THE ARRICAM SYSTEM USER GUIDE Compiled by Frédéric-Gérard Kaczek AAC and Andreas Pauleschitz
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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.
Table of Content Copyright notes Disclaimer Preface Preliminary remarks Care & cleaning Table of Content Safety and Product specifications 1 2 3 4 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 61 THE MAGAZINES & MAGAZINE ADA
THE CAMERA BODIES Lens Port, Camera Control Panels, Movement, Aperture Plate, Gate, Spacer Plate, Format Masks THE MAGAZINES AND THE MAGAZINE ADAPTERS ST Magazines, LT Magazines, ST Mag Combi-Adapter, Back Load Adapter, Top Load Adapter, LT Mag Adapter LOADING THE MAGAZINES, THREADING THE CAMERAS THE OPTICAL VIEWFINDER SYSTEM COMPONENTS ST Viewfinders, LT Viewfinders, Extension Tubes, Eyepiece, Groundglasses, Frameglow Modules, Frameglow Masks THE VIDEO ASSIST SYSTEM COMPONENTS ST Video Assist, LT Video
6 7 8 9 10 5 4 3 2 1 11 21 26 1 6 3 24 2 27 4 25 23 9 28 22 30 1 CAMERA MAIN SWITCH (ON/OFF) 2 POWER RECEPTACLE (24 V) 3 CAMERA ACCESSORY CONNECTOR (CAC) 4 CAMERA COVERS FOR ACCESSORY BOXES 5 ST VIDEO ASSIST 6 FOOTAGE COUNTER 7 ST 300/1000 MAGAZINE 8 ST VIEWFINDER 9 LDS LENS 10 MATTE BOX (MB 14) 11 CAMERA ACCESSORY ROSETTE 12 FOLLOW FOCUS 13 ST MEDIUM EXTENSION TUBE 14 MANUAL FOOTAGE INDICATOR 15 TIGHTENING WHEEL 16 TOP LOAD ADAPTER WITH HANDGRIP 17 CAMERA DOOR
THE ARRICAM CAMERA BODIES STUDIO LITE 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 way the lens port is fitted to the camera front, the ARRICAM Cameras will either allow shooting in Standard 35 or in Super 35 format. The shooting mode is shown by the number 1 (for 35) or 2 (for S35) facing the index.
Studio front fig.1/1 LDB 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.
To remove a lens (or a lens port cover), rotate the two bayonet levers counter-clockwise as far as possible while grasping the lens firmly. Then carefully slide the lens out of the port. 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 stud engages the lensflange hole easily. Rotate lens lock gently clockwise to secure until the lens is seated properly. Do not use force! Notice 1.
DUST CHECK button. Even though the shutter opening is preset to a value other than 180°, while operating the DUST CHECK button, the shutter will open to 180° and DC will appear on the FPS display(s). Caution! In case 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 in the viewing position – the shutter will be set to the preset angle again automatically.
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.
Studio right side fig.1/5 CAC connector accessory attachments attachments for covers or accessory boxes lens port levers RS connector for right handgrip button threaded holes for lower cover or ISB attachments screws power receptacle main switch In-camera Slate Box connector right handgrip rosette attachment Lite right side fig.
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/STOP 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. STAND BY) status. On the STUDIO and LITE ACCESSORY ATTACHMENTS The Carrying Handle or e.g.
them in the adequate cases. When no accessory box or cable adapter is mounted on the camera, the appropriate protecting cover must be mounted instead of it to protect the sensitive connectors! On the STUDIO only RELEASE KNOB OF THE UPPER PROTECTING COVERS To remove an upper protecting cover, press the release knob and slide the upper front cover forward or the upper rear cover backwards.
The cameras’ rear On the STUDIO and LITE CAC CONNECTOR FOR ACCESSORIES The 16-pin Fischer connector, mounted oblique to facilitate the plug-in 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.
Caution! Do not touch these screws, otherwise severe damage can occur! CAMERA OPENINGS One of the main differences between both camera bodies is that you are able to mount ST Magazines either on top or on back of the STUDIO by means of a magazine adapter while the LITE allows the attachment of the lightweight LT Magazines on the rear side only. In order to install ST Magazines on the LITE, you will have to use the LT Magazine Adapter.
Notice If you intend to use the Manual Control Box (MCB) or the MCB Cable Adapter and the Speed Control Box (SCB) together, you must first mount the SCB and then the MCB. To remove the SCB, you will first have to remove the MCB from the camera. Studio rear fig.1/8 gauged holes and connector for the magazine adapters camera opening MCB connector SCB connector attachements for magazine adapters CAC connector power receptacle main switch door hinge Lite rear fig.
The cameras’ left sides On the STUDIO and LITE THE CAMERA DOOR The door is located at the left camera side. To open the door, pull the little spring-lock forwards and lift the lock latch, then turn the lock latch clockwise. When closing the door, press it gently towards the camera body and then turn the lock latch counter-clockwise. When it is closed, the door lock latch must be flush with the door; the spring-lock keeps the lock in this position.
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 In case the friction of the door hinge must be adjusted, enter a 2 mm Allen key in the hole and turn the screw until the desired friction is set.
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 image plane/ measure 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 lens port levers magazine/ adapter release button door door lock latch threaded hole for mag.
On the STUDIO only CONNECTORS Power (24 V) for the Heated Eyecup and the Work Light is supplied via two 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 Extended Camera Control Panels also allow the user to select several settings offered in the display options’ menu. DISPLAY OPTIONS’ MENU In addition to the regular operational mode, two further display modes are available in the ARRICAM System: • The Service mode will be used by the Maintenance Personnel only. • The Options mode is dedicated to the users. BASICS All messages shown on the displays of several components (Camera Body, Accessory Boxes, Video Assists, Readout Unit, etc.
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 several components. 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.
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.
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 reset the system. Notice Only in case of a very serious problem (risk of damaging the camera, risk of wrong film exposure) the RUN LED will glow red to indicate that the camera is not ready to shoot. In this case, call your ARRICAM Maintenance Centre.
ACRONYMS SCB MCB LDB LDD WRC ISB CCB SW FW CLD speed control box manual control box lens data box lens data display wireless remote control in-camera slate box camera control box (ARRIMOTION/Jogbox) software firmware camera left display BAT LED INDICATOR The bat LED (only located on the LT Standard Camera Control Panel) lights up red in case the supply voltage drops below the threshold value defined in the option mode.
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 out of service and either S C B will be shown on the FPS display of the Standard Camera Control Panel or the value preset on the SCB will be shown on the FPS display of the Extended Camera Control Panel while the camera is STAND BY. As soon as the camera is RUNNING, the actual fps rate will be shown.
Studio Standard Camera Control Panel fig.1/15 run/stop LED shutter angle selector shutter angle display FPS display FPS selector run/stop button phase button Studio Extended Camera Control Panel fig.
Lite Standard Camera Control Panel fig.1/17 film length display reset button battery LED shutter angle selector shutter angle display run/stop LED FPS display phase button run/stop button FPS selector Lite Extended Camera Control Panel fig.
RUN/STOP 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.
SHUTTER ANGLE SELECTOR While the camera is NOT RUNNING, but of course powered, 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 in the following steps: 11.2° 22.5° 30° 43.2° 45° 60° 75° 86.4° 90° 105° 120° 135° 144° 150° 172.
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.
ponent that actually has control over the camera is shown on the FPS display of the Extended Camera Control Panel. Simultaneously, the controlling component is shown e.g on the Readout Unit. 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.
Explanation of the message, glows Explanation of the message, glows alternately with an other message MESSAGE ( MESSAGE ) (( MESSAGE )) Explanation of the message, blinks ‹‹ MESSAGE ›› 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 3.0) FPS DISPLAY Camera is not powered. ....
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. As y RUNNING (( )) Ba t NOT READY RUNNING (( )) Bu k l 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.
FPS DISPLAY ( Covr ) STANDBY RUNNING (( DC )) NOT READY En d STANDBY RUNNING Fi x d RUNNING Combi-Adapter Cover is missing. While a magazine is mounted on the Combi-Adapter, the remaining adapter opening is not light tight because the CombiAdapter special Aluminium Cover is missing. ATTENTION: camera remains in STAND BY even if the Combi-Adapter Cover is missing! C o v r alternates with F P S or further warning messages.
FPS DISPLAY (( FPS! )) 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. STAND BY (( !FW! STANDBY NOT READY (( !SW! )) STANDBY NOT READY (( Hbat )) NOT READY RUNNING REMARK Heat STANDBY NOT READY RUNNING (( Jam )) NOT READY Software updating. Software incompatibility. Camera is NOT READY. The power supply voltage is too high. Camera is not ready.
