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ARRIFLEX D-21 / D-21 HD
The Film Style Digital Cameras
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ARRIFLEX D-21 / D-21 HD The Film Style Digital Cameras The ARRIFLEX D-21 and D-21 HD combine leading edge digital technology with film camera features that have been refined over ARRI’s 90-year history. They allow 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. As the top of the line digital cameras from ARRI, the market leader in professional imaging, they are equipped with a
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ARRI | ARRIFLEX D-21 / D-21 HD 3
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Main Features n Two Models n ARRI Imaging Technology (AIT) · custom designed CMOS sensor ARRIFLEX D-21 · powerful imaging hardware engine · the most versatile film style digital camera for all applications · unique ARRI image processing software · 1 - 60 fps maximum fps range · carefully tuned system integration TM · raw data, Mscope and HD output modes n Modular Architecture ARRIFLEX D-21 HD · sensor, electronics and firmware can be upgraded · the film style digital camera for HD
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ARRI | ARRIFLEX D-21 / D-21 HD n Optical Viewfinder · zero delay · outside image area · bright, full color image · works without power · fatigue-free viewing n Industry Standard PL Mount · use 35 format film lenses · unequalled variety of prime, zoom and specialty lenses · compatible with spherical and anamorphic lenses n Compatibility with 35 Format Film Accessories and Support Equipment · ARRI matte boxes, follow focus, wireless remote control · dollies, cranes, Steadicam,
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ARRI Imaging Technology Each component of the D-21 and D-21 HD 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 imaging chain down to the smallest detail allows an optimization of the whole system far beyond what would be possible w
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ARRI | ARRIFLEX D-21 / D-21 HD A number of powerful FPGAs (Field Programmable Gate Arrays) constitute the imaging hardware engine inside the D-21 and D-21 HD. They are a crucial component of ARRI Imaging Technology. The cameras’ CMOS sensor was specifically designed and developed for use in ARRI high-end digital motion picture cameras. 7
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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 through a complete lack of any delay. Most crucial of all is the fact that an optical viewfinder shows an image 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 saf
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ARRI | ARRIFLEX D-21 / D-21 HD The Optical Viewfinder While most digital cameras use electronic viewfinders, the D-21 and D-21 HD are equipped with the same optical viewfinder as all other ARRI cameras. Thus the cameras’ viewfinder always shows an image area larger than the image being recorded, and it can be used even when they are 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. T
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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 cinematographers, 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 and D-21 HD’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 i
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ARRI | ARRIFLEX D-21 / D-21 HD Typical 2/3" video camera sensor aspect ratio: 1.78:1 dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.209" D-21 sensor active pixel area The left upper area shows the sensor aspect ratio: 1.33:1 used in the D-21 and D-21 HD on its dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016” electronic backplane. The right bottom area shows the ANSI Super 35 Silent camera aperture sensor frame that also holds the pro- aspect ratio 1.33:1 tective glass and the low pass filte
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TM Mscope – A New and Unique Output Format TM A new and unique feature of both D-21 and D-21 HD is the patented Mscope process, which combines for the first time the use of anamorphic lenses with the economy of HD acquisition. Filmmakers and audiences alike have grown up with the uniquely cinematic ana- morphic look and associate it with the emotional impact of big-screen movies. The sheer width and clarity of the format, its shallow depth of field, the way it handles out of focus backgroun
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ARRI | ARRIFLEX D-21 / D-21 HD 2x HD-SDI 4:2:2 2x HD-SDI 4:2:2 D-21 / D-21 HD HD RECORDER STORAGE MEDIA POST INGEST RECOMBINING FURTHER POST Anamorphic lens squeezes Each HD-SDI stream contains Both streams are For off-line editing, only After ingