show the actual frame rate or other info – please
consult the related list of messages in chapter 1 on
page 44 dedicated to the FPS displays.
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Studio Readout fig.6/2
Lens Data Display connector
RUN LED
FPS
display
Accessory shoe
FPS
display
bat LED
BRIGHT button
RESET button
RUN
LED
Camera right side
RAW STOCK
button
Film length display
SHUTTER display
Accessory shoe
Camera left side
THE LEDS
glows green
glows red
off
RUN LED
while the camera is in STAND BY status or when the
camera is not powered
camera is RUNNING at the preset frame rate
camera is RUNNING UP or DOWN, incl. the lap
of time used for the In-camera Slate exposing,
while the camera is NOT READY
BAT LED
while the camera is in STAND BY status or when the
camera is not powered
when the battery supplies less than e.g. 20.6 V
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Studio Readout fig.6/3
Top view
Accessory shoe
Mounting screw
Access holes for Studio
Viewfinder mounting screws
Lens Data Display
connector
On the left side only, further displays also show the
actual shutter opening angle and the exposed film
length.
While the button RAW STOCK is pressed, the amount
of raw stock will be displayed instead of the exposed
film length. When pushing the RESET button (it has the
identical function as the one located on the Camera
Control Panels, except the Studio Standard Panel) for
more than three seconds, the exposed film counter will
be reset and the display will show 0000 .
By pushing the BRIGHT button the luminosity of all displays will be changed in the following order: dim brightness, medium brightness, maximum brightness.
Notice
The selected brightness level will be memorised in
the camera and will be used if, at least, any of the
following components is used: the Studio Readout,
the Speed Control Box, the Manual Control Box or
the Timing Shift Box. If none of these components is
used, the brightness of the camera displays will automatically be set on the maximum level.
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The Lens Data System (LDS)
Based on a concept by Fritz Gabriel Bauer, the Lens
Data System was revealed to the industry at the Cinec
exhibition 2000. Then it was considered to be an absolute technical novelty in the world of cinematography.
The system is based on the transmission of parameters
of the lens to the movie camera and vice versa.
FUNCTIONS OF THE LENS DATA SYSTEM
The main function of the Lens Data System is to show
on one of the Lens Data Displays all actual parameters
set on the lens as well as on the camera. The Lens Data
Display – Focus Puller (LDD-FP) is smaller then the LDD
in size but similar in function. Perfect replicas of the
lens barrels – the focal length (fixed or variable), the iris
aperture and the focus distance will accurately show
the actual settings. Furthermore, not only does the LDS
automatically calculate and display the actual depth of
field graphically as well as with figures, it also allows
the camera assistant to place and store focus marks
on the focus scale. In addition to monitoring the lens
settings, several camera parameters such as the frame
rate, the shutter opening, the amount of exposed film
and the raw stock as well as the camera and battery
status (RUN, Standby, Voltage, etc.), the LDS will help
the focus puller. By means of the buttons located on the
left side of the Displays, several functions like setting the
unit of measurement (meter/feet) or placing Marks on
the focus scale can be done. Last but not least, a new
Focus Tracking option allows the electronic measurement
and display focus distances and also remote control the
lens motors so the lens will automatically focus on the
subject. (See Focus Tracking section at the end of this
chapter).
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Remark: this option is not intended to be an auto-focus
and certainly does not replace the traditional focus puller’s job. This option is just a new tool intended to help
the professional camera assistant in certain situations.
LDD Screen fig.6/4
LDD-FP Lens Screen fig.6/5
LDD-FP Status Screen fig.6/6
Focus/iris configuration
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The modular Lens Data System is based on various components:
1. LDS Lens
2. Lens Data Box (Studio-LDB, LT-LDB)
3. Lens Data Display (LDD, LDD-FP)
1. LDS Lenses
LDS Lens fig.6/7
LDS contacts
Some of the most renowned manufacturers, such as
ZEISS and COOKE, produce prime and zoom lenses
exclusively for the ARRICAM Cameras which allow electronic transmission of data such as the focal length, the
iris aperture, the focus distance as well as other optical
characteristics. In the mount of LDS labelled Objectives,
a set of contacts is integrated. Because two sets of contacts are provided in the camera lens port, the LDS Lens
can be mounted either in the 3 o’clock or 12 o’clock
position. This enables the placement of the lens’ index
lines in the most convenient position for the camera
crew. Suitable contacts are provided in the lens ports
of all ARRICAM Cameras as well as in the ARRI 435
Advanced. Currently, the ZEISS Ultra Primes, the ZEISS
Variable Primes and the COOKE S4 Lenses are available with the LDS function. More lenses, e.g. zooms from
COOKE and ANGENIEUX, are in preparation.
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Notice
In order to protect the LDS Lens mount – especially
the sensitive contact pins – always place carefully the
adequate cover on the mount, when ever the lens is
not on the camera.
2. Lens Data Boxes (Studio & Lite)
The Lens Data Box is the central processing point for the
signals from the Lens Control System (LCS) and
from the Lens Data System (LDS). Specially designed
to fit each ARRICAM body, two Lens Data Boxes are
supplied. Different in size and shape but identical in
function, both Boxes control lens motors, supply the Lens
Data Display with information and manage the wireless connection to the ARRI LCS components, like the
hand units for focus, zoom, iris and camera control. A
cable connection to the hand units is possible with the
ARRI WHA-2 & 3. Both ARRI CLM-1 and ARRI CLM-2
motors can be connected to the Lens Data Boxes. The
CLM-1 motor must be linked to the LCS connectors and
the CLM-2 motors to the three dedicated connectors
labelled FOCUS, IRIS and ZOOM.
Notice
In order to use the In-camera Slate Box (ISB) with the
Lite, the ISB must be fixed to the Lite Lens Data Box.
COMPATIBILITY
The Lens Data Boxes are not only equipped with connectors for using a wired remote control system, but also
with a transmitter/receiver (transceiver) which enables
wireless remote control function. All remote control units
including the Wireless Main Unit (WMU-1) attached
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with either the Wireless Remote Control (WRC-1) or
with the Wireless Focus/Iris Control Unit (WFU-1)
and/or the Wireless Zoom Control Unit (WZU-1) are
compatible with both Lens Data Boxes. The Controlled
Lens Motor (CLM-1 and CLM-2) but also most of the
components of the wired Lens Control System (LCS) are
also compatible.
Caution!
• Because only one WHA-2 can be connected
by cable to the Lens Data Box the simultaneous
use of a second WHA-2 must be performed
either wireless or via a cable connected to the
Camera Accessory Connector (CAC).
• The ARRI LCS component Focus Iris Unit (FIU-1)
is not compatible with the ARRICAM Lens Data
System.
Studio-Lens Data Box fig.6/8
Removable
antenna
LDS ready LED
UNLOCK
Radio channel selector
0
Radio transmission LED
LCS connectors
Motor control LEDs
Lens motor direction
selectors
CLM-2 lens motor
connectors
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Lite - Lens Data Box fig.6/9
Removable
antenna
Radio channel
selector
LDS ready LED
LCS
connectors
Radio
transmission
LED
Motor control
LEDs
CLM-2
lens motor
connectors
Lens motor
direction selectors
LDB mounting
screw
ISB cover
mounting screw
MOUNTING OF THE LENS DATA BOXES
Please note that the multiple-pin connectors on both Lens
Data Boxes are mounted freely in order to facilitate the
connection to the cameras.
Caution!
Like all other electronic components, be sure that
the camera MAIN switch is OFF before connecting the Lens Data Box.
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MOUNTING OF THE STUDIO LENS DATA BOX
To mount the Studio Lens Data B on the ARRICAM Studio, you have first to remove the protecting cover. To do
this, push the release knob and slide the cover towards
the front of the camera to remove it. Place the Studio
Lens Data Box on the guiding assembly and slide it
back until it sits firmly.
Studio Lens Data Box mounting fig.6/10
➔
1.
➡➡ 2.
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STUDIO LENS DATA BOX ADAPTER
Under some circumstances, it is preferable to mount the
Studio Lens Data Box away from the Studio body. The
Studio Lens Data Box Adapter enables its mounting on a
support system like Sachtler Artemis or Steadicam.
The adapter consists of two mounting plates and a
1 m/3 ft Cable. The Studio Lens Data Box Camera
Plate slides onto the camera instead of the Studio Lens
Data Box itself. The Studio Lens Data Box Adapter Plate
is connected to the Studio Lens Data Box. The cable
connects the two Plates. An ARRI Dovetail Shoe can be
attached to one of the three 3/8” threaded holes of
the Studio Lens Data Box Adapter Plate – see chapter 9
– supports, page 351.
Studio Lens Data Box Adapter
fig.6/11
Studio Lens Data Box
Adapter Plate
Studio Lens
Data Box
Camera Plate
Cable
KC-75-S
(1 m/3 ft)
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MOUNTING OF THE LITE LENS DATA BOX
Lite Lens Data Box mounting fig.6/12
Lens Data Box
cover
Connectors
Mounting screw
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In order to mount the Lite Lens Data Box on the
ARRICAM Lite, first remove the Lens Data Box Cover
from the camera right side with a 3mm metric hex
wrench. Now carefully place the Lite Lens Data Box on
the camera, and fasten it with the mounting screw.
CONNECTORS AND CONTROL LEDS
Besides the connectors that connect with the camera
both Lens Data Boxes are equipped with three sockets
solely dedicated to the connection of CLM-2 motors.
Caution!
Only ARRI CLM-2 motors can be plugged in these
three connectors.
Beside these three sockets, there are two connectors
labelled LCS allow the connection of the CLM-1lens
motors. Also one Wired Handgrip Attachment WHA-2 can
be connected there via the Cables LC-M1-SP-S or LC-Z1-S.
Lens Data Box with WHA 2
fig.6/13
LCS connectors
Focus/iris
control WFU-1
Studio
Lens Data
Box
WHA-2
connector
CLM-2 connectors
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CONNECTING WIRELESS CONTOL DEVICES
In order for correct wireless operation, please note that
an antenna must be installed on both transmission devices, before activating them in the following order:
1. On the Lens Data Box: set the RF CHANNEL selector
to the desired channel.
2. On the camera: set the MAIN switch to ON
3. If a Lens Data Display is installed: push the ON/OFF
button to activate the Display
4. Now, the RF LED on the Lens Data Box will alternately blink red/green until the transceiver initialization
is done. As soon as the LED blinks green, the LDB is
ready for communication.
5. ONLY NOW, should the WMU-1 handset be turned
ON.
On the Lite Lens Data Box only there is a connector for
the In-camera Slate Box (ISB). It should always be protected by the cover when the ISB is not mounted.
THE LEDS
= LED glows red
= LED glows green
= LED blinks red
= LED blinks green
= LED blinks fast red
= LED blinks alternately
red/green
= is off (grey)
Ready LED
Indicates that a LDS Lens has been detected and
the data communication is working well.
Indicates that the LDS Lens has been recognised
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but there is a problem. To locate the problem,
check the system with another lens.
Focus, Zoom, Iris LEDs
Indicates that lens motor control is ready.
Indicates that one of the limits of the barrel has
been reached, e.g. iris barrel is at T 22 or the
focus barrel has reached infinity.
Rf LED (radio transmission)
The RF CHANNEL selector is set to position “9”
which means that the transceiver is switched OFF
(or the camera is not powered).
Shows the initialization of the transceiver
The transceiver is ready
As soon as a remote control unit, e.g. ARRI
WMU-1 is ON, the RF LED shows that the radio
connection is working correctly.
When the RF selector has been changed while the
camera is powered
Indicates that radio transmission is not
operational
Indicates that RF signal interference has disturbed
the correct functioning of the LDB transceiver, e.g.
another Lens Data Box or Universal Motor Controller (UMC) is set to the same channel.
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Caution!
The rf channel should ideally be selected on the
Lens Data Box before the camera is powered
ON. Slowly turning the RF CHANNEL selector while the camera is powered will cause a
problem and the RF LED will light up red. In this
case, switch the transceiver OFF (turn the selector
quickly to “9”), then – after about 3 sec. – quickly
turn the selector to the desired channel.
Notice
• This warning will not appear when two WMUs
are connected wirelessly to the Lens Data Box
(same channel) in order to separately control e.g.
the zoom and the focus.
• On the WMU-1, the LED will light up red when
an unsuitable channel has been set with the RF
CHANNEL selector.
RF Channel selector
Set the RF CHANNEL selector to the same channel as
that on the Wireless Main Unit (WMU). To do so, first
set it to position “9” (radio power OFF), then to the
desired channel. The following list indicates which channels are legal in the various countries.
0, 1,
2
3
4
5, 6
7
9
USA, Canada, Mexico, New Zealand,
Europe except France and Spain
Europe except Spain
USA, Canada, Mexico, New Zealand,
France
Japan
Australia
Spain
radio power OFF
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If no wireless lens control is used, set the RF CHANNEL
selector on the Lens Data Box to “9”. This will turn the
transceiver OFF and save power.
CONNECTING LENS MOTORS TO THE LENS DATA
BOXES
Notice
As usually recommended when installing or removing
electrical devices, turn the camera MAIN switch OFF
before connecting or disconnecting motors and/or
remote controls to/from the Lens Data Boxes.
The combined use of both types of ARRI CLM motors
is possible.
ARRI CLM-1 MOTORS
Daisy chain CLM-1 motors together and connect the last
in line to one of the LCS connectors on the Lens Data
Box. If a CLM-1 motor is to the left of the lens, set the
DIRECTION switch on the motor to L. If it is to the right,
set the DIRECTION switch to R.
ARRI CLM-2 MOTORS
Connect CLM-2 motors to the FOCUS, ZOOM and IRIS
connectors on the Lens Data Box. If a CLM-2 motor is
to the left of the lens, set the DIRECTION switch on the
Lens Data Box to L. If it is to the right, set the DIRECTION switch to R.
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3. Lens Data Displays (LDD and LDD-FP)
Built into weatherproof housings, the TFT screens of the
Lens Data Displays offer a brilliant and sharp picture as
long as the ambient temperature remains between -10°
to + 40° C/14° to 104° F. You can choose between
two different Lens Data Displays: the Lens Data Display
(LDD) and the Lens Data Display – Focus Puller (LDD-FP).
Even though there is a difference in size and design,
both offer the same functionalities.
Caution!
It is not possible to connect and use two Lens
Data Displays simultaneously on one camera
and/or on its accessories.
The LDD has a large TFT screen that shows several sorts
of information simultaneously. By switching between
the Lens Screen and the Status Screen, you will get the
same information from the smaller LDD-FP.
MOUNTING THE LENS DATA DISPLAYS ON THE
STUDIO AND LITE
Both Lens Data Displays can be mounted on any Accessory shoe, such as on the Studio Readout or Lite Mask
Frameglow.
A mobile arm is part of the LDD.
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Lens Data Display mounting fig.6/14
Lite Mask
Frameglow
Studio Readout
A Backplate together with the Shoe Post allows the LDDFP Holder to be mounted on any Accessory shoe. A collapsible Sunshade attaches by means of Velcro.
LDD-FP with Holder
fig.6/15
Release
button
Back plate
Backplate holder
Mobile shoe post
Tension control
Tightening screw
Accessory shoe
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Fasten the LDD-FP by pressing it towards the Backplate.
By pushing the release button on top of the Backplate,
the LDD-FP can be removed from the Holder.
Because of its size, the LDD-FP can easily be mounted
at the most convenient place for optimum visibility, e.g.
on the Matte Box. Therefore, ARRI provides different
“L-Brackets” complete with an Accessory shoe that enables mounting on the MB-14, 16, 18 and 19. These “LBrackets” are fixed on the Matte Box Side Flap Holder.
If a Side Flap is used in addition, a small clip needs to
be attached on the Flap to prevent the L-Bracket from
rotating.
L-Bracket mounting
fig.6/16
➡
L-bracket
➡
Clip
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CONNECTING THE LENS DATA DISPLAYS
The LDD and LDD-FP can be connected to the cameras
in different ways. It is possible to connect the Displays
to the dedicated LDD connectors on the Studio Readout,
on the Lite Mask Frameglow and on the Remote Control
Station (RCS).
With other cables, both Displays can also be connected
to the Camera Accessory Connector CAC and to the
Speed Control Box Accessory Connector SAC. Therefore, different cables – each one transmitting power and
signal – are provided.
Caution!
When using a cable longer than 3 m/10 ft to
connect the Displays to a CAC or SAC, the short
Compensation Cable KC 77-S must be added in
order to obtain the correct termination.
Please note that no cable connection (e.g. Cable
Drum + Cable) should be longer than 53 m/175
ft in length.
On the LDD, connectors labelled LDD and LCS enable
versatile connections.
On the LDD-FP, the smaller LDD-FP-connector located on
the right side enables a variety of connections by using
other cables. The second connector on the rear side of
the LDD-FP is for future applications unavailable at the
time of writing.
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LDD connections
fig.6/17
LDD connector
LCS connector
KC 60-Sp-S
KC 76-S
KC 79-S
LDD
LDD
Speed Control
Box SCB
Lite MaskFrameglow
Studio Readout
Remote
Control
Station RCS
KC 67-S
+ KC 77-S
KC 68-S
LDD
CAC
LDD-FP connections
SAC
Manual Control SAC
Box & MCB Cable
Adapter
Timing Shift Box
& MCB Cable
Adapter
SAC
STUDIO/LITE
fig.6/18
LDD-FP connector
K LDD-FP-RDO
LDD
LDD
LDD
Lite Mask
Frameglow
Studio Readout
Remote
Control
Station RCS
Studio & Lite
Lens Data Box
LDDFP-LCS 600
LDDFP-LCS 1000
LDDFP-LCS 3000
LCS
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Power/Sleep button (LDD) – ON/OFF switch (LLD-FP)
To power the LDD, briefly push the POWER/SLEEP
button.
On the LDD only, the SLEEP status can be activated by
briefly pushing the POWER/SLEEP button.
To power up the LDD-FP, set the switch to ON.
The SLEEP status is indicated on both Displays by a
slowly blinking LED.
To turn both Devices OFF, push the POWER/SLEEP button for about 3 seconds or put the LDD-FP switch to OFF.
Power/Sleep LED
The LED is OFF when the Displays and/or the
camera are not powered.
Glows green when the Displays are ON.
Blinks slowly green when the Displays are in SLEEP
status
Glows red indicates that the Displays are ON but
that a problem occurs.
Notice
In case a problem occurs, turn the Display OFF; set
the camera MAIN switch to OFF and start again
after about 5 sec. If the problem persists, ask your
ARRICAM Maintenance Centre.
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THE CONTROLS OF THE LENS DATA DISPLAYS
LDD
fig.6/19
ON/SLEEP/OFF
POWER/SLEEP
SET
SET
UP
UP
DOWN
DOWN
DELETE
DELETE
Power/sleep LED
LDD-FP
fig.6/20
Power/sleep LED
LDD-FP connector
ON/OFF
Unit of measurement
SET
UP
DOWN
DELETE
MENU
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Set button
On both Displays, pushing the SET button will insert
Marks on the focus scale.
On the LDD-FP, selects options when the Main Menu is
activated.
Up button
On both Displays, increases the numbering of the Focus
Mark when it lines up with the index.
On the LDD-FP, steps forwards through options when the
Main Menu is activated.
Down button
On both Displays, decreases the numbering of the
Focus Mark when it lines up with the index.
On the LDD-FP, steps backwards through options when
the Main Menu is activated.
Delete button
On both Displays, pushing the DELETE button briefly,
a Focus Mark next to the index will be deleted. When
pushed for 3 sec. at least, all Marks will be deleted.