FPS DISPLAY (( Mag )) NOT READY Manual Control Box controls camera. An MCB has control over the camera. MCB STANDBY 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 Movm NOT READY (( M/S! Out Movement/shutter async. The mirror shutter and the movement have lost synchronization. )) Stock out. Shows that no film is left. The camera stops and goes to NOT READY the RUN LED will glow red.
FPS DISPLAY (( )) Rev! STANDBY Speed Control Box controls camera. An SCB has control over the camera. SCB STANDBY Speed Control Box controls camera. An SCB has control over the camera and the REVERSE shooting mode has been selected. – SCB STANDBY (( )) SW NOT READY ( Syn ) STANDBY RUNNING ( –Syn STANDBY RUNNING REVERSE RUN not possible. When REV is selected while an LT Mag. is used, Rev! will show the incompatibility. ) Software incompatibility.
FPS DISPLAY ( Tc S y ) STANDBY RUNNING REMARK (( TkUp )) NOT READY RUNNING Updt STANDBY NOT READY V 24.6 NOT READY RUNNING V 3.3 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 take up side of the magazine has no tension. Camera is NOT READY.
FPS DISPLAY ( Vi S y ) STANDBY RUNNING REMARK Wi n d NOT READY RUNNING REMARK Synchronization. The Video Assist IVS controls the synchronization 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 Magazine takes up loose film. Camera is NOT READY.
FPS DISPLAY WRC STANDBY – WRC STANDBY WRC. A Wireless Remote Control has control over the camera. WRC controls camera. A Wireless Remote Control has control over the camera and the REVERSE shooting mode has been selected. FURTHER MESSAGES ARE ONLY DISPLAYED ON THE EXTENDED CAMERA CONTROL PANELS FPS DISPLAY/EXTENDED CAMERA CONTROL PANEL ONLY ‹‹ CCB STANDBY ‹‹ – CCB STANDBY LOCK STANDBY ‹‹ MCB STANDBY ‹‹ – MCB STANDBY ›› CCB controls the camera.
FPS DISPLAY/EXTENDED CAMERA CONTROL PANEL ONLY RUN RUNNING ‹‹ SCB STANDBY ‹‹ – SCB STANDBY ‹‹ Syn STANDBY ‹‹ – Syn STANDBY ‹‹ Tc S y STANDBY ‹‹ Vi S y STANDBY Camera is RUNNING. No fps adjustment is possible while the camera is RUNNING. ›› 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. ›› SCB is in SYNC mode.
FPS DISPLAY/EXTENDED CAMERA CONTROL PANEL ONLY ‹‹ WRC STANDBY ‹‹ – WRC STANDBY ›› 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. LIST OF MESSAGES AND WARNINGS ON THE SHUTTER - DISPLAY (SOFTWARE VERSION 3.0) As long as the camera is STAND BY and the SHUTTER SET button is pushed, the display will show the preset value.
SHUTTER DISPLAY (( E rr )) STANDBY NOT READY Camera Control Panel is locked. Press UNLOCK button to change the shutter setting. Lock STANDBY (( MCB )) MCB controls the camera. No shutter adjustment is possible on the Camera Control Panel because MCB controls the camera. )) 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.
SHUTTER DISPLAY 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.
The cameras’ top On STUDIO & LITE EXCHANGEABLE ENGRAVED VIEWFINDER MOUNTING PLATE The engraved Viewfinder Mounting Plate shows the format the camera has actually been adjusted 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.
Studio top fig.1/20 lens cap viewfinder mounting plate viewfinder connector viewfinder window dovetail bracket for accessories tape measure hook magazine adapter attachment adjustable door hinge CAC connector connector for the magazine adapters Lite top fig.
On the STUDIO only MAGAZINE ADAPTER ATTACHEMENT The magazine adapters are fixed to the STUDIO body by firmly screwing two of the six screws in the threaded sockets on the camera top. Notice Do not secure these screws before having tightened the two screws in the middle of the adapter first! On the STUDIO only CONNECTOR FOR THE MAGAZINE ADAPTERS This connector will allow communication between the magazines and the STUDIO.
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. Only when using the Power Bridgeplate, you must slide the little cover away to allow the supply of power to the two connectors 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.
The camera bodies’ interiors Despite the size of the camera interior, both cameras are equipped with similar components. THE MOVEMENT Either a 4 Perf pull-down or a 3 Perf pull-down movement can be installed in both camera bodies by trained Maintenance Technicians. Both movements are fitted with similar operation items. By swinging the movement locking lever clockwise, the movement will slide backwards into the loading position.
62 ARRICAM System Users’ Guide lower loop marking lower buckle switch lower film guide releasing knob lower film guide lower sprocket/loop adjustment sprocket roller buckle switch 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 switch upper loop marking Lite Interior fig.
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 an even more quiet and 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.
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 – best with a vacuum cleaner.
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 Format Mask or a filter, the Aperture Plate must be extracted out of 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.
Studio Interior fig.1/26 aperture plate locking lever To insert the Aperture Plate: While holding the 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.
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 in its receptacle. The correct resting position is flush with the Plate. THE FORMAT MASKS AND THE FILTER HOLDER Caution! • A 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 Format Mask are correctly inserted.
To remove a Format Mask and/or a Filter Holder: 1. extract the Aperture Plate out of the camera body 2. pull the Filter Holder sideways out of the Aperture Plate 3. press the Format Mask lightly on its side flap towards the film gate and then pull it out sideways To insert a Format Mask and/or a Filter Holder: 1. check that the Aperture Plate and the contact surface are absolutely clean 2. push the new Format Mask sideways into the Aperture Plate 3. check that the film gate is perfectly clean 4.
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! • If it is not absolutely necessary, avoid placing a gelatine filter in the film gate.
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.
THE ARRICAM MAGAZINES, THE 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 most quiet operation possible. Therefore highend electronics and mechanical components have been assembled in rugged but lightweight shells.
ST Mag 300/1000 fig.2/1 ST Mag 120/400 fig.2/2 LT Mag 120/400 Shoulder fig.2/3 LT Mag 120/400 Steadicam fig.
The two main differences between the ST and the LT Magazines are that only the ST Magazines allow filming in REVERSE mode and they are equipped with heaters. Both ST Magazines allow FORWARD filming from 1 to 40 fps with the LITE and from 1 to 60 fps with the STUDIO. With both cameras, the ST Magazines allow shooting REVERSE from 1 to 32 fps. Notice • When using the ARRICAM Studio with a Steadicam or a similar device, no special magazine is needed because of the design of the Rear Load Adapter.
An adapter which will allow the mounting of LT Magazines on the ARRICAM Studio is in preparation. CARE & CLEANING Magazine Interior The magazines interior’s coating has to be thoroughly clean. Remove any smudges immediately! Clean interior and film plates from dust carefully with a vacuum cleaner.
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 ST or LT 120/400 Magazine, turn the latches clockwise. To open the ST 300/1000 Magazine, turn the left latch counter-clockwise and the other one clockwise. ST Mag 300/1000 Door Latch fig.2/6 Caution! When closing the magazine, be sure that nothing gets caught between the cover and the magazine’s bottom.
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.
DIGITAL FOOTAGE COUNTER All four ARRICAM Magazines are equipped with a digital footage counter. Being powered by its own on-board 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 happens very rarely), simply mount the magazine to a powered camera to reactivate the display.
To enter the preset length of the loaded film, push the little button marked SET RAW STOCK next to the footage counter with a toothpick or similar item. The figure will start to blink indicating the feeding. Use the preset push wheel switches to input the length of film loaded. Pressing the set button for 2 sec., the footage counter stores the input figure. When the camera is RUNNING, the footage counter counts backwards (e.g. from 0305 m to 0000 m).
By using the push wheel switches, the desired sensitivity can be preset and by pushing 2 sec. the SET ASA button it will be fed into the system. Notice • In feeding the ASA rate of the film in the system, please consider if the film will be processed to the initial sensitivity or if it will be pushed. So e.g. if a 250 ASA film will be pushed 1 stop, a rate of 500 ASA should be fed in. • Because the displays of the LT Magazines have only four digits, no cursor will appear when selecting the ASA rate.
ST Mag Tightening Wheel fig.2/10 Caution! While the camera is RUNNING, the tightening wheels must not turn! If a tightening wheel does not swing back into its resting position, the magazine has to be repaired at an ARRICAM Maintenance Centre. Notice The fed raw stock – wound emulsion in – pulls off left side spindle clockwise. The film winds onto the right side spindle clockwise – the emulsion is always in.
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! ST Mag manual footage indicator ST Mag footage lever fig.2/11 fig.
