ARRI ARRIFLEX 235 User Manual

Instruction Manual

As of: May 2005

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ARRIFLEX 235

adjustment knob for
manual image
compensation

locking key for
manual image
compensation

lock for telecoping
finder arm

finder arm

friction adjustment
for finder arm

hook for focus tape

handgrip mounting point

power supply
socket

adjustable mirror shutterground glass

eyepiece lock eyepiece eyecup handgrip shoulder magazine

accessory mounting point

PL-mount

cover on magazine opening

remote-socket

tensioning plate

PS/CCU-button

NORM-button

handgripaccessory mounting points

Integrated Video Assist IVS

RUN-button PHASE-button locking grip on camera door

locking grip on magazine cover

ON/OFF-button

RUN-button Mode-button SEL-button SET-button RS-socketsLOCK-buttonremote-socket

display

33

1. Contents

Contents

2. Safety Instructions and Legal Disclaimer ..7

2.1. Safety Instructions ........................................7

Warning signs ................................................7

General safety instructions ...............................7

Specific safety instructions ................................9

2.2 Disclaimer ..................................................10

3. General Description of the ARRIFLEX 235 ..13

4. Installation of the Camera ........................15

4.1 Packing and Transport ................................15

4.2 Tripod Heads .............................................15

4.3 Riser Plate .................................................16

Attaching the Riser Plate ................................16

4.4 Bridge Plates BP-8, BP-9 ..............................16

Attaching the Bridge Plate to the Camera ........17

Removing the Camera from the Tripod ............18

4.5 Lens Support ..............................................19

4.6 Grip System ...............................................20

Standard Camera Handle ..............................20

Low Mode Handle .........................................21

Low Mode Support LMS-1 .............................. 22

Side Bracket SBR-1 ........................................23

4.7 Operation from the Shoulder .......................24

5. Power Supply .............................................25

5.1 Battery NC 24/7 R ....................................26

5.2 Charger NCL 24 R .....................................26

5.3 Mains Unit NG 12/24 R .............................27

5.4 Mains Unit NG 12/26 R .............................27

5.5 Accessory Power Supply .............................28

24 V Accessories ...........................................28

6. Magazines ..................................................29

6.1 Loading the Shoulder Magazine ..................30

6.2 Removing Exposed Film ..............................34

6.3 Transport and Storage ................................35

7. Camera Body .............................................37

7.1 Mechanically Adjustable Mirror Shutter .........37

Setting the Mirror Shutter Angle ......................37

Shutter Angle Measurement ............................38

Filming with HMI Light ...................................39

7.2 Exchanging the Ground Glass .....................40

7.3 Movement .................................................41

7.4 Attaching the Magazine,Threading the Film .....42

7.5 Removing the Magazine .............................45

4

Contents

8. Optics ..........................................................47

8.1 Lenses .......................................................47

8.2 Viewfinder System ......................................48

The Eyepiece .................................................48

Adjusting the Viewfinder ................................. 49

Image Compensation ......................................50

9. Camera Operation .....................................53

9.1 Main Camera Switch ..................................53

9.2 Running and Stopping the Camera ...............53

Running the Camera .....................................53

Stopping the Camera ......................................54

Inching ......................................................... 55

9.3 Displaying and SettingOperational Parameters ....55

Overview of Display Modes ...........................56

Overview of Display Symbols ......................... 57

Display: Movement Open ................................57

Film Counter .................................................58

Displaying the Angle of the Mirror Shutter (Mode 1) ...59

Frame Rates .................................................. 60

Shifting Phase ...............................................62

Displaying the Power Supply Voltage (Mode 3) ...63
Setting the brightness of the button illumination ...63
Switching On and Off the Warning Signal for

Asynchronous Running (Mode 4) .................... 64

Setting the Volume of the Warning Signal ........64

Mode 5 ........................................................65

10. Video-Assist-System ................................67

10.1 General Description of the IVS ...................67

Main Features ...............................................67

10.2 Setup ......................................................70

10.2.1 Installation ......................................... 70

10.2.2 Cabling ............................................. 72

10.3 Standard Video Controls ...........................79

10.3.1 Switch On, Off and Check/Hide Menu .....79

10.3.2 Mechanical Iris ...................................80

10.3.3 Alignment of the image position

(X-, Y- and Rotation) and focus .......................81

10.3.4 White Balance (WB) ...........................82

10.3.5 Gain Control ......................................86

10.3.6 Flicker free on/off ..............................89

10.3.7 Changing Format marking number ...... 91

10.3.8 Storing a video image ........................93

10.4 Inserter Facilities .......................................95

10.4.1 Setting the On-Screen Displays ............95

10.4.2 Main Menu ........................................ 97

10.4.3 Load/Store Menu ...............................98

10.4.4 White Balance (WB) and

Manual Gain Control (MGC) Menu ..............102

10.4.5 Video and Text Adjustment Menu ....... 108

10.4.6 Format Marking Menu ......................114

10.4.7 Compare/Store Menu .......................119

10.4.8 System and Status Menu ...................122

10.4.9 User Text Menu ................................ 128

5

Contents

11. Accessories .............................................135

Accessory Mounting Points ..............................135

Universal Viewfinder UV-1 ...............................136

Adjusting the UV-1 ...................................... 136

Work Light WL-3 ............................................137

Heated Eyecup HE-4 .......................................137

Remote Run Switch RS-4 ..................................138

External Synchronization Unit ESU-1 .......................139

Remote Control Unit RCU-1 ..............................140

Wireless Remote Control WRC-1 ......................143

12. Super 35 .................................................145

Converting the Lens Mount Receptacle to Normal 35 ...145

Converting the Bridge Plateto Super 35 ............146

13. Maintenance ...........................................147

Camera ........................................................148

Cleaning the Film Gate ................................ 148

Cleaning the Spacer Gate ...............................150

Cleaning the Field Lens ...................................151

Magazine .....................................................152

Cleaning the Throat Assembly .......................152

Setting Friction on the Shoulder Magazine ......152

14. Appendix ................................................155

Loose Film Loops in the Magazine ..................155

Fuses ........................................................... 155

15. Technical Data ........................................161

16. Order Numbers ......................................163

17. ARRI Service ...........................................165

18. Index .......................................................167

66

Contents

7

7

2. Safety Instructions and Legal Disclaimer

General safety instructions

Read and understand all safety and operating
instructions before you operate or install the
system.

Retain all safety and operating instructions for
future reference.

Heed all warnings on the system and in the safety
and operating instructions before you operate or
install the system.Follow all installation and
operating instructions.

Do not use accessories or attachments not
recommended by ARRI, as they may cause
hazards and void the warranty.

Do not repair any part of the system. Repairs must
only be carried out by authorized ARRI repair shops.

Do not remove any safety measure of the system.

2.1. Safety Instructions

Please always follow these instructions to help
ensure against injury to yourself and damage
to the system or other objects.

This safety information is additional to the
product-specific operating instructions in
general and must be strictly observed for safety
reasons. They are no substitute to settled down
your own safety measures.

Warning signs

Possible risk of injury or damage to equipment.

This symbol indicates the risk of electric shock
or fire danger that could result in injury or
equipment damage.

Safety Instructions

8

8

Do not operate the system in high humidity
areas or expose it to water or moisture.

Do not place the system on an unstable cart,
stand, tripod, bracket, or table. The system may
fall, causing serious personal injury and
damage to the system or other objects.

Operate the system using only the type of
power source indicated in the manual. Unplug
the power cord by gripping the power plug, not
the cord.

Never insert objects of any kind into any part
of the system through openings, as the objects
may touch dangerous voltage points or short
out parts. This could cause fire or electrical
shock.

Unplug the system from the power outlet before
opening any part of the system or before
making any changes on the system, especially
the attaching or removing of cables.

Do not use solvents to clean.

Clean optical surfaces only with a lens brush or
a clean lens cloth! In case of solid dirt moisten
a lens cloth with pure alcohol.

Do not loosen any screws which are painted
over!

Safety Instructions

9

9

Specific safety instructions

Never run the camera without a lens or a
protective cap in the lens mount receptable!

Never operate the movement locking
mechanism while the camera is running!

As the end-stops of the iris ring on the
ARRIMACROS change when the lens is focussed,
the ARRIMACROS may not be used with the
ARRI Wireless Remote System (WRS) or the
Lens Control System (LCS).

Danger of injury with rotating drive gears on
the lens barrel, or when switching the operating
direction on the UMC-1 and UMC-3!

Any violation of these safety instructions or the non­observance of personal care could cause serious injuries
(including death) and damages to the system or other
objects.

Note: Notes are used to indicate further information

or information from other instruction manuals.

➪ photo indicates objects which are shown in the

illustration.

Product Identification

When ordering parts or accessories, or if any questions
should arise, please advise your type of product and
serial number.

Safety Instructions

1010

2.2 Disclaimer

Before using the products described in this manual be sure to
read and understand all respective instructions. The
ARRIFLEX 235 is only available for commercial customers.
The customer grants by utilization, that the ARRIFLEX 235
or other components of the system are only deployed for
commercial use. Otherwise the customer has the obligation
to contact ARRI preceding the utilization.

While ARRI endeavors to enhance the quality, reliability and
safety of their products, customers agree and acknowledge
that the possibility of defects thereof cannot be eliminated
entirely. To minimize risks of damage to property or injury
(including death) to persons arising from defects in the
products, customers must incorporate sufficient safety
measures in their work with the system and have to heed
the statuted canonic use.

No part of this document may be copied or reproduced
in any form or by any means without prior written consent of
ARRI. ARRI assumes no responsibility for any errors that
may appear in this document. The information is subject
to change without notice.

For actual design-in, refer to the latest publications of
ARRI data sheets or data books, etc., for the most up-to-date
specifications. Not all products and/or types are available
in every country. Please check with an ARRI sales
representative for availability and additional information.

Neither ARRI nor its subsidiaries assume any liability for
infringement of patents, copyrights or other intellectual
property rights of third parties by or arising from the use
of ARRI products or any other liability arising from the use
of such products. No license, express, implied or otherwise,
is granted under any patents, copyrights or other intellectual
property rights of ARRI or others.

ARRI or its subsidiaries expressly exclude any liability,
warranty, demand or other obligation for any claim,
representation, or cause, or action, or whatsoever, express
or implied, whether in contract or tort, including negligence,
or incorporated in terms and conditions, whether by statue,
law or otherwise. In no event shall ARRI or its subsidiaries
be liable for or have a remedy for recovery of any
special, direct, indirect, incidental, or consequential
damages, including but not limited to lost profits, lost
savings, lost revenues or economic loss of any kind or for
any claim by third party, downtime, good-will, damage to

Safety Instructions

1111

or replacement of equipment or property, any costs or
recovering of any material or goods associated with the
assembly or use of our products, or any other damages
or injury of persons and so on or under any other legal
theory.