ON THE LDD-FP ONLY
Unit of measurement selector
Select the unit of measurement between M (meter),
LENS (same unit as engraved on the focus ring) and FT
(feet). The change affects the focus scale numbers, the
depth of field information, the hyperfocal distance and
the close focus indication.
Notice
To change the unit of measurement on the LDD, the
UP and DOWN buttons will be used – see page
250.
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Menu button
When the LDD-FP is powered up, briefly pushing the
MENU button will switch from one Screen to another
one. To switch between a Sub-menu and the Main
Menu, push for at least 3 sec. the MENU button.
FUNCTION OF THE LENS DATA DISPLAYS
Preliminary remark
Although there are some differences in design, the
handling of the LDD and LDD-FP is quite similar. The
main difference is in the kind of data displayed.
On the larger LDD Screen all data is shown at once.
To see the same data on the smaller LDD-FP, toggle
between two complementary Screens. This allows the
user to configure the Screens accordingly to his/her
needs.
Caution!
The Lens Data Displays are only operational in
combination with a Lens Data Box mounted on a
powered camera.
In order to save power, both Screens automatically go
into sleep mode – the LDD after about 5 min. and the
smaller LDD-FP after about 2 min. – if no display relevant parameters are changed. As soon as a camera
parameter or a lens setting has been altered as well
as when a message appears (e.g. low battery), the
Screens wake up automatically.
Only if an LDS Lens is mounted on the camera, are the
lens parameters displayed. If no LDS Lens is used, the
message No lens detected lights up but the relevant camera
parameters will still be shown. If an LDS Prime Lens is
detected, its focal length will immediately be displayed
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and arrows appear on the screen. After initialization,
the lens scales appear and the depth of field will be
displayed graphically as well as numerically.
Start-up
When a Lens Data Display is powered up and it detects
an LDS Lens, the lens rings need to be rotated so the
Lens Data System can recognize the lens ring positions.
When ARRI CLM motors are used, this will happen automatically during the calibration procedure. If no CLM
motors are used, this can be done simply by turning the
rings by hand. Rotate each barrel slowly until the arrows
on the Screen fade out and the scales appear.
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The LDD Display
As soon as the LDD is switched ON, and during the
automatic set up of the LDS functions, information about
the installed software will appear for a few seconds. It
is recommended to note the LDS software version for the
ARRICAM Maintenance Technician in case of inquiries.
As soon as the set up is completed, the screen shows
two windows.
LDD Screen
fig.6/21
Left window:
Lens status
Right window:
Camera status
Focus mark
Message area
Hyperfocal distance line
LDS info area
Camera info area
Depth
of
field
Focus
bar
index
line
Focus
scale
Focal/
iris
index
line
Zoom
scale/
focal
box
Iris
scale
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The left window mimics the three scales on lens barrels:
focus, zoom and iris. They have the same numbers, the
same divisions and sub-divisions. If an LDS Prime Lens is
used, the focal length is displayed in a little box instead
of a scale. Each LDS Lens contains a depth of field table
which enables the Lens Data Box to visualize the depth
of field on a Lens Data Display and/or video monitors.
On the Lens Data Displays, a yellow bar will simulate
the depth of field while figures on its top and bottom
show the boundaries. If the yellow depth of field area
reaches the edges of the screen, the near and far distances will continue to update. Facing the focus index
line, the actual focus setting is shown in meters and centimeters or feet and inches.
The right window shows camera and lens status. Furthermore, messages and warnings will appear if they are
generated. As well as the actual text information, the
background colour will also alter; this allows camera
status changes to be seen from a distance.
Background colour
Camera Info Area
Gray
Orange
Standby
INCHING
RUNNING UP
RUNNING DOWN
RUN
RAMPING
RUN ASYNC
NOT READY
Green
Red
Background colour
Message Area
Red
Wrong operation
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UNIT OF MEASUREMENT
The Lens Data Displays will automatically show the
same unit of measurement as that used by the lens.
On the LDD only, this can be overridden as follows:
• To display all values in feet, hold the DOWN button
while powering up the Lens Data Display.
• To display all values in meters, hold the UP button
while powering up the Lens Data Display.
The selected unit of measurement will be used until the
Lens Data Display is powered down. If it is desired, the
ARRICAM Maintenance Centre can define that your
LDD permanently shows one of the units of measurement.
On the LDD-FP, the UNIT selector located on the left side
enables the choice of the unit – see fig. 6/20.
THE HYPERFOCAL DISTANCE LINE
When the hyperfocal distance line faces the focus
index, everything from half the hyperfocal distance to
infinity appears sharp. The Lens Data System automatically calculates the hyperfocal distance depending on
the focal length, the iris aperture and the selected circle
of confusion.
A small grey line on the focus scale as well as a figure
in the LDS Info Area indicate the hyperfocal distance.
LDD Screen
fig.6/22
hyperfocal distance line
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CIRCLE OF CONFUSION
The circle of confusion (coc), used for the calculation of
the depth of field and the hyperfocal distance, can be
selected on both Lens Data Displays.
Option switches located behind the coverplate at the
rear of the LDD enable the selection between four
options. The default setting used to display the depth of
field is 0.025 mm / 1/1000”.
Notice
We recommend you ask a ARRICAM Maintenance
Centre for setting your coc preference.
LDD-label circle of confusion
fig.6/23
To select a circle of confusion:
1. Remove the LDD from the camera and lay it screen
downwards on a clean place.
2. Open the LDD by unscrewing the four Phillips screws
with a PZ-0 or PH-0 screwdriver.
On the top right corner, next to the POWER/SLEEP
button, two rows of Option switches are located.
The upper row labelled S2 contains four switches
relevant for selecting the coc.
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3. Set the dedicated Option switch to ON.
Caution!
• Only one of the Option switches should be set
to ON. If none or more than one switch is set to
ON, the LDD automatically will use the default
setting.
• The lower row labelled S1 is dedicated for the
ARRICAM Maintenance Personnel only, do not
touch it!
The right window is divided into three areas: Camera
Info, LDS Info and Message.
The unit of measurement used in the film length display
is established by the magazine setting.
CAMERA INFO AREA
LDD Screen – Camera Info Area
fig.6/24
camera status
(green background colour)
reverse indicator/actual frame rate
actual shutter/controlling device
exposed film length
Camera Status
On top of the right window, the actual mode will be
displayed: Standby, RUNNING, INCHING or NOT
READY.
Fps
The fps display always shows the actual frame rate of
the camera. So in Standby, the fps value shows 0.000
. During RUN UP, RUN, RUN RAMP or RUN DOWN,
the current camera frame rate is displayed.
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Fps Reverse Indicator
When the camera is set to RUN REVERSE,
cede the frame rate.
R
will pre-
Shutter
The current shutter angle opening is always displayed.
Next to the figure, a single letter will indicate the item
which controls the shutter opening – see table below.
Exp.
The length of exposed film will be displayed here.
LDD Screen – Camera Info Area
fig.6/25
preset frame rate/controlling device
actual battery voltage
unexposed film length
exposed film length of the last take
Set Fps
Not only the preset frame rate but also the device which
controls the camera is indicated.
Table of abbreviation:
(no letter) the frame rate has been preset on the
Camera Control Panel.
S Speed Control Box (SCB)
M Manual Control Box (MCB)
Y External Sync signal processed by SCB
T External Sync signal (time-code) processed by the
In-camera Slate Box (ISB)
V External Sync signal processed by the Video
Assist (IVS)
W Wireless Remote Control (WRC)
C ARRIMOTION Camera Control Box (CCB)
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Battery
The actual voltage of the supplied power is indicated.
If the battery voltage drops to the battery warning level,
the battery warning and the battery value (e.g. 20.6
V) will flash. If the power level drops below the point
where the camera can RUN, the battery warning will
remain flashing, and the camera will go into NOT
READY status; simultaneously the background will go
red.
Next to the voltage figure, the letter N or U will show
if the 24 volt NiCad (N) or the User (U – Lithium-Ion or
other battery type) warning level has been activated.
RawStk
The magazine counter is displayed here. If no magazine is attached, 0 m or 0 ft will be displayed. If the
value reaches the warning level, the label RawStk and
the raw stock length will flash. If there is a roll-out, the
line will remain flashing, and the camera will go into
NOT READY status – simultaneously the background will
go red.
Take
The length of the film exposed between the last start and
stop will be displayed here.
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LENS DATA SYSTEM (LDS) INFO AREA
LDD Screen – LDS Info Area
fig.6/26
lens type/focal length/widest T stop
actual hyperfocal distance
shortest possible focus setting
Lens Type
The brand name (e.g. Zeiss), the type identification
(e.g.Ultra Prime), the actual focal length and the widest
T stop are shown in this line.
Hyperfocal Distance
For prime lenses: hyperfocal distance is shown and
changes dynamically as the iris setting changes.
For zoom lenses: hyperfocal distance is shown and
changes dynamically as iris and/or zoom setting
changes.
Close Focus
The closest possible focus setting with this lens is shown.
MESSAGE AREA
LDD Screen – Message Area
fig.6/27
Messages
Alert (red background colour)
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The Message Area provides more detailed information
about the camera and LDS status. It displays status messages as well as alerts.
Status Messages
Status messages contain information about the camera’s
status. These messages are short and will be displayed
while the respective camera status persists. If a new
message appears, it will be added to the existing ones.
Among others, the following messages can appear:
Buckle Trip
A buckle trip has been tripped
Filter in the Gate A filter is installed in the Aperture
Plate
Film Jam
A film jam has occurred in camera
or magazine
Movement Open Movement is not locked in the
front position
Roll Out
Camera stops before film end
passes the gate, Dust Check ans
PHASE are still possible
No Reverse
Preset fps is higher then 32 or
Lite Magazine is mounted
Illegal Fps
More then 40 (LITE) or 60 (STUDIO)
fps has been set
Mag takes up
Magazine is taking up loose film –
film
camera NOT READY
Film End < 6 m According to magazine counter –
/< 20 ft
end of film warning
Heater
Heater is activated – camera is
NOT READY
Dust Check
The shutter is out of the viewing path
Adapter Cover Warning! camera is STANDBY but
magazine adapter cover is missing!
Low Battery
Change battery as soon as possible
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Alert
An alert is displayed when an error occurs while handling the camera or an accessory; e.g. incorrect setting of parameters. When an alert appears all status
messages disappear as long as the alert is displayed.
During an alert, the background of the Message Area
turns red, see the troubleshooting list in the chapter
12 –.Appendix.
Magazine Error
Mag take up
side runs free
Cannot set more
than 9 Marks
Push UP or
DOWN to select,
DELETE to delete
Push SET to select,
then UP/DOWN
to renumber
Push UP or
DOWN to select,
then hold SET to
remember
Use another magazine
Reload magazine
Delete a Focus Mark to set a new
one.
Deleting a Focus Mark
Renumbering a Focus Mark
Moving a Focus Mark
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The LDD-FP Display
After the LDD-FP is powered on, the initialisation starts
while the software version and some preset data are
shown. When this procedure is completed, the Lens
Screen will appear.
The layout and the colour code of the LDD-FP Lens Screen
is similar to that of the LDD. Therefore only the differences will be described here. Because of the limited
space, only two of the three lens scales can be shown at
any one time and are selected by means of the screen
option menu. The yellow depth of field bar will only be
displayed in combination with the focus scale in the left
window. The middle of the right window shows the focus
setting with the near and far boundaries of the depth of
field. The iris aperture and the focal length are always
displayed at the bottom of right window while camera
status information can be added or removed on its top.
A small difference in monitoring which device controls
the frame rate and shutter opening on the camera,
exists: while the LDD uses only a single letter at the end
of the particular line, the LDD-FP does the same on the
Lens Screen but on the Status Screen shows a 3 or 4
letter acronym in addition.
Lens- Status-
Screen (remote) control device
(no letter) preset by Camera Control Panel.
S (SCB)
Speed Control Box (SCB)
M (MCB) Manual Control Box (MCB)
Y (SYN) External Sync signal processed by (SCB)
T
(TcSy)
External Sync signal (time-code) processed by the In-camera Slate Box (ISB)
V (ViSy)
External Sync signal processed by the
Video Assist (IVS)
W (WRC) Wireless Remote Control (WRC)
C (CCB) ARRIMOTION Camera Control Box (CCB)
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Furthermore, the Status Screen can be selected to show
the LDS and camera parameters as are displayed on
the right window of the LDD.
LDD-FP Lens Screen
left window
lens status
fig.6/28
LDD-FP Status Screen
right window
camera status
focus mark
message area
hyperfocal distance line
focus/iris configuration
focus
/iris
index
line
LDS info area
camera info area
actual focus/depth of
field (numerical) area
message area
depth
of
field
bar
focus
scale
actual focal/actual iris area
iris
scale
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The Main Menu
To enter the Main Menu, push the MENU button for at
least 3 sec.
To select a Sub-menu or an option, move the cursor by
pushing the UP and DOWN buttons.
To confirm an option, press the SET button.
Depending of the next desired operation, use one of the
two options to leave a Menu:
• To return directly to the Lens Screen, push the MENU
button for at least 3 sec.
• By pushing either the SET or MENU buttons briefly,
the Main Menu will appear.
The Sub-menu Brightness
When pushing the MENU button for at least 3 sec,
the Main Menu will appear with the first Sub-menu
BRIGHTNESS highlighted.
LDD-FP Main Menu – Sub-menu Brightness
fig.6/29
By briefly pushing the SET button, the Brightness Screen
will appear. By using the UP and DOWN buttons, the
brightness can be adjusted. When leaving the Submenu, the new adjustment will be saved.
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The Sub-menu Lens Screen
When the Main Menu is shown, the highlighted cursor can be moved to the Sub-menu Lens Screen. By
briefly pushing the SET button, the Lens Screen will
appear.
LDD-FP Main Menu – Sub-menu Lens Screen
fig.6/30
The upper part enables the selection of one or two of
the three lens scales - Focus, Iris and Focal length/Zoom
– to be displayed. A warning will remind you that only
two of the three options can be selected at once.
Option
1
2
3
4
5
6
1st Scale
focus
focal/zoom
iris
focus
focus
focal/zoom
2nd Scale
Yellow Bar
depth of field
focal/zoom depth of field
iris
depth of field
iris
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In the lower part, only one option can be selected.
LDD-FP Lens Screen – Camera Info Area
no cam
status
fig.6/31
short cam
status
long cam
status
To save the selected option, push the SET button.
By briefly pushing the MENU button or after having
moved the cursor to Done and pushed the SET button,
you will not only save the selected options, but also
reach the Main Menu.
The Sub-menu Circle Of Confusion (coc)
LDD-FP Main Menu – Sub-menu Circle of Confusion
fig.6/32
After having selected the Sub-menu circle of confusion,
the coc screen will offer three options. To select the
appropriate option, move the cursor on it and push the
SET button. Then move the cursor to Done and press
SET to return to the Main Menu. When pushing the
MENU button for 3 sec. the Lens Screen will appear.
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The Sub-menu Help
When selected the Sub-menu Help, a screen of information will be displayed. Depending on the active Submenu, pushing the SET button while the cursor marks the
question mark will open useful dedicated advice.
LDD-FP Main Menu – Sub-menu Help e.g. Lens Screen
fig.6/33
MARKING THE FOCUS SCALE ON BOTH LENS DATA
DISPLAYS
Similar to the regular way of putting Focus Marks on the
lens or remote control scale, the focus puller can place,
move, renumber or erase Marks on the “electronic”
focus scale. Up to nine differently coloured Marks can
be set on the focus scale. The Displays store Marks and
remember them when power is OFF. The Displays also
keep Focus Marks when a new lens is attached to the
camera - Marks that are out of the range of the new
lens are not displayed, but still stored. The only way to
remove Focus Marks is to delete them manually.
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Focus Mark – examples
fig.6/34
index line
single mark
solid frame (yellow)
first mark
dotted frame (yellow)
second mark
The Display’s Focus Marks are square; a number and a
colour will automatically be assigned. If a Focus Mark
must be identified for moving or renumbering purposes,
a solid or dotted yellow frame will surround this selected
Mark.
Setting a Mark
By means of four buttons, located on the left side of both
Displays, the “handling” of Focus Marks on the Focus
Scale can be achieved.
Marks can be set at any time.
1. Turn the lens focus ring so the index line points to the
position where you want the Mark.
2. Push the SET button marked
.
A Mark appears that has a number which is one unit
higher than the highest Mark number present on the
scale. For example, if the focus scale already has Marks
numbered 1, 2, 3 and 4, the new mark will be number
5. If the highest number is 9, any unused numbers will
be used.
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Notice
If nine Marks are already set, pushing the
SET button will not set any new Marks.
Instead, the Message Area will show the alert:
9 marks are set. Erase an existing one
This will be shown for about 4 sec., or, if the button
is pushed for longer than 4 sec., for as long as the
SET button is pushed.
If the index line points to an existing Mark, a new Mark
is added next to the existing one.
Deleting one Mark
Marks can be deleted at any time.
1. Turn the lens focus ring so the index line points to the
Mark that should be deleted.
2. Push the DELETE button marked
briefly.
Caution!
If you push the button for more than 3 sec.,
all Marks will disappear!
If the index line does not point at a Mark and the
DELETE button is pushed, nothing happens. If the
index line points to multiple Marks at the same scale
position, the DELETE button will not delete any of
them at first. Instead, if the DELETE button is pushed,
an alert will be displayed in the Message Area:
Push UP/DOWN, DELETE to delete
The first time the UP or the DOWN buttons are pushed,
the Mark closest to the index line shows the solid yellow
frame. The alert disappears when the solid frame disappears. Each further push of the UP or the DOWN buttons moves the solid frame to another of the Marks that
are at the same scale position. Now the DELETE button
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will delete the selected Mark. If the DELETE button is not
pushed, the frame disappears after 3 sec.
Deleting all Marks
Push the DELETE button for 3 seconds.
Renumbering a Mark
1. Turn the focus ring until the Mark to renumber aligns
with the focus index line.
2. Push the UP/DOWN buttons marked
or
.
3. This will cycle through the following numbers:
1, 2, 3, 4, 5 , 6, 7, 8, 9.
Since each number has a colour associated, the colours
will also change.
Notice
The Displays will not update existing numbers, so it is
possible to get duplicate numbers.
If a Mark is being set to the number that already exists,
there will be two Marks with the same number. The Displays will not automatically renumber.
If the index line points to multiple Marks at the same
scale position, the UP or the DOWN buttons will not
renumber them at first, but instead place a solid frame
around the Mark closest to the index line. Then each
further UP or DOWN button push will select another
one of the Marks that are at the same scale position.
The Message Area will display the following alert:
Push SET to choose, UP/DOWN to renumber
This alert disappears when either the solid or the dotted
frame disappears.
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Pushing the SET button now will change the solid frame
to the dotted frame. Now the UP or the DOWN buttons
will renumber the Mark with the dotted frame. If the SET
button is not pushed, or the UP or the DOWN buttons
are not pushed, the frame disappears after 3 sec. If the
DELETE button is pushed while Mark has either the solid
or the dotted frame, that Mark is deleted.
Moving a Mark
1. Turn the focus ring until the Mark to move aligns with
the focus index line.
2. Push the SET button and keep it held down.
3. Turn the lens focus ring.
4. Release the SET button.
If the index line points to multiple Marks at the same
scale position, pushing and holding the SET button will not allow a Mark to move at first. Instead,
an alert will be displayed in the Message area:
Push SET to choose, UP/DOWN to remember
The first time the UP or the DOWN buttons are pushed,
the Mark closest to the index line is highlighted. The
alert disappears when the solid frame disappears.