LOOP PROTECTOR Magazines should always be protected by a clean Loop Protector. Two different Loop Protectors are provided, one for the ST Magazines, the other one for the LT Magazines. ST Mag Loop protector fig.2/13 LT Mag Loop protector LABEL Self-adhesive labels, supplied by the ARRICAM Maintenance Centres, can be slid into a holder at the outside of the magazines. Use these labels to identify film during shooting and stick them later onto the film cans. Label fig.
The Four ARRICAM Magazine Adapters THE THREE STUDIO MAGAZINE ADAPTERS Preliminary remarks Actually, two magazines can be used with the ARRICAM Studio: • the ST 300/1000 Magazine • the ST 120/400 Magazine No other magazines can be mounted on the ARRICAM Studio. The use of an adapter is always necessary for mounting a magazine on the ARRICAM Studio. There are three possibilities to mount magazines on the ARRICAM Studio: 1. horizontally at the top with the Top Load Adapter or with the Combi-Adapter e.g.
Studio – ST Mag Adapter fig.2/15 Studio – ST Mag Adapter fig.
Studio – ST Mag Combi-Adapter fig.2/17 Studio – ST Mag Combi-Adapter fig.
The three 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 LT Viewfinders or the LT 100% Video Top together with its LT Video Assist is mounted on the ARRICAM Studio, no top mounting of magazine will be possible. • When using the Combi-Adapter the LT Video Assist cannot be installed.
Studio – ST Mag Adapter mounting fig.2/19 Studio – ST Mag Combi-Adapter mounting fig.
MOUNTING ST 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. Swing the magazine carefully forward towards the adapter until it engages in the magazine latch.
REMOVING ST 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 – ST Mag Top Load Adapter, release button Studio – ST Mag Back Load Adapter, release button fig.2/21 fig.
CAMERA COVER CAP If no magazine is mounted on the camera, you should always attach a Camera Cover Cap to the adapter. The engraving ARRICAM must cover the electric connectors. Studio – ST Mag Back Load Adapter, Cover Cap fig.
Notice • While shooting with the Combi-Adapter, its Cover Cap with handgrip must obviously 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 Combi-Adapter Cover Cap with detachable handgrip is not compatible with the one of the other magazine adapters. Studio – ST Mag Combi-Adapter, Cap and Handgrip fig.
ADAPTERS’ CARRYING HANDLES A handgrip is part of each ST Mag Adapter. Notice When using an LT Viewfinder or the LT 100% Video Top on the ARRICAM Studio, you must first remove the handgrip from the Back Load Adapter before being able to install the LT Video Assist. To do so, unscrew the four maintaining 3 mm hex screws by using the 3 mm Allen key and remove the Carrying Handle.
Studio – ST Mag Back Load Adapter, Handgrip mounting fig.2/25 mounting screws Studio – ST Mag Back Load Adapter, Handgrip mounting fig.
MOUNTING THE LT MAGAZINES ON THE ARRICAM LITE Before being able to install a magazine, the ARRICAM Lite Camera Cover Cap must be removed. Press the LT Mag/LT Mag Adapter release button and slide the cover out of the camera body. Now carefully slide the LT 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.
THE ARRICAM LITE MAGAZINE ADAPTER In order to mount the ST Magazines on the LITE, ARRICAM offers an adapter that replicates the receptacle of the ARRICAM ST Magazine Adapters. The adapter door located at the left side of the LT Mag Adapter can be swung towards you to facilitate the threading of the film. Lite – LT Mag Adapter fig.
MOUNTING THE LT MAG ADAPTER ON THE ARRICAM LITE Instead of a LT Magazine, the LT Mag Adapter can be mounted on the ARRICAM Lite. As soon as the LT Mag Adapter sits tightly, secure it by tightening the three hex screws with a 3 mm Allen key. Lite – LT Mag Adapter fig.2/29 MOUNTING AND REMOVING STUDIO MAGAZINES ON/OFF THE LITE MAGAZINE ADAPTER Because the LT Magazine Adapter has the same mechanism as the one of the ST Top or Back Load Adapter, please see previous instructions.
LOADING THE MAGAZINES, THREADING THE CAMERAS 3
Loading The Magazines Preliminary remark The LT Shoulder and Steadicam Magazine will be loaded in the same way as the ST Magazines. The main differences between the ST and LT Magazines are: • the magazines’ throats (roller assemblies) • that before loading an active displacement type LT 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 bag. 2. Remove the loop protector. 3. Lift the magazine’s cover.
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. ST 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.
9. From outside insert film into the roller assembly between central and right roller. ST Magazine fig.3/3 ST Magazine 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.
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.
Raising the cover makes clear that the magazine is safely closed. From now on with 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.
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 LT 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.
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 ST Mag Combi-Adapter, place and secure firmly the special cover on the opening you will not use to mount the magazine. On the ARRICAM Lite (without Magazine Adapter) Open the camera door. Push the silver release button down to slide out the Camera Cover Cap. LT Mag fig.
On both cameras 2. Swing away the rear film guides by pushing the upper and lower release buttons. Studio – threading fig.3/7 release button Lite release button 3. Slide the movement to its rear position by rotating the lever clockwise. Studio – threading fig.3/8 Lite 4. Pull some film out of the magazine until the loop is about one hand width long.
On the ARRICAM ST 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.
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 into the camera as far as it will go. On the ARRICAM Lite with LT Mag Adapter: 5. Open the adapter door. Place the magazine carefully onto the LT Mag Adapter.
Lite – threading ST Mag fig.3/12 On both cameras 6. Position the film on the lower toothed wheels so that the teeth engage the film perforations. Close the lower film guide by pushing it towards the toothed wheels. Repeat for the upper toothed wheels. Notice Teeth must engage properly in film perforations! If you cannot close a film guide easily, the teeth probably do not engage the film perforations properly. Open the film guide and reposition the film. Never force a film guide! 7.
8. Turn the movement locking lever with one hand gently counter-clockwise to move the movement block into its front position. Simultaneously, turn INCHING knob with the other hand to the left and right within the range of the ”TWIST” mark 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. Studio – twisting fig.3/13 Lite 9.
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 always be tightened 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 RUN with 1 fps which allows you to check the correct threading.
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 ”silent level” with the film stock you will use, turn the PITCH Adjustment screw with a 3 mm hex key while the camera is RUNNING at 24 or 25 fps until you hear the lowest level of noise.
Studio – ST Mag Back Load Adapter Studio – ST Mag Combi-Adapter (rear) Studio – ST Mag Combi-Adapter (top) fig.3/17 fig.3/18 fig.
Lite – Shoulder Mag Lite – Steadicam Mag fig.3/20 fig.3/21 Lite – ST Mag with LT Mag Adapter fig.
ARRICAM Viewfinder System Components fig.
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 ST Viewfinder for spherical and anamorphic cinematography. It offers an exceptional viewing quality favoured by a large optical design.
matography and the Universal ST Viewfinder (UST-VF) Arm with an integrated swing-away de-squeezer. The LT Viewfinders for spherical and anamorphic cinematography. Even tough the LT Viewfinders are smaller and lighter than the ST Viewfinders, they offer versatile possibilities and an excellent viewing quality. Two types of LT Viewfinders are available. 3. The LT Viewfinder (LT-VF) for spherical cinematography only. It has been specially conceived for handheld operation. LT-VF fig.
4. The Universal LT Viewfinder (ULT-VF) for spherical and anamorphic cinematography. The ULT-VF contains a swing-away 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. ST-VF fig.
Bottom View fig.4/4 LT-VF image levelling adjustment viewfinder arm viewfinder connector viewfinder mounting screw viewfinder mounting screws fixing pin viewfinder block viewfinder window ULT-VF fig.4/5 image levelling adjustment viewfinder arm viewfinder connector viewfinder mounting screw viewfinder mounting screws fixing pin viewfinder block viewfinder window Bayonet type ST-VF fig.
Top View LT-VF fig.4/7 filter lever video assist connector swivel friction adjustment threaded holes for video assist mounting image leveling adjustment eyepiece rotation friction adjustment ULT-VF fig.
THE ARRICAM 100% VIDEO TOPS Besides the four Optical Viewfinders, ARRICAM also offers the possibility to frame pictures by means of a Video Viewfinder. Here the operator can choose between the possibility to use the optical image as well as the video image or only to use the video image alone. This last option will be chosen when looking through the Viewfinder is not possible or not requested – e.g. Steadicam or remote head operation.
ST 100% Video Top fig.4/10 video top connector video top window LT 100% Video Top bottom view video top connector video top window fixing pins fixing pins video top mounting screws ST 100% Video Top fig.4/11 LT 100% Video Top threaded holes for ST video assist mounting video assist window video assist connector right side fig.
MOUNTING THE OPTICAL VIEWFINDERS OR THE 100 % VIDEO TOPS ▲ Notice Because not only the mounting but also several components are quite similar, the following description is valid for the four Viewfinders and for the two 100% Video Tops. Differences between the components will be described separately.