In the case one or all of the forgoing clauses are not
allowed by applicable law, the fullest extent permissible
clauses by applicable law are validated.

ARRI is a registered trademark of Arnold & Richter Cine
Technik GmbH & Co Betriebs KG.

Note:

This product and the accessories recommended by the
manufacturer fulfill the specifications of the EU-Guideline
89/336/EWG.

Safety Instructions

1212

General Description

1313

3. General Description of the ARRIFLEX 235

The ARRIFLEX 235 is a compact, lightweight MOScamera.

• Operational parameters can be set directly on the camera.

• The frame rates range from 1 – 60 fps for forward and
25 fps in reverse running.

• The ARRIFLEX 235 is equipped with a low-maintenance,
5-link movement with single transport claws and
registration pins.

• The mechanically adjustable mirror shutter on the
ARRIFLEX 235 can be set to 45°, 60°, 75°, 90°, 105°,
120°, 135°, 144°, 150°, 172,8° and 180°.

• The viewfinder can be rotated in two axes and can be
used on both sides of the camera with full image
compensation.

• A 1/2“ CCD video camera can be attached directly to
the camera body.

• The versatile grip system is connected directly to the
camera body and can be used as a carrying handle or
as an accessory holder.

A comprehensive range of optical, mechanical and
electronic accessories further expands the operational
possibilities of the camera.

General Description

14

14

movement in locked position loop protector

magazine

opening cover

Installation

1515

4. Installation of the Camera

4.1 Packing and Transport

In order to prevent damage to the mirror
shutter, a protective cap must be on the lens
mount receptacle at all times.

When transporting the camera, pay attention
that the movement is in the locked position

➪ photo.

If the ARRIFLEX 235 is transported or stored
without a magazine, the magazine opening
cover ➪ photo should be attached.

Loaded or empty magazines should only be
transported or stored with the loop protector

➪ photo attached to avoid damage to the film

stock and the magazine throat assembly.

4.2 Tripod Heads

The following tripod heads are suitable for use with the
ARRIFLEX 235:

• ARRIHEAD

• ARRIHEAD 2

• ARRIHEAD 2 with integrated encoders

• ARRI Fluid-Heads

• Sachtler Studio 7, 150 H

• Mitchell-Head

• Moy-Head

• Ronford F7

• Hot-Head

• Cam-Remote-Head

• Worall-Head

In applications where the camera mount is subject
to high forces (e.g. helicopter mounts) the camera
must be additionally secured with retaining cords.
All fastening screws must be tightened firmly
with an appropriate screwdriver (not with the
commonly used coin!).

Installation

1616

4.3 Riser Plate

To use the ARRIFLEX 235 together with a bridge plate on a
tripod, it is necessary to bring the camera into the correct
position to the support rods. To do this, a riser plate is
mounted to the bottom of the camera onto which the
bridgeplate can be mounted.

Attaching the Riser Plate

• Fasten the riser plate with the two mounting screws

➪ photo using a 5mm allen key. Both cylindrical pins

must glide into the holes of the camera bottom.

4.4 Bridge Plates BP-8, BP-9

The bridge plates facilitate balancing of the camera on the
tripod and mounting of accessories. The BP-8 is designed
for 19 mm support rods, the BP-9 for 15 mm support rods.
The bridge plates consist of the base plate ➪ photo, the
sliding upper plate ➪ photo and a pair of support rods

➪ photo. In the standard version the support rods are

440mm long. Optionally, support rods are available in
the lengths 240mm and 340mm.

base plate

support rods

mounting screws

sliding upper plate

Installation

17

17

Note: The upper plate of the bridge plate can be con-

verted for use with Super 35. This ensures that
the accessories are also exactly adapted to the
displaced optical center of the Super 35 format.
See also Chapter 12, Super 35.

Attaching the Bridge Plate to the Camera

• Fasten the sliding upper plate ➪ photo with the two slit
screws to the camera base. Both cylindrical pins ➪ photo
(twist prevention) must glide into the holes.

• Then screw the base plate onto the wedge plate of the
tripod and lock onto the tripod head.

• Slide the camera with the upper plate into the dovetail­guide of the base plate until the spring-loaded stop pin

➪ photo snaps back audibly. The camera’s position

can then be fixed with the clamping lever.

• Slide the support rods into the guides and clamp.

• Equip the camera with the required accessories to
determine the center of gravity. Loosen the clamping
lever ➪ photo, and by sliding the camera on the
base plate find the optimal position. Then retighten the
clamping lever.

sliding upper plate

riser plate

screws

cylindrical pins

stop pin

base plate

sliding upper plate

clamping lever

Installation

1818

Removing the Camera from the Tripod

• Before removing the camera make sure that all cables
are disconnected and that the eyepiece leveling rod is
detached.

• For fast removal of the camera from the tripod, loosen
the clamping lever ➪ photo, push in the stop pin
➪ photo and then pull the camera with the upper
plate ➪ photo from the base plate.

stop pin

base plate

sliding upper plate

clamping lever

Installation

1919

4.5 Lens Support

The lens support consists of the lens support LS-7 (can be
snapped onto 19 mm support rods) ➪ photo or the lens
support LS-8 (can be pushed onto 15 mm support rods) and
the respective lens support ring ➪ photo for the lens in use.

• Mount the lens support onto the support rods from above
and let it click into place by applying slight pressure
(push the LS-8 onto the support rods from the front).

• Slide the relevant support ring ➪ photo onto the lens
but do not tighten.

• Then slide the lens into the lens mount receptacle and lock.

• Connect the support ring to the lens support and tighten
the knurled screw ➪ photo as well as the clamping
lever ➪ photo.

• Complete the process by tightening the clamp screw

➪ photo on the support ring.

Note: Mounting the support ring on the relevant lens

is usually carried out only once. The support
ring can then remain in position on the lens.

base platelens support

LS-8

lens support ring clamp screw

wedge plate

knurled screw

lens support

LS-7

clamping lever

Installation

2020

4.6 Grip System

The multipurpose grip system on the ARRIFLEX 235
guarantees high stability through its fixed connection to
the camera body and provides numerous possibilities for
attaching accessories. 3/8“ inner threads allow attachment
in various positions. The versatile system adapts to all
needs depending on the magazine used with the camera.

Standard Camera Handle

The standard camera handle is a single post handle. It can be
mounted in two positions to the camera using two hexagonal
screws ➪ photo. In one position, the handle grip is positioned
above the camera, in the center of gravity. This is useful
for low handheld shots, but only works with the two 235
Shoulder Magazines. In the other position, as seen on the
photo, all magazines can be accommodated.

The handgrip can be attached to any of the 3/8” holes
by first placing the 2 pins ➪ photo into the according
pin holes on the post and then fastening the handgrip screw

➪ photo inside the handgrip by using a long 5mm allen key.

Note: If the standard camera handle is attached in the

other position and the handgrip is mounted to
the additional 3/8” hole the handgrip is
positioned in the center of gravity.

hexagonal screws

additional

3/8“ mounting point

5mm allen keymounting screw

Installation

21

21

Low Mode Handle

The low mode handle is a triple post handle. It can be mounted
to the camera using 3 hexagonal screws ➪ photo.

To the low mode handle various accessories can be attached
using the 3/8” holes.

The low mode handle can be extended with the handle
extension block ➪ photo. The handle extension block
can be mounted to any of the 3/8” holes by first placing
the 2 pins ➪ photo into the according pin holes on the
handle and then fastening the extension block screw

➪ photo inside the extension block by using a long

5mm allen key. Note that the viewfinder cannot be swung
over to the camera right side when the Handle Extension
Block is attached to the front of the Low Mode Handle.

Note: The low mode handle is positioned in the center

of gravity.

hexagonal screws

handle extension block

handle extension block

pins

extension block

screw

Installation

22

22

Low Mode Support LMS-1

The Low Mode Support LMS-1 ➪ photo is a sturdy triple
post camera handle with integrated Steadicam low mode
plate that attaches to the 235 camera body. It consists of
the Low Mode Bracket (K4.65142.0) ➪ photo, the Low Mode
Support Handle (K4.65140.0) ➪ photo and Low Mode
Riser (K4.65141.0) ➪ photo and is compatible with all
magazines. The Low Mode Bracket is mounted with 3
hexagonal screws ➪ photo to the 235 camera body.

The Low-Mode Handle can be attached on both the basic
Low-Mode Bracket or the Low-Mode Riser. There are two
mounting positions on the plates, one at the rear of the plate

➪ photo, and one position 65mm forwards. The handle can

be mounted in either position facing forwards or rearwards;
in this way, the grip balance can be adapted to best fit the
magazine and lens in use.

The Low-Mode Bracket alone offers the lowest profile and
smallest plate-to-lens distance, optimal for Steadicam
applications. It can be attached with the viewfinder on the
camera; however, since the Low-Mode Bracket remains under
the level of the viewfinder itself, removal of the viewfinder
will be necessary in applications requiring the attachment
of a longer plate onto the Low-Mode Bracket.

hexagonal screws

Installation

low mode support handle

low mode riser

low mode bracket

low mode bracket

2323

With the Low-Mode Riser, plate-to-lens distance is increased,
but the plate level is now above the level of the viewfinder; a
longer plate attached to the Riser will not collide with the
viewfinder. This is especially useful in situations where rapid
switching between operation in low-mode and operation
with viewfinder is necessary.

A measuring tape hook is located camera right on the
Low-Mode Bracket, and both the Low-Mode Bracket and
Low-Mode Riser offer diverse attachment points for
additional accessories.

Side Bracket SBR-1

The 235 Side Bracket SBR-1 (K2.55015.0) ➪ photo
offers two adjustable 19mm support rods positioned
camera right for attachment of lens motors, Lightweight
Follow Focus LFF-1 (K0.60021.0) and other accessories
with rod mounts. It attaches to the 235 via the right-side
3/8“ accessory mounting point and the rosette mount.
For a further setup with the handgrip, the SBR-1 retains its
own rosette mount

Installation

support rods

Side Bracket

screws

lightweight follow focus

24

24

4.7 Operation from the Shoulder

The shoulder cushion can be used with or without the riser
plate.

• Attach the shoulder pad to the camera body by
aligning the velcro® tapes ➪ photo.