FOCUS TRACKING
It is now possible to use a distance measuring device (such
as the Cinematography Electronics Cine Tape Measure) to
display a pointer on the LDD-FP indicating the distance to the
subject. This can be used simply for information purposes or,
by pressing and holding the FOCUS button on the WHA-3,
the motor on the focus axis will drive the focus ring to automatically track the subject. There is also a new line on the
focus scale of the LDD-FP indicating the position of the focus
handwheel of the WFU-1. By matching these two indicators,
the ‘handover’ from manual to automatic focus will be smooth.
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Operation
In the LDD-FP main menu the entry called FOCUS
TRACKING turns on and off the function of the FocusButton, which is attached to the side of the WHA-3.
With this option OFF, the Tape Measure Mark is still
displayed but the Focus Motor will not track it.
The Slow, Medium and Fast options determine how
fast the Focus Motor responds to the changing distance
information.
Compatibility
The following items are needed for Focus Tracking:
Studio or Lite with Lens Data Box, CLM-1 or CLM-2 lens
motor, LDS lens, LDD-FP, Cine Tape Measure (or other
distance measuring device with industry standard output), WHA-3, CAC to CTM cable.
Tape Measure
Mark
Focus Handwheel
Mark
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THE MANUAL CONTROL BOX, THE SPEED CONTROL BOX, THE TIMING SHIFT BOX
7
The Camera Control Boxes
Introduction
With the Camera Control Panel on the left side of the
camera bodies, the full range of fps as well as the most
usual shutter openings can be set. To extend the possibilities of the ARRICAM System, three compatible components have been created specially for the ARRICAM
Cameras. The Manual Control Box (MCB), the Speed
Control Box (SCB) and the Timing Shift Box (TSB) can
be used independently or in combination, depending
on the required task. While the boxes can be attached
directly to the Studio body, cable connection is necessary to use them with the Lite. In addition to the Boxes,
ARRI offers two remote adapters to help you to configure
the equipment in the most convenient way.
The Manual Control Box allows – by means of a
handwheel – the control of either the shutter opening
or the frame rate. Being used together with the Speed
Control Box, it allows the manual control of changes,
e.g. speed RAMPING, expanding/reducing the depth
of field or a motion blur while maintaining the option of
automatic exposure compensation.
The Speed Control Box allows the control of the RUNNING direction and the setting of accurate frame rates
as well as the change between two preset fps in a
preset time. If required, the exposure is automatically
compensated during changes of the frame rate with the
shutter opening or the iris aperture.
The SCB also allows the synchronization of the
ARRICAM Studio and Lite with several external signals.
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AUTOMATIC EXPOSURE COMPENSATION
When the frame rate is altered the exposure time will
change. In order to maintain a constant exposure, the
Speed Control Box allows, by changing the shutter
opening, the automatic comensation of the exposure
time while the frame rate changes – this is called shutter
compensation. If the iris is controlled by a lens motor
connected to the Lens Data Box (LDB), an iris compensation can be controlled by the Speed Control Box.
• If IRIS COMPENSATION is selected, you may enter
the fps values in accordance with the amount of iris
stops available on the lens, e.g. 6 stops (T 2 to T
16) will allow changes in the range 60 fps to
1 fps (actually, fractionally under 6 stops).
• If the SHUTTER COMPENSATION is selected, you
may enter the fps values in accordance with the
possibility of the shutter which is a range of 4 stops
(11.25° to 180°). So you may choose for example
a change from 2 fps to 32 fps.
Notice
Actually, the automatic iris compensation with the
MCB and SCB is only possible with LDS Lenses. If
no LDS Lens is used, the ARRI Wireless Remote Control will allow the iris control and so the automatic
exposure compensation with the ARRICAM Cameras.
STROBOSCOPY, MOTION BLUR AND DEPTH OF FIELD
By altering the shutter opening, the exposure time will
change. Depending on the frame rate, the following
exposure times will result from changing the shutter
opening:
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<)
180°
90°
45°
22.5°
11.25°
3 fps
6 fps
12 fps 24 fps 48 fps
1/6 1/12 1/24
1/48
1/96
1/12 1/24 1/48
1/96 1/192
1/24 1/48 1/96 1/192 1/384
1/48 1/96 1/192 1/384 1/768
1/96 1/192 1/384 1/768 1/1.536
The exposure time will effect the sharpness of either
moving objects or the whole frame when the camera is
moving.
Short exposure time will increase the sharpness or
reduce the motion blur. Therefore, in moving the camera
while the shutter angle is small, a stroboscopic effect
can appear. This can cause an unpleasant result or an
intended effect.
By altering the iris aperture, the depth of field (DoF) will
change.
So for example, while setting an LDS Ultra Prime 40 mm
Lens to 3 m/10 feet, the depth of field will be at
F 2.0 about 0.55 m/1.10”
near: 2.75 m/9’ far: 3.30 m/10’ 10”
and at
F 16 about 9.60 m/31.6’
near: 1.70 m/5’ 7” far: 11.30 m/37’ 1”
depending on the circle of confusion 0.025 mm/
1/1000”.
An iris versus shutter compensation is only possible
within a range of 4 stops, so for example
1st stop {
2nd stop {
3rd stop {
4th stop {
<)
T
11.25° 2.8
22.5°
4
45°
5.6
90°
8
180°
11
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By changing the shutter opening and compensating the
exposure by altering the iris opening (or vice versa) the
changes will not only affect the motion blur but also
the depth of field. So either a strobe effect or a ”focus
ramp” can be achieved with the Speed Control Box in
combination with the Manual Control Box.
The Manual Control Box (MCB)
MOUNTING AND CONNECTING THE MCB
To mount this box on the ARRICAM Studio, first turn the
camera MAIN switch OFF and then use a 3 mm metric
hex wrench to remove the small cover on the rear of the
camera body. After checking that both connectors are
clean, attach the Manual Control Box by engaging the
two pins in the gauged holes and then by tightening the
two mounting screws.
Studio – MCB mounting
fig.7/1
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Notice
If no Manual Control Box is installed, the protection
cover must be fitted on the camera. If you intend to
mount the MCB and the Speed Control Box to the
Studio, you must first attach the SCB to the camera. To
attach or remove the SCB or the Studio Camera Handle from the Studio, the MCB has to be removed first.
Manual Control Box (MCB) fig.7/2
Dimmer
Display
Handwheel
Function switch
CAC connector
The MCB Cable Adapter
To connect the Manual Control Box to the Lite, first
mount the MCB on the MCB Cable Adapter or the
Remote Control Station (RCS) and connect a cable
between the adapter and the CAC connector of the
camera (also works with the Studio).
MCB + Cable Adapter fig.7/3
SAC
connetor
➡➡
Manual
Control Box
mcu
MCB
cable adapter
mcu
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Studio – MCB remote connection fig.7/4
SAC
CAC
Lite
cable connections:
KC 65-S (3 m/10 ft) or
KC 69-S (15 m/50 ft)
CAC
CONTROLS AND DISPLAYS
MANUAL CONTROL BOX
––––
STANDBY
RUNNING
CCB
STANDBY
– CCB
STANDBY
Syn
NOT READY
MCB is swiched OFF
MCB is switched OFF
MCB is switched OFF
Camera Control Box controls the camera
No fps or shutter adjustment is possible with
the MCB because the ARRIMOTION CCB/
Jogbox controls the camera for shooting
FORWARD.
Camera Control Box controls the camera
No fps or shutter adjustment is possible with
the MCB because the ARRIMOTION CCB/
Jogbox controls the camera for
shooting REVERSE.
Speed Control Box controls the camera sync
No adjustment of the fps or shutter is possible with the Manual Control Box because
the Speed Control Box controls the camera
to RUN FORWARD and the SPEED CONTROL switch is set to SYNC.
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MANUAL CONTROL BOX
– Syn
NOT READY
TcSy
STANDBY
ViSy
STANDBY
WRC
STANDBY
– WRC
STANDBY
Speed Control Box controls the camera sync
No adjustment of the fps or shutter is possible with the Manual Control Box because
the Speed Control Box controls the camera
to RUN REVERSE and the SPEED CONTROL
switch is set to SYNC.
In-camera Slate Box controls the camera sync
No adjustment of the fps is possible with the
MCB because the In-camera Slate Box controls the camera (time-code).
Video Assist controls the camera sync
No adjustment of the fps is possible with the
MCB because Video Assist controls the camera.
Wireles Remote Control controls the camera
No fps or shutter adjustment is possible with
the MCB because the Wireless Remote
Control controls the camera.
Wireles Remote Control controls the camera
No REVERSE fps or shutter adjustment is
possible with the MCB because the Wireless Remote Control controls the camera.
BRIGHT button
By pushing this button, you will increase or decrease
the brightness of all displays. Three steps are cycled
through: dim, normal, bright.
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Function Switch (MANUAL CONTROL)
By sliding the little switch you will select the function of
the handwheel: FPS, <), OFF.
Handwheel
Depending on the function selected with the MANUAL
CONTROL switch, the handwheel will either allow the
adjustment of the shutter opening, the frame rate or the
control of the ramping time between the two frame rates
preset on the Speed Control Box.
FUNCTIONS AND OPERATIONS OF THE MANUAL
CONTROL BOX
Depending if the MCB is used alone or together with
the Speed Control Box, its functions differ slightly.
MCB used alone
Depending on the setting of the MANUAL CONTROL
switch on the MCB, the frame rate or the shutter opening can be controlled by TURNING the handwheel. The
MCB allows the change of frame rate using the default
ranges 1 to 40 fps (Lite) or 1 to 60 fps (Studio), but
without automatic exposure compensation. The actual
frame rate is indicated on the MCB display.
More useful is the possibility to control the shutter opening between 0° and 180°. This manual change can
occur either when the camera is RUNNING or in the
STANDBY. The actual shutter opening is indicated on
the MCB display.
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Notice
• ARRI guarantees the accuracy of the shutter angle
between 11.25° and 180°. Please note that
even though the display shows 0°, the shutter is
not 100% light tight so strong light coming straight
into the lens might be photographed.
• If a ramp is controlled by turning fast the handwheel, please be aware that technical boundaries
will always define the shortest ramping time
MCB used in combination with the Speed Control Box
As soon as the MCB is switched to FPS and the
REMOTE LED on the Speed Control Box glows green,
both programmed frame rates are automatically
assigned to the limits marked FPS 1 and FPS 2 on the
handwheel and only changes between these limits
are possible. The control of REVERSE shooting in the
range 1 to 32 fps is also possible. When the MCB is
switched to FPS, the frame rate is set manually and the
Speed Control Box timer is overridden.
SHUTTER Verses IRIS COMPENSATION
(only possible with an iris motor connected to a Lens
Data Box)
Switch the MCB to <) (shutter angle) and the Speed
Control Box COMPENSATION switch to IRIS. Set the
iris by means of the iris OPEN/CLOSE buttons. Change
the shutter angle by TURNING the handwheel. The
resulting iris compensation is done automatically.
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280
SYNC LED
SYNC in
VIDEO IN ( BNC)
SPEED CONTROL switch
PILOT out
SAC connector
UNLOCK button
FPS display
FPS 1 input unit/LED
RUN LED
RUN button
DIRECTION switch
REMOTE LED
RATIO
selector
video signal
terminator
PILOT signal
selector
PHASE
mode
PHASE
button
fig.7/5
RAMP button
Calibration LED
Lens control calibration
Iris control buttons
COMPENSATION LED
COMPENSATION switch
RAMP LED
FPS 2 input unit/LED
TIME input unit/LED
BRIGHT button
SHUTTER display
Speed Control Box (SCB)
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The Speed Control Box (SCB)
MOUNTING THE SCB TO THE ARRICAM STUDIO
Notice
Before connecting or removing an electrical device
like the SCB to or from the camera, it is advised to
set OFF the camera MAIN switch.
In order to mount the SCB to the ARRICAM Studio, first
remove the upper rear accessory port cover on the camera right side by pressing the release knob and sliding
the cover backwards to remove it. After checking that the
connectors on the camera and the SCB are clean, insert
the three attachment latches of the SCB in the three guiding rails and slide it forward until it is fixed firmly.
Studio SCB mounting fig.7/6
1.
➡➡
2.
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Notice
You must remove the Manual Control Box (MCB)
from the camera first before being able to mount the
SCB.
USING THE SCB WITH THE ARRICAM LITE
To keep the ARRICAM Lite lightweight, the use of the
SCB is only possible by linking its SAC connector to the
CAC connector on the camera rear. A further option is
to use the Remote Control Station (RCS) (see later in this
chapter).
REMOTE USE OF THE MANUAL CONTROL BOX AND SCB
ARRI provides two Cables, the KC 65-S (3 m/10 ft ),
the KC 69-S (15 m/50 ft ) and the Cable Drum
KC 73-S (50 m/165 ft) that allow to use the Manual
Control Box and the SCB remotely with the Studio as
well as the Lite. If the Remote Control Station is not used,
the CAC Distribution Box KC 74-S allows the combined
use of both control boxes.
Caution!
• When using a cable longer than 3 m/10 ft
to connect the Lens Data Displays to a CAC,
the short Compensation Cable KC 77-S must
be added in order to obtain the correct impedance. No cable connection (e.g. Cable Drum
+ Cable) can exceed 53 m/175 ft length
• No synchronization cable must be longer than
15 m/50 ft. Therefore, when using the Cable
Drum KC 73-S (50 m/165 ft), no synchronization features are available. This will be shown
by a blinking warning message SYN in the several FPS displays and on the Lens Data Displays.
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RCS (SCB + MCB) with WHA-2 connection fig.7/9
WHA-2
WFU-1
wireless
focus/iris
control
WHA-2
RCS/SCB remote connection
LC-M1-SP-S or
LC-Z1-S
KC 65-S (3 m/10 ft) or
KC 69-S (15 m/50 ft)
fig.7/10
SAC
WHA-2
Studio
CAC
CAC
SAC
Lite
SCB/MCB remote connection
fig.7/11
Studio
CAC
SAC
CAC
SAC
CAC
CAC Distribution Box (KC 74-S)
CAC
KC 65-S (3 m/10 ft) or
KC 69-S (15 m/50 ft)
Lite
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At the rear of the MCB Cable Adapter and of the RCS
Plate, threaded holes allow the mounting of a fixture like
the ARRI quick release Dovetail Accessory Shoe.
fig.7/12
MCB Cable Adapter
RCS
Rear
SAC connector
Removable dovetail
accessory shoe
scb-cac_hinten
Threaded hole
MCB cable adapter
Remote Control
Station RCS
SCB Connectors
SCB CONNECTOR
This connector will automatically link the SCB to the
camera or to the Remote Control Station when the SCB
is positioned and fitted. Therefore the mounting of the
box must be done carefully.
PILOT OUT
Depending on the selected frequency (see PILOT OUT
switch on the SCB front) the camera will provide either
a 50Hz or 60 Hz pilot signal.
SCB
fig.7/13
SCB camera
connector
Connector label
PILOT out
SCB
attachments
SAC connector
SYNC in
Left side
VIDEO IN (BNC)
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SAC CONNECTOR (ACCESSORY)
Cables are available that will allow that connection of
the SCB with e.g. CAC, LDD or WHA-2.
VIDEO IN
In order to synchronize the camera with a video device,
use this BNC connector to feed in the external video signal.
SYNC IN
When using an external synchronization reference,
connect the cable here between e.g. a pulse generator,
a Pick-up Unit or a ”Master” camera.
SCB Controls and Displays
Please note: some of the controls and displays have
been designed for future applications.
Fps 1
The six-digit input unit allows preseting a frame rate with
an accuracy of 0.001 fps.
Fps 2
The three-digit input unit allows preseting a second
frame rate (in whole fps only).
Time
The three-digit input unit allows preseting of the ramping
time between 0.1 and 99.9 seconds.
Shutter (Display)
Either the actual shutter angle or further messages listed in
chapter 1, page 54 are shown on the SHUTTER display.
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Fps (Display)
The seven-digit display shows the actual frame rate and
the RUNNING direction. In case another device controls
the camera or a problem occurs, further messages listed
in chapter 1, page 44 will appear on the FPS display.
LEDS
Please note: The following LED descriptions are only
valid when the SPEED CONTROL switch is set to ON.
= LED glows green
= LED blinks green
= LED glows red
= LED blinks red
= LED glows yellow
= LED blinks yellow
Fps 1 LED
STAND BY/RUNNING
The input unit FPS 1 has been selected.
RUNNING
A change has been made on the SCB input unit
FPS 1 while the camera is RUNNING.
NOT READY
Input frame rate is out of the possible range
Fps 2 LED
RUNNING
The input unit has been selected.
RUNNING
A change of the fps has been made on the SCB
input unit while the camera is RUNNING.
NOT READY
Input frame rate is out of the possible range.
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Run LED
RUNNING
Camera is RUNNING at the preset frame rate
RUNNING
Camera is RUNNING UP or DOWN, incl. the
amount of time used for the In-camera Slate
exposing.
NOT READY
A problem occurs – see warning message on FPS
displays, on a Lens Data Display and/or on video
monitors.
Time LED
RUNNING
The camera is RUNNING an automatic ramp.
RUNNING
A change of the ramping time has been made on
the SCB input unit while the camera is RUNNING.
NOT READY
Input ramping time is too low.
Ramp LED
STAND BY/RUNNING
Shows that the ramp function is possible.
NOT READY
Shows that the ramp function is not possible.
Compensation LED
STAND BY/RUNNING
Shows that the ramp compensation is possible.
NOT READY
Shows that the ramp compensation is not possible.
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Remote LED
STAND BY/RUNNING
Remote control signal (e.g. from MCB, WRC) is
provided.
Sync LED
STAND BY/RUNNING
The supplied sync signal is ok.
NOT READY
No useable sync signal is supplied to the SCB.
Cal LED
NOT READY
The lens motors must be recalibrated.
NOT READY
The lens will be calibrated.
BUTTONS
Unlock
While pressing the UNLOCK button, slide the SCB to
the left and take it away. Do not forget to replace the
protecting cover on the camera!
Bright
By pushing the BRIGHT button, you will increase or
decrease the brightness of the displays in 3 steps. The
steps are 1 (low), 2 (medium), 3 (max). Using this button
will not only affect the brightness of the SCB displays
but also the ones on the Camera Control Panel and
on the other ARRICAM Components including the Lens
Data Display.
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Run
Switches the camera between RUN and STANDBY
status. When the camera is stopped, it will return to
STANDBY. When the RUN button is pushed, the camera will RUN UP to the frame rate preset in FPS 1. Any
other RUN switches either on or connected to the camera (e.g. Handgrip) will cause the camera to RUN or to
STOP.
Ramp
By pushing the RAMP button, the RUNNING camera
will start a ramp procedure according to the preset
parameters. When pushed again, it will trigger a new
ramping the other way round. When held pushed while
the camera is STANDBY, the minimum time possible to
RUN a ramp according to the preset parameters will be
displayed alternately with the screen time of the currently
set ramp.
Notice
The displayed minimum ramping time will not be fed
in the SCB but should be entered manually in the
TIME input unit.
Cal
When mounting an LDS Lens on the camera, push one
of the calibration buttons (on a remote control unit or on
the SCB) to start the calibration procedure. The lens iris
motor will move the lens barrel to both extremes and
will save the found limits in memory. Then the motor will
place the barrel to the setting of the remote control or of
the last one saved in the Lens Data Box. To set the iris to
a new setting, use the OPEN and CLOSE buttons.
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Caution!
As soon as the gear of a lens motor is coupled
with the gear of a lens – regardless if it is an LDS
lens or not – the motor should be calibrated in
order to avoid possible damage.
Open and close
These two buttons are used to set the required iris aperture.
Sync phase
Pushing the SYNC PHASE button while the PHASE
selector is set to MANUAL and the camera is RUNNING, shifts the phase relationship between the camera and the sync source.