Hinge type ST-VF fig.4/14 threaded sockets LT-VF fig.4/15 threaded sockets ST 100% Video Top fig.
Notice The change between both formats should be carried out in the rental house. In addition to the lens port, also the desired Viewfinder Mounting Plate will 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.
On the right side of the ST Viewfinders and on the top of all LT Viewfinders, a Video Assist attachment is covered by a removable cover plate. Unscrew the two hex screws with an 3 mm Allen key to remove the cover plate to mount the corresponding ST or LT Video Assist – see chapter 5 – Video Assist. ST-VF Video Assist attachment fig.
Bayonet type ST-VF fig.4/20 viewfinder block filter lever mini PL bayonet lever image levelling adjustment knob arm extension clamping ring front eyepiece unlock safety button eyepiece bayonet LOCK stop for UST-VF bracket swivel friction adjustment OPEN fig.4/21 UST-VF arm image levelling fixing knob eyepiece rotation friction adjustment UNLOCK arm flange CAUTION: HOLD TUBE FIX top spherical/ anamorphic knob Hinge type ST-VF image levelling locking button image levelling knob fig.
THE VIEWFINDER ARMS The Viewfinder Arm can easily be swivelled on both sides of the camera. On all LT Viewfinders as well as on the Hinge type ST 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 ST Viewfinder, the Arm mount itself is rotatable. If necessary, e.g.
▲ Notice Only with all LT Viewfinders: if the viewing must happen on the STUDIO right side and a ST 300/1000 Magazine 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.
ULT-VF Arm Bracket fig.4/24 ULT-VF 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. Hinge type ST-VF fig.4/25 release knob Bayonet type ST-VF fig.4/26 Bayonet type ST-VF fig.
ERGONOMY On all ST and the Universal LT Viewfinders, an extending feature moves the Eyepiece closer or further from the camera body which allows a perfect individual adaptation of the ARRICAM Viewfinder’s entry pupil to the operator’s visual field. The ST-/UST-VF and ULT-VF Arm can be telescoped up to approximately 40 mm. Shifting does not change size, sharpness or quality of the viewfinder image.
FRICTION ADJUSTMENT OF THE PIVOTING EYEPIECE The Eyepiece mounted to the Viewfinder’s Arm rotates vertically 360°. To turn an Eyepiece, loosen the rotation friction adjustment 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 a Long Eyepiece, we recommend to use the Levelling Rod – see fig.4/39.
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.
When using the UST-VF Arm, hold the little locking button pressed down and turn the image levelling 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 lockking 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. UST-VF Arm – image levelling adjustment fig.
THE EYEPIECES Three Eyepieces are provided for the ARRICAM Viewfinders. A large ST Eyepiece can be mounted on all Viewfinder Arms except on the one of the LT-VF. Specially conceived for handheld operations, a lightweight Universal LT Eyepiece can be mounted on the Universal LT Viewfinder, but also can be used with the ST Viewfinders. The LT Viewfinder has its own smaller and lightweight optimised Eyepiece. The three Eyepieces may be dioptre-adjusted by turning a knurled barrel.
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 protecting cap by rotating the bayonet counter-clockwise. After checking that both parts are immaculately clean, insert gently the Eyepiece or Extension Tube into the port and lock it by rotating the retaining bayonet clockwise until it is correctly seated.
Eyepiece mounting fig.4/34 THE EYECUPS ARRI provides two rubber cushionable Eyecups to 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.
Heated Eyecup fig.4/36 To mount the Heated Eyecup, pull the Regular Eyecup off the magnetic 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.
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.
Notice Both Long Eyepieces have built-in magnifiers that allow even more critical eye-focusing. Turn the zoom ring to magnify the image on the Groundglass in a continuous range. A mark on the ring indicates the standard image size. 4. The LT Extension Tube brings the entry pupil of the Eyepieces 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 on the Groundglass from normal size to 2x magnification.
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 Extension Tubes. 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.
Caution! The Eyepiece rotation friction adjustment has to be loosen when using the Levelling Rod! FURTHER VIEWFINDER COMPONENTS ARRI also offers several Groundglasses as well as three Frameglow Modules and a Readout Unit. THE ARRICAM FIELDLENS AND GROUNDGLASS The Fieldlens is located on top of the interchangeable Groundglass. All Groundglasses of the ARRICAM Cameras are mechanically identical and may be used with the ARRICAM Studio as well as with the ARRICAM Lite. Groundglass & Fieldlens fig.
The ARRICAM Groundglass lies flat on top of the mirror shutter and has a metal holder with a thread in the right front corner. HANDLING OF THE GROUNDGLASS Use the ARRICAM Combi Tool to remove or install a Groundglass as follows: Groundglass mounting fig.4/42 1. Push the DUST CHECK button in order to move the mirror out of the lens receptacle. 2. Switch the Camera MAIN switch OFF! 3. Screw the Combi Tool into the metal holder of the Groundglass. 4.
Notice Do not touch with fingers or a solid object! Do not moisten or wipe! Never place the Groundglass on its edges. Do not use force! THE FRAMEGLOW MODULES In order to make the frame marks of the Groundglass visible while shooting dark scenes, ARRI provides small attachments for all Viewfinders called Frameglow. Three different Frameglow Modules, one for all LT Viewfinders and two for the ST Viewfinders, are available.
The brightness of the frame line illumination is independent from the brightness adjustment of the camera displays. Notice 1. No Frameglow Module can be mounted on the 100% Video Tops. 2. If a Magazine is attached on top of the ARRICAM Studio, the LT Frameglow Module will not fit on the LT Viewfinder. 3. On top of the LT Frameglow Modules, a shoe for accessories as well as a connector for the Lens Data Display are provided.
Notice Care should be taken that: 1. the camera is switched OFF by camera MAIN switch (also important when removing the Frameglow Module), 2. the Frameglow Module 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 THE MECHANICAL ADJUSTMENTS OF THE LUMINOUS FRAMES This operation should be done by the ARRICAM Maintenance Centre before delivering equipment.
Frameglow Adjustment fig.4/45 ST MASK frameglow ST LCD frameglow ST frameglow module mounting screws access holes cover bolt accessory shoe A A B B C C adjusting screws A LT MASK frameglow B C AB C frame brightness adjustment THE ST LCD FRAMEGLOW MODULE (for ST Viewfinder only) ST LCD Frameglow Module fig.
1 : 1.33 (TV) 1 : 1.375 (Academy) 1 : 1.78 (16/9 or HDTV) 1 : 1.85 (US/UK Wide Screen) HANDLING THE ST LCD FRAMEGLOW MODULE While the camera is powered and no figure is displayed on the Module, just push one of the buttons, so the ST LCD Frameglow Module will show 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.
To exchange the Mask, first remove the little cover (unscrew the retaining 2 mm screw), 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 Module. Except for three Masks, the same physical Masks can be used with the ST or LT MASK Frameglow Modules. ST/LT Mask Frameglow Modules fig.
THE ARRICAM VIDEO ASSIST 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 appropriate cables! • Use the ARRICAM Video Assist Components only with the 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! • R
On Board Monitors Video Assist Viewfinders Cameras 5 – THE VIDEO ASSIST SYSTEM COMPONENTS ARRICAM System Users’ Guide 01/2003 162
The ARRICAM Video Assist System offers more than just tapping the viewfinder’s picture. Beside the viewfinder picture, most of the camera status and LDS Lens information can be displayed on a 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.
Therefore no mechanical change on the Video Assist must be done when alternating the format e.g. 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. ST-VA – front fig.
ST-VA – top fig.5/3 right accessory shoe on board monitor connector video assist iris control dial menu/store/ MGC dial LT-VA – top fig.5/4 video assist iris control dial access hole for viewfinder release screw mounting screws accessory shoe menu/store/MGC dial THE 100% VIDEO TOPS If no Optical Viewfinder is requested, e. g. when the camera is mounted on a Steadicam or a remote controlled head, both Video Assists can be mounted on the ARRICAM Cameras by means of 100% Video Top.
MOUNTING AND CONNECTING THE VIDEO ASSISTS On the ST/Universal ST Viewfinder as well as on the ST 100% Video Top, the ST Video Assist will be mounted on the right side. The LT Video Assist, specially designed for all LT Viewfinders and the LT 100% Video Top will be mounted on the top. ST-VA mounting on ST-VF fig.5/5 threaded holes mounting screws LT-VA mounting on LT-VF fig.
ST 100% Video Top mounting fig.5/7 mounting screws ST-VA mounting on 100% Video Top fig.5/8 mounting screws threaded holes After removing the protector 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.