• Position the handgrip on the rosette and fasten with the
fastening screw ➪ photo.

• Plug the cable for starting and stopping the camera
into the RS-socket.

velcro® tape

shoulder pad RS-socket handgrip

RUN-button

shoulder pad

Installation

2525

5. Power Supply

The acceptable voltage range is from 20.6 to 35 V DC. The
power supply cable is attached to the power supply
socket on the camera. Available are:

• the battery NC 24/7 R with charger NCL 24 R

• the mains unit NG 12/24 R.

• the mains unit NG 12/26 R ➪ photo.

• the on-board battery OBB-1 with charger ➪ photo.

• First switch on the mains unit (if used).

• Connect the camera to the mains unit or to the battery.

• Switch on the main switch of the camera.

Do not open the batteries!
Charge batteries only with the proper ARRI chargers!

Do not bypass the fuse or temperature switch!

Do not heat NC-batteries!
Do not short-circuit NC-batteries!

battery NC 24/7R

NCL 24 RNC 12/26

on board battery

Power Supply

2626

5.1 Battery NC 24/7 R

The battery NC 24/7 R has a capacity of 7 ampere-hours.

• Ensure that the main switch on the camera is off.

• Plug the battery cable KC 20S or the spiral battery
cable KC 29S into the power supply socket on the
camera and into the battery-socket.

Note: If the battery voltage is not sufficient, the “bat”

symbol will show in the camera display.

5.2 Charger NCL 24 R

With this charger the battery NC 24/7 R can be charged.

• First check whether the correct mains voltage is set on
the charger.

• Connect the charger to the mains supply.

• Plug the charger cable into the battery socket.

• Press the start button.

Indication of the LEDs

LED Indication

yellow discharging (1A)

red charging

green charger connected to the mains

Power Supply

2727

5.3 Mains Unit NG 12/24 R

Use of the mains unit is recommended for filming in the
studio and when using electronic accessories with a high
power consumption.

• First check that the correct mains voltage is set on the
mains unit.

• Ensure that the main switch on the camera is off.

• Set the voltage switch on the mains unit to 24 V.

• Plug the battery cable KC 20S or the spiral battery
cable KC 29S into the power supply socket on the
camera and into the 24 V-socket on the mains unit.

5.4 Mains Unit NG 12/26 R

Use of the mains unit is recommended for filming in the
studio and when using electronic accessories with a high
power consumption.

• First check that the correct mains voltage is set on the
mains unit.

• Ensure that the main switch on the camera is off.

• Set the voltage switch on the mains unit to 26 V.

• Plug the battery cable KC 20S or the spiral battery
cable KC 29S into the power supply socket on the
camera and into the 26 V-socket on the mains unit.

Note: The NG 12/24 R can easily be upgraded to an

NG 12/26 R at an ARRI service center.

Power Supply

2828

5.5 Accessory Power Supply

24 V Accessories

The RS-sockets supply the same voltage as the
camera power supply.
Ensure that the accessories to be used are
suited to the available voltage!

24 V accessories are normally attached to the RS-sockets

➪ photo. At 24 V, the available continuous current for

both sockets together is 3 A maximum, the peak load 5 A.

Overload Display

If the current drawn at the accessory sockets exceeds the
allowable maximum, a self resetting safety circuit interrupts
the power supply. In that case, turn the camera off,
unplug all accessories from the camera, wait for one
minute and turn the camera back on.

RS-sockets

Power Supply

2929

6. Magazines

In addition to the new 235 magazines, all ARRIFLEX 435,
ARRIFLEX 35 III and 35 II magazines – with the exception
of the shoulder magazine and all 300m/1000ft magazines –
can be used.

Magazine Forward/Reverse operation

ARRIFLEX 235

Shoulder Magazine 60/200 SHM-1 ......................................... only forwards

Shoulder Magazine 120/400 SHM-2 ....................................... only forwards

Steadicam Magazine 120/400 STM-1 ...........................................forw./rev.

ARRIFLEX 435

ARRIMAG 120 ..............................................................................forw./rev.

ARRIMAG 120S ............................................................................forw./rev.

ARRIFLEX 35 III / 35 II

60 m magazine ....................................................................... only forwards

150 m magazine ...........................................................................forw./rev.

Reverse operation with the
ARRIFLEX 35 III/35 II 60m
and the 235 shoulder magazines can lead to
damage of the magazine or the camera!

Do not use any 300m/1000ft magazines as
they could damage the camera.

Do not use magazines that hold more than
120m/400ft loads. The camera automatically
stops after a full load.

Note: All magazines listed on the right are loaded with

the same loop length as on the ARRIFLEX 435
and the ARRIFLEX 35 III.
The loading of ARRIFLEX 35 III and the
ARRIFLEX 435 magazines is described in the
respective instruction manuals.

Magazines

3030

6.1 Loading the Shoulder Magazine

Loading the magazine should be practised in daylight
with a piece of test film until the procedure can also be
carried out confidently in a darkroom or film changing
bag.

Cutting the film through the middle of the perforation
holes simplifies the loading process considerably. The
ARRI Film Cutting Gauge ➪ photo simplifies cutting in
the darkroom.

The following steps should be carried out in a darkroom
or film changing bag!

• Remove the loop protector and lay the magazine on a
flat surface with its cover facing upwards.

• To open the cover, depress the safety catch, flip up the
locking grip and turn it counter-clockwise ➪ photo.

• Lift up the magazine cover and remove it by pulling the
cover to the left.

film cutting gauge locking grip

safety catch

Magazines

3131

• Swing the roller arm ➪ photo away from the winding
shaft until it locks in place.

• Place the film roll next to the magazine, preferably on
a film can.

• Insert the film through the upper slit on the magazine
throat assembly from the inside ➪ photo.
Do not catch the film.

• With your free hand, turn the drive gear counter­clockwise while carefully pushing the film through until
both perforation holes are picked up simultaneously by
the sprockets.

• Keep turning the gear until the film has been transported
through the throat assembly.

• Flip up the hinged locking clip on the feed shaft ➪ photo.

• Place the film roll on the feed shaft, ensuring that the
feed shaft catch engages the slot on the plastic core.

• Press down the hinged locking clip on the feed shaft.

• By turning the drive gear counter-clockwise, transport
the film further until it reaches to the loop length
marking ➪ photo.

Ensure that the film is lying flat against the
outside of the magazine housing.

• Without changing the length, thread the film into the
right film channel. Do not catch the film.

roller arm

magazine throat assembly

hinged locking grips

loop length marking

Magazines

32

32

• By again turning the drive gear counter-clockwise, trans­port the film inside the magazine.

• Flip up the hinged locking clip on the take-up shaft

➪ photo.

• Place an empty film core on the take-up shaft. Ensure
that the take-up shaft catch engages the slot on the
plastic core.

• Press down the hinged locking clip on the take-up shaft.

• Insert the film into the slit of the film core ➪ photo.

• Wind the film on several revolutions until it is certain
that the film is firmly seated on the film core.

• Check that the film is being taken up perpendicular to
the shaft ➪ photo.

• Close the magazine cover by inserting the two latches
into the slits of the magazine housing and then closing
the cover. The roller arm will be automatically
unlocked.

• To lock the cover, turn the locking grip clockwise and
flip it back into the recess.
The safety catch locks automatically.

film core

slit

hinged locking clip

loaded magazine

Magazines

33

33

Note: To tension the film in the magazine, press in

both tensioning plates ➪ photo and turn out­wards.

tensioning plates

latches

Magazines

3434

6.2 Removing Exposed Film

The following steps should be carried out in a darkroom
or a changing bag!

• Check if the entire film has been wound into the interior
of the magazine. If not, transport the film into the
magazine by turning the drive gear counter-clockwise.

• To open the cover, depress the safety catch and flip the
locking grip upwards. Then turn the grip counter-clock-wise.

• Lift up the cover and remove it by pulling it to the left.

• Swing the roller arm ➪ photo away from the winding
shaft until it locks in place.

• Flip up the hinged locking clip on the take-up shaft.

• Pull the film roll upwards and off.

Note: When pulling the film roll off the shaft, grip it

from underneath as far as possible to prevent
the middle of the film roll from sagging down.

The film should under no circumstances be
pulled tight. This could cause scratches and
static charging.

roller arm

Magazines

3535

6.3 Transport and Storage

Loaded or empty magazines should only be transported
or stored with the loop protector ➪ photo attached to
avoid damage to the film stock and the magazine throat
assembly.

If the ARRIFLEX 235 is transported without a magazine it
is recommended to attach the magazine opening cover

➪ photo.

loop protector

cover for

magazine opening

Magazines

3636

3737

7. Camera Body

7.1 Mechanically Adjustable
Mirror Shutter

The mirror shutter on the ARRIFLEX 235 can be mechanically
adjusted while the camera is switched off. The shutter angle
can be adjusted from 45° to 180°. The shutter locks in the
following positions: 45°, 60°, 75°, 90°, 105°, 120°,
135°, 144°, 172,5°, and 180°.

Setting the Mirror Shutter Angle

• Switch off the camera and disconnect the camera from
the power supply!

• Remove the lens or the protective cap from the lens
mount receptacle.

Do not touch the surface of the mirror.

• Turn the movement inching knob ➪ photo until the
hole on the shutter and the hole in the camera body
align ➪ photo.

inching knob

aligning the

shutter hole and the

camera body hole

Camera Body

3838

• Insert the shutter tool ➪ photo fully into the holes to
unlock the shutter blade and to hold the shutter in ist
position.

• Turn the movement inching knob to set the shutter to
the desired shutter opening. Make sure the shutter
registers properly at the set opening.

• Pull out the shutter tool.

Operation of the camera when the mirror
shutter is not correctly locked in position may
cause incorrect exposure!

shutter tool

Shutter Angle Measurement

• Holding the “PHASE“-button depressed in standby will
make the camera inch forward.

• The display shows the measured shutter angle in the
upper line. The lower line displays the voltage of the
power supply.

Camera Body

3939

Filming with HMI Light

When lighting scenes with HMI/CID-discharge lamps, the
pulsing light intensity is dependent on the supply frequency.
To achieve constant exposure, the camera’s frame rate,
the supply frequency of the lighting and the angle of the
mirror shutter must all relate to each other. As the camera
frame rate and the supply frequency of the lighting are
normally given, compensation must be carried out
through the angle of the mirror shutter.