SWITCHES
Direction
Select between FORWARD and REVERSE filming with the
FWD/REV slide switch. As soon as the REV mode
is selected, a minus sign – will light up on the SCB’s FPS
display, on the Camera Control Panel, on the Studio Readout and R will appear on the Lens Data Display.
Compensation
Select between the iris aperture and the shutter angle
compensation mode. In the OFF position, no compensation will take place during a speed ramp.
Speed control
By sliding the SPEED CONTROL selector, you may
choose between three options:
ON
By selecting ON, the SCB is activated and the
camera parameters as well as the iris aperture
can be controlled by the SCB – at least one FPS
LED lights up.
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SYNC By selecting SYNC, all the possibilities offered by
the synchronization section, located in the lower
panel (labelled blue), of the SCB are activated.
Please remember that these functions will not work
if the 50 m/165 ft Cable Drum is used.
If a Manual Control Box is installed, switching to
SYNC will override its settings.
OFF By selecting OFF, all controls of the SCB except
the RUN button are turned OFF. The frame rate
and the shutter opening are now set according
to the values input on the Camera Control Panel.
Video in 75 Ω
This two-position switch is normally set to ON if a
video signal is fed in the camera. If a video signal is
forwarded from one ARRICAM to another device, e.g.
second camera, slide the switch to ON (75 Ω termination) on the last camera in chain. If you are unsure, try
both settings to see which works better, particularly for
any monitors on the same video circuit.
Pilot out
Select the frequency of the outgoing pilotone signal
– either 50 Hz or 60 Hz.
Phase
When the PHASE switch is set to MANUAL, the SYNC
PHASE button allows the phase between the sync
source and the camera to be changed.
Ratio
The RATIO switch allows the selection of 5 different preset division ratios between supplied sync frequency and
resulting fps, (1/1, 2/1, 3/1, 4/1, 5/2) – for details
see page 298.
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FUNCTIONS AND OPERATIONS OF THE SPEED
CONTROL BOX
Three different tasks can be performed with the SCB:
1. The camera basic control
The frame rate can be adjusted with a precision of
1/1000 fps. Also REVERSE filming can be selected.
2. The ramping control
By entering a second frame rate, the change from
the first one to the second one can be programmed.
Also the necessary exposure compensation can be
executed automatically, either by changing the shutter angle or – if a lens motor is connected to a Lens
Data Box – the iris aperture. Furthermore, the ramping time can be set – depending on the range of the
ramp and the kind of compensation – between 0.1
sec and 99.9 sec.
3. The synchronization
The synchronization of the camera speed with an
external device like a video or computer monitor, another camera or a projector, can be easily
achieved with the SCB.
SCB
fig.7/14
REMOTE LED
SPEED CONTROL switch
SYNC LED
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START UP
When the camera is connected to the power supply,
the MAIN switch is set to ON and no problem occurs,
the camera will be in STANDBY and the two displays
will show the frame rate of the camera, 0.000 fps and
the shutter angle e.g. 180.0 . Accordingly, as soon as
the camera is RUNNING, the actual frame rate and
the actual shutter angle will be shown, e.g. 24.000 and
180.0 .
Notice
If a remote control unit like the Wireless Remote
Control or the Manual Control Box is connected to
the camera and activated, the remote LED will glow
green regardless of whether the SPEED CONTROL
switch is set to ON or OFF. In this case, the FPS displays will indicate the controlling device, e.g. MCB
on the Standard Camera Control Panel. On the
Extended Camera Control Panel, the indication of
the controlling device will only appear when a button
of the FPS selector is pushed.
Caution!
If, while the camera is RUNNING, the FPS figures
start to alternate with the warning message
BAT , you should be aware that the low battery
threshold has been crossed – but the camera will
continue to RUN until it can no longer reach the
preset frame rate anymore. Only then, the camera
will STOP and go into the NOT READY status.
If the BAT warning message appears while the
camera is STANDBY, it will automatically change
to NOT READY so that you will have to change
the battery.
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FRAME RATE CONTROL
SCB
fig.7/15
UNLOCK
UNLOCK button
FPS
FPS display
FPS 1 LED
FPS 1
FPS 1 input unit
RUN LED
RUN button
DIRECTION switch
RUN
DIRECTION
FWD
REV
Although the two FPS selectors apparently permit the
setting of higher speeds, you may actually only select
frame rates between 1 and 40 (Lite) or 60 fps (Studio)
FORWARD and between 1 and 32 fps REVERSE. Presuming that the SPEED CONTROL switch is set to ON
(the SCB has control of the camera), when the RUN
button is pushed, the camera will go from STANDBY to
RUN and SPEED UP to the fps shown in the active input
unit – the one with the illuminated green LED above. The
SCB allows the setting of frame rates to an accuracy of
1/1000th fps to match the camera speed with reference to other devices.
RAMP FUNCTION
The SCB also allows the camera to change between
two preset frame rates in a given time span called the
ramp time. Furthermore, the SCB provides the ability to
compensate the exposure by adjusting automatically
either the iris aperture or the mirror shutter angle proportionally to the actual frame rate. This iris compensation is
only possible with an LDS Lens, when the lens motor has
been connected to the Lens Data Box and its calibration
performed.
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Using a Wireless Remote Control, non LDS Lenses can
also be used for iris compensation.
SCB
fig.7/16
ARRICAM
SHUTTER display
SPEED CONTROL BOX
SHUTTER
BRIGHT button
BRIGHT
TIME input unit/LED
TIME
FPS 2
FPS 2 input unit/LED
RAMP LED
RAMP
COMPENSATION
COMPENSATION LED
COMPENSATION switch
SHUTTER
OFF
IRIS
OPEN
CLOSE
LCS
CAL
RAMP button
CALibration LED
Iris CALibration button
Iris control buttons
The two frame rates are programmed by pushing small
buttons in fps input units labelled FPS 1 and FPS 2. The
FPS 1 input unit allows the user to preset a frame rate
with an accuracy of 0.001 fps. The specific acceleration – or deceleration – time within which the camera
should change over to the other preset frame rate can
be adjusted within the range from 0.1 to 99.9 sec.
Certain physical dynamics limit the minimum ramp time
therefore, if you preset, by means of the TIME input unit,
a ramp time that is too short for the desired ramp and
compensation, the TIME LED, the RAMP LED and the
RUN LED will immediately light up red to warn that the
camera is NOT READY. Presuming that a certain fps
(e.g. FPS 1) and a ramp time are already preset, the
TIME LED and the RAMP LED will automatically light up
red when you introduce an fps (e.g. FPS 2) that requires
a longer ramping time. When shooting, the TIME LED
will glow green during the automatic RAMPING.
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To trigger a speed ramp, push the RAMP button while
the camera is RUNNING. The camera will start to
change the frame rate in order to reach the second
one in the selected time. As soon as the camera has
reached the FPS 2 frame rate, you may push the RAMP
button again and the camera will change the frame rate
back until it reaches the preset value FPS 1.
If the camera is STOPPED and STARTED again, FPS 1
will automatically become the initial frame rate. If the
Manual Control Box is used, the initial frame rate can
be approximately set with the handwheel (its two end
stops being FPS 1 and FPS 2).
SELECTION OF THE EXPOSURE COMPENSATION MODE
If the COMPENSATION switch is set to one of the two
compensation modes, compensation will start as soon
as you start the RAMPING procedure by pushing the
RAMP button or by turning the Manual Control Box
handwheel. One should be aware that the automatic
compensation is only possible in a defined range! This
range cannot extend 4 shutter stops or 6 iris stops.
As soon as COMPENSATION has been selected, the
SCB computer will calculate the alteration of the shutter
angle or the iris aperture according to the change of the
frame rate. This occurs automatically, regardless if the
camera is RUNNING FORWARD or REVERSE. If compensation is not possible, the COMPENSATION LED
will light up red.
IRIS compensation
If IRIS compensation is selected, one should be aware
that a change of the depth of field will occur. The following table should help you to find out if the intended
iris compensation is possible.
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SHUTTER compensation
If SHUTTER compensation is selected, stroboscopic
effect must seriously be considered because a narrow
shutter angle (very short exposure time) will reduce the
motion blur. If no stroboscopic effect is desired, a narrow shutter angle will strongly limit the freedom to move
the camera quickly.
Notice
The SCB will automatically pair the highest speed
with a 180° shutter angle and calculate all other
shutter angles based on the resulting exposure time.
Examples
FPS 1 1,5 2 3 4 6 8 12 16 24 32 48 60
IRIS
22
<)
11.2°
16
11
22.5°
8
5.6
45°
4
2.8 2.2
90°
180°
SYNCHRONIZATION AND PHASE SHIFTING
The SCB can be programmed very precisely and may
therefore be used to synchronize the camera to either a
video signal or a computer screen. Moreover, the synchronization of the camera with a signal provided by a
projector or another camera is possible. There are three
different input signals which the SCB can accept. If a
signal is supplied to the VIDEO IN connector and also the
SYNC IN connector, the VIDEO IN connector has priority.
• A video signal can be fed into the VIDEO IN BNC
connector.
• The ARRI Pick-up Unit can be connected to the SYNC
IN connector.
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• Any signal from 3 to 30 V with a frequency of 3 to
100 Hz can be fed into the SYNC IN connector.
SCB
fig.7/17
RATIO
selector
VIDEO signal
terminator
PILOT signal
selector
PHASE
mode
PHASE
button
For the SYNC function, a Pick-up Unit connected with
the cable (KC 66-S) is used to sense the SYNC signal
from cathode ray tube (CRT) monitors – synchronization
with TFT screens is not necessary. A similar cable should
be used for connecting other pulse generators to the
SCB, e.g. a power generator or a film projector.
When synchronizing two or more cameras, one will be
the master and the other ones will be slave.
The KC 78-S cable is connected betwen the CAC
connector of the master camera and the SYNC IN
connector of SCB linked to the slave camera. If two or
more cameras must be synchronized to an external sync
reference, e.g. a video monitor, feed either the external
video signal to the VIDEO IN connector or the external
sync signal to the SYNC IN connector of the SCB linked
to the first camera and connect the others as explained
above.
With the RATIO switch, one of 5 ratios can be selected:
(1/1, 2/1, 3/1, 4/1, 5/2). So the following settings
can be selected:
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setting
0
1
2
3
4
5, 6, 7, 8, 9
ratio
1/1
2/1
3/1
4/1
5/2
1/1
sync frequency
50 Hz
50 Hz
75 Hz
100 Hz
60 Hz
3 – 60 Hz
resulting fps
50 fps
25 fps
25 fps
25 fps
24 fps
3 - 60 fps
The phase setting determines the start of the exposure
for each film frame in relation to when the image is
drawn on the video monitor. The visible result is the
angled horizontal bar you can see when looking
through the viewfinder while the camera is RUNNING.
First try the position FIXED of the PHASE switch. FIXED is
a phase default setting that should work in most cases.
SCB remote sync connection
fig.7/18
Lite
slave
KC 65-S or KC 69-S
CAC
SAC
TV-set
sync in
CAC
KC 78-S (to CAC)
BNC (to video in)
pick-up unit
KC 66-S (to sync in)
video in
sync in
master
Studio
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If you still see the horizontal bar, switch to MANUAL
and use the PHASE button to move the bar to where it is
least visible. The SCB will remember the phase relationship (the position of the bar) between takes.
Exception:
If the RATIO is set to 1/1, then the best film image is
usually obtained when the viewfinder image is at its
worst. As always, confirm with a film test.
Caution!
No synchronization cable can be longer than
15 m/50 ft. Therefore the Pick-up Unit or the
video cable should not exceed this length.
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Timing Shift Box (TSB)
Timing
(+180/–180) scale
TIMING OFFSET
display
JITTER button
Timing shift
degree
Timing shift
direction (+/–)
JITTER level (1/2/3) bar graph
Handwheel
TIMING SHIFT
(ON/LOCK/OFF) switch
The Timing Shift Box (TSB), allows the creation of a
streaking effect by manually adjusting the phase relationship of the mirror shutter to the movement. The timing shift effect can be adjusted from very faint to very
strong.
The jitter function introduces a random fluctuation in the
effect, resulting in a shimmering variation of the streak’s
length.
MOUNTING
Like the Manual Control Box, the TSB can be attached
directly to the Studio, to the Remote Control Station or
connected via cable to the Studio and Lite – see
Manual Control Box section of this chapter.
COMPATIBILITY
The TSB can be used simultaneously with the Manual
Control Box and/or the Speed Control Box e.g. to
combine the streaking effect with a ramping effect.
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CONTROLLING THE TIMING SHIFT EFFECT
The white part of the Timing (+180/-180) scale is
where the effect covers only parts of the image, the
black part is where the effect covers the whole image.
The drop shaped labels indicate which way the streaks
will go (up or down), and at which edge the effect
will start. On the display, (+) shows that the streaks will
start on the right edge and go up, (–) while shows the
opposite way.
PERFORMING A CONSTANT TIMING SHIFT EFFECT
• Set the TIMING SHIFT switch to ON.
• Adjust the effect levels by turning the handwheel and
pressing the JITTER button.
• Set the TIMING SHIFT switch to LOCK. Now the current settings will be memorised and the handwheel as
well as the JITTER button will have no control.
PERFORMING A TIMING SHIFT RAMP
• Set the TIMING SHIFT switch to ON.
• A timing shift ramp can be achieved in turning the
handwheel while the camera is running.
CONTROLLING THE JITTER EFFECT
Press the JITTER button to change the jitter level. A bar
graph to the left of the display shows the JITTER (1/2/
3) level. With each press of the button the TSB will step
through the 4 levels: 0 (none), 1 (low), 2 (medium) and
3 (high).
Notice
Camera noise may increase when using the jitter effect.
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Remote Control Station (RCS)
If the use of the SCB together with the MCB is intended,
both components can be fixed on the Remote Control
Station.
The mounting of the SCB on the adapter is similar to the
one on the STUDIO body.
Remote Control Station (RCS) fig.7/7
MCB holder
MCB connector
front
Left side
MCB holder connector
▲
Accessory shoe
SCB attachment
Top
RCS plate
SCB connector
On top of the RCS Plate, a fixture for the MCB Holder
as well as an Accessory Shoe is located. After removing
the little cover on top of the RCS, the MCB Holder can
be fixed with one 3 mm hex screw. The MCB will be
mounted on the Holder in the same way it is fixed to the
camera.
An SAC plug for connection with a camera, an LDD
plug and an WHA-2 connector are located on the RCS
right side. A manual remote control unit – e.g. for iris,
focus and zoom – mounted on WHA-2 can be plugged
on the Remote Control Station.
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RCS SCB + MCB – front fig.7/8
right side
MCB
hand-wheel
accessory shoe
SAC connector
RCS plate
WHA-2 connector
SCB
LDD connector
Because the SAC connector of the RCS is similar to
the ones of the SCB and the MCB Cable Adapter, the
same cables can be used for connecting the Remote
Control Station with the camera.
Mounting and Connection
• Mount the SCB to the RCS Plate in the same way as
on the Studio.
• Fix the MCB/TSB Holder on top of the RCS with one
3 mm hex screw.
• Mount the MCB or TSB on the MCB/TSB Holder in
the same way as on the MCB Cable Adapter.
The ARRI Dovetail System allows placing the RCS e.g.
on the camera left side (with Rod Clamp, Rosette Bracket) or to the Lite Camera Handle with the 3/8” Clamp.
The Cables KC 65-S or KC 69-S allows connecting the
RCS (SAC connector) with the camera (CAC connector)
Notice
No sync function is possible when using the Cable
Drum KC 73-S (50 m/165 ft).
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COMPATIBILTY
The Remote Control Station (RCS) allows the use of the
following Accessories remotely from the camera:
•Speed Control Box (SCB),
•Manual Control Box (MCB),
•Timing Shift Box (TSB),
•Wired Handset Adapter (WHA-2) with Wireless Focus
Unit (WFU-1) and Wireless Zoom Unit (WZU-1) or
Wireless Remote Control (WRC-1),
•Lens Data Display (LDD),
•Lens Data Diaplay for Focus Puller (LDD-FP)
ARRICAM Studio or Lite
(CAC connector)
Manual Control
Box(MCB)
Wireless
Focus
Unit
(WFU-1)
Wireless
Zoom
Unit
(WZU-1)
MCB/TSB
Holder
OR
OR
Timing Shift
Box(TSB)
Wireless
Remote
Control
(WRC-1)
SAC
WHA-2
LDD
Speed Control
Box (SCB)
Wired Handset
Adapter (WHA-2)
Remote Control
Station (RCS)
OR
Lens Data
Display (LDD)
Lens Data Display for
Focus Puller (LDD-FP)
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Final Remark
Using Accessory Boxes:
• One Speed Control Box is not able to
control two cameras simultaneously!
Even though it is possible to connect one box to
two cameras simultaneously, this must never be
done! So for example, if a Speed Control Box is
mounted on a STUDIO, do not connect a second
camera (e.g. a LITE or a second STUDIO) with a
cable to this box!
• One camera cannot be controlled by
two similar boxes simultaneously!
Even though it is possible to connect two similar
boxes to one camera at the same time, this must
never be done! So for example, if a Speed Control Box is mounted on a STUDIO, do not connect
a second Speed Control Box with a cable to this
camera.
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THE ARRICAM IN-CAMERA SLATE SYSTEM
8
The In-camera Slate Box
WHAT’S THE MEANING OF THE ISB SYSTEM?
The In-camera Slate Box System (ISB) allows recording
of characters – the information usually written on a slate
board – in the picture area of the film and, instead of
the ”clap”, to record a visual sync cue provided by a
time-code generator built in the In-camera Slate Box.
At the beginning and/or end of each take, the camera
exposes all slate information (e.g. take identifications)
together with the time-code. The take identifications as
well as camera status info and further data are fed in
the system by means of a handheld computer and by
the camera itself.
TIME-CODE BASICS
In order to identify the take of a scene, the board has
been invented.
In order to synchronize sound with pictures recorded
on two different supports, the clapping of two pieces
of wood in front of the camera and near to the microphone has been introduced. And so, for about 80
years, the clap board has been very useful in almost all
film productions. Certainly, the camera and the sound
recorder must RUN synchronously to each other. Therefore, first the pilot cable and later the extremely precise
quartz crystal has been adopted to control the speed of
both machines.
Being aware that two events – which must be later
synchronized in the editing room – happened at the
same moment while recorded, it is obviously possible
to achieve the synchronization in finding on both media
(e.g. 35mm film and sound tape) the time identification
(time-code) of the event. And therefore, extremely pre8 – THE IN-CAMERA SLATE BOX
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cise clocks have been installed in almost all professional
sound recorders. Similar clocks – they are called timecode generators – are also present in several camera
systems. To be sure that the synchronization of timecodes will go well, it is obvious that all clocks used during shooting, maybe with more than one camera, must
be synchronized first. Therefore all these clocks will have
to be synchronized with one reference master clock.
Between the first orders ROLL SOUND, ROLL CAMERAS
and during the announcement of the board, and before
ACTION will be asked, a lot of footage is exposed. In
fact, the clapper loader has to read the information written on the board before clapping it. But to synchronize
both supports, only the identification and the clap are
relevant, and this can be read in just a few frames!
Notice
The idiom JAM means for film people mostly that film
has stuck either in a magazine or in the camera, so it
is a problem.
The same idiom JAM is used in the electronic world
– and used in this chapter – defines a synchronization operation, and this is absolutely not a problem.
THE ARRICAM IN-CAMERA SLATE SYSTEM
The ARRICAM In-camera Slate System has been conceived on the practice of clapping a board. All the
board information entered with a small handheld PC in
the
In-camera Slate Box is, together with some camera status information, exposed on a few frames at the beginning and/or end of each take. This data are entered
with the time-code generated in the In-camera Slate Box
(ISB).