THE CONNECTORS AND THE LED INDICATOR On top of the ST 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 LT Video Assist, this On Board Monitor connector is located on the right side of the housing. ST-/LT-VA connector for On Board Monitor fig.5/9 composite video, Pin 3 +12 V (1.3 A continous 1.
ST-VA – left side fig.5/10 LT-VA – left side video out without data or C 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) video out with data or Y ext.sync in ext. sync led s-video out (Y/C) 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 obtain. Three options are available and the selected choice will be indicated by a LED.
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 a 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.
This configuration will provide the best possible result when the distance between the ARRICAM and the monitor(s) is (are) longer than 10 m/33 ft. Caution! Make sure that the length of both BNC cables is similar. 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 separated connections must be installed. Video Cable Connections fig.
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 must 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.
THE MECHANICAL ADJUSTMENTS OF THE CCD ▲ Notice This operation should be done by the rental house before delivering equipment. Only in case of problems or if the video image is not centred or not in focus on the monitor, the focus puller can improve the alignment and/or the focus of the video image. All adjustments can be made with a 1.5 mm Allen key. Caution! Never use force.
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. ST-VA video 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.
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 (using of compensation or coloured filter). 1. When shooting in daylight condition (about 5.
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 will be allowed to change the white balance settings in the menu. For more details see the WB/GAIN description on page 183. THE VIDEO ASSIST IRIS CONTROL DIAL To control the brightness of the video image, two parameters can be changed on the Video Assist: the video gain setting and the video iris adjustment.
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.
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.
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 tapping” 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 one made in post production houses.
THE MENU STRUCTURE The menu is structured dynamically, this means that the several 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 all lines. Each of these Sub-menus offers different options. By pushing the dial, the selected Sub-menu will show its list of options (B).
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.
Caution! The following menu description is related to the Software Version V1.11 May 2002. To be sure that the latest software is installed, please check it by selecting the Sub-menu CONFIG SET. See page 207.
the MAIN MENU offers the possibility to select 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 into the brackets.
In AUTOMATIC, the electronics will analyse the light entering the camera and offer a neutral rendering of the colours, e.g. –> WB = AUTOMAT I C INDOOR OUTDOOR MANUAL ▼ WB = MANUAL MAN. RED = 50 + 00 MAN. BLUE = 50 + 00 ▼ WB = OUTDOOR O U T. RED = 38 + 00 O U T. 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.
MAIN MENU FLICKERFREE VIDEO CONFIG –> F L I C K E R F R E E = ON = OFF The flicker effect on video monitor results from the difference between the frame rate of the film camera and the one 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 to display this picture in the correct timing of the video system.
the formula 1/(fps x 2) regardless whether the 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 STAND BY status, by calculating to the preset frame rate and the preset shutter aperture.
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°).
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 the one of the camera! Therefore, the external sync signal must be fed in the Video Assist connector and not in the one of the Speed Control Box. While selecting EXT, the Video Assist will be synchronized with an external signal e.g.
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 appropriate. 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.
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°.
page 173. Be aware that first the Groundglass 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 bright surface and to turn OFF the Frameglow so that the Format Markings on the Groundglass are clearly visible. Furthermore, the appearance of the surrounding area of one of the selected frames can be adjusted accordingly to the users needs.
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.
MAIN MENU MENU FORMAT MARKING CONFIG FORMAT MENU CONFIG FORMAT 1 NAME = 1(TV 4:3 ) MOVE LINES ALL H O R I Z O N TA L –> V E RT I C A L LEFT RIGHT TOP BOTTOM EXIT The Sub-menu CONFIG FORMAT 1 (or 2) allows not only to design a frame but also to label it. While NAME is activated, to select the already displayed name, to clear it and to set a new one is possible. A cursor will indicate where characters can be placed.
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.
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 simultaneously on the video monitor. Notice • Whenever the Video Assist ist turned ON, the "live" image is displayed. • It is always possible, by pushing for 1 sec. the dial, to store an image, even though the OSD is not activated. Therefore it is not necessary to enter the menu for storring an image.
MAIN MENU TEXT INSERTER –> TEXT INSERT E R The Video Assist enables to display a number of windows containing different 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 INSERT E R –> S Y S T E M / L D S / S TAT U S TIME CODE TC USER BITS USER TEXT LINE PULL DOWN WHITELEVEL = INVERS = SET TO DEF. = V E RT.
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.
ST-/LT-VA data – markings display fig.5/23 generated format frame surrounding time-code format frame surrounding groundglass generated format frame (1:1.78) userbits pull-down user text line 11:24:30/03 P rod. Name 100297C1 Unit A A1 Take 35 Scene 11/III Filter in the gate UP65 24.6 V 65mm STBY 11+9/1 0 FWD crosshair system line 7.17m( 0.0/24.0 fps 4.20m– 180.0 22.
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 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).
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.
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.
working properly, two symbols will appear instead of the frame counter. 11:24:30/V*V* 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 Complementary to the eight digits of the time-code, further eight digits can be use for additional information. These eight digits are called userbits (UB) because the user can define the kind of displayed information.
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.
Pull-down diagram fig.5/25 B3 Frame 4 B2 B1 A2 Frame 3 A1 B3 Frame 2 B2 B1 A2 Frame 1 A1 MAIN MENU 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.
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.
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.
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. While being activated, you will have three options to chose from: YES, NO or UNDO.
MAIN MENU EXIT –> E X I T 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.
Example: VIDEO STAT U S WB FLCK EXP = A U T O M AT I C = ON = FILM F O R M AT 1 F O R M AT 2 UT UB = OFF = OFF = 1 = OFF TC = OFF WL = ON MODE = LIP = LIVE ON SYS. MSG S TAT U S LDS = ON = ON = ON PD VITC OFF ON = = EXIT Caution! The OSD will be switched OFF automatically when the camera starts UP. THE VIDEO ON BOARD MONITORS ARRI provides three ARRI LCD Colour Monitors which can be mounted and connected to both Video Assists. The 2” On Board Monitor is available in both NTSC and PAL standard.
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. ST-/LT-VA 2“ On Board Monitor fig.5/26 contrast brightness tightening screw colour saturation colour hue (NTSC only) on/off switch tension control Caution! This 2” Video Monitor is primarily concieved for shooting Standard 35 format. While shooting in a Super 35 format minimal portions of the image are not screened on the left and right. The 6.
ST-/LT-VA 6.6“ On Board Monitor fig.5/27 menu on button upside down button on/off switch tightening screws menu button (+) and contrast + menu button (-) and contrast menu button (UP) and brightness + menu button (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. ST-VA – 2“ On Board Monitor, mounting fig.
A collapsible Sunshade can be attached with velcro to the 6.6“ Video Monitor. ST-VA – 6.6“ On Board Monitor, connecting fig.5/29 LT-VA – 2“ On Board Monitor, mounting fig.
LT-VA – 6.6“ On Board Monitor, mounting fig.5/31 Caution! Be sure that the camera is not powered during mounting or removing a Video Monitor. Notice While powering up a On Board Monitor, the image on an external monitor might disappear briefly.
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 little menu button on the right side to open the On Screen Display (OSD). To leave the OSD, wait for time out. The time can be set in the Menu utilities/OSD time out.
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.
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 75:38 ROM: C14F03V1 In the utilities menu After the last change, the OSD will stay visible for the duration preset here. When fading 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.
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 the 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.
THE ARRICAM READOUT UNIT, THE LENS DATA SYSTEM 6
The Readout Unit The Readout Unit is not a component of the viewfinder system but its mounting is only possible on top of a ST Viewfinder. MOUNTING THE READOUT UNIT After having removed – by unscrewing one 3 mm hex screw – the cover from the top of the ST Viewfinder, place the Readout Unit on the Viewfinder and fix it firmly by tightening the screw. By entering the 3 mm Allen key in the access holes, the ST Viewfinder can be removed or fixed to the camera without having to remove the Readout Unit first.
Readout Unit fig.6/2 lens data display connector run LED fps display accessory shoe fps display bat LED brightness button reset button raw stock button film length display shutter opening display accessory shoe run LED camera right side 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.
Readout Unit fig.6/3 top view accessory shoe mounting screw access holes for ST 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.
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 introduced system is based on the transmission of parameters of the lens to the movie camera and vice versa.
Remark: this future option will not be an auto-focus and will certainly not replace the traditional focus puller job. This future option will just be a new tool in the hands of professional camera assistants. LDD Screen fig.6/4 LDD-FP Lens Screen fig.6/5 LDD-FP Status Screen fig.
The modular Lens Data System is based on various components: 1. LDS Lens 2. Lens Data Box (ST-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 exclusively for the ARRICAM Cameras prime and zoom lenses which allow electronic transmission of data like the focal length, the iris aperture, the focus distance as well as further optical characteristics.