The following table indicates the mirror shutter angle that
needs to be set:

Supply frequency 50 Hz 60 Hz

Frame rate 25 fps 24 fps 24 fps

Shutter angle 180° 172.8° 144°

Camera Body

4040

7.2 Exchanging the Ground Glass

• By briefly depressing the “PHASE”-button in standby,
the shutter is positioned to protect the mirror surface
from damage as far as possible ➪ photo.

• Before exchanging the ground glass, switch the
camera’s main switch off and disconnect the camera
from the power supply!

• Remove the lens or the protective cap.

Do not touch the mirror surface!

• Using the included special forceps, pull the ground glass

➪ photo out of the holder by its tongue ➪ photo.

• Check that the ground glass to be inserted as well as
the ground glass frame are completely clean.

• With the special forceps, push the chosen ground glass
into the holder as far as it will go. The red marker
point must be on the left. A ball catch fixes the ground
glass exactly in the right position.

• Check that the ground glass is correctly locked in place.

Note: Cleaning or exchanging the field lens, see

Chapter 13 Maintenance, Cleaning the Field Lens.

tongueground glass

Camera Body

4141

7.3 Movement

The ARRIFLEX 235 features a 5-link movement, equipped
with ball-bearings for low maintenance.

Never operate the movement locking
mechanism while the camera is running!

Removing the Spacer Plate

• Open the movement by turning the inching knob

➪ photo until the mark aligns with the mark on the

movement and then turn the movement locking lever

➪ photo towards the “OPEN“ position.

• Press the spacer plate backwards by its handle ➪ photo.
Then remove it by pulling upwards.

Installing the Spacer Plate

• Open the movement by turning the inching knob ➪ photo
until the mark aligns with the mark on the movement
and then turn the movement locking lever ➪ photo
towards the “OPEN“ position.

• Take hold of the spacer plate by its handle ➪ photo
and insert it at an angle from above into the movement
block.

• Push the spacer plate downwards until it locks audibly
in place.

Camera Body

locking lever

inching knob

spacer gate handle

42

42

7.4 Attaching the Magazine,

Threading the Film

• Pull the magazine release lever ➪ photo back and
remove the cover.

• Open the camera door.

• Remove the loop protector from the magazine.

When attaching the magazine, pay attention
that the film does not get caught between the
magazine and the dovetail on the camera
opening!

• Position the back part of the magazine’s throat
assembly on the lower dovetail of the camera opening.

• With your left hand pull the film loop through the
camera opening as far as possible into the movement
block area ➪ photo.

• Before locking the magazine into place, ensure that the
film is pulled far enough into the movement block area
so that the film does not get caught between the
magazine and the magazine locking mechanism!

• Lock the magazine completely into the camera opening.

magazine opening cover magazine release lever

inching knob

movement locking lever

Camera Body

4343

Note: The magazine drive gear engages

automatically. In case it does not engage
properly, turn the magazine drive gear slightly
and try again.

• Check that the magazine is firmly seated.

• Open the movement by turning the inching knob ➪ photo
until the mark aligns with the mark on the movement
and then turn the movement locking lever ➪ photo
towards the “OPEN“ position.

• With your right hand pull the film loop downwards out
of the camera ➪ photo. Then push it as far upwards
as possible so that the film collapses on the upper film
loop. Insert the loop between the movement plate and
the film gate.

• Bring the film loop into position ➪ photo.

• Position the film by one perforation hole onto the
positioning pin ➪ photo in the film guide, bringing
the film loop to rest within the marking ➪ photo.

• Check that the film is correctly fixed on the positioning
pin. Check that the loop is positioned within the upper
marking, and that the film aligns with the film gate.

loop marking

Camera Body

4444

Note: Before the movement block is swung forwards,

make sure that the film is correctly positioned in
relation to the film gate over the entire area,
otherwise the film may be damaged!

• Turn the movement locking lever counter-clockwise as
far as it will go. This will cause the movement block to
swing forwards and to lock into position.

• By turning the inching knob ➪ photo, check that the
film runs smoothly.

• Close the camera door.

Note: Threading the film is also described and

displayed on the inside of the camera door.

positioning pin loop marking

movement locking lever

inching knob

Camera Body

4545

7.5 Removing the Magazine

If the film has not run through the camera completely:

• Open the camera door.

• Open the movement by turning the inching knob

➪ photo until the mark aligns with the mark on the

movement and then turn the movement locking lever

➪ photo towards the „OPEN“ position.

• Pull out the film loop sideways from between the
movement block and the film gate.

• Bring the loop into the area between the movement
block and the magazine throat assembly.

Ensure that the loop does not get twisted behind
the movement block as otherwise the film could
be damaged when removing the magazine!

• Swing the movement block forwards again and lock.

• Hold the magazine firmly with one hand and pull the
magazine locking lever back with the other.

When pulling away the magazine ensure that
the film does not get damaged!

• Pull the magazine off upwards.

• Replace the cover on the camera opening.

If the entire film has run through the camera:

• Hold the magazine firmly with one hand and pull the
magazine release lever back with the other.

• Pull the magazine off upwards.

• Replace the cover on the camera opening.

Camera Body

4646

4747

8. Optics

8.1 Lenses

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

Attaching Lenses

• Remove the protective cap from the lens mount receptacle
by turning the bayonet ring ➪ photo counter-clockwise
as far as it will go and then pulling out the protective cap.

Never put your fingers into the lens mount
receptacle.

• Push the lens into the lens mount receptacle without
catching it at the edges. One of the four slots on the
lens mount must fit over the index pin ➪ photo.

• Press the lens flat onto the lens mount receptacle and
pull the bayonet ring clockwise to tighten.

Note: The camera is delivered in Super 35 configuration.

To shot Normal 35 the lens mount receptacle must
be turned 180°. See Chapter 12, Super 35.

index pinbayonet ring

Optics

48

48

8.2 Viewfinder System

The viewfinder system on the ARRIFLEX 235 can be
swivelled in two axes. The viewfinder image is always
upright and correct left-to-right when the viewfinder is
swivelled within the main axes ➪ photo.

An 80/20 beamsplitter for the video assist is integrated
into the camera body. The viewfinder and the video assist
can be used independently from each other.

The Eyepiece

Removing the Eyepiece

• Hold the eyepiece with one hand and with the other
turn the knurled ring (eyepiece) ➪ photo towards the
“OPEN” position as far as it will go.

• Remove the eyepiece ➪ photo.

Attaching the Eyepiece

• Ensure that the knurled ring is turned to the “OPEN”
position.

• Position the eyepiece on the viewfinder.

• Turn the knurled ring (eyepiece) ➪ photo towards the
“LOCK” position.

• Check that the eyepiece is correctly seated.

knurled ring

eyepiece

Optics

knurled ring (eyepiece)

diopter scale

eyepiece

knurled ring

knurled knob

locking key

adjustment knob

allen screw

unlocking key

4949

Adjusting the Diopter

The diopter compensation is fitted with a scale ➪ photo
of 1 to 12. Position “6” is normal focus.

• To adjust, turn the ring right/left until the ground glass
markings are totally in focus.

Adjusting the Viewfinder

Turning the Eyepiece

The eyepiece can be rotated 360° around the viewfinder
arm. The eyepiece is held in position by friction.

• To set friction, turn the knurled knob ➪ photo right/
left until the desired friction has been reached.

Swivelling the Viewfinder Arm

The viewfinder arm can be swivelled approx. 270° left to
right. On the left side of the camera the viewfinder arm
locks into the horizontal position. The viewfinder arm
friction can be altered if necessary by turning the allen
screw ➪ photo.

• To adjust the viewfinder arm, release the locking
mechanism by pulling the unlocking key ➪ photo.

• Turn the viewfinder arm to the desired position.

Optics

unlocking key

unlocking key

5050

Note: The unlocking key can be locked in ist open

position by turning it.

Extending the Viewfinder Arm

The viewfinder arm can be telescoped continuously by
approx. 40 mm.

• Turn the knurled ring ➪ photo towards the “LOOSE”
position.

• Pull the viewfinder arm ➪ photo out to the desired length.

• Retighten the knurled ring.

Image Compensation

The viewfinder system is fitted with an automatic image
compensation mechanism.

To enable setting a different image position in certain
situations, the viewfinder system is additionally equipped
with a manual image adjustment mechanism.

Manually Adjusting Image Compensation

• Depress the locking key ➪ photo and hold depressed.

• Turn the adjustment knob ➪ photo until the viewfinder
image is in the desired position.

Optics

knurled ring

viewfinder arm

locking key

adjustment knob

5151

Reactivating Image Compensation

• Turn the adjustment knob ➪ photo until it locks in
position. Do not depress the locking key.

Note: The automatic image compensation locks in two

positions, 180° apart. This allows the image
compensation to be set to provide an upright
image when using a finder extension.

If the viewfinder image is inverted without the finder
extension, the image compensation must be adjusted to
the opposite locking position.

Inverting the Image

• Depress the locking key ➪ photo and keep
depressed.

• Turn the adjustment knob ➪ photo.

• Release the locking key ➪ photo.

• Keep turning the adjustment knob ➪ photo until this
locks in position.

Removing the Viewfinder System

Before removing the viewfinder system, the viewfinder
arm should be brought back to its normal position.

• Loosen the three fastening screws ➪ photo.

• Pull the viewfinder system up and off.

Attaching the Viewfinder System

• Position the viewfinder system on the camera body
from above.

• Tighten the fastening screws.

Optics

fastening screws

5252

Optics

5353

9. Camera Operation

9.1 Main Camera Switch

• First switch on the mains unit (if used).

• Connect the camera to the mains unit or to the battery.

• Push the “ON/OFF” button ➪ photo to turn the
camera on. Push the “ON/OFF” button for approx. 3
seconds to turn the camera off again.

Note: When the camera power cable is unplugged

and then plugged in again, the camera will be
on or off depending on ist state before the
camera cable was unplugged.

9.2 Running and Stopping the Camera

A “RUN”-button is located on the left and on the right
side of the camera ➪ photo.

Running the Camera

If the operation control indicator glows red
while in standby, the camera is not ready and
will not run
(see “Overview of Display Symbols”).

ON/OFF button RUN button

RUN buttonoperational control indicator

Camera Operation

54

54

• Briefly depress the “RUN”-button. While the camera is
running up, the operation control indicator ➪ photo
glows red. Once the set frame rate has been reached,
the operation control indicator turns green.

Stopping the Camera

• Again depress the “RUN”-button ➪ photo briefly.
While the camera is running down the operation
control indicator glows red. The mirror shutter
automatically stops in a position that enables
unrestricted viewing through the viewfinder. On
reaching this position, the operation control indicator
flashes green before going out.