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The In-camera Slate exposing is enabled by a small
Exposure Module consisting of tiny LEDs in a matrix
below the gate aperture. To be legible easily, the slate
is exposed only while the shutter is closed to 0° (the
SHUTTER display/s will show ISB 0 ). As soon as the
In-camera Slate has been exposed, it will fade out and
the shutter will open instantly to the preset angle. Consequently, after ROLL CAMERAS, the (Assistant) Director
must just wait for a very short moment before saying
ACTION!
A head slate uses around 20 empty frames and 18
frames of data when the camera is started and about
26 when it is stopped. A tail slate takes up no frames
when the camera is started, but around 40 when it is
stopped.
In-camera Slate Box (ISB) fig.8/1
TC I/0 connector (for jaming)
Front
Label
TC LED
SLATE EXPOSURE LED
TEST button
Exposure module on/off switch
Mounting screws
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Time-code graphic fig.8/2
Film running
direction
Emulsion
Exposure
In-camera slate
In-camera Slates fig.8/3
Examples of in-camera slates
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THE ARRICAM IN-CAMERA SLATE IN POST
PRODUCTION
The In-camera Slate is a legible and machine readable
text within the film frame. Therefore In-camera Slates can
be used in post-production in the same way as conventional slates: the editor can read and use the slate and
time-code information. It is now possible to work with
a time stamp at any filming frame rate, since the
In-camera Slate System always guarantees clear identification. Automatic reading of In-camera Slate information in the electronic post-production process is also possible with a special ARRI Optical Character Recognition
Software (OCR). The resulting Take-list can be directly
transferred to non-linear editing systems. The time-code
information can also be used for syncing audio.
ADVANTAGES OFFERED WHEN USING THE
IN-CAMERA SLATE SYSTEM
• the In-camera Slate is always on the film and always
clearly readable;
• consumption of film material is reduced since the Incamera Slate exposes only onto a few frames;
• post-production is possible without additional tools
since the In-camera Slate works almost like a conventional slate;
• in video post-production, an automatic Take-list can
be created with the help of an automatic slate reader
(OCR). There is no longer the need to log the data
while transferring the film to video.
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COMPATIBILITY
The In-camera Slate Box (ISB) fits on both ARRICAM
Studio and ARRICAM Lite. On the LITE, the LT Lens Data
Box must be present to mount the ISB. STUDIO and LITE
accept the same Exposure Module.
The following five components allow the use of the
In-camera Slate Box System:
• The In-camera Slate Box (ISB) contains the electronics,
the connectors, the switch, the LEDs as well as the
time-code generator and its supporting batteries.
• The handheld computer (with its own serial connector
cable) is used as a remote control unit for entering
and editing data in the ISB System.
• The connector cable 9-pin serial plug to ISB (16-pin
Fischer plug).
• The Exposure Module which has to be installed in the
camera by an ARRICAM Maintenance Technician.
• The In-camera Slate reader OCR Software for the
post-production houses.
THE IN-CAMERA SLATE BOX AND THE SPEED
CONTROL BOX
Using the In-camera Slate Box together with a Speed
Control Box is only requested when other frame rates
than 24, 25 or 30 fps are needed and the camera is
not fitted with the Extended Camera Control Panel. This
Panel as well as the SCB enable presetting frame rates
like 23.976 fps or 29.970 fps.
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MOUNTING THE IN-CAMERA SLATE BOX ON THE
STUDIO
First turn OFF the camera MAIN switch, unscrew the
two retaining 3 mm hex screws and remove the
protecting cover. Being sure that both connectors are
clean, mount the ISB carefully on the STUDIO and
fasten the two mounting screws.
USING THE IN-CAMERA SLATE BOX WITH THE LITE
The ISB cannot be fixed on the LITE itself but must be
attached to the LT Lens Data Box (LT-LDB). When the
LT- LDB is already attached to the LITE, unscrew the
single 3 mm screw, remove the cover, and – being sure
that the camera is not powered – mount the ISB and
tighten the two screws.
THE POWERING OF THE IN-CAMERA SLATE BOX
The ISB is permanently powered as long as it is connected to a powered camera, irrespective of the ON or
OFF setting of the camera MAIN switch.
Even though the camera is not powered or the
In-camera Slate Box is not connected to the camera,
the ISB built-in time-code clock needs power. To keep it
running while the camera is disconnected from power,
two AA 1.5 V batteries must be inserted into the battery
compartment located on the ISB right side. If the TC LED
slowly flashes red, these batteries need to be replaced.
If the TC has been re-jammed more than 10 hours ago
the TC LED glows red. Whenever this LED glows red,
you have to re-jam the ISB.
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Caution!
If the camera power is switched OFF and ON,
the TC starts at 00:00:00:00 but this new TC is
not usable.
As soon as the TC has been re-jammed the TC LED will
change to green. Independently from power supply
all other data of the ISB are saved in it’s internal flash
memory.
ISB
fig.8/4
Right side
Studio – ISB mounting fig.8/5
Mounting screws
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Lite – ISB mounting fig.8/6
Lite Lens Data Box
Mounting screws
THE CONNECTORS, CONTROLS, LED DISPLAYS AND
LABEL ON THE IN-CAMERA SLATE BOX
The ISB Camera Connector
On the rear of the ISB, a connector will link the camera
electronics with the In-camera Slate System. Before
installing the ISB, it is necessary to switch the camera
MAIN switch OFF. Be careful when mounting or removing the Box from the camera body or from the LT Lens
Data Box, the connection must happen smoothly.
The TC I/O Connector
The 5-pin Lemo connector must be used exclusively for
connecting the In-camera Slate Box with a master clock
(Ambient, Soundrecorder, etc.).
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The In-Camera Slate System Switch
The time-code functionality is provided as soon as the
ISB is connected to a camera. When setting the
IN-CAMERA SLATE switch to ON, the functions of the
Exposure Module are provided. This switch is not
powering the ISB.
The Label
A label on the In-camera Slate Box explains the various
states of the two status LEDs.
ISB Label
fig.8/7
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LEDS
= LED glows red
= LED glows green
= LED blinks red
= LED blinks green
= LED blinks slowly red
The TC (Time-code) LED
The time-code is set and the In-camera Slate works
correctly.
One of the following frame rate has been preset:
24 fps, 25 fps or 30 fps in realtime mode,
23.976 fps or 29.970 fps in non-realtime NDF
(Non Drop Frame) mode.
Time-code is set, but either, none of the matching
frame rates (see above) has been selected – or the
last jam-syncing was done 9 to 10 hours ago.
REMEDY: re-jam soon!
The time-code has not been set or the last jamsyncing was done more than 10 hours ago.
REMEDY: re-jam soon!
The capacity of the supporting batteries is low or
the camera is not powered.
Replace the supporting batteries (2 x 1.5 V AA)
– see fig. 8/4.
Notice
Changing the batteries while the ISB is mounted on
a powered camera will keep up the TC function.
However the LED will stop blinking after one minute
if the new batteries are full.
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Slate Exposure LED
The slate exposure is ready
The slate exposure is not ready because either the
Exposure Module has not been detected and/or
the ISB self-test failed.
REMEDY: Check the equipment and/or consult an
ARRICAM Maintenance Centre.
The In-camera Slate System TEST Button
As long as the TEST button is pushed while the camera
is Standby, the Exposure Module will be shortly activated in order to allow checking not only if this Module
is installed but also if the LEDs correctly light up. Furthermore, information about the actually saved slate information will be displayed on a video monitor and the
ISB battery voltage will be shown on the FPS display(s).
AND NOW, AGAIN A BIT OF THEORY
What is a Master Clock?
Usually, the sound recorder has a built-in time-code generator. Connecting a cable between the sound recorder
and the ISB connector will allow simple and efficient
jam-syncing. If this is not possible, use an independant
master clock. Besides others, the Ambient
Clockit Controller ACC 101 portable TC generator/
tester is a master clock which offers very good compatibility with the ARRICAM In-camera Slate System. Its
controller is an extremely accurate portable master clock
and time-code generator/reader which can be used to
synchronize (jam), read, identify, and compare all timecodes. All frame rates are catered for, and the frame
rate can be changed without loosing time of day, enabling a camera RUNNING at 24 frames and a recorder RUNNING at 25 or 30 frames to be jam-synced.
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Userbit format options allow easy entering of data in the
form required. With the added facility of internal Xtal
calibration, it can be used as a master clock to calibrate
time-code recorders and film cameras in the field.
What does Jam-syncing time-code mean?
In a basic SMPTE synchronization scenario, time-code
is fed from one device (the master) to a second device
(the slave). The slave device follows the time locations
as transmitted by the master device. If the master device
counts one hour and thirteen minutes (expressed as 01:
13:00:00; Hours:Minutes:Seconds:Frames), the slave
device follows it there. The problem arises when the
master device’s SMPTE time-code has an error in it. In
most situations, the slave device would not know what
to do for a split second since it has missing instructions
from its host. It would stutter or stop completely. By
using jam-syncing, the slave device can be instructed to
ignore small dropouts of time-code from the master, thus
ensuring smooth synchronization. To do this, it generates
its own time-code whenever the master’s time-code is
missing. Jam-sync is usually an optional mode that the
user can select.
What is the difference between Single and Continuous Jam-syncing?
While shooting, the TC OUT connector of a master
clock is permanently wired with the TC IN connector
on the ISB. This master clock (it can be integrated in the
sound recorder) provides continuously a sync reference
signal to the ISB. So the ISB time-code is synchronized
permanently with an external TC device – Continuous
Jam-syncing mode is applied. The TC cable must be
connected all the time.
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After having synchronized just once the ISB (this operation lasts about 1 sec.) the cable between the ISB and
the master clock is disconnected. The camera remains
synced with the ISB buit-in time-code generated signal.
This method is called Single Jam-syncing. The TC cable
can be removed.
The high accuracy of the Single Jam-syncing method
combined with the freedom of working wireless establishes this method as a default mode. Continuous Jamsyncing is only needed e.g. in case of play back filming
where a sound device is wound back and forth and
requires the camera time-code to follow.
Use the handheld PC for selecting the syncing mode.
PRACTICAL ADVICES ON HOW TO USE THE
IN-CAMERA SLATE SYSTEM
Notice
We suggest ISB users to involve the lab and the
post-production house in the preparation and the testing of the equipment. Furthermore, it is recommended
to assign one person (camera, sound or video dept.)
responsible for all In-camera Slate operations.
Before starting a production, it is important to check the
equipment:
Test the system as follows:
1. Set the camera MAIN switch to ON.
2. Set the In-camera Slate switch to ON.
3. Push the TEST button on the In-camera Slate Box
– both LEDs should briefly fade out and then glow
green or red. If the SLATE EXPOSURE LED glows red,
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a problem occurs. The cause will be displayed on
a video monitor – most probably no ISB Exposure
Module is installed in the camera.
4. Go to the other side of the camera and open the
camera door. Rotate the movement locking lever
clockwise to slide the movement to its rear position.
Look at the lower part of the movement (under the
slot for the inside pull down claw). Reach around the
camera, and push the TEST button again. The Exposure Module LEDs, which is located right behind the
ISB window in the Aperture Plate, will flash 5 times,
and you should see red reflections of these flashes
on the lower part of the movement. If you do not
see these flashes, the Exposure Module may not be
installed or is damaged.
When starting a shooting day:
1. The Focus Puller or another member of the camera
department together with friends at the sound department and most probably also at the video department
will have to synchronize all used devices with one master clock. This operation is often called jam-syncing.
2. The Loaders will have to enter the film sensitivity (ASA)
into each magazine. Only when the Cinematographer decides to change the laboratory process, the
ASA rating will have to be re-adjusted accordingly.
3. The synchronization of the camera movement with
the In-camera Slate time-code generator will occur as
soon as the ISB is connected to the camera.
Caution!
However, the adequate synchronization mode
can be selected by means of the Video Assist configuration menu VIDEO CONFIG – see chapter 5
page 72.
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• camera synced OFF: the camera is not synchronized by TC nor by the Video Assist. It will be
synchronized by the SCB if selected at this box.
• camera synced VID: the camera is synchronized by the Video Assist.
• camera synced TC: The camera is synchronized by the TC of the ISB. This mode allows
also to synchronize the Video Assist with an
external signal.
MENU VIDEO CONFIG
FLICKERFREE
EXPOS: TIME
LINE INTERP.
Y/C (SVHS) DATA
MINI MON. DATA
VID SYNC
–> CAMERA SYNCED
PHASE 0 – 356
=
=
=
=
=
=
=
=
ON
FILM
ON
ON
OFF
EXT (NOT TC)
TC
0.0
EXIT
4. Last but not least, one must feed all slate information
into the In-camera Slate System before shooting.
Therefore a connection to a consumer handheld
personal computer running windows CE 3.0 (or later
version) is necessary.
Caution!
• At the beginning of each shooting day and
after about four hours (after the break for lunch),
the camera(s) and the sound recorder have to
be re-synchronized (re-jam for short) with the
master clock.
• The slate exposing works at any camera speed
and shooting direction, but you must be sure to
set the film speed (ASA) on the magazine – see
chapter 2, page 80 – to have the correct exposure.
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THE EVERYDAY JOB
Convention:
The following description is based on the use of an
iPAQ handheld PC from Compaq® together with an
external flash card. On this flash card the ARRICAM ISB
Remote Control Software V 1.020 has been installed by
the ARRICAM Maintenance Centre. In other handheld
PC, the program can be saved on the integrated ROM
memory. If the program ARRICAM does not appear in
the start menu of the iPAQ handheld PC it has to be
reloaded (after more than about two weeks without
power). The procedure depends on the type of handheld PC used. Please see the document the ISB Remote
Control Software – appendix 1, Restoring the Program
from Flash. The document is delivered with every
handheld PC and can also be downloaded from the
ARRI.com web page. More information about the ISB
Software, the start menu and the restore procedure can
also be downloaded from this web page.
THE SYNCHRONIZATION (JAM-SYNCING) OF THE
IN-CAMERA SLATE BOX
Connect an external time-code source (e.g. audio
recorder, master clock) to the TC I/O connector on the
In-camera Slate Box (pin1 = GND, pin2 = LTC in, pin5
= LTC out). As soon as a jam-syncing is completed, the
TC LED should glow green. For more information see
the manual of the master clock.
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ERRORS AND WARNINGS
Errors like e.g. ”no Exposure Module detected” or ”ISB
selftest failed” and warnings like ”Battery of ISB is
low” or ”TC is not set”, will be encountered on the Main
Menu and explained in the Error/Warning Sub-menu.
You can also read this information on the video monitor.
Exception: Loss of communication
Whenever the communication with the ISB System is
lost, the ISB Remote Control Software displays <void>
in the text fields of the Main Menu. All data entered or
edited before the lost of communication remains in the
ISB memory. Changes of the status of the camera (RUN/
STOP) which are saved in the ISB will be correctly
reported to the iPAQ as soon as the connection is fixed.
SETTING UP
Use the iPAQ to enter new information or edit existing
information that is stored in the In-camera Slate Box. See
the manuals of the iPAQ and the one of Windows CE
3.0 for more information about the Mobile Computing
System. The communication is based on the RS 232
connection.
Before entering or editing data, you must first connect
the iPAQ with the ARRICAM Camera – not with the
In-camera Slate Box!
1. Set the camera MAIN switch to OFF
2. To connect the iPAQ to the ARRICAM Camera, two
cables are necessary: Plug the round 16 pin male
Fischer connector of the ARRI cable KC-H-1 into the
Camera Accessory Connector labelled CAC. At
the other end, a DSUB 9 pin male connector will
be plugged into the iPAQ own cable. The second
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cable, which is an accessory of the iPAQ, will have
on one end a DSUB 9 pin female connector and on
the other one the special iPAQ connector.
3. Set the camera MAIN switch to ON and turn the
iPAQ ON. The IN-CAMERA SLATE switch doesn’t
have to be set to ON.
4. Touch the Windows icon on the top left of the screen
to display the Main Menu. Choose the ARRICAM
icon to launch the controller program.
5. Once the program is running, the slate information
stored in the ISB is displayed on the iPAQ screen
which popped up first the Main Menu.
OPERATION
By following the navigation of the menu, enter the slate
information by using the virtual keyboard or the handwriting function of the iPAQ.
Some of the slate information including e.g. production name, director’s name, etc. will be set once at the
beginning of the production. In similarity to the traditional board, all scene identification numbers must be
entered whenever a scene number changes. The preset
take number automatically increases by one after each
take (camera RUN and STOP).
Notice
• Do not forget to check the power condition of the
iPAQ!
• Do not forget to set TC at the video configuration
menu!
• Be aware that after each take, take numbers will
be incremented automatically by the In-camera
Slate Box – if they are not changed manually with
the iPAQ!
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USING THE MENU STRUCTURE
The Main Menu
The Main Menu is divided into four Sub-menus: CURRENT TIMECODE, NEXT SLATE, TAKELIST (LAST TAKE),
and ERRORS/WARNINGS. For each Sub-menu the
most important information of the respective ISB System
are shown, either in a Dialogue Box or an Info Box.
iPAQ Main Menu fig.8/8
time-code dialogue box
> edit/view all time
code settings
slate dialogue box
> edit/view all slate
settings
take-list info box
> view single take-list
entries
>> view whole take-list
errors/warnings info
box
> view errors and
warnings
The function fields
Edit
More
None of the fields of the Main Menu is
editable. For changing time-code or slate
settings the field Edit of the CURRENT
TIMECODE and NEXT SLATE Sub-menu
must be activated.
The two More buttons open Dialogue
Boxes for browsing the take-list entries and
for inspecting errors and warnings reported
from the ISB System.
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The info fields
Time
Userbits
TC-fps
Slate
Scene
Next Take
the value of the actual time-code.
the value of the actual userbits.
the actual frame rate of the TC generator.
Slate identification entred by the user.
Scene identification entred by the user.
Suggested next take number incremented
by the System.
AI
Shows the automatic incrementation of the
take number by the System.
Start TC Starting time of the last take.
Frames
The frame amount of the last take.
Start fps The frame rate at starting of the last take.
Errors
Number of errors reported by the ISB.
Warnings Number of warnings reported by the ISB.
Depending on the kind of data you would like to enter
or edit, touch the adequate Edit field to enter the Submenus:
• To edit time-code relevant data select the CURRENT
TIMECODE Dialogue Box.
• To edit the scene/take relevant identification select
the NEXT SLATE Dialogue Box.
USING THE DIALOGUE AND INFO BOXES
Using the Edit field of the CURRENT TIMECODE Submenu leads to a Dialogue Box where several figures
and modes are displayed and also may be changed.
When a field of the Dialogue Box is activated by
touching it, changes can be done. The value can be
changed by using either touching arrows, writing in the
field or selecting an option in a drop menu.
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Do not forget to touch Apply for saving your selection
into the ISB memory!
If you have to change several data at once in a
Dialogue Box, only one touch on Apply at the end of
the manipulation is necessary.
As soon as Apply is touched, a little clock icon will
show that the computer is updating.
By touching Back you will return to the Main Menu.
Caution!
When Back is touched, no downloading of the
new settings to the ISB System will occur.
Time-code can only be (re-)synchronized by
manual editing or by re-jamming.
Pushing the Apply field is not sufficient!
Please note that jamming time-code is more
accurate than editing via handheld PC.
iPAQ Current Timecode Dialogue Box fig.8/9
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THE CURRENT TIMECODE DIALOGUE BOX
Before the Dialogue Box opens, the current time-code
settings are uploaded from the ISB System to the ISB
Remote Control Software.