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 (ST-LDB, LT-LDB) 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 for each ARRICAM body, two Lens Data Boxes are supplied.
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 via wire to the ST/LT Lens Data Box the simultaneous use of a second WHA-2 must be operated either wireless or via a cable connected e.
LT-LDB 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.
MOUNTING OF THE ST-LDB To mount the ST-LDB 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. After having checked that the connectors on both sides are clean, place the ST-LDB on the guiding assembly and slide it back until it sits firmly. ST-LDB mounting fig.6/10 1. ➡ 2.
ST-LDB ADAPTER Under some circumstances, it would be preferable to mount the ST Lens Data Box removed from the STUDIO body. The ST-LDB Adapter enables mounting the ST-LDB e.g. on a support system like Sachtler Artemis or Steadicam. The ST-LDB Adapter consists of two Plates and a 1 m/3 ft Cable. The ST-LDB Camera Plate slides onto the camera instead of the ST-LDB itself. The ST-LDB Adapter Plate is flanged on the ST Lens Data Box. The ST-LDB Adapter Cable connects the two Plates.
MOUNTING OF THE LT-LDB LT-LDB mounting fig.
In order to mount the LT-LDB on the ARRICAM Lite, first remove the Lens Data Box Cover from the camera right side with a M3 Allen key. After having checked that the connectors are clean, place carefully the LT-LDB on the camera, and fasten it with the central mounting screw. CONNECTORS AND CONTROL LEDS Besides the connectors to communicate with the cameras, both Lens Data Boxes are equipped with three similar plugs solely dedicated to connect CLM-2 motors.
CONNECTING WIRELESS CONTOL DEVICES In order to assume a correct wireless operation, please note that antennas 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.
but a problem occurs. To locate the problem, check the system with another lens. Focus, Zoom, Iris LEDs Indicates the readiness of the lens motor control. Indicates that one of the limits of the barrel is reached, e.g. iris barrel reaches T 22 or the focus barrel reaches 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.
Caution! The rf channel should preferably be selected on the Lens Data Box before the camera is powered ON. Turning slowly the RF CHANNEL selector while the camera is powered will engender a problem and the RF LED will light up red. In this case, switch the transceiver OFF (turn the selector fast to “9”), than – after about 3 sec. – turn fast the selector to the desired channel.
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.
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.
LDD mounting fig.6/14 LT frameglow module Readout unit A Backplate fixed on the Shoe Post build up the lightweight rugged LDD-FP Holder. A collapsible Sunshade can be fixed by means of Velcro. LDD-FP with Holder fig.
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 an optimal visibility, e.g. on a Matte Box. Therefore, ARRI provides different “L-Brackets” with Accessory Shoe that enable mounting on the MB-14, 16, 18 and 19. These “L-Brackets” will be fixed on the Matte Box Side Flap Holder.
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 Readout Unit, on the LT Frameglow Module 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.
LDD connections fig.6/17 LDD connector LCS connector KC 60-Sp-S KC 76-S LDD LDD LDD LT-Frameglow Module Readout Unit KC 67-S + KC 77-S KC 68-S KC 79-S Remote Control Station RCS LDD-FP connections CAC Speed Control Box SCB Manual Control Box MCB +Cable Adapter SAC SAC STUDIO/LITE fig.
Power/Sleep button (LDD) – ON/OFF switch (LLD-FP) To power the LDD, push briefly the POWER/SLEEP button. On the LDD only, the SLEEP status can be activated by pushing briefly 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.
THE CONTROLS OF THE LENS DATA DISPLAYS LDD fig.6/19 on/sleep/off set up down delete power/sleep LED LDD-FP fig.
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.
Menu button When the LDD-FP is powered up, pushing briefly 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 However there are some differences in design, the handling of the LDD and LDD-FP is quite similar. The main difference consists in the kind of data displaying.
played 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 rings 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 hand.
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.
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 a 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.
UNIT OF MEASUREMENT The Lens Data Displays will automatically show the same unit of measurement that is used by the lens. On the LDD only, this can be overridden: • To display all values in feet, hold the DOWN button while powering up the Lens Data Display. • To display all values in metres, 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.
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 to ask a ARRICAM Maintenance Centre for setting your coc preference. LDD-label circle of confusion fig.
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.
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.
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.
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.
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.
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 trouble shooting list in the chapter 12 – Appendix.
The LDD-FP Display After the LDD-FP is powered on, the initialisation starts while the software version and some preseted data are shown. When this procedure is completed, always the Lens Screen will appear. The layout and the colour code of the LDD-FP Lens Screen is similar to the one 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 selected by means of the screen option menu.
Furthermore, the complementary Status Screen can be selected to show the LDS and camera parameters like displayed on the right window of the LDD. LDD-FP Lens Screen left window lens status fig.
The Main Menu To enter the Main Menu, push for at least 3 sec. the MENU button. 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 at least the MENU button for 3 sec. • By pushing either the SET button or the MENU button briefly, the Main Menu will appear.
The Sub-menu Lens Screen When the Main Menu is screened, the highlighted cursor can be moved to the Sub-menu Lens Screen. By pushing briefly 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/Zoom – to be displayed. A warning will remind you that only two of the three options can be selected at once.
In the lower part, only one options 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 pushing briefly 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.
The Sub-menu Help When selected the Sub-menu Help, several information will be displayed. Depending on the active Sub-menu, pushing the SET button while the cursor marks the question mark will open useful dedicated advices. LDD-FP Main Menu – Sub-menu Help e.g. Lens Screen fig.
Focus Mark – examples fig.6/34 index line single mark solid frame (yellow) first mark dotted frame (yellow) second mark The Displays 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.
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.
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.
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.
THE MANUAL CONTROL BOX, THE SPEED CONTROL 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, two compatible components have been created specially for both ARRICAM Cameras. The Manual Control Box (MCB) as well as the Speed Control Box (SCB) can be used independently or in combination, depending on the requested task.
AUTOMATIC EXPOSURE COMPENSATION When the frame rate is altered, also the exposure time will change. In order to maintain a constant exposure, the SCB allows, by changing the shutter opening, to compensate automatically the exposure while changes of the frame rates happen – this is called shutter compensation. If the iris is controlled by a motor drive connected to the Lens Data Box (LDB), also an iris compensation can be controlled by the SCB.
<) 180° 90° 45° 22.5° 11.25° 3 fps 1/6 1/12 1/24 1/48 1/96 6 fps 1/12 1/24 1/48 1/96 1/192 12 fps 1/24 1/48 1/96 1/192 1/384 24 fps 1/48 1/96 1/192 1/384 1/768 48 fps 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.
By changing the shutter opening and compensating the exposure by altering the iris opening (or vice versa) the changes will not only effect the motion blur but also the depth of field. So either a strobe effect or a ”focus ramp” can be achieved with the SCB in combination with the MCB. 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 hex key to remove the small cover on the rear of the camera body.
Notice If no MCB is installed, the little cover must protect the connector on the camera. If you intend to mount the MCB and the SCB to the STUDIO, you must first attach the SCB to the camera. To attach or remove the SCB or the ST Carrying Handle from the STUDIO, the MCB has to be removed first. Manual Control Box (MCB) fig.
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 CCB controls the camera No fps or shutter adjustment is possible with the MCB because the ARRIMOTION CCB/Jogbox controls the camera for shooting FORWARD.
MANUAL CONTROL BOX – Syn NOT READY Tc S y STANDBY Vi S y STANDBY WRC STANDBY – WRC STANDBY SCB 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. ISB 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).
Function Switch (MANUAL CONTROL) By sliding the little switch you will select the function of the hand-wheel: FPS, <) , OFF. Hand-wheel Depending on the function selected with the MANUAL CONTROL switch, the hand-wheel will either allow the adjustment of the shutter opening, the frame rate or to control the ramping time between the two frame rates preset on the Speed Control Box.
Notice • ARRI guarantees the accuracy of the shutter angle between 11.25° and 180°. Please note that even though if the display shows 0°, strong lights coming straight into the lens could be photographed.
280 sync LED sync in video in ( BNC) speed control switch pilot out (chinch) 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 selector phase button 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 brightness button shutter display Speed Control Box (S
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 cover of the camera right side. To do so, press the release knob, slide the cover a bit backwards and remove it.
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 will only be 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). 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.
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.
REMOTE USE OF THE MCB 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 MCB and the SCB as a remote control unit for the STUDIO as well as the LITE. If no RCS is used, the CAC Distribution Box KC 74-S allows the combined use of both control boxes.
RCS/SCB remote connection Studio fig.7/10 KC 65-S (3 m/10 ft) or KC 69-S (15 m/50 ft) SAC CAC CAC SAC Lite SCB/MCB remote connection fig.