ON/OFF button RUN button

RUN buttonoperational control indicator

PHASE button

black bar to

indicate Mode 1

Camera Operation

5555

Inching

Inching can be started by depressing the “PHASE”-button
while the camera is in standby. If the “PHASE”-button is
only briefly depressed, the mirror shutter rotates half a
revolution to enable an unrestricted view of the film gate
(e.g. for checking the gate). If the “PHASE”-button is held
depressed longer, the camera will inch forward at
approx. 1 fps. The upper line of the display indicates the
measured shutter angle, the lower line the measured
voltage of the power supply.

While inching, the camera speed is not exactly
controlled. As this can cause faulty exposures,
do not film while inching.

9.3 Displaying and Setting

Operational Parameters

The currently set operational parameters on the ARRIFLEX
235 are displayed on the camera display ➪ photo in
various modes. The desired mode is selected via the
“MODE”-button. In each mode the corresponding
operational parameters can be set using the “SEL”- and
“SET”-buttons ➪ photo.

Note: The Mode numbers are shown in the display

between the upper and the lower line. Mode 1
is also indicated ➪ photo in the display by a
black horizontal bar.

To prevent an unintentional alteration of the operational
parameters the buttons “SEL”, “SET”, and “PHASE” can
by locked using the button “LOCK”. If a button is
depressed when the display is locked, the display will
show the “OFF” sign. If the display is locked, this is
indicated by the “LOCK” symbol in the display.

Note: Locking the “PHASE”-button has no influence

on the inching function.

Locking the “SEL”- and “SET”-buttons has no
influence on accessories such as the RCU-1.

Camera Operation

5656

Overview of Display Modes

Mode 1 is displayed:
after switching on the camera,
after depressing the “RUN”-button or
30 seconds after the last operation.

1st Display Line 2nd Display Line Adjustment Possibility
Mode 1 total exposed film counter (m/ft) or frame rate (fps) or selection of a standard frame rate

take counter (m/ft) ESU in standby and configuration of the 1st display line
frame rate (fps) while running
(external control connected)

Mode 2 programmed frame rate (PS) programmed frame rate (fps) programmed frame rate
ESU – external control connected (forwards / reverse)

Mode 3 total exposed film counter (m/ft) or power supply voltage (V) configuration of the film counter
take-counter (m/ft) unit of measurement (m/ft)

Mode 4 volume of the acoustic warning signal brightness of the keypad warning signal on / off
volume
keypad intensity control

Mode 5 run up speed selection of run up speed low/high

Camera Operation

5757

Overview of Display Symbols

Symbol Meaning

glows The display is in Mode 1.

bat glows Battery voltage too low
asy glows Asynchronous operation

(camera is not running at set frame rate)
fps glows display shows current frame rate
blinks ESU is connected
and no sync-frequency is available

8 7 6.. glows Mode number
NORM glows camera will run the set NORM speed
PS/CCU glows camera will run the set PS speed or

the speed set by an accessory

LOCK glows display is locked
m ft glows indicates the unit in which the film consumption is counted

glows display shows the current shutter angle

R glows Reverse operation is switched on.

Display: Movement Open

The display shows if the movement (= film transport, thus „trAnS“)
has not been locked correctly into operating position.

The operation control indicator glows red
the movement block is not correctly locked,
the camera is not operational.

Camera Operation

58

Mode 1

take length or total exposed film

Mode 3

total exposed film or takelength

58

Film Counter

Displaying the Film Counting Values (Modes 1 and 3)

Film counting values are shown in Modes 1 and 3.
Two different counting values are shown respectively:

• the total amount of exposed film or

• the take length (amount of film used in an individual take)
A “t” in the first digit of the upper display line indicates
the display of take length.

RUN buttonoperational control indicator

PHASE button

black bar to

indicate Mode 1

Camera Operation

5959

Setting the Film Counter Configuration (Mode 3)

The display configuration can be set individually.
The two shown combinations are possible:

The desired display configuration can be set in Mode 3:

• Change from Mode 1 to Mode 3 by depressing the
“MODE”-button twice.

• Depress the “SEL”-button twice; the first digit in the
upper display line blinks.

• Within three seconds, depress the “SET”-button.

• The currently set counting value of Mode 3 is displayed.
The corresponding counting value in Mode 1 is auto­matically altered.

Resetting the Film Counter (Modes 1 and 3)

• Change to the mode which shows the total amount of
exposed film (“MODE”-button).

• The total exposed film counter can be set to zero by
depressing the “SET”-button (for at least 1.5 seconds)
while in standby.

• The take length counter is automatically reset each time
the camera is started.

Changing the Unit of Measurement (Meters/Feet) (Mode 3)

• Change from Mode 1 to Mode 3 by depressing the
“MODE”-button twice.

• Depress the “SEL”-button once; the symbol m/ft blinks.

• Depress the “SET”-button within three seconds to
change the unit of measurement.

Displaying the Angle of the Mirror Shutter
(Mode 1)

• As long as the “PHASE”-button is depressed while in
standby, the set angle of the mirror shutter appears in
the upper display line.
The camera runs at inching speed.

Setting the shutter angle: see Chapter 7.

Camera Operation

6060

Frame Rates

The ARRIFLEX 235 offers the possibility to set and store
two frame rates. It is possible to select and store:

• a standard frame rate (23.976, 24, 25, 29.97 and 30 fps),

• and a freely programmed frame rate
in increments of 0.001 fps.

The frame rate is activated via the “NORM PS/CCU”­buttons ➪ photo on the right of the camera. The
“NORM”-setting corresponds to the standard frame rate,
the “PS/CCU”-position to the freely programmed frame
rate.

Selecting a Standard Frame Rate
(Mode 1)

Standby Operation

• The camera must be in Mode 1 and the camera must
be set to “NORM”.

• Depress the “SEL”-button repeatedly until the desired
frame rate is selected. Within 3 seconds, confirm this
choice by depressing the “SET”-button, otherwise the
initial setting is retained.

PS/CCU button

NORM button

Camera Operation

6161

Setting a Programmed Frame Rate
(Mode 2)

Standby Operation

• Change from Mode 1 to Mode 2 by depressing the
“MODE”-button once.

• Depress the “SEL”-button repeatedly until the digit to
be set blinks.

• Depress the “SET”-button repeatedly until the desired
value is reached.

• Repeat this procedure until all digits are set to the
desired values. A final confirmation of the set frame
rate is not necessary.

Note: The frame rate can be set between 1 and 60 fps

forward and 25 fps reverse.

Note: The programmed frame rate is stored in a non-

volatile memory.

Switching Between Forward and Reverse Operation (Mode 2)

Standby Operation

• Change from Mode 1 to Mode 2 by depressing the
“MODE”-button once.

• Depress the “SEL”-button; “Cd” (Camera direction) blinks.

• Hold the “SET”-button depressed for more than three
seconds. The display shows an “R” for reverse
operation at the bottom left.

Changing the Frame Rate while the Camera is Running

By means of the “NORM” and “PS/CCU”-buttons it is
possible to switch between the standard frame rate
(“NORM”) and the pro-grammed frame rate (“PS/CCU”)
while the camera is running.

Camera Operation

62

62

Fine-Tuning the Programmed Frame Rate (PS-Mode)

Fine-tuning of the programmed frame rate can be carried
out while the camera is running by means of the buttons
“SEL” (slower) and “SET” (faster). The setting can be
adjusted in increments of 0.001 fps.

• Push the “PS/CCU” button.

• Run the camera.

• Depress the “MODE”-button once to change to Mode 2.

• With the buttons “SEL” (slower) and “SET” (faster)
change the frame rate.

PS/CCU button

NORM button

RUN buttonoperational control indicator

PHASE button

Shifting Phase

To film quartz-synchronized monitors, hold the “PHASE”­button ➪ photo depressed after the camera has run up
until the horizontal bar is no longer visible in the viewfinder.
The frame rate will increase by 0.2 fps while the button is
depressed.

Camera Operation

6363

Displaying the Power Supply Voltage (Mode 3)

• Change from Mode 1 to Mode 3 by depressing the
“MODE”-button twice. The power supply voltage is
shown in the lower line of the display.

Setting the brightness of the button illumination

• Change from Mode 1 to Mode 4 by depressing the
“MODE”-button three times.

• Depress the “SEL”-button three times to activate the
display for setting the button illumination.

• Select the desired brightness using the “SET”-button.
0…off
3…maximum brightness

Camera Operation

6464

Switching On and Off the Warning Signal for
Asynchronous Running (Mode 4)

Standby Operation

• Change from Mode 1 to Mode 4 by depressing the
“MODE”-button three times.

• By depressing the “SEL”-button once, activate the
display for setting the warning signal.

• Within three seconds, depress the “SET”-button to
select one of the four settings.

• Depressing the “MODE”-button confirms the selection.

Display Warning tone on start Warning tone on stop

LS _ _ off off
LS – _ on off
LS _ – off on
LS – – on on

Setting the Volume of the Warning Signal

• Change from Mode 1 to Mode 4 by depressing the
“MODE”-button three times.

• Depress the “SEL”-button two times to activate the
display for setting the warning signal volume.

• Select the desired volume with the “SET”-button.
0…off
3…maximum volume

Camera Operation

6565

Mode 5

Changing the Run up Speed:

In menu 5 the run up speed can be changed in two steps.
The faster run up speed uses less film, but sometimes when
Steadicams or a very long power cable is used a longer run
up time is easier on the batteries.

• Depress the “SEL“-key until the desired run up speed
blinks.

• Select the desired run up speed by pressing the “SEL”­button.

setting ramping speed

LO 25f/s

2

HI 40f/s

2

Displaying software versions

• Press “SET“ for three seconds in the rampspeed menu:
the first line will display Sxx.xx for the camera software
version.
The second line will display Fxx.xx for the FPGA
software version

• Press “SEL“: the first line will display bxx.xx for the
bootloader software version.
The second line will display Pxx.xx for the software
version.

Camera Operation

6666

Camera Operation

switch check/hide

menu on/off

É/Y

video with data

or Y-Signal

È/C

clean video

or C-signal

mini-monitor

connector

flicker-free on/off white balance

outdoor/indoor

outdoor/manual

gain control activate on screen program mode or store position

of inserted window or store user text

increase gain or cursor up

or move inserted window

up or increase blue

increase format numbers or

go to submenu or increase

values or increase red

decrease format numbers or

go into submenu or decrease

values or decrease red

decrease gain or cursor down

or move inserted window

down or decrease blue

Y-adjustment

X-adjustment

6767

10. Video-Assist-System

10.1 General Description of the IVS

The Integrated Video-Assist System (IVS) for the ARRIFLEX 235
brings the highly praised video assist systems from the
ARRIFLEX 435 and ARRICAM to the ARRIFLEX 235. It
reassembles the IVS 435 control structure and of course
offers the same unsurpassed image quality combined with
a state-of-the-art inserter to add frame lines, camera status
and text to the video image.