TC-Time
Shows the current time of the ISB timecode clock. This field is refreshed every
second. By touching the TC-Time field, it
will be activated and you will be able to
change the time.
Userbits
Shows the actual settings that can be
changed here.
Speedmode Shows the current setting of the speed
mode. It is possible to toggle between
Realtime and NDF (Non Drop Frame)
mode.
Date
Shows the current setting of the date
of the ISB System. The date may be
changed between 1.1.2000 and
31.12.2099
TC-fps
Shows the current speed settings of the
ARRICAM. This field cannot be edited.
Operation
Allows to toggle the sync mode of the
mode
ISB System. It is possible to toggle
between Continuous Jam-sync and
Single Jam-sync.
Toggle
There are two sources for changing the
sources
speed mode: Jam or the local input
selected in the Speedmode field. The
two little circle fields allow to toggle
between these two modes.
Set all ISB
Touching this field resets all ISB settings.
settings to
The user must confirm this action. After
default
selecting OK all settings of the Dialogue
Box are refreshed.
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THE NEXT SLATE DIALOGUE BOX
Before the NEXT SLATE Dialogue Box opens the current
slate settings are uploaded from the ISB System to the
ISB Remote Control Software. Due to the limitation of the
Exposure Module, only the following characters can be
used to enter names and identifications in the text fields:
C D
E
F
G H
I
K
L
M
N O
A
B
P
Q
R
S
T
U
V W X
Y
Z
@
`
”
^
+
–
=
|
.
;
:
1
2
3
4
5
6
7
8
9
0
*
!
{
[
(
/
<
>
\
)
]
}
_
?
iPAQ Next Slate Dialogue Box
J
,
-
fig.8/10
Field
max. numbers
of characters
Production
Slate
Scene
Next Take Id
Director
DoP
Roll
Production unit
32
4
4
4
32
32
4
1
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Next Take Id
Flag: Take
Id was autoincremented
Slate exposure
at start or end
of take
Clear
This field displays the Take Id for the
next take. The field is refreshed every
2 sec. because the Take Id is autoincremented with every take done by
the camera. The field accepts numbers in the range from 0 to 9999.
Normally the Take Id is auto-incre
mented by the ISB System after each
take completed by the camera. For
these cases a string AI is displayed
right to the Next Take Id field. After
a take has been completed the Take
Id is always in this auto-incremented
mode. If the user overwrites the
auto-incremented Take Id using the
Next Take Id field, downloading the
new Take Id by using Apply, the
next take will be numbered with the
user defined Take Id. The Flag AI
then disappears until a new take is
completed by the camera. The user
defined Take Id will also be taken
as a new base for auto-incrementing
the Take Id.
The two little circle fields allow to
toggle between two modes: Slate
exposure at start of take or Slate
exposure at end of take.
Clear deletes all slate settings of the
ISB System. This action has to be
confirmed by the user. After clearing
the settings the Dialogue Box is completely refreshed.
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THE TAKELIST (LAST TAKE) INFO BOX
When the Info Box opens, the last take entry is displayed. This Info Box allows to browse through the Takelist stored in the ISB System: The ISB System adds an
entry to the Take-list each time a take is completed by
the ARRICAM Camera.
THE TAKELIST BROWSER INFO BOX
iPAQ Takelist Browser Info Box
fig.8/11
info fields
navigation fields
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Start TC
Frames
Date
Userbits
Start fps
Reverse Run
Slate
Scene
Take Id
AI
Time-code at start of take.
Amount of frames within take.
Date at start of take.
Userbits active at start of take.
Frame rate at start of take.
If Reverse Run is displayed, it shows that
the this take has been shot REVERSE.
Slate text has been recorded at the
beginning and/or end of the last take.
Scene text has been recorded at the
beginning and/or end of the last take.
Counted number of take.
When AI is displayed, the autoincrement function is active.
The info fields
Arising small flags in the square fields show actual
warnings.
Remark: If the ISB is switched OFF, no slate has been
exposed, so none of these flags will appear. But the ISB
will continuously record the take counting and feed this
information into the iPAQ.
Camera speed
The frame rate was not constant
during the take. The frame rate at
start is displayed in the field Start fps.
Slate recording The exposure function was turned
ON (ISB switch) and the In-camera
Slate has been exposed at the beginning and/or at the end of the last take.
Slate at end
If there is a Slate exposed only at the
of take
end of the take, the flag Slate at end
of take is on.
Slate completely The In-camera Slate has been
recorded
correctly exposed.
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The navigation fields
Use these arrow keys to navigate within the TAKELIST
BROWSER Info Box. Which take is currently displayed
can be seen in the status line below the arrow keys. The
first figure is the number of the actually chosen take. The
second figure is the sum of recorded takes. 585 takes is
the maximum capacity of the ISB memory.
Example: # 006/008 (max: 585)
The displayed data are related to the take 006 of 008
takes.
If the TAKELIST BROWSER Info Box is full and you intend
to record more takes, an overflow occurs. In this case,
the oldest recorded takes are deleted.
All
All opens a new Info Box where the recorded
takes are listed in a table called TAKELIST
TABLE.
Clear Clear deletes all take-list entries of the ISB
System and return to the Main Menu. This
action has to be confirmed by the user. After
clearing the settings the Info Box is completely
refreshed.
TAKELIST TABLE INFO BOX
The info about each recorded take is displayed in 13
columns.
Because the TAKELIST TABLE Info Box is larger than the
iPAQ screen, scrolling vertically will show all saved
takes.
In scrolling horizontally, about 4 columns of 13 will be
displayed simultaneously.
Move the horizontal scroll bar to leaf through the table.
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iPAQ Takelist Table Info Box
fig.8/12
Userbits
Complementary information entered in
the System by the user.
Take Id
The Take Identification number.
Start TC
The time-code at the beginning of the
shooting.
Frames
Numbers of frames of this take.
Date
Date of shooting.
Fps
Frame rate preset at the beginning of
the shooting.
Slate
Slate number entered either by the user
or automatically incremented by the ISB.
Scene
Slate number entered by the user.
R. (Reverse) The take has been shot in REVERSE
mode.
S. (Speed)
Frame rate has not been constant during take.
S. (Slate)
In-camera Slate exposing function was
ON.
E. (End)
Slate at end of take.
C. (Complete) Slate has been correctly exposed.
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USING THE TAKELIST (LAST TAKE) INFO BOX
• By touching a selected entry, the TAKELIST (LAST
TAKE) fades out and the info about this entry is
displayed on the TAKELIST BROWSER Info Box.
• By touching Back the selected take fades out and
info about the last recorded take is displayed on the
TAKELIST BROWSER Info Box.
• By touching Export the TAKELIST SAVE AS Info Box
will appear. This Info Box enables the export of the
Take-list into an ASCII-file (on the handheld computer).
This file may be transferred to any PC using the program ”Active Sync” (part of the iPAQ package) and
the serial cable (also part of this package).
THE TAKELIST SAVE AS INFO BOX
iPAQ Takelist Save As Info Box
fig.8/13
• In giving a Name to a Take-list, it will be easy to
identify it later.
• In saving the Take-list into a dedicated Folder, will
make the search of it easy. Selecting ”None” means
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storing the file in the root of the ”\My Documents”
Folder.
• Select *.* if the extension of the file specified in the
Name field shall be used.
• When saving a Take-list, you may select between two
saving Locations:
On iPAQ-Versions without internal flash memory: Select
”Main Memory” or ”Storage Card” if a flash card is
installed.
On (newer) iPAQ-Versions with internal flash memory:
Select ”Main Memory” or ”iPAQ File Store”.
THE ERRORS/WARNINGS INFO BOX
This Info Box shows the errors and warnings generated
by the ISB System. Touch the entries to display the individual error/warning text in an Info Box.
iPAQ Errors/Warnings Info Box
fig.8/14
In case of problems, the following messages can
appear:
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iPAQ Errors/Warnings Info Box
fig.8/15
errors
error
!
warnings
! i
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iPAQ Error/Warning Message
fig.8/16
If a Sub-menu is active (the ERRORS/WARNINGS Info
Box excepted) and the communication is lost, an Error/
Warning Message appears and the program returns to
the Main Menu.
Recovering
The program constantly trys to reestablish communications. As soon as data transfer is possible again, the
program refreshes the entries in the Main Menu and
processes user actions as normal.
No communication at start of program
If there is no communication at starting the program, an
Error/Warning Message is displayed and after this the
Main Menu appears with all entries set to <void>.
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THE ARRICAM CAMERA SUPPORTS
9
The Camera Supports
This chapter is dedicated to the various accessories
which make the handling of the ARRICAM Cameras
safe and comfortable.
Preliminary remarks
All parts of the ARRICAM Camera Support System
should be handled with the same care as the camera
bodies themselves.
When mounting the different handles, be sure that
they fit firmly but do not use unnecessary force.
• Use an 8 -10 mm (5/16”) flathead long shaft
screwdriver for mounting/removing the Power
Bridgeplate, the Baseplate, the Riser Baseplate or
the Magazine Stabilization Bracket.
• Use a 5 mm metric hex wrench for mounting/
removing parts of the Carrying Handle’s System,
e.g. a Handle or an Accessory Shoe.
• Use a 3 mm metric hex wrench for mounting/
removing all support components on/from the
cameras.
Notice
Even though the Carrying Handles provide 3/8’’
threaded holes, no heavy items should be attached
there.
CARRYING HANDLES
Standard Carrying Handles
Each camera type has its own, none interchangeable
”standard” Carrying Handle. The Studio Camera Handle as well as that of the Lite are fixed to the camera
right side by means of 3 mm hex screws.
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• Studio Camera Handle
The front and the rear Handle can be removed and
fixed in other positions on the Attachment Cubes. To
do so, enter a long 5 mm metric hex wrench in the
opening of the Handle to unscrew/screw the bolt.
The Studio Camera Handle is fixed to the camera
body with three 3 mm hex screws. By putting the
metric hex wrench in the access holes of the Studio
Video Assist, mounting or removing of the Studio
Camera Handle on/from the Studio is possible.
Studio Camera Handle mounting
fig.9/1
Attachment cubes
Access hole
Mounting
screws
• Lite Camera Handle
Besides being secured by two retaining screws, the
Lite Camera Handle also slides into a holder on the
Lite top. The two knobs loosen rosettes enabling the
optimization of the carrying balance by positioning
the Handle over the centre line of the camera.
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Lite Camera Handle mounting
fig.9/2
Mounting
screws
Carrying
handle holder
Centre Carrying Handles
Because both cameras can be configured in several
ways, some configurations will not allow using the
”standard” Handles but require other ones.
• Lite Centre Handle
When the Studio Viewfinder or the Studio100%
Video Top equipped with its Video Assist is mounted
on the Lite, only the Lite Centre Handle can be used.
This Centre Handle is mounted on top of the Lite body.
LITE Centre Handle mounting fig.9/3
Mounting
screws
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• Studio Centre Handle
When the Lite Viewfinder or the Lite100% Video Top
equipped with its Video Assist is mounted on the Studio, the Back Load Adapter must be used without its
own Handle. See chapter 2 page 94 how to remove
the Magazine Adapter’s Handle. The Studio Centre
Handle should then be fixed on both sides of the
Studio’s body as well as on the Magazine Adapter.
ACCESSORY SHOE and SHOE EXPANDER
Attachment Cubes with 3/8” threaded holes are integrated in the Carrying Handles. Either Handles or little
spare Accessory Shoes can be mounted there by means
of a 5 mm metric hex wrench.
To double the possibility of mounting accessories on a
shoe, a Shoe Expander can be slid into the shoes
provided on the Frameglows, Studio Readout and other
components.
Studio – Accessory Shoe mounting/Shoe Expander fig.9/4
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POWER BRIDGEPLATE
Specially conceived for both ARRICAM Cameras, this
baseplate for 19 mm Support Rods is equipped with
two 24 V dc outlets. On the base of both camera
bodies, a cover plate can be slid away to enable the
contacts of the ARRICAM Power Bridgeplate to receive
power supply via the camera e.g. battery.
Studio – Camera Base fig.9/5
Power Bridgeplate mounting fig.9/6
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Caution!
1. Even though the two 24 V outlets look similar
to the camera’s RS connectors, no remote
switch can be plugged there because the
RUN/STOP functionality is not supported.
2. The power delivered by the two connectors
has the same voltage as the power supply
source (Battery or mains Power Supply Unit).
Because the total power supplied by the connectors is limited by self resetting fuses, be
careful that too many accessories are not connected to the camera simultaneously. In case
a problem occurs, e.g. a short circuit caused
by a defective accessory, the self resetting fuse
will stop the power to the connectors. In this
case, see chapter 10 – Power Management,
page 362.
The ARRICAM Power Bridgeplate allows filming in the
Standard 35 or Super 35 formats.
The current position, STANDARD or SUPER 35, is displayed by two index arrows on the integrated Compensation Bar. The Power Bridgeplate can be converted to
Super 35 as follows:
Power Bridgeplate mounting fig.9/7
Integrated
compensation
bar
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Power Bridgeplate fig.9/8
24 V dc
outlet
Power
contact pins
integrated
Iompensation
bar
Lock lever
1. Remove the three screws with a Phillips screwdriver
No 2.
2. Turn the integrated Compensation Bar 180° and
screw tightly in this position.
Caution!
It is crucial to check if the setting of the integrated
Compensation Bar corresponds with the format set
on the camera (e.g. SUPER 35).
Notice
The ARRICAM Power Bridgeplate cannot be used
with other cameras but many other ARRI Baseplates
can be used with ARRICAM Cameras.
CAMERA HANDGRIPS
In order to operate the ARRICAM Cameras from the
shoulder, the operator can choose between two options:
• to take the camera on the shoulder and to hold it by
means of a camera handgrip attached to the camera
own rosette joint on the right side.
• to use the Shoulder Set and to hold the camera with
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both hands. Two handgrips which are mounted on
the little Riser Plate, can be adjusted in all directions.
Remote RUN switch
The camera Right Handgrip as well as the Shoulder
Set’s Right Handgrip are equipped with a RUN button
and a cable that should be plugged into the RS connector located next to the rosette attachment.
Notice
• Do not plug the handgrip cable in an RS connector
on the Power Bridgeplate because no RUN functionality is provided there!
• The camera can be switched to RUN or STOP by
any one of several buttons, for example on the
Handgrip, on the Camera Control Panel, on the
Speed Control Box or on a remote control device.
In order to avoid confusion it is recommended to
assign only one person to switch the camera ON
or OFF.
Lite – Right Handgrip fig.9/9
Shoulder Pad
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SHOULDER SET
The ARRICAM Shoulder Set – which can be fitted to
the bases of the Studio and Lite – allows comfortable
handling with two Handgrips while the camera rests on
a Shoulder Pad.
The Shoulder Set consists of four parts:
• When fitted on a camera base, the lightweight Riser
Plate allows changing from shoulder operation to
head operation instantly. This is possible because the
Riser Plate holds either the lens Support Rods (incl.
Motor(s) and Matte Box) as well as both Handgrips
without hindering the quick mounting/releasing on/
from most camera heads. Even though the short camera baseplate is called Riser Plate, it doesn’t affect the
centre of gravity of the camera when it is operated on
the shoulder. While using the Riser Plate on a head,
the camera centre of gravity will be about 2 cm higher than when the camera is mounted on the Power
Bridgeplate. This fact is negligible when thinking of all
the advantages offered by a fast operation.
Shoulder Set
fig.9/10
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On the top of the Baseplate, two 3/8” bolts provide a
firm fixing for the camera. Underneath the Riser Plate is
a removable snap plate which fits in the quick-release
attachment of the ARRI Gearheads and some fluid
heads. This ARRI Quick-Release Plate can be exchanged
with an alternative one if another camera head is used.
Use a Philips No. 2 screwdriver to exchange the QuickRelease Plate. Two 19 mm Support Rods – the lightweight carbon fibre ones are recommended for hand
held operation – can be fixed on the Riser Baseplate.
Use a 8 - 10 mm (5/16”) flathead long shaft screwdriver to fit the Riser Plate to the camera base – short
screwdrivers will not allow the fixing. When mounting
the Riser Plate, be sure that the sliding cover plate on
the camera bottom side is closed.
• The Shoulder Pad attaches to the camera base with
a butterfly bolt. It can be used on both cameras but
will not fit on the Lite when the Steadicam Magazine
is used.
• The two Handgrips are screwed onto the rosette
attachments. Rosette joints enable optimizing individually the ergonomics of the Shoulder Set.
Shoulder Set mounting
fig.9/11
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Caution!
Because of the width of some heads, one or the
two Handgrips cannot be fixed below a certain
angle.
THE LENS SUPPORTS
When using heavy lenses (e.g. Variable Primes, Zooms
or Long Focal Lenses, it is essential you use adequate
lens supports. ARRI provides several lens Support Bridges as well as different length rods.
THE ACCESSORY HOLDERS
Two brackets – one to be mounted on a Ø19 mm
Support Rod and the other on a rosette e.g. on the
ARRIHEAD – enable the flexible positioning of all accessories fitted with the ARRI quick release dovetail mechanism, e.g. the Wired Handgrip Attachment WHA-2.
Furthermore, two attachments to extend the possibilities
of using the well established ARRI Dovetail System are
available – the Dovetail Rod Clamp and the Dovetail
3/8“ Clamp.
ARRI Dovetail System fig.9/12
3/8“
clamp
Rod
clamp
Accessory
shoe
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THE UNIVERSAL LOW MODE SET
The Universal Low Mode Set allows the Studio or the
Lite to be underslung on a Steadicam or other camera
support device. The Universal Low Mode Set is compatible with all ARRICAM Viewfinders, both Video Assists
and both 100% Video Tops. The set consists of an Lite
Mounting Plate, a Steadicam Plate, two Support Arms
and a Support Rod Holder. This Holder slides into a
dovetail located on the front of both 100% Video Tops.
Use the 3 mm metric hex wrench to fix both Support
Arms to the threaded holes on the left and right side of
the Studio body.
On the Lite, you have first to attach the Lite Mounting
Plate on top of the camera body before fixing the Support Arms to it.
Then the Steadicam Plate will be fixed by four 3 mm
screws to the top of the Support Arms.
To allow flexible mounting options, the Steadicam Plate
has 21 3/8” x 16 threaded holes, of which 9 are
countersunk. This Plate can also be used as an Adapter
Plate when an ARRICAM Camera is mounted in high
mode on a Steadicam.
Lite Mounting Plate
fig.9/13
Mounting
screws
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Studio – Universal Low Mode Set
fig.9/14
Mounting
screws
Mounting
screws
Studio – Universal Low Mode Set fig.9/15
Mounting
screws
Mounting
screws
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The Support Rod Holder allows the use of lens motors
and other rod mounted accessories, without the need for
fitting a bridgeplate. It is provided with two 19 mm and
two 15 mm removable Rods must be adjusted accordingly to the type of camera used. The Support Rod
Holder has to be fixed by one 3 mm hex screw in the
correct position: Studio or Lite.
Lite – Support Rod Holder fig.9/16
Support
rod holder
3 mm
hex screw
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ARRICAM POWER MANAGEMENT
10
Power Management
ARRICAM, the most sophisticated contemporary camera system, is driven by several electronic components
which carry out very precise and defined tasks.
In order to use the system efficiently, the users should
have some knowledge about the power supply, the
power distribution and consumption as well as about
the security components of this modular camera system.
POWER SUPPLY
The ARRICAM System should be powered by a power
source providing a nominal 24 V dc. An incorporated
electronic device should filter the supplied energy and
compensate for deviations. An acceptable voltage
range is from 21 V dc and max. 35 V dc.