At the rear of the MCB Cable Adapter and of the RCS Plate, threaded sockets 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 threaded hole MCB cable adapter Remote Control Station RCS SCB Connectors SCB CONNECTOR Mounted freely, this connector will automatically link the SCB to the camera or to the RCS when the SCB is positioned on the guiding rail.
SAC CONNECTOR (ACCESSORY) Several cables will allow connecting 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 (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.
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.
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.
Run Switch the camera between RUN and STAND BY status. When the camera is stopped, it will return to STAND BY. When the RUN button is pushed, the camera will RUN UP to the frame rate preset in FPS 1. Because of the alternate switching, any of the RUN/STOP change-over switches (e.g. Handgrip) can be employed to assign 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.
Caution! As soon as the gear of a lens motor is coupled with the gear of a lens – regardless if it is an LDS or another type – the motor should be calibrated in order to avoid possible damage. Open and close These two buttons are used to set the requested iris aperture. Sync phase When pushing the SYNC PHASE button while the PHASE selector is set to MANUAL and the camera is RUNNING, the phase will be shifted. SWITCHES Direction Select between FORWARD and REVERSE filming with the FWD/REV slide switch.
SYNC By selecting SYNC, all possibilities offered by the synchronization tools 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 the MCB. OFF By selecting OFF, all controls of the SCB except the RUN/STOP function are turned OFF.
CONTROL BOX Three different tasks can be achieved 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.
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 STAND BY 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 .
FRAME RATE CONTROL SCB fig.7/15 unlock button fps display fps 1 LED fps 1 input unit run LED run button direction switch Even though the two FPS selectors are prepared for higher speed operations, you may actually only select frame rates between 1 and 40 (LITE) or 60 fps (STUDIO) FORWARD and between 1 and 32 fps REVERSE.
With an WRC also non LDS Lenses can be used for iris compensation. SCB fig.7/16 shutter display brightness button time input unit/LED fps 2 input unit/LED ramp LED compensation LED compensation switch ramp button calibration LED lens 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 to preset a frame rate with an accuracy of 0.001 fps.
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 continuously 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 until it reaches the preset value FPS 1. If the camera is STOPPED and STARTED again, FPS 1 will automatically be the initial frame rate.
The SHUTTER compensation If the 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. 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.
• Any signal from 3 to 30 V with a frequency of 3 to 100 Hz can be put into the SYNC IN connector. SCB fig.7/17 ratio selector video signal terminator pilot signal selector phase mode selector 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.
setting 0 1 2 3 4 5, 6, 7, 8, 9 ratio sync frequency 1/1 50 Hz 2/1 50 Hz 3/1 75 Hz 4/1 100 Hz 5/2 60 Hz 1/1 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.
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. Caution! No synchronization cable must be longer than 15 m/50 ft. Therefore the Pick-up Unit or the video cable should not extend this length.
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.
se 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.
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.
Time-code graphic fig.8/2 film running direction emulsion exposure in-camera slate In-camera Slates fig.
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.
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.
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).
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.
Lite – ISB mounting fig.8/6 LT 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 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.
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.
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 STAND BY, 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.
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.
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.
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.
• 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.
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).
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 in the text fields of the Main Menu.
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.
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.
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.
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.
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.
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 @ ` ” ^ + – ≈ = | .
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.
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 Take-list 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.
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.
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.
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.
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).
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”.
iPAQ Errors/Warnings Info Box fig.
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.
THE ARRICAM CAMERA SUPPORTS 9
The Camera Supports This chapter is dedicated to the several accessories which make the handling of the ARRICAM Cameras safe and comfortable. Preliminary remarks All parts of the ARRICAM Camera Support System must be handled with the same care as the camera bodies themselves. When mounting the different handles, be sure that they sit firmly but do not use unnecessarily too much force.
• ST Carrying 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 Allen key in the opening of the Handle to unscrew/screw the bolt. The ST Carrying Handle is fixed to the camera body with three 3 mm hex screws. By entering the Allen key in the access holes of the ST Video Assist, mounting or removing of the ST Carrying Handle on/from the STUDIO will be possible. Studio – ST Carrying Handle mounting fig.
Lite – LT Carrying Handle mounting fig.9/2 carrying handle holder mounting screws 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. • LT Centre Handle When the ST Viewfinder or the 100% ST Video Top equipped with its Video Assist is mounted on the LITE, only the LT Centre Handle can be used. This Centre Handle is mounted on top of the LITE body. LITE Centre Handle mounting fig.
• ST Centre Handle When the LT Viewfinder or the 100% LT 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 ST 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.
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.
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 one delivered by the power source (Battery or mains Power Supply Unit). Because the total energy supplied by the several connectors is limited by self resetting fuses, be careful that not too many accessories are connected to the camera simultaneously.
Power Bridgeplate fig.9/8 24 V dc outlet power contact pins integrated compensation 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).
both hands. Two handgrips which are mounted on the little Riser Plate, can be adjusted in several directions. Remote RUN/STOP switch The camera Right Handgrip as well as the Shoulder Set’s Right Handgrip are equipped with a RUN/STOP button and a cable that should be plugged into the RS connector located next to the rosette attachment.
SHOULDER SET The ARRICAM Shoulder Set – which can be fitted to the bases of the STUDIO and LITE – allows a 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.
On the top of the Baseplate, two 3/8” bolts will provide a firm fixing of the camera. Underneath the Riser Plate is a removable plate which fits in the quick-release attachment of the ARRI Gearheads or some fluid heads. This ARRI Quick-Release Plate can be exchanged with an appropriate one if another camera head is used. Use a Philips No. 2 screwdriver to exchange the QuickRelease Plate.
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 strongly recommended to use the adequate lens supports. ARRI provides several spring loaded lens Support Bridges as well as different length rods. THE ACCESSORY HOLDERS Two brackets – one to be mounted on a Support Rod Ø19 mm and the other one to be fixed on a rosette e.g.
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 LT 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.
Studio – Universal Low Mode Set fig.9/14 mounting screws mounting screws Studio – Universal Low Mode Set fig.
The Support Rod Holder – which 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.
THE ARRICAM POWER MANAGEMENT 10
The Power Management ARRICAM, one of the most sophisticated contemporary camera systems, 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.
Nickel Cadmium battery Type ARRI NC24/7R delivers enough power 24 V dc to RUN applications with up to 7 Ah consumption. Depending on the ambient temperature and on the consumption of the equipment, the capacity of those batteries is limited to a certain lapse of time. When the capacity starts to decrease, also the voltage will 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.
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 charge every time. • The outer casing is an Aluminium alloy, so overall battery weight is lower. Lithium-Ion batteries have also disadvantages: 1.
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 one hand, weight is not a big problem and on the other hand 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 DISTRIBUTION Several components and all connectors of the cameras are protected by self resetting fuses built in the camera bodies. The total power provided by all the connectors together is limited by 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. Several connectors marked RS (Pin 1: GND, Pin 2: nominal 24 V dc out) are located on the two camera bodies.
• On the Lens Data Boxes, three outlets marked FOCUS, ZOOM and IRIS, supply power and control signal 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.
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 STAND BY 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 .
ADVICE In order to avoid changing the Battery often, just 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” modus when it is not used – the LDD after about five minutes, the smaller LDD-FP after about 2 min.
MISCELLANEOUS 11
Standard 35/Super 35 Conversion Even though we strongly recommend to mention the desired format (35/S35) when placing your order in a rental house or to ask an ARRICAM Maintenance Centre to perform the conversion, we describe here briefly the operation. For shooting in Super 35, the lens port, the Viewfinder Mounting Plate, the Frame Mask, the Frameglow Module Mask, the Groundglass and the integrated Compensation Bar of the Power Bridgeplate or Baseplate must be altered for the format.
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 adequate Mounting Plate must be installed. To do so, unscrew with a 2 mm hex Allen key 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.
The Assistant Work Light After loosening the mounting screw, slide the Assistant 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 Assistant Work Light is switched ON by turning its cap. Be aware to have spare bulbs – 24 V/4 W – with you.
Checking the Mirror Shutter manually It is necessary to rotate the mirror shutter out of the way before either checking/cleaning the gate from the camera front or checking/cleaning/changing the Groundglass/the Fieldlens. When the camera is powered, push briefly the DUST CHECK button and the mirror will be rotated out of the way while the shutter opens to 180°. Because viewing through the Viewfinder is now not possible, DC appears on the FPS display(s).
5. Push briefly 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.
Tools In addition to the various ordinary tools and cleaning material, the camera assistant only needs just a few specific tools to work with the ARRICAM System. Except the ARRICAM Combi Tools and the ARRI A 16SR 3 twinpronged driver, all tools can be purchased in regular hardware shops. Most probably, also a rental house or an ARRI Dealer will provide you the ARRICAM Users’ Tool Kit, the Combi Tools and the twin-pronged driver which can also be ordered separately. 1.
6. With a 1.5 mm hex socket wrench (M1.5 Allen key) you will be able to adjust the Video Assist chip and the Frameglow alignment, but however it should be better 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 one of the Hinge type ST Viewfinder. 8.
User’s Tool Kit fig.11/3 8-10 mm (5/16”) flathead long shaft screwdriver 2 mm (1/12”) flathead screwdriver M 5 Allen Key (hex) M 3 Allen Key (hex) M 2 Allen Key (hex) M 1.5 Allen Key (hex) ARRI A 16SR 3 twin-pronged driver ARRICAM – 2.5 mm/3 mm Combi Tool ARRICAM – M 1.
ARRICAM SYSTEM – TECHNICAL DATA ARRICAM System Users’ Guide 01/2003 TECHNICAL DATA Film format Lens port convertible 35/S35 format Flange focal distance Lens contacts for LDS Lenses Forward run Reverse run with ST Magazines and SCB Noise level Temperature range Mirror reflex shutter electronically adjustable while running Power supply Camera body with Viewfinder ST 300/1000 Magazine ST 120/400 Magazine LT 120/400 Shoulder Magazine LT 120/400 Steadicam Magazine ARRICAM STUDIO 35 mm DIN 15501 54 mm PL 51.
ARRI GROUP ADDRESSES ARRICAM System Users’ Guide 01/2003 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@arrican.com 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: webmaster@arri.
STATUS MESSAGES, WARNINGS AND TROUBLE SHOOTING LIST ARRICAM System Users’ Guide 01/2003 WARNING AND STATUS MESSAGES EXPLANATIONS/SUGGESTED REMEDY Adapter Cover missing Adapter Cover • Always use the Combi-Adapter Cover (No other ones!) while this warning is shown, the camera can run. • When mounting LT Magazine on the STUDIO, you can open the Magazine Adapter’s Door for threading purposes.
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.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Production Company Project Director Cinematographer Production Manager Focus Puller CAMERA BODIES 4 perf/35 Date 4 perf/S 35 Page 1 of 8 3 perf/35 3 perf/S 35 ARRICAM Studio ARRICAM Lite GROUNDGLASSES AND FRAMEGLOW MASKS 3P/4P GROUNDGLASS/FRAMEGLOW STANDARD 35 SUPER 35 empty 4P 1.33 TV K2.54100.0 K2.54117.0 4P 1.37 TV K2.54000.0 K2.54051.0 4P 1.66 4P 1.66 4P 1.78 4P 1.78 4P 1.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Date Page 2 of 8 VIEWFINDERS, FRAMEGLOW MODULES AND ACCESSORIES Hinge type ST Viewfinder ST-VF (H) Incl. Tube, ST Eyepiece K2.54003.0 & Eyecup K2.54044.0 Bayonet type ST Viewfinder Block ST-VF (B) Block with mini PL bayonet port K4.53001.0 ST Viewfinder Arm ST-VF Arm Spherical incl. ST Eyepiece K2.54003.0 & Eyecup K4.53000.0 Universal ST Viewfinder Arm UST-VF Arm Spherical and anamorphic incl.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Date Page 3 of 8 ELECTRONIC BOXES, DISPLAYS AND ACCESSORIES Readout Unit Remote Switch To be mounted on the ST Viewfinder only K2.54008.0 RS-4 RUN/STOP switch with attached short cable K2.46942.0 with permanent attached short cable K2.54022.0 SCB Attaches to STUDIO or to Remote Control Station or connects via cable to STUDIO or LITE. run & ramp button, 0.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Date Page 4 of 8 REMOTE CONTROL, CABLES, MOTORS AND DISTRIBUTION BOX RS-4 Extension Cable (3 m/10 ft) KC 40-S Extension Cable for Remote Switch K2.47207.0 SCB Cable (3 m/10 ft) KC 65-S connects SCB, MCB Cable Adapter to Remote Control Station RCS to STUDIO or LITE CAC connector K2.54128.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Date Page 5 of 8 MATTE BOXES 3” x 3” Lightweight Matte Box (Clip On) LMB-2 LMB-2 filter stage (K2.21973.0) rectangular sunshade (K2.21975.0) K0.59954.0 4” x 4” Lightweight Matte Box (Clip On) LMB-3 filter holder LMB-3 Ø 87 mm adapter ring for Ø 80 mm, adapter for Series 9 filter, 2 filter frames 4” x 4” and rectangular sunshade K2.44471.0 6.6” x 6.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact Order No. Date Page 6 of 8 LDS LENSES LDS ARRI/ZEISS ULTRA PRIME LENSES Meter Scale 12 mm T2 K2.52198.0 Feet Scale K2.52199.0 14 mm T1.9 K2.52111.0 K2.52123.0 16 mm T1.9 K2.52112.0 K2.52124.0 20 mm T1.9 K2.52113.0 K2.52125.0 24 mm T1.9 K2.52114.0 K2.52126.0 28 mm T1.9 K2.52115.0 K2.52127.0 32 mm T1.9 K2.52116.0 K2.52128.0 40 mm T1.9 K2.52117.0 K2.52129.0 50 mm T1.9 K2.52118.0 K2.52130.
THE ARRICAM CHECKLIST ARRICAM System Users’ Guide 01/2003 Rental House/Contact ANAMORPHIC LENSES Order No. m Date ft m SPECIAL LENSES OPTICAL DEVICES Swing/Tilt Lenses Rain deflector small/large T-Rex Superscope Low Mode Prisma Innovision Probe Page 7 of 8 ft Mesmerizer Diopters/Splitfield SUPPORTS AND MECHANICAL ACCESSORIES Power Bridgeplate Ø 19mm K2.54011.0 Pair of 240 mm Support Rods Ø 19 mm K2.43046.0 Pair of 340 mm Support Rods Ø 19 mm K4.47347.
THE ARRICAM CHECKLIST Rental House/Contact ARRICAM System Users’ Guide 01/2003 Order No. Date HEADS AND TRIPODS ARRIHEAD 1 long/medium – flat ARRIHEAD 2 Hihat – flat Fluidhead long/medium/baby – bowl Tango Swing Hihat-bowl Cinesaddle/Steadybag FURTHER ITEMS ARRI Loc Pro Camera Cloth (Sun Cover) Video Transmitter Rain Cover Video Monitor small/large Heater Barney Director’s Finder Chemical Heaters (spare) VHS Recorder Magliner/Camera Cart Video Combo (incl.
CABLES AND CONNECTORS ARRICAM System Users’ Guide 01/2003 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 Readout Unit LT Frameglow Module Remote Control Station RCS Power dc in Power dc out STUDIO LITE Battery Power Supply Unit LDD LDD Lens Data Display LDD Readout Unit LT Frameglow Module Remote Control Station RCS CAC COM x STUDIO LITE STUDIO LITE CAC KC 20-S (1.5 m/5 ft) K 2.41966.
CABLES AND CONNECTORS ARRICAM System Users’ Guide 01/2003 PAGE 2 Sync Out Sync In Pick-up Unit Sync Generator Speed Control Box SCB on slaved camera CAC LDD STUDIO LITE WHA-2 WRC-1 K 2.54132.0 KC 70-S (3 m/10 ft) K 2.54135.0 KC 72-S (1 m/3 ft) K 2.54137.0 Wireless Handheld Adapter WHA-2 Wireless Remote Control WRC-1 CAC STUDIO LITE KC 67-S (3 m/10 ft) KC 68-S (15 m/50 ft) K 2.54133.0 Lens Data Display LDD CAC STUDIO LITE KC 66-S (10 m/33 ft) K 2.54129.
CABLES AND CONNECTORS ARRICAM System Users’ Guide 01/2003 PAGE 3 LCS SAC Lens Data Display LDD KC 77-S (0.2 m/8 in) K 2.54154.0 Lens Data Display LDD CAC Sync In STUDIO LITE K 2.54153.0 Speed Control Box SCB LDD Adapter Cable for KC 67-S/KC 68-S KC 76-S (3 m/10 ft) KC 78-S (15 m 50 ft) K 2.54155.0 Speed Control Box SCB on slaved camera KC-H-1 (0.5 m/1.5 ft) K 4.52687.
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 – feet and inches The LDD-FP Lens/Status Screen – metric 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
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 office@imago.org. I would like to express my gratitude to all friends and colleagues without their help this Users’ Guide would never became what it is.
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 Do not hesitate to make copies of the Checklist (Chapter 12) – it is dedicated for placing your order at your rental house. Furthermore it is possible to download this information from the internet: www.arri.com.