Main Features

• Integrated into the camera body
Instead of a bulky add on, the video assist is an
integrated part of the camera without additional cabling.

• High sensitivity
A high-speed lens with an aperture of 1 : 2.0 and one
of the most sensitive CCD-Chips available on the
market provide an excellent color video image in
editing quality even when the light is set for high-speed
film stock to be pushed during processing.

• High resolution
The design of the new IVS optics was based on the
ARRIFLEX 235 viewfinder data and resulted in an image
quality, which cannot be attained by add-on solutions.

• Flicker-free
An integrated digital frame store enables the video
camera to be synchronized to the film camera‘s mirror
shutter and provides a flicker-free video image from 1 fps
to maximum speed (in manual gain control mode) because
the video image is always taken at the ideal position of
the mirror shutter. Flicker free can be switched off to bypass
the digital frame store and to have minimal delay in
the video system.

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image rotation focus

iris

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• Full white balance control
In addition to the standard indoor white balance setting
witch 3200 K, an outdoor setting with 5600 K and an
automatic adjustment, red and blue channel can be fine
tuned for manual white balance

• Line Interpolation
Even further resolution in camera run mode because of
line interpolation, thus the image appears almost in field
resolution.

• Store and recall settings
All settings can be stored and recalled. By this, it is
possible for example to trim all the settings for indoor
shooting, store them, have some exterior scenes, go back
indoor and call the old settings back.
Up to 6 settings can be stored.

• Integrated frame line inserter
Frame lines can be electronically added to the video
image. This ensures that the lines are visible even in
difficult conditions. The area outside the frame lines
can be darkened electronically in 4 different steps to
emphasize the important image area.

• Camera status display
Camera status information, e.g. camera speed and film
counter data are passed on a bus interface from the
camera to the video assist and can be displayed in a
camera status line on the monitor.

• System display
Camera system information is available in the video
assist. Thus, it is possible to see camera warnings such
as movement open or low battery on the monitor.

• Integrated text inserter
Additional text like take numbers or production name
can be added to the video image by entering the text
on the IVS.

• Y/C Outputs
The usual composite outputs can be switched to an Y/C
output (S-VHS) for an even better video image without
annoying color artifacts, with or without data inserted
into the video image. The output is on two BNC sockets.

• On-Screen programming
All functions, which do not affect the image appearance
directly, such as frame lines, can be conveniently pro­grammed with an on-screen programming menu on
the video monitor.

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• Dedicated controls
Important image changes such as gain or white balance
can be done immediately in parallel to the on-screen
programming with dedicated key.

• Image compare function
It is possible to store a particular image and compare it
against other images. This clearly shows the difference
between the images, e.g. during stop effect shots.

• Automatic and manual gain control
The gain is controlled automatically to its best value but
can also be set manually.

• Mini monitor connector
The IVS offers a connector for a 12 V LCD mini monitor
with an even increased output power up to 1.5 A.

Note: The IVS package already includes a lens for

Super 35, a 1.5 mm allen key for image
adjustment and an Y/C (S-VHS) cable.

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10.2 Setup

10.2.1 Installation

A 1.5 mm allen key and a 3 mm allen key are used.
Take the handle and the transport cover off the camera.

• To take the handle off, open the two screws on the
base of the handle ➪ photo with a 3 mm allen key
and remove the handle.

• To take the transport cover off, open the two screws

➪ photo with a 3 mm allen key and remove the

transport cover.

screws for handle

handle

screws for transport cover

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• To get the transport cover of the video assist off, open
the screws on the IVS ➪ photo with a 3 mm allen key
and remove the transport cover to the rear.

• Pull off the plastic cover over the contacts.

• Attach the video assist onto the ARRIFLEX 235 by
moving it in the marked direction. The wedge on the
IVS should mate with the matching dovetail on the
camera body ➪ photo.

screws for cover on the IVS

cover on the IVS plastic cover for contacts

dovetail

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• Push the IVS as shown until the gap between the
camera and the IVS closes.

• Close the screws on the IVS ➪ photo with a
3 mm allen key.

• Remount the handle ➪ photo and close the screws on
the base of the handle with a 3 mm allen key.

10.2.2 Cabling

Outputs

In case the composite output should be used
and it is unknown, weather the BNC connectors
on the IVS are switched to composite or to Y/C,
please connect the composite signal to the
É/Y first and check the settings (BNC OUT
VBS or Y/C) in the menu video/text adjust.
Please see next chapter Composite Video
Outputs.

The IVS has two BNC sockets, which can be switched to
output two independent composite signals or one Y/C
signal. Additionally, there is an output for a mini monitor

handle

screws for IVS

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Composite Video Outputs

Composite video is only available if the output
is switched to VBS out.

• To switch to composite video (VBS mode), enter the

main menu by pressing the Enter/Insert key Ñ for
more than 3 seconds. Go to sub menu VIDEO/TEXT
ADJUST. The menu line BNC OUT can be switched
between VBS and Y/C. See chapter 10.4 Inserter
Facilities for information on the on-screen program mode.

The difference between the outputs is that there is normal
video on the one connector and video with data on the other.

In the normal video output, marked with the È/C symbol

➪ photo, almost no electronic information is inserted.

Only a rolling bar at the button left corner of the video
image indicates a running film camera.

In the video with data output, marked with the É/Y symbol

➪ photo, additional data such as format marks or camera

status information can be inserted.

The outputs are standard BNC sockets for 75 Ω terminated
video signals. Both outputs can be used simultaneously.

MENU VIDEO/TEXT ADJUST

- FLICKERFREE ON

- LINE INTERP. ON

-> - BNC OUT VBS
Y/C DATA

- MINI MON DATA ON

- TXT WHITE LEV. 2

- TXT INVERS ON

- TXT FINE POS. 2

- EXIT

È/CÉ/Y

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Y/C Output

In comparison to the composite outputs, the Y/C outputs
offer the even better S-VHS quality. There are also normal
video and video with data signals available.

Y/C video is only available if the output is
switched to Y/C out.

• Use the on-screen program mode to switch between
composite and Y/C. Enter the main menu by pressing
the Enter/Insert key Ñ for more than 3 seconds. Go
to sub menu VIDEO/TEXT ADJUST. The menu line BNC
OUT can be switched between VBS and Y/C.
See chapter 10.4 Inserter Facilities for information on
the on-screen program mode.

MENU VIDEO/TEXT ADJUST

- FLICKERFREE ON

- LINE INTERP. ON

-> - BNC OUT Y/C

- Y/C DATA

- MINI MON DATA ON

- TXT WHITE LEV. 2

- TXT INVERS ON

- TXT FINE POS. 2

- EXIT

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There are normal video and video with data signals
available from the same pair of connectors.

• To switch between normal video and video with data,
use the on-screen program mode. Enter the main menu
by pressing the Enter/Insert key Ñ for more than 3
seconds. Go to sub menu VIDEO/TEXT ADJUST. The
menu line Y/C DATA, which can only be reached if
BNC OUT is on Y/C, switches between normal video
and video with data on the Y/C signal. The line
displays Y/C DATA ON or OFF.

See chapter 10.4 Inserter Facilities for information on the
on-screen program mode.

In the normal video output almost no electronic information
is inserted. Only a rolling bar at the lower left corner of
the video image indicates a running film camera.

In the video with data output, additional data such as
format marks or camera status information can be inserted.

An adapter from the two BNC connectors to a standard
Y/C connector is included in the IVS package upon initial
delivery. Connect the red end to the È/C output and
the white end to the É/Y socket ➪ photo.

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Black and White Output

The Y part of the Y/C output is a standard black and
white signal. To get black and white, use a standard BNC
cable with 75 Ω connected to the É/Y output and switch
to Y/C out.

Black and white or Y signal is only available if
the output is switched to Y/C out.

• Use the on-screen program mode to switch between
composite and Y/C. Enter the main menu by pressing
the Enter/Insert key Ñ for more than 3 seconds. Go
to sub menu VIDEO/TEXT ADJUST. The menu line BNC
OUT can be switched between VBS and Y/C.
See chapter 10.4 Inserter Facilities for information on
the on-screen program mode.

There are normal video and video with data signals
available from the same connector.

MENU VIDEO/TEXT ADJUST

- FLICKERFREE ON

- LINE INTERP. ON

-> - BNC OUT Y/C

- Y/C DATA ON

- MINI MON DATA ON

- TXT WHITE LEV. 2

- TXT INVERS ON

- TXT FINE POS. 2

- EXIT

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• To switch between normal video and video with data,
use the on-screen program mode. Enter the main menu
by pressing the Enter/Insert key Ñ for more than 3
seconds. Go to sub menu VIDEO/TEXT ADJUST. The
menu point Y/C DATA, which can only be reached if
BNC OUT is on Y/C, switches between normal video
and video with data on the Y/C signal. The line
displays Y/C DATA ON or OFF.
See chapter 10.4 Inserter Facilities for information on
the on-screen program mode.

In the normal video output almost no electronic information
is inserted. Only a rolling bar at the lower left corner of
the video image indicates a running film camera.

In the video with data output, additional data such as
format marks or camera status information can be inserted.

The É/Y socket is standard BNC for 75 Ω video outputs

➪ photo.

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Mini Monitor Output

The IVS has a connector for a standard mini-monitor.

As there is only one mini monitor connector, it is possible
to switch between normal video and video with data on
this output.

• To switch between normal video and video with data
on the mini monitor output, use the on-screen program
mode. Enter the main menu by pressing the Enter/Insert
key Ñ for more than 3 seconds. Go to sub menu
VIDEO/TEXT ADJUST. The menu line MINI MON
DATA can be switched OFF and ON.
See chapter 10.4 Inserter Facilities for information on
the on-screen program mode.

MENU VIDEO/TEXT ADJUST

- FLICKERFREE ON

- LINE INTERP. ON

- BNC OUT Y/C

- Y/C DATA ON

-> - MINI MON DATA ON

- TXT WHITE LEV. 2

- TXT INVERS ON

- TXT FINE POS. 2

- EXIT

mini monitor connector

Pin-Outs Mini Monitor Connector (seen from outside)

Signal Shield

Pin 2

GND

Pin 1

Composite Video

Pin 3

+12 V (1.5 A)

Pin 4

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10.3 Standard Video Controls

The IVS can be used like a standard video assist if no
inserter features are used.

Note: All currently used settings are stored even if the IVS

or the camera is switched off. After restarting
the IVS the settings are unchanged, except for
the image stored mode, which will always come
up in live mode.

10.3.1 Switch On, Off and Check/Hide Menu

The IVS can be switched on and off independently from
the film camera, as long as the film camera has power.
Power off at the film camera will also shut the IVS down

➪ photo.

• The OFF position switches the IVS off without affecting
the film camera. ON activates the IVS.

Check Menu

If the on-screen program mode is off during normal
operation, the Menu (M) position shows an overview of
the IVS settings ➪ photo.

switch

CHECK

SETTING 2
WHITE BALANCE IND
MANUAL GAIN OFF
FLICKERFREE ON
LINE INTERP. ON
FORMAT 1
VIEW MODE LIVE
SYSTEM LINE OFF
STATUS LINE ON
USER TEXT LINE ON

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Hide Menu

If the on-screen program mode is on because the settings
are changed, the Menu (M) position clears the screen. For
example, if color is to be changed with the on-screen
program tool, the on-screen program window overlays
the image. To see the image and its color appearance, go
to M position. The window disappears but the on-screen
program mode is still on. By releasing the switch, the
window will come back in the programming mode.

10.3.2 Mechanical Iris

Only a relatively small portion of the light that passes
through the film camera’s lens reaches the CCD-Chip of
the video assist, as the light is shared between the view
finder, the CCD-Chip and the film. Therefore the IVS
lenses are designed for normal usage with a totally open
iris to have maximum light on the CCD-Chip. Variations
in lighting are compensated by the IVS gain control
(automatically or manually).

Under certain conditions, such as when lighting is set for
low sensitivity film (under 100 ASA) or for motion effects,
it is possible that the IVS gain range is exceeded. In this
case the mechanical iris of the IVS lens can be closed.

image rotation focus

iris

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Check all settings on the connected monitor.

If the mechanical iris is closed more than necessary, the
IVS will compensate by increasing the gain and improve
the image brightness electronically. This creates additional
electronic noise. To avoid this, open the mechanical iris.

• To change the iris, turn the wheel with the iris symbol Õ.

10.3.3 Alignment of the image position

(X-, Y- and Rotation) and focus

The position of the image on the CCD-Chip and its focus
can vary slightly from camera to camera. The video
image on the monitor may appear not centered, rotated
or out of focus.

All settings can be made by using a 1,5 mm allen key,
which is delivered with the IVS.

Do not use force!

• Image position adjustments in x- and y- direction can
be made with the marked x- and y- screws ➪ photo.

• The screw, marked with Ò moves the video image on
the monitor horizontally. The screw, marked with Ó
vertically.

Ó alignment

Note: Due to design restrictions in size, the axis might

be not precisely in x- and y- direction

• Image rotation can be changed on the screw, marked

with the Ô-Symbol ➪ photo (page 80).

• Focus can be changes, using the screw, which is
marked with the F Symbol ➪ photo (page 80).

Ò alignment

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10.3.4 White Balance (WB)

The IVS offers a choice for White Balance between

• an automatic control (AWB)

• fixed setting of indoor (IND)

• fixed setting for outdoor (OTD)

• and a full manual control of white balance (MAN).

White balance can be adjusted in two different ways. It is
possible to control it using the keyboard on the IVS or
using the on-screen control menu.

Using the Keyboard

Check all settings on the connected monitor.

• By pressing the WB key Ï ➪ photo, the setting will
be changed from AWB, IND, OTD to MAN. The
corresponding LED is lit. The next click on the WB key
Ï will cause the MAN LED to blink.

• Now, it is possible to change the red and blue channel
using the color-coded Ê, Ë, Í and Ì keys. The
next click on the WB key Ï or waiting longer than 5
seconds without pressing any key will cause the MAN
LED to be constantly on. Another click on the WB key
Ï will lead back to AWB. An illuminated LED shows
the selected mode.

• If automatic White Balance (AWB) is selected, the IVS
will automatically set White Balance. For this no
manual steps are necessary ➪ photo.

• If indoor (IND) is selected ➪ photo white balance is
optimized for tungsten lighting with 3200 K.

• The outdoor (OTD) setting ➪ photo optimizes the
white balance for daylight with 5600 K.

Note: With the MAN LED constantly on, no color settings

can be made to avoid accidental handling.

Note: Changing red, blue and gain does changing

green. The video signal is the addition of red,
green and blue and amplified by the gain.
Decreasing red and blue and lifted gain
increases green.

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Using the on-screen menu

Please see chapter 10.4 Inserter Facilities for basics on
the On-Screen display.

In parallel to the control via keyboard, the white balance
can also be programmed via the on-screen menu.

• Enter the main menu by pressing the Enter/Insert key

Ñ for more than 3 seconds.
Go to sub menu WB/GAIN. Move the cursor > with
the keys Ê and Ë to the line – WHITE BALANCE.
Pressing the key Í will switch from Automatic White
Balance (AWB), Indoor (IND) and Outdoor (OTD) to
Manual (MAN) and back Automatic White Balance.
The key Ì will give the opposite direction.

• If white balance is on manual, the display will change.
Lines left of RED and BLUE will appear indicating that
the red and green saturation of the video image can
now be changed.

MENU WB/GAIN

-> - WHITE BALANCE IND
RED
BLUE

- MANUAL GAIN OFF
VALUE

- EXIT

MENU WB/GAIN

-> - WHITE BALANCE MAN
RED 30
BLUE 39

- MANUAL GAIN OFF
VALUE

- EXIT

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Manual White Balance red increase/decrease

Manual white balance red increase/decrease is
only available if white balance control is on manual.

If manual white balance is on MAN, it is possible to adjust
the red and blue saturation of the video image manually.

• Move the cursor > with the keys Ê and Ë to the line
– RED. Pressing the key Í will increase the red in the
video image; the key Ì will decrease it.

The range for this is from 0 (lowest) to 63 (highest).

• If the key Í or Ì is pressed shortly, the value is
changes by one step, if the keys are pressed longer,
the value will continue to change.

The LED in the keyboard will follow the changes which are
made in this menu and vice versa, if this setting is changed
via the keyboard, the on-screen menu will follow.

MENU WB/GAIN

- WHITE BALANCE MAN

-> - RED 30

- BLUE 39

- MANUAL GAIN OFF
VALUE

- EXIT

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Manual White Balance blue increase/decrease

Manual white balance blue increase/decrease is
only available if white balance control is on manual.

If manual white balance is on MAN, it is possible to adjust
the red and blue saturation of the video image manually.

• Move the cursor > with the keys Ê and Ë to the line
– BLUE. Pressing the key Í will increase the blue in the
video image; the key Ì will decrease it.

The range for this is from 0 (lowest) to 63 (highest).

• If the key Í or Ì is pressed shortly, the value is
changes by one step, if the keys are pressed longer,
the value will continue to change.

The LED in the keyboard will follow the changes which
are made in this menu and vice versa, if this setting is
changed via the keyboard, the on-screen menu will follow.

MENU WB/GAIN

- WHITE BALANCE MAN

- RED 30

-> - BLUE 39

- MANUAL GAIN OFF
VALUE

- EXIT

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10.3.5 Gain Control

The IVS can change the brightness of the video image
electronically. This gain control can be automatic or manual.

If the automatic control is selected, the IVS outputs the best
possible image brightness at all the time. Light changes in
front of the film camera are compensated by the IVS; the
brightness impression remains almost unchanged.

Gain control can be adjusted in two different ways.
It is possible to control it using the keyboard on the IVS or
using the on-screen control menu.

Using the Keyboard

Check all settings on the connected monitor.

• By pressing the WB key Ï the setting alters between

manual and automatic control. An illuminated LED shows
the setting manual gain control (MGC) ➪ photo.

• If manual gain control is selected (LED is on), the
brightness of the video image can be manually altered.
By using the Ê or Ë key brightness can be increased
or decreased. An automatic compensation of different
light levels in front of the camera is suppressed.

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Using the on-screen menu

Please see chapter 10.4 Inserter Facilities for basics on
the On-Screen display.

In parallel to the control via keyboard, the manual gain
control can also be programmed via the on-screen menu.
Manual gain control can be switched on or off. If it is on,
specific values can be set between 0 (low gain) and 63
(high gain).

• Enter the main menu by pressing the Enter/Insert key

Ñ for more than 3 seconds.
Go to sub menu WB/GAIN. Move the cursor > with
the keys Ê and Ë to the line – MANUAL GAIN.
Pressing the key Í or Ì will switch manual gain
control off and on. If manual gain control is on, the
display will change. A line symbol – will appear
before VALUE indicating that the gain can be changes
manually.

The LED in the keyboard will follow the changes which
are made in this menu and vice versa, if this setting is
changed via the keyboard, the on-screen menu will follow.

MENU WB/GAIN

- WHITE BALANCE MAN

- RED 30

- BLUE 39

-> MANUAL GAIN OFF
VALUE

- EXIT

MENU WB/GAIN

- WHITE BALANCE MAN

- RED 30

- BLUE 39

MANUAL GAIN ON

-> - VALUE 40

- EXIT

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Manual Gain increase/decrease

Manual gain increase/decrease is only
available if manual gain control is on.

• Move the cursor > with the keys Ê and Ë to the line
– VALUE. Pressing the key Í will increase the gain;
the key Ì will decrease it.

The range for this is from 0 (lowest gain) to 63 (highest
gain).

• If the key Í or Ì is pressed shortly, the value is
changes by one step, if the keys are pressed longer,
the value will continue to change.

The LED in the keyboard will follow the changes which
are made in this menu and vice versa, if this setting is
changed via the keyboard, the on-screen menu will follow.

MENU WB/GAIN

- WHITE BALANCE MAN

- RED 30

- BLUE 39

MANUAL GAIN ON

-> - VALUE 40

- EXIT

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10.3.6 Flicker free on/off

Flicker free can be switched off to bypass the digital frame
store and have the video assist output with no delay.

The film camera runs normally at a different speed than
the video assist. E.g. the film camera runs at 24 fps and
the video assist at 25 fps for PAL or 30 fps for NTSC. This
would normally cause different brightness of the individual
video image. To eliminate this so called flicker, video images
are stored at the speed of the film camera into the video
frame storage and recalled in the speed of the video system.
This storage might cause a slight delay, which is not desirable
in some crucial time conditions, e.g. motion control or
shooting of a pop video. Therefore it is possible to switch
the flicker free system off. This will eliminate the delay.
However, flicker will occur in this mode.