Caution!
No power sources (Battery or mains Power Supply Unit) providing less than 21 V dc or more than
max. 35 V dc should be used at any time!
BATTERIES
At the moment, beside current developments in the field
of portable power supply, e.g. Metal Hybrid battery
technology, the user can choose between three types of
batteries to power the ARRICAM System: the Lead Acid,
the Nickel-Cadmium and the Lithium-Ion type.
The Lead Acid battery has disadvantages in being the
heaviest battery type in relation to the delivered power,
causing environmental problems and being quite
inefficient in cold temperature.
Being lighter than the Lead battery, the well established
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Nickel Cadmium battery Type ARRI NC24/7R delivers
24 V dc with a 7 Ah capacity.
Depending on the ambient temperature and on the
consumption of the equipment, the capacity of NiCad
batteries is limited to a certain period of time. When the
remaining capacity starts to decrease, the voltage will
also slowly decrease. This allows the ARRICAM Electronics to warn the user “L BAT” when the supplied voltage drops below a threshold value, e.g. 20.6 V preset
in the factory. One of the disadvantages of the NiCad
technology is supposedly the memory effect: Depending
on the charge/discharge cycles, the NiCad battery will
”remember” its last charge level and will limit its delivery
to this stage.
The newer Metal Hybrid battery technology should offer
the advantage over the NiCad of less memory effect.
The Lithium-Ion (Li-Ion) camera battery is a rechargeable
battery with twice the energy capacity of a Nickel-Cadmium battery for a given size and weight. The battery
is composed of Lithium, the lightest metal and the metal
that has the highest electrochemical potential. The LiIon battery uses Lithium metallic oxide in its positive
electrode (anode) and Carbon material in its negative
electrode (cathode), and the Lithium Ions inside the
battery transfer between the positive electrode and the
negative electrode during charge or discharge. Lithium,
however, is an unstable metal, so Lithium-Ion batteries
are made with Lithium ions from chemical compounds.
Because of its lightness and high energy density, LithiumIon batteries are ideal for portable devices, such as the
ARRICAM System. In addition, Lithium-Ion batteries have
no memory effect and do not use poisonous metals,
such as Lead, Mercury or Cadmium.
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Features
• Voltage of 28.8 V dc/10 Ah lets you cut down on
the number of batteries you use.
• High energy density minimizes battery size and weight,
making it perfect for use in portable equipment.
• No metallic Lithium is used, so charging and discharging are very safe.
• No memory accumulation, so it provides a full discharge every time.
• The outer casing is an Aluminium alloy, so overall battery weight is lower.
Lithium-Ion batteries have also disadvantages:
1. they are currently more expensive than NiCad and
NiMH battery packs.
2. because of their own built in electronics, a Li-Ion battery pack will automatically stop supplying power if
the voltage drops below a value preset by the manufacturer. Depending on the ambient temperature, the
way it is charged and on the consumption of the
equipment, the time of stopping the power supply
will differ from pack to pack.
Consequently, the ARRICAM Electronics must be
adjusted to be able to warn the user by displaying
“L BAT” in time. To do this, the user or the rental
house will have to go to the Option mode – see
chapter 1, page 32 to preset a threshold value
based on his/her experience with the delivered Li-Ion
battery pack. Certainly, this is a kind of compromise
to solve the problem that occurs when using ”intelligent” batteries.
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CONCLUSION
• If the lightness and the higher capacity (more footage can be exposed with one battery pack) is your
choice, take LI-Ion batteries on the set.
• If, on the one hand, weight is not a big problem and
on the other, you prefer to be warned as usual, it is
recommended to use a Metal Hybrid battery or the
NiCad pack to operate the ARRICAM System.
POWER SUPPLY UNIT (Mains Adapter)
If power from the mains (115-120 V/60 Hz or 220240 V/50 Hz) is available and running a cable to the
camera is not a problem, you should opt for using the
Power Supply Unit. The ARRI Power Supply NG 12/26
R delivers sufficient power with a stabilized voltage of
26 volts.
POWER CONNECTOR
The Fischer power supply connector of the LITE and
STUDIO are identical with the one established on the
ARRI 435 and 535. (Pin 1 is –, Pin 2 is +).
POWER SUPPLY CABLE
The power supply cable is connected between the
power connector on the camera and the power source.
Don’t use cables longer than you actually need. If you
have to use a longer cable, e.g. when the camera is
mounted on a remote head, make sure the voltage at
the camera end is sufficient. This is more of a problem
for a high speed camera like the ARRI 435. Ask your
equipment supplier for a long cable that is adequate for
the job.
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Caution!
The battery end of the cable uses a 3-pin XLR plug
wired Pin 1 -ve and Pin 2 +ve. Please be aware
that there are other systems in the Film Industry that
use this connector but with the polarity reversed.
Make sure you do not mix the systems, as the
consequences for the equipment are potentially
disasterous.
POWER DISTRIBUTION
Several components and all connectors of the cameras
are protected by self resetting fuses built into the camera
bodies. The total current provided by all the connectors
together is limited to 7 A.
Components which need only 12 V dc – e.g. parts of
the Video System – are powered by an internal, galvanic separated, power supply. More 12 V outlets can
be provided by using the Accessory Power Box (see
next chapter). Several connectors marked RS (Pin 1:
GND, Pin 2: nominal 24 V dc out) are located on the
two camera bodies.
These connectors supply 24 V dc for accessories or can
be used to alter the camera status between RUN and
STOP, e.g. for handgrip or for remote control. Last but
not least, two 24 V dc outlets (special Lemo connectors,
outer: GND, inner: nominal 24 V dc out) are located
on both cameras to connect the Work Light as well as
the Heated Eyecup. The requested power for remote
operating e.g. the Lens Data Display or the Speed Control Box is supplied by the CAC connectors located at
the rear of the cameras.
Besides the power outlets on the camera bodies, power
connectors are located on further ARRICAM System
components. Some of these connectors are exclusively
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dedicated to the powering and controlling of some
ARRICAM Accessories:
• On the Power Bridgeplate, two connectors marked
V-BAT enable the connection of 24 V dc accessories
but do not include the RUN/ STOP command (Pin
1: GND, Pin 2: nominal 24 V dc out). The outgoing
voltage is equal to the one provided by the Battery or
mains Power Supply Unit which supplies the camera.
• On the Lens Data Boxes, three outlets marked
FOCUS, ZOOM and IRIS, supply power and control
signals for three ARRI CLM - 2 motors.
Caution!
No other motor type than the CLM -2 must be
connected there.
• To power and control ARRI CLM-1 motors, you have
to connect them to one of the two connectors, labelled
LCS, located on the Lens Data Box. Further remote
control devices of the Lens Control System must, if not
used wireless, also be connected to these LCS plugs.
• On each ARRICAM Video Assist, a little outlet marked
MINI MONITOR is provided to connect one of the
two ARRICAM On Board Monitors (2” and 6.6”).
• On the Readout Unit as well as on the LT Frameglow
Module, power/signal supplying connectors for the
Lens Data Display are provided.
The ARRICAM Bodies protect themselves against an
excessive power consumption of components with selfresetting electronic fuses. No other fuses are provided
on the ARRICAM System.
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In case an attached device is defective (short circuit
etc.), the automatic multifuse cuts OFF the power supply
to the connector. To reactivate the multifuse, remove the
component that caused the problem and disconnect the
camera from the power source (Battery or mains Power
Supply Unit). Wait about 5 sec. before trying again. If
the attached device causes trouble again when switched
ON, do not use this item until it has been checked at a
ARRICAM Maintenance Centre!
MONITORING THE POWER SUPPLY
When a battery is attached to the camera and the
MAIN switch is ON, you should see characters
appearing on the Camera Control Panel displays.
When the camera is STANDBY and the PHASE button
is pressed, the INCHING status is activated and the
movement will RUN at 1 fps as long as the button is
held down. While the camera is INCHING the actual
battery voltage (under load) will be displayed in the FPS
display as e.g. V24.6 .
If the capacity of the battery and so the voltage falls
under a critical level, no Bat warning on the camera is
possible. To alert about this status all displays as well as
the video On Board Monitor will start blinking. By the
way, the same alert occurs if illegal connection of components are made on the camera.
Notice
This figure will tell you the voltage but not the capacity of the battery. Because of the characteristics of a
Li-Ion battery, you may assume that if more than 22 V
are displayed, the battery capacity would be ok for
the next shooting.
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Because many parameters will influence the power
consumption of the camera system as well as the
capacity of the batteries, it is not possible to give
here exact information about the footage that can
be exposed with one battery – even fully charged.
Therefore, each focus puller will have to learn how to
manage the power supply based on his/her experience with the available equipment and atmospheric
working conditions.
ADVICE
In order to avoid changing the Battery too often, only
mount the components needed for the actual shooting
on the camera. All ARRICAM System components have
been designed to consume as little power as possible.
However, screens like the Lens Data Display or the
Video On Board Monitor needs some power, it would
do fine to turn them OFF when not used.
The Lens Data Display automatically falls into ”sleep”
mode when it is not used – the LDD after about five minutes, the smaller LDD-FP after about 2 min. As soon as
something changes, e.g. the camera status changes to
RUN, the lens setting is changed or a warning message
should be displayed, it will ”wake up” automatically.
Also shooting in cold atmospheric condition will require
more power because the internal heaters of the camera will turn on automatically. Furthermore the Heated
Eyecup will often be turned ON. So please be aware
to have enough spare batteries with you if no Power
Supply Unit can be used.
In any case, we recommend to use a Heated Barney
(with spare chemical warmers) in cold conditions.
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MISCELLANEOUS
11
Standard 35/Super 35
Conversion
Even though we strongly recommend you mention the
desired format (35/S35) when placing your order with
a rental house or ask an ARRICAM Maintenance Centre
to perform the conversion, we describe here briefly the
operation, should it be neccessary to do it yourself.
For shooting in Super 35, the lens port, the Viewfinder
Mounting Plate, the Aperture AperturE Format Mask, the
Frameglow Module Mask, the Ground Glass and the
integrated Compensation Bar of the Power Bridgeplate
or Baseplate must be altered for the format. This ensures
that the lenses and accessories are exactly aligned for
the optical centre of Super 35.
CONVERTING THE LENS PORT TO SUPER 35
See chapter 1 – page 18, fig. 1/1 and 1/2.
For shooting in Super 35, the lens port must be turned
180°.
• Remove the six cylindrical screws.
• Unscrew both locking grips.
• Turn the lens port so that the number ”2” is positioned
next to the marking.
• Unscrew the index pin and screw it into the opposite
inner thread.
• Screw both locking grips firmly into the correct operating position.
• Replace the six cylindrical screws and screw tightly.
• Check the flange focal distance.
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EXCHANGING THE VIEWFINDER MOUNTING PLATE
All ARRICAM Viewfinders and 100% Video Tops can
be used for shooting in both formats – Standard 35 and
Super 35.
To align the Viewfinder to the Super 35 centre, the apropriate Mounting Plate must be installed. To do so, use a
2 mm metric hex wrench to unscrew the plate showing
the STANDARD engraving and replace it by the one
showing SUPER 35. When fixing the plate, be sure that
it fits flush with the camera body – see chapter 1, page
57, fig. 1/19.
EXCHANGING THE APERTURE FORMAT MASK, THE
GROUND GLASS AND THE FRAMEGLOW MASK
For instructions on inserting Aperture AperturE Format
Masks into the Film Gate for Super 35, see chapter 1,
page 64, camera interiors.
Regarding the Ground Glass and the illuminated Format
Markings for this format, see chapter 4, page 152 and
158.
CONVERTING THE POWER BRIDGEPLATE TO SUPER 35
See chapter 9 – Camera Supports
3 Perforation/4 Perforation
Conversion
Both Studio and Lite are available in 3 or 4 perforation,
however it is not a conversion that can be performed
in the field. The changing of the movement can only be
performed in an ARRICAM Maintenance Centre.
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The Work Light
After loosening the mounting screw, slide the Work
Light foot into one of the several Accessory Shoes and
tighten the screw. Switch OFF the camera on the MAIN
switch, then connect the short coiled cable (similar to the
Heated Eyecup) to one of the two dedicated connectors
located on the left side of the STUDIO and on the front
of the LITE. The Work Light is switched ON by turning
its cap.
It is prudent to have spare bulbs – 24 V/4 W – with you.
Heated Eyecup and Work Light may be used together
(but keep an eye on your battery!).
Studio – Work Light mounting
fig.11/1
ON/OFF switch
Mounting
screw
Connectors
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Checking the Mirror Shutter
manually
It is necessary to rotate the mirror shutter out of the way
before either checking/cleaning the Film Gate from
the camera front or checking/cleaning/changing the
Ground Glass/the Fieldlens. When the camera is powered, briefly push the DUST CHECK button and the mirror will be rotated out of the way while the shutter opens
to 180° if previously set to a smaller angle. Because
viewing through the Viewfinder is now not possible, DC
appears on the FPS display(s). By pushing the DUST
CHECK button again, the shutter will return to the preset
opening and the mirror will go to the viewing position.
Sometimes, it is also reassuring to check that the
mechanical reality corresponds with the electronically
displayed shutter opening. Therefore, several important
angles are also labelled on the shutter blade itself. It is
obvious that 180° is not labelled.
Notice
Like all other operations done when the lens cavity
is open, also this one should be carried out in a
sheltered place where there is no risk of dust getting
into the camera.
1. Connect the camera to a power supply and set the
camera MAIN switch to ON.
2. Take lens or lens cavity cover off the port.
3. If an In-camera Slate Box is connected, set its switch
to OFF.
4. Check the preset shutter angle value shown on the
SHUTTER display(s).
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5. Briefly press the PHASE button on the Camera
Control Panel. Now the mirror is turned out of the
way but the shutter opening has not changed.
6. Switch the camera MAIN switch OFF .
7. By means of a clean toothpick, carefully rotate the
mirror shutter manually clockwise until the short white
index line at the bottom side of the shutter appears.
8. Because the labelling is painted with a quite dark
magenta colour on the black shutter blade, use a
torch to see if the painted shutter angle lined up with
the index line corresponds with the electronically
preset shutter opening.
9. Switch the camera MAIN switch ON and push the
PHASE button for 2 sec. in order to turn the mirror
into viewing position again.
Caution!
Never touch the mirror with any object or with
fingers!
If you doubt that the opening angle corresponds with
the displayed figure, consult an ARRICAM Maintenance
Centre.
Camera Lens Port/Mirror Shutter
fig.11/2
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375
Wired Handgrip Attachment
The Wired Handgrip Attachment (WHA-2 & WHA-3) is
provided to allow the Wireless Lens Control components
to be connected directly to the camera by means of
cables, making it ideal for situations where the use of
a Wireless Lens Control system is either uneccessary or
impractical. It is paticulary useful because it will interface with the Remote Control Station as well as directly
with the camera and, as well as the Wireless Lens Control units, accepts the Wireless Remote Control unit.
MOUNTING AND CONNECTING THE WHA-2
• The remote control units clip onto the WHA-2.
• The WHA-2 itself can be mounted with an ARRI
Dovetail Shoe to several ARRI Dovetail Support Parts
like the 3/8” Clamp, the Rod Clamp and the Rosette
Clamp.
The WHA-2 can be connected with the following ARRI
Cables:
• LC-M1-SP-S or LC-Z1-S either to a Lens Data Box (LCS
connector), to a CLM-1 motor which is connected to
the Lens Data Box or to the Remote Control Station
(WHA-2 connector),
• KC 70-S either to the Camera Accessory Connector
(CAC) on the camera or to the CAC Distribution Box,
Up to two may be connected simultaneously to either
the Studio or Lite, one into an LCS port of the Lens Data
Box and one into the camera’s CAC connector.
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It may also be used as one of the components that connects with the Remote Control Station.
Notice
•The LCS connector of the Lens Data Diplay will not
work with the Wired Handgrip Attachment.
•The WHA-3 differs from the WHA-2 only in that
it has an extra button to activate the Focus Tracking
feature of the LDD-FP.
•When using two Wireless Focus/Iris Units (WFU-1)
together, it is best to have the two knob/slider selection switches in opposite positions otherwise working
out working out who’s knob/slider has control of
which lens axis becomes a complex business.
RUN button
RELEASE
button
Lens
calibration
button
Lens
calibration
LED
Wireless Focus/
Iris Unit (WFU-1)
Wired Handgrip
Attachment (WHA-2)
Dovetail
Shoe
WHA-2
connector
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377
Accessory Power Box
The Accessory Power Box provides three extra 24 V
and two 12 Vpower outlets for accessories plus a RUN
button.
Power input
connector (24 V)
24 V dc outlets
24 V short circuit/
overload LED
Mounting screw
RUN
button
BAT LED
RUN LED
Mounting screw
12 V dc outlets
12 V overload
LED
MOUNTING AND POWERING THE ACCESSORY
POWER BOX (APB)
There are a number of options available when mounting
and powerthe Accessory Power Box:
1. MOUNTED ON AND POWERED BY THE CAMERA.
The Accessory Power Box attaches directly onto the
Studio instead of the In-camera Slate Box and so cannot
be used with it simultaneously. The APB attaches to the
Lite only via the Lens Data Box and agian, cannot be
used in conjunction with the In-camera Slate Box.
In this configuration, the Accessory Power Box draws its
power from the camera electronics and, although this is
the neatest arrangement, the amount of power the APB
can deliver in this mode is limited.
•Total power output is 70 watts. e.g. The 24 V outlets
can deliver 3 amps between them in total. If the 12 V
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outlets are used, they can deliver 3 amps, leaving only
1.5 amps for the 24 V outlets. (Power = Volts x Amps)
•The APB’s BAT light glows red when the camera shows
its low battery warning.
•The APB’s RUN button and RUN light function.
2. MOUNTED ON THE CAMERA, POWERED EXTERNALLY.
With this method the Accessory Power Box mounts in
the same way as the first example and so has communication with the camera. The difference is that power is
fed into the APB’s power connector either from a seperate battery of from the camera battery via a Y-cable
(KC-62-S). This enables the APB to output considerably
more power.
•Total power output is 250 watts approx. e.g. Each 24
V outlet can supply 3 A continuously, 5 A peak. (24 V
is unregulated, so is actually supply voltage). Each 12 V
outlet can supply 1.5 A continuously.
•The BAT light glows red when the battery connected
to the APB falls below the Low Battery threashold set in
the camera.
•The APB’s RUN button and RUN light function.
3. MOUNTED ANYWHERE, POWERED EXTERNALLY
The Accessory Power Box Cover is equipped with a 3/
8 threaded hole which allows it to be mounted with the
ARRI Dovetail system. Therefore it can be placed almost
anywhere on or around the camer (which does not even
have to be an ARRICAM).
•Total power output is 250 watts approx. (see above).
•The BAT light glows red when the power source falls
below 20.5 volts.
•The RUN button and RUN light do not function.
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379
Tools
In addition to the usual tools and cleaning materials,
the camera assistant only needs a few specific tools to
work with the ARRICAM System. Except the ARRICAM
Combi Tools and the ARRI A 16SR 3 twin-pronged
driver, all tools can be purchased in regular hardware
shops. Most rental houses or an ARRI Dealer will be
able to provide you with the ARRICAM Users’ Tool Kit,
the Combi Tools and the twin-pronged driver which can
also be ordered separately.
1. A 8 -10 mm (5/16”) flathead long shaft screwdriver
e.g. Facom Agt. 10 x 100 is used to attach the
Baseplate, the Magazine Stabilization Bracket and
the Shoulder Set.
Notice
Please note that screwdrivers with a short, stubby
shaft cannot be used to mount the Shoulder Set base.
