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ARRIFLEX D-21
The Film Style Digital Camera
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ARRIFLEX D-21 The Film Style Digital Camera The ARRIFLEX D-21 combines leading edge digital technology with film camera features that have been refined over ARRI’s 90-year history. It allows directors and cinematographers to shoot in the same way as they would with 35 mm film, while taking advantage of the immediacy and economy of digital acquisition. Through ARRI Imaging Technology (AIT), the D-21 produces bril- liant images with a cinematic look and feel. D-21 images have a high dynamic
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ARRI | ARRIFLEX D-21 3
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n ARRI Imaging Technology (AIT) ARRIFLEX D-21 – Main Features · custom designed CMOS sensor · powerful imaging hardware engine · unique ARRI image processing software · carefully tuned system integration n Modular Architecture n Cinematic Image Quality · sensor, electronics and firmware can be upgraded · ARRI Imaging Technology for a cinematic look · secure investment · rotating mirror shutter for film-like motion portrayal · long product cycle · single, Super 35 size sensor for 35
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ARRI | ARRIFLEX D-21 n Optical Viewfinder · zero delay · outside image area · bright, full color image · works without power · fatigue-free viewing n 35 Format Film Lenses · industry standard PL mount · unequalled variety of prime, zoom and specialty lenses · compatible with spherical and anamorphic lenses (1.33:1 sensor format) n Compatibility with 35 Format Film Accessories and Support Equipment · ARRI matte boxes, follow focus, wireless remote control · dollies, cranes
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ARRI Imaging Technology Each component of the D-21 has been purpose-built with one goal in mind: to create the most gorgeous cinematic images possible. Those images are the result of a custom designed CMOS sensor, a carefully crafted optical low pass filter, a powerful imaging hardware engine and advanced image processing algorithms. Having full control of the D-21's imaging chain down to the smallest detail allows an optimization of the whole system far beyond what would be possible with o
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ARRI | ARRIFLEX D-21 A number of powerful FPGAs (Field Programmable Gate Arrays) constitute the imaging hardware engine inside the D-21. They are a crucial component of ARRI Imaging Technology. The CMOS sensor inside the D-21 was designed and developed for use in ARRI high-end motion picture cameras. 7
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HDTV 1.78 An optical viewfinder is the preferred choice of both cinematographers and camera operators. The clear, full color image enables accurate assessment of focus and facilitates precise and comfortable operating for complex camera moves. Most crucial of all is the fact that an optical viewfinder shows an im- age larger than that being recorded and therefore allows the operator to see not just what is in frame, but also what is just outside the frame. This safety area permits meticulou
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ARRI | ARRIFLEX D-21 The Optical Viewfinder While most digital cameras use electronic viewfinders, the D-21 is equipped with the same optical viewfinder as all other ARRI cameras. Thus the D-21 viewfinder always shows an image area larger than the image being recorded, and it can be used even when the camera is not powered up. Light entering the taking lens is diverted by a spinning mirror shutter and generates a bright, magnified full color image in the viewfinder. This direct light path
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A Film Sized Sensor & Film Lenses for a Film Look Depth of field is the one of the most powerful creative tools available to cinema- tographers, and the shallow depth of field of 35 mm film cameras has become associated with cinematic imagery in the minds of movie audiences over the last 100 years. The D-21’s sensor has the same size as a Super 35 mm film frame to give cinematographers the same versatility and control of depth of field. Having a wide range of lenses available is of immense i
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ARRI | ARRIFLEX D-21 Typical 2/3" video camera sensor aspect ratio: 1:1.78 dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.209" D-21 sensor active pixel area aspect ratio: 1:1.33 The left upper area shows the D-21 dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016” sensor on its electronic backplane. The right bottom area shows the ANSI Super 35 Silent camera aperture sensor frame that also holds the pro- aspect ratio 1:1.33 tective glass and the low pass filter. dimensions: 24.90 mm x 18.70 mm
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The Company; Photo: Jan Thijs © Turner Broadcasting 2006 The Company; Photo: © Sony Pictures TV The Company; Photo: © Sony Pictures TV Optical viewfinders are the preferred choice of both cinematographers and camera operators. The clear, full color image enables accurate assessment of focus and facilitates precise and comfortable operating for complex camera moves. Most crucial of all is the fact that an optical viewfinder shows an image larger than that being recorded and therefore allows t
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ARRI | ARRIFLEX D-21 Mikael Salomon, ASC - Director of The Company and The Andromeda Strain “I'm very pleased with the final look of the six-hour miniseries The Company, which we shot in Canada, Hungary and Puerto Rico under very varied circum- stances.” “I've had questions from industry professionals asking how much was digital and how much was shot on film. Great surprise when they learn that it was all digital except for a few slo-mo shots - the film intercuts seamlessly with the digit
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D-21 Data Mode Main Features n Best Image Quality - records uncompressed, unprocessed 12 bit raw Bayer sensor data (ARRIRAW) - the output option with the highest dynamic range and lowest noise - improved image quality through advanced image reconstruction in post - 2880 x 2160 (4:3) at 24 and 25 fps 2880 x 1620 (16:9) at 30 fps n CinemaScope - anamorphic lenses can be used n Greatest Flexibility on the Set - ARRIRAW T-Link: transport ARRIRAW via dual link HD-SDI - simultaneous data an
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ARRI | ARRIFLEX D-21 Different Productions Require Different Outputs Different projects have different production requirements, budgets and distribu- tion channels; the equipment chosen has to be flexible enough to accommodate those differences. The unique construction of the ARRIFLEX D-21 allows various output signals to be generated, accommodating diverse production needs and pipelines. In HD Mode, HD output options include 'Linear' or Logarithmic output, 4:2:2 YPbPr or 4:4:4 RGB, Norma
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A True ARRI Camera The D-21 is a true ARRI camera; it runs silently and has the same robust construc- tion and ergonomic design ARRI cameras are famous for. Its controls are also simple and straightforward for fast and safe operation. The D-21 is also compatible with a broad selection of film accessories. Mount- ed on a standard sliding baseplate, the D-21 shares matte box, support rod and follow focus options with the ARRI 35 mm film cameras. The extensive range of available accessories allo
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The Butcher's Shop; Cinematographer Sean Bobbitt, BSC Photos: © Andy Subratie Sean Bobbitt, BSC - Cinematographer on The Butcher’s Shop “The fact that you can work in log space and use LUTs to see the image on monitors on set is fantastic. It gives the director such confidence” “I’ve been shooting digital RAW with stills photography for some time and have recognised the clear benefits. It just seemed logical to me that this is the next step, in terms of pushing the camera to its limits and ge
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ARRI | ARRIFLEX D-21 Jason Statham stars in THE BANK JOB. Photo: © Jack English Michael Coulter, BSC - Cinematographer on The Bank Job “After using the ARRI digital camera on The Bank Job, I was very pleased with the end result. I look forward to the future developments of this camera.” Sam Nicholson - Cinematographer and VFX Supervisor on VFX scenes for Grey’s Anatomy “As predicted, it pulled the keys beautifully and the cinematography looks great as well.” Before and after compositing:
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John Pardue - Cinematographer on Frequently Asked Questions About Time Travel “The camera is pretty much the same as a film camera in many ways: it has a great viewfinder and the same control panel as a 435. It’s also wonderfully simple to operate”. “Another impressive aspect is the shallow depth-of-field, which is similar to 35 mm.” “It copes with bright skies and allows you to open up for the shadow areas without the worry of blowing things out.” Frequently Asked Questions About Tim