Using the Keyboard

• By pressing the FF key Î the flicker free mode alters

between on and off. An illuminated LED shows the
setting flicker free (FF) on ➪ photo.

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Using the on-screen menu

Please see chapter 10.4 Inserter Facilities for basics on
the On-Screen display.

In parallel to the control via keyboard, the flicker free off
can also be programmed via the on-screen menu.

• Enter the main menu by pressing the Enter/Insert key
Ñ for more than 3 seconds.
Go to sub menu VIDEO/TEXT ADJUST. Move the
cursor > with the keys Ê and Ë to the line
– FLICKERFREE. Pressing the key Í or Ì will switch
flicker free mode off and on.

Note: The lowest camera speed for flicker free display

is 5 fps in automatic gain control mode and
1 fps in manual gain control mode.

MENU VIDEO/TEXT ADJUST

-> - FLICKERFREE ON

- LINE INTERP. ON

- BNC OUT VBS
Y/C DATA

- MINI MON DATA ON

- TXT WHITE LEV. 2

- TXT INVERS ON

- TXT FINE POS. 5

- EXIT

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10.3.7 Changing Format marking number

The IVS can insert different format markings. It is possible
to have

• no format marking (OFF),

• format marking number one (1),

• format marking number two (2)

• or both format markings at the same time (1 & 2) on display.

Using the Keyboard

The adjustment of the different format markings
can only be done via the on-screen display as
described in chapter 10.4.6 Format Marking Menu.
However, it is possible to select which format
markings are displayed via the keyboard.

The format marking selection is only available, when the
White Balance manual mode is not active (when the WB
MAN LED is not flashing). If white balance manual mode
is active, please wait for more than 5 seconds without
pressing any key to leave this mode.

• The key Í will switch from OFF, 1, 2 to 1&2. The key
Ì will switch in opposite order.

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Using the on-screen menu

Please see chapter 10.4 Inserter Facilities for basics on
the On-Screen display.

In parallel to the control via keyboard, the format marking
number can also be programmed via the on-screen menu.

• Enter the main menu by pressing the Enter/Insert key

Ñ for more than 3 seconds.
Go to sub menu FORMAT MARKING. Move the cursor
> with the keys Ê and Ë to the line – FORMAT.
Pressing the key Í will switch from OFF, 1, 2 to 1&2.
The key Ì will switch in opposite order.

MENU FORMAT MARKING

-> - FORMAT OFF
POSITION 1 Ö
POSITION 1 Ü
POSITION 2 Ö
POSITION 2 Ü
WHITE LEVEL
OUTSIDE

- EXIT

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10.3.8 Storing a video image

The IVS can store one particular image, display that or
overlay it against the live image in front of the camera to
compare both images. Although the functions to display a
stored image and to compare a stored image against a
live image are only available in the on-screen program
mode, it is possible to store an image any time using the
Enter/Insert key Ñ.

Using the Keyboard

• Pressing the Enter/Insert key Ñ shortly (less than 1.5
seconds) will store an image in the frame store.

• Every time when the Enter/Insert key Ñ is shortly
pressed, a new image is stored.

• To view the stored image, or to compare it against a
live image, please enter the on-screen program mode,
as described in chapter 10.4.7 Display mode

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Using the on-screen menu

Please see chapter 10.4 Inserter Facilities for basics on
the On-Screen display.

• Enter the main menu by pressing the Enter/Insert key

Ñ for more than 3 seconds.
Go to sub menu COMPARE/STORE. Move the cursor
> with the keys Ê and Ë to the line – STORE IMAGE.
Pressing the key Í or Ì will store the image. The
word DONE will appear for a few seconds to show
that an image was stored.

The stored image is memorized until a new image is stored,
the image is cleared or until the IVS power was shot down.

MENU COMPARE/STORE

- VIEW MODE LIVE

-> - STORE IMAGE

- CLEAR IMAGE

- EXIT

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10.4 Inserter Facilities

In addition to the usual video assist functions, the IVS
offers a variety of inserter facilities. There are two
different groups of information:

• Format markings
Format markings, which are inserted electronically, are
often more visible than format markings on the ground
glass.

• Man readable information
Camera status
System line
Additional text

All inserted data are only available at the outputs
Video with data.
All engravings from the ground glass (e. g. TV­Safe etc.) are visible at all times at all outputs.

Note: All currently used settings are stored even if the

IVS or the camera is switched off or disconnected
from the power supply. After restarting the IVS
the settings are unchanged, except for the image
stored mode, which will always come up in live
mode.

10.4.1 Setting the On-Screen Displays

During programming the inserted data are not
fully updated (e. g. Frame Counter Information).
To get information updated, leave the on-screen
display menu by pressing the Enter/Insert key
Ñ for more than three seconds.

Once the on-screen display is activated by pressing the
Enter/Insert key Ñ for more than three seconds, the
following procedure is used to select and set all functions
within the main menu and the sub menus:

• Pressing the key Ê or Ë will move the cursor > up or
down. Pressing the key Í or Ì activates sub menus.

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• Within sub menus the cursor > can be moved up and
down again by pressing the key Ê or Ë. The keys Í
or Ì will now change settings (e. g. switch the insertion
of a user text window on and off), or activates functions
(position mode of a window or EXIT).

• If the windows position mode is activated, the keys Ê
or Ë will move the window across the video image. To
leave the position mode press the Enter/Insert key Ñ
shortly.

• To go from a sub menu back to the main menu,
position the cursor > by using the keys Ê and Ë on
the line EXIT and press the key Í or Ì.

• Active lines are marked with a dash symbol –.
They can be reached with the cursor > within a menu
using the keys Ê and Ë. Lines may not be active
because the currently selected mode does not use this
feature. E.g. when gain is not in manual control mode,
the line value is not active because value cannot be
changed in the automatic control mode. In this case,
no dash symbol – is displayed and the line cannot be
reached with the cursor >. To activate this line, switch
from automatic to manual gain control mode.

Changing them immediately activates all settings.

Note: Pressing the Enter/Insert key Ñ for more than

three seconds will cause the system to exit the
on-screen programming mode completely,
regardless of which menu is activated, with the
exception of the positioning mode.

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10.4.2 Main Menu

The inserter’s main menu is displayed on the monitor
screen when the on-screen programming is activated by
pressing the Enter/Insert key Ñ ➪ photo for more than
three seconds. An illuminated LED indicates that the on­screen programming is activated.

Note: Pressing the Enter/Insert key Ñ for more than

three seconds will cause the system to exit the
on-screen programming mode completely,
regardless of which menu is activated, with the
exception of the positioning mode.

• The keys Ê or Ë move the cursor > up or down.
Pressing the key Í or Ì will lead into a sub menu.

MAIN MENU

-> - LOAD/STORE

- WB/GAIN

- VIDEO/TEXT ADJ

- FORMAT MARKING

- COMPARE/STORE

- SYSTEM/STATUS

- USER TEXT

- EXIT

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10.4.3 Load/Store Menu

The IVS can store up to 6 sets of settings and recall them. Thus it
is possible to make all settings for e.g. indoor shooting and
store them as setting 1. Shooting continues with some exterior
scenes and the operator will make all settings for this and
store them as setting 2. When the work is continued indoor,
it is very easy recalling all the settings stored as setting 1
and get the same image appearance as before.

One set of settings consists of all set-ups in the IVS. Everything
which can be set electronically, will be stored and recalled.
All video adjustments such as manual gain control, white
balance, flicker free, outputs with or without data and line
interpolation as well as all inserter setups, e.g. user text
insertion off or on, frame lines and so on are stored and
recalled.

The adjustment of the white level of the inserted data, an
inverse display and a fine adjustment of the vertical position
is described in chapters 10.4.5 White Level, Inverse and
Fine Positioning.

Changing them immediately activates all settings.
Check all settings on the connected monitor.

• Enter the Load/Store submenu from the main menu.

MENU LOAD/STORE

-> - LOAD SET 1

- STORE SET 1
(CONFIRM BY
ENTER)

- SET ALL
SETTINGS TO
DEFAULT

- EXIT

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Load Settings

It is possible to load one out of six settings. Those new settings
will influence all adjustments that can be made electronically.

The new settings will immediately replace the
previous settings. If the old settings might be
needed, store them first as described in the next
chapter Store Settings.

• Move the cursor > with the keys Ê and Ë to the line
– LOAD SET. Pressing the key Í will switch from 1 to
2 all the way up to 6 and back to 1, the key Ì will
switch in the opposite direction. Pressing either the key
Í or Ì, will immediately load the new settings.

Store Settings

The set of settings, that are currently active, can be stored
as one out of six settings.

• Move the cursor > with the keys Ê and Ë to the line
– STORE SET. Pressing the key Í will switch from 1 to
2 all the way up to 6 and back to 1, the key Ì will
switch in the opposite direction.

• When the demanded number was reached, press the
Enter/Insert key Ñ to store this setting under the given
number. The word DONE will appear for 3 seconds
to indicate that the setting was stored. After this, the display
will return to its normal mode.

MENU LOAD/STORE

-> - LOAD SET 4

- STORE SET 4
(CONFIRM BY
ENTER)

- SET ALL
SETTINGS TO
DEFAULT

- EXIT

MENU LOAD/STORE

- LOAD SET 4

-> - STORE SET 4
(CONFIRM BY
ENTER)

- SET ALL
SETTINGS TO
DEFAULT

- EXIT

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All Standard

After the function set all settings to default was
called, all settings are cleared. They cannot be
recalled.

This menu recalls a default setting of all values. By this, it
is possible to obtain basic setting for the IVS.

• Move the cursor > with the keys Ê and Ë to the line
– SET ALL. Pressing the key Í or Ì recalls the default
values.

• It is necessary to confirm that procedure, as all settings
will be cleared. This window will appear with the
cursor > in the line NO. Pressing the key Í or Ì will
cancel this procedure.

• To clear everything, move the cursor > with the keys
Ê and Ë to the line – YES. Pressing the key Í or Ì
sets all settings to default.

• If the cursor > is in position EXIT and the key Í or Ì
is pressed, the IVS will return to the Load/Store menu
without setting everything to default.

MENU LOAD/STORE

- LOAD SET 4

- STORE SET 4
(CONFIRM BY
ENTER)

-> - SET ALL
SETTINGS TO
DEFAULT

- EXIT

ARE YOU SURE?
(NO UNDO)

-> - NO

- YES

- EXIT

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