2. A 2 mm (1/12”) flathead screwdriver is used to
open the Mask Frameglow in order to access to the
Mask.
3. With a 5 mm x 150 mm metric hex wrench you will
be able to attach or remove the Handles and the
Accessory Shoes to/from the Carrying Handles.
4. With a 3 mm metric hex wrench you will be able to
attach or remove most of the Accessories and Boxes
to or from the camera.
5. With a 2 mm metric hex wrench you will be able to
adjust the friction of the Studio door hinge. Furthermore, the tension of all swivelling Viewfinder Arms,
except the one of the hinge type Studio Viewfinder,
can be adjusted with this tool.
6. With a 1.5 mm metric hex wrench you will be
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able to adjust the Video Assist chip and the Mask
Frameglow alignment, however it is best to leave this
very accurate work to the experts of ARRICAM
Maintenance Centre.
7. The ARRI A 16SR-3 twin-pronged driver – part No.
K5.26129.0 – will be used for adjusting the swingover tension of all swivelling Viewfinder Arms except
the hinge type Studio Viewfinder.
8. Two types of ARRICAM Combi Tool are provided:
A) The first one – part No. K4.52685.0 – is a dual
headed Ground Glass/Fieldlens tool with a 2.5
mm thread on one end a 3 mm thread on the
other. The Ground Glass and Frameglow Mask (3
mm threaded hole) and the Fieldlens (originally a
2,5 mm but now a 3 mm threaded hole) can be
pulled out of the camera cavities for exchange or
cleaning purposes.
B) The second one – part No. K4.52722.0 – has
a 3 mm thread on one end and a 1,5 mm metric
hex wrench on the other.
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381
User’s Tool Kit
fig.11/3
8-10 mm (5/16”) flathead long shaft screwdriver
2 mm (1/12”) flathead screwdriver
5mm metric hex wrench
3mm metric hex wrench)
2mm metric hex wrench
1.5mm metric hex wrench
ARRI A 16SR 3 twin-pronged driver
ARRICAM – 2.5 mm/3 mm Combi Tool
ARRICAM – 1.5mm metric hex wrench/3 mm Combi Tool
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APPENDIX
12
ARRICAM SYSTEM – TECHNICAL DATA
ARRICAM System Users’ Guide 11/2003
TECHNICAL DATA
Film format
Lens port convertible 35/S35 format
Flange focal distance
Lens contacts for LDS Lenses
Forward run
Reverse run with Studio Magazines and SCB
Noise level
Temperature range
Reflex mirror shutter, electronically adjustable while running
Power supply
Camera body with Viewfinder
Studio Magazine 300/1000
Studio Magazine 120/400
Lite Shoulder Magazine
Lite Steadicam Magazine
ARRICAM STUDIO
35 mm DIN 15501
54 mm PL
51.98 mm - 0.01
yes
1-60 fps
1-32 fps
below 20 dB/A
-10° to +40°C / 14° to 104° F
11.2° to 180°
24V dc - 32V dc
8.15 kg/17.95 lbs.
5.2 kg/11.46 lbs.
3.3 kg/7.26 lbs.
2.7 kg/5.95 lbs.
2.7 kg/5.95 lbs.
ARRICAM ACRONYMS AND ABBREVIATIONS
AGC
ATC
CAC
CCB
CLM-1
CLM-2
ICU
ISB
IVS
KC
LCS
LDB
LDD
LDD-FP
LDS
LT
LT-VF
MCB
MGC
OCR
OSD
RCS
RS
SAC
SCB
ST
ST-VF
TC
TLA-2
TSB
UB
ULT-VF
UST-VF
VITC
WFU
WHA-2
WMU
WRC
WZU
Automatic Gain Control (Video Assist)
Automatic Time-code
Camera Accessory Connector
Camera Control Box
Controlled Lens Motor (connected to LCS plug on LDB)
Controlled Lens Motor (connected to focus, zoom or iris plug on LDB)
Iris Control Unit
In-camera Slate Box
Integrated Video System (Video Assist)
Camera Cable Nr.
Lens Contol System
Lens Data Box
Lens Data Display
Lens Data Display – Focus Puller
Lens Data System
ARRICAM Lite/Lite Accessory
Lite Viewfinder
Manual Control Box
Manual Gain Control (Video Assist)
Optical Character Recognition Software (ARRI)
On Screen Display (Video Assist, Video Monitor,ect.)
Remote Control Station (Plate + MCB Holder)
RUN/STOP (button, connector)
Speed Control Box Accessory Connector
Speed Control Box
ARRICAM Studio/Studio Accessory
Studio Viewfinder
Time-code
Top Load Adapter 2 (now Dual Port Adapter)
Timing Shift Box
Userbits (TC, slate information)
Lite Universal Viewfinder
Studio Universal Viewfinder
Vertical Interval Time-code
Wireless Focus/Iris Unit
Wired Handgrip Attachment
Wireless Main Unit (transmitter)
Wireless Remote Control
Wireless Zoom Unit
ARRICAM LITE
35 mm DIN 15501
54 mm PL
51.98 mm- 0.01
yes
1-40 fps
1-32 fps
below 24 dB/A
-10° to +40°C/14° to 104° F
11.2° to 180°
24V dc - 32V dc
5.25 kg/11.56 lbs.
5.2 kg/11.46 lbs.
3.3 kg/7.26 lbs.
2.7 kg/5.95 lbs.
2.7 kg/5.95 lbs.
ARRI GROUP ADDRESSES
ARRICAM System Users’ Guide 11/2003
Canada
ARRI Canada Limited
415 Horner Ave. Unit 11, Toronto, Ontario M8W 4W3, Canada
Voice phone: +416 255 3335, FAX: +416 255 3399
Email: [email protected]
Germany
Arnold & Richter Cine Technik
Türkenstraße 89, D-80799 Munich, Germany
Voice phone: +49 (0)89 3809-0, FAX: +49 (0)89 3809-1244
Email: [email protected]
ARRI Camera Rental (Film Equipment Rental Germany)
Türkenstraße 89, D-80799 Munich, Germany
Voice phone: +49 (0)89 3809-1240, FAX: +49 (0)89 3809-1798
Email: [email protected]
Great Britain
ARRI GB Limited – Sales & Service
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, England
Voice phone: +44 (0)1895 457 000, FAX: +44 (0)1895 457 001
Email: [email protected]
ARRI MEDIA (Camera Rental, UK)
3 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, England
Voice phone: +44 (0)1895 457 100, FAX: +44 (0)1895 457 101
Email: [email protected]
ARRI Lighting Rental (Lighting Rental, UK)
4 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, England
Voice phone: +44 (0)1895 457 200, FAX: +44 (0)1895 457 201
Email: [email protected]
Italy
ARRI Italia S.r.l., Head Office (Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milan), Italy
Voice phone: +39 (0)2 262 271 75, FAX: +39 (0)2 242 1692
Email: [email protected]
ARRI Italia S.r.l., Rome
Via Placanica 95, 00040 Morena (Rome), Italy
Voice phone: +39 (0)6 726 707 97, FAX: +39 (0)6 723 1541
USA
ARRI USA Inc. – East Coast
617 Route 303, Blauvelt, NY 10913-1123, USA
Voice phone: +1 914 353 1400, FAX: +1 914 425 1250
Email: [email protected]
ARRI USA Inc. – West Coast (Burbank Office)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Voice phone: +1 818 841 7070, FAX: +1 818 848 4028
Email: [email protected]
CSC Camera Service Center – Film Equipment Rental – NY, USA
619 West 54th St, New York, NY 10019, USA
Voice phone: +1 212 757 0906, FAX: +1 212 713 0075
Email: [email protected]
CSC Camera Service Center – Film Equipment Rental – Florida, USA
2385 Stirling Road, Fort Lauderdale, FL 33312, USA
Voice phone: +1 954 322 4545, FAX: +1 954 322 4188
Email: [email protected]
World Wide Web
www.arri.com
STATUS MESSAGES, WARNINGS AND TROUBLE SHOOTING LIST
Adapter Cover missing
Adapter Cover
VIDEO
MONITOR
LDD/LDD-FP
STATUS
WARNING AND STATUS
MESSAGES
LDD/LDD-FP
ALERT
ARRICAM System Users’ Guide 11/2003
EXPLANATIONS/SUGGESTED REMEDY
•
Always use the Dual Port Adapter cover (Not the plastic type!)
while this warning is shown, the camera can run.
•
When mounting Lite magazine on the Studio, you can open the
Magazine Adapter’s door for threading purposes.
ATTENTION: If this door stays open, the warning will remain on
the displays, but without preventing the camera to run.
•
Adapter Door open
(Adapter in preparation)
Adapter Door
•
Async
•
•
First of all, try to run the camera with a correct power supply. If
the warning ASYNC persists while using a correct power supply
and synchronizing the camera with a sync signal, check this signal and all the dedicated cable connections. If the warning still
persists, consult an ARRICAM Maintenance Centre.
Buckle Trip
•
•
Check the film threading. Close the film guides and place –
in the Studio only – the buckle trip in its vertical rest position.
Dust Check
•
•
When pushing briefly the dc button, the mirror will be turned out
of the viewing position and the shutter will – if it is not -– open to
180°. While the mirror is out of the way, dc will be displayed.
After having pushed the dc button again – dc will fade out.
Film Jam
•
•
Check the film threading. If there was no jam in the camera,
check the magazine.
Communication Error
•
Consult an ARRICAM Maintenance Centre.
Film End < 20’ or < 6 m
•
•
Caution, be ready to reload the camera.
Filter in the Gate
•
•
Indicates that a gel filter has been inserted in the gate.
•
Exchange the component or ask an ARRICAM Maintenance
Centre for firmware updating.
Firmware incompatibility
•
Heater
•
•
Avoid turning on the camera if Heater is displayed – the movement could be too cold to work properly. Try to warm up the
camera carefully, lens and magazine by using e.g. a Heated
Barney or a hairdryer. Do not place a hot luminaire too close to
the camera.
Illegal Fps
•
•
Select frames per second rate that fits with the possible range.
Inching
•
•
While pushing the phase button on the Camera Control Panel,
the movement will be inched.
ISB not ok (ISB Status)
•
Exchange the In-camera Slate Box or consult an ARRICAM
ISB nok (In the ISB line)
In-camera Slate Exposure
xxx entries in Take-list (ISB Status)
•
•
(ISB Status): no exp module
No exposure module detected
Maintenance Centre.
•
Information about the exposing of the In-camera Slate while the
camera is running up or down. During these periods, the shutter
automatically closes to 0°.
•
Information about the number of takes recorded by the ISB.
•
Ask your ARRICAM Maintenance Centre to install the
Exposure Module.
•
While pushing the test button on the In-camera Slate Box, this
message shows the voltage of the ISB On Board Battery. If it is
below ~ 2.0 V, exchange the ISB Battery or consult an ARRICAM
Maintenance Centre.
•
3.0 V (example in the ISB line)
ISB BAT 3.0 V (example)
•
•
VIDEO
MONITOR
LDD/LDD-FP
STATUS
LDD/LDD-FP
ALERT
WARNING AND STATUS
MESSAGES
EXPLANATIONS / SUGGESTED REMEDY
Cannot set more than 9 Marks
(only with LDS Lens)
•
Delete a Focus Mark to replace it by the new one.
Push UP or DOWN to select,
then DELETE (only with LDS Lens)
•
Follow the instruction to handle the Focus Marks on the Lens
Data Display scale.
Push SET to select, then UP/DOWN
top renumber (only with LDS Lens)
•
Push UP or DOWN to select,
then hold SET to remember
(only with LDS Lens)
•
Lens Error – Use different lens
•
Check the system with a different lens.
Low Battery
•
•
As soon as this message appears, replace the battery with
a full charged one. If the message arrives during a take, you
most probably will be able to complete it before stopping
the camera.
Mag takes up film
•
•
Be patient, the magazine is winding loose film on the cores. If
the winding is not possible because film has not been properly attached to the take up core, the camera will change to not
ready – so reload the magazine. If no magazine is mounted,
e.g. for test purposes, the warning will disappear after about
25 sec. – only then you will be able to run the camera.
•
Reload the magazine. The film was most likely not properly
attached to the take up core.
•
Check the system with another magazine.
•
Close the movement.
•
Consult an ARRICAM Maintenance Centre.
•
Movement motor overheated due to motor overload.
Take up runs free
Mag Take up side runs free.
Reload Mag!
•
Magazine Error
Magazine Error. Use another magazine
•
Movement open
Movement
Movement/Shutter async
•
•
Movement excess temperature
Movement or shutter speed too high
•
The camera exceeds its speed limit. Clear with PHASE button.
No SCB SYNC input
•
•
No valid sync signal present. Check the synchronization
signal source and all cable connections. When “R” appears
in front of the fps, the REVERSE mode has been selected.
No Time-code (ISB) SYNC Input
•
•
Exchange the ISB or consult an ARRICAM Maintenance
Centre. Note: no reverse run is possible in the TcSy mode.
•
To alter the phase by means of the phase button, set the
switch on the Speed Control Box to manual.
•
Select fps, shutter and/or iris opening and ramping time that
fits with the possible range.
•
Use an Studio Magazine to shoot in reverse mode.
•
There is no more raw stock in the magazine – reload.
•
Consult an ARRICAM Maintenance Centre.
Phase is fixed
•
Check Ramp Values
Ramp
•
Reverse not possible
No Reverse
•
Roll Out
•
Shutter Error
Preset Shutter is not actual Shutter
•
Software incompatibility
•
•
Consult an ARRICAM Maintenance Centre.
Exchange the component or udate the software.
Software Update in progress
•
•
Wait until update is completed
•
Camera cuts after 350m to prevent running endlessly.
•
The timing shift function is activated.
Timeout for camera run
TSB
•
CABLES AND CONNECTORS
ARRICAM System Users’ Guide 11/2003
PAGE 1
BNC
Video
out
Video
in
Video Signal Source
ST/LT Video Assist
Speed Control Box SCB
Video Device
LDD-FP
LDD
Lens Data DisplayFocus Puller
LDD-FP
K LDD-FP-RDO
(coiled)
K 2.54172.0
Readout Unit
LT Frameglow Module
Remote Control Station RCS
KC 20-S
Power
dc in
Power
dc out
STUDIO
LITE
Battery
Power Supply Unit
LDD
LDD
(1.5 m/5 ft) K 2.41966.0
KC 29-SP-S
(coiled)
K 2.44693.0
KC 60-SP-S
(coiled)
K 4.55855.0
KC 79-S
Lens Data Display
LDD
Readout Unit
LT Frameglow Module
Remote Control Station RCS
(3 m/10 ft)
K 2.54156.0
KC 61-S
CAC
COM x
STUDIO
LITE
K 4.54630.0
KC 63-SP-S
(coiled)
K 4.54460.0
Personal Computer
9p. serial interface
HE-3
STUDIO
LITE
(2 m/6 ft)
Heated Eyecup
KC 65-S
CAC
SAC
STUDIO
LITE
Speed Control Box SCB
Manual Control Box Cable Adapter
Remote Control Station RCS
(3 m/10 ft)
K 2.54128.0
KC 69-S
(15 m/50 ft) K 2.54131.0
CABLES AND CONNECTORS
ARRICAM System Users’ Guide 11/2003
PAGE 2
KC 66-S
Sync Out
Sync In
Pick-up Unit
Sync Generator
(10 m/33 ft) K 2.54129.0
Speed Control Box SCB
on slaved camera
KC 67-S
CAC
LDD
STUDIO
LITE
(3 m/10 ft)
K 2.54132.0
KC 68-S
Lens Data Display LDD
(15 m/50 ft) K 2.54133.0
KC 70-S
CAC
WHA-2
WRC-1
STUDIO
LITE
(3 m/10 ft)
K 2.54135.0
Wireless Handheld Adapter WHA-2
Wireless Remote Control WRC-1
KC 72-S
CAC
(1 m/3 ft)
STUDIO
LITE
K 2.54137.0
Iris Control Unit ICU
KC 73-S
CAC
(50 m/165 ft) K 2.54134.0
STUDIO
LITE
Cable Drum
KC 74-S
CAC
CAC
STUDIO
LITE
(1 m/3 ft)
K 2.54130.0
CAC Distribution Box
KC 75-S
(1 m /3 ft)
ST-LDB Adapter Plate
ST-LDB Body Plate
K 2.54150.0
CABLES AND CONNECTORS
ARRICAM System Users’ Guide 11/2003
PAGE 3
KC 76-S
LCS
SAC
Lens Data Display LDD
(3 m/10 ft)
K 2.54153.0
Speed Control Box SCB
KC 77-S
LDD
Adapter Cable for
KC 67-S/KC 68-S
(0.2 m/8 in) K 2.54154.0
Lens Data Display LDD
KC 78-S
CAC
Sync In
STUDIO
LITE
(15 m 50 ft) K 2.54155.0
Speed Control Box SCB
on slaved camera
KC-H-1
CAC
(0.5 m/1.5 ft) K 4.52687.0
STUDIO
LITE
Handheld PC (iPAQ)
docking station
LCS
WHA-2*
ST Lens Data Box ST-LDB
LT Lens Data Box LT-LDB
Remote Control Station*
WHA-2
LC-M1-SP-S
(coiled)
K 4.41397.0
Wireless Handheld Adapter WHA-2
+ Wireless Zomm Unit WZU-1
Wireless Focus/Iris Unit WFU-1
LC-Z1-S
LCS
WHA-2*
ST Lens Data Box ST-LDB
LT Lens Data Box LT-LDB
Remote Control Station*
WHA-2
(3 m/10 ft)
K 4.41395.0
Wireless Handheld Adapter WHA-2
+ Wireless Zomm Unit WZU-1
Wireless Focus/Iris Unit WFU-1
LDDFP-LCS 600
LDD-FP
LCS
Lens Data DisplayFocus Puller
LDD-FP
ST Lens Data Box ST-LDB
LT Lens Data Box LT-LDB
(0.6 m/2 ft) K 4.52969.0
LDDFP-LCS 1000
(1 m/3 ft)
K 2.54173.0
Acknowledgment
Like the ARRICAM System itself, this Users’ Guide
consists of several interchangeable parts that will
continuously be up-dated. In order to serve you best,
I would greatly appreciate your requests, inquiries,
comments and suggestions mailed to [email protected]
I would like to express my gratitude to all friends and
colleagues without their help this Users’ Guide would
never became what it is. Among to many others, special
thanks to Marc Shipman Müller in Berlin, Allan Fyfe
in London, Klaus Jacumet, Marita Müller, Herman Popp,
Jochen Thieser, Andreas Weeber in Munich, Alain
Gautier in Paris, John Fauer ASC in Southampton/NY
as well as Fritz Gabriel Bauer, Kurt Bednarsky, Hannes
Buchegger, Josef Handler, Michael Haubmann, Franz
Huber, Klemens Kehrer, Thomas Kittenberger, Hans
Nussbaumer, Wolfgang Ramsauer, Thomas Smidek,
Walter Trauninger and Hans Peter Trmal in Vienna.
Furthermore my thankfulness goes to my CameraAssistants Harald Staudach, Martin Bobal, Gottfried
Schmelzer and last but not least to Don Harris in
London and Gerhard Leitner for the proof reading as
well as to Andreas Pauleschitz for designing and
illustrating your ARRICAM System Users’ Guide.
Frédéric-Gérard Kaczek AAC
IMAGO Secretary General
Vienna – in December 2002
Version 03E update by John Duclos - November 2003
Copies of this ARRICAM Users’ Guide can be ordered
at any ARRICAM Maintenance Centre or at the ARRI
Headquarters in Munich.
Part No. K 5.58508.0
It is possible to download this information from the
internet: www.arri.com.
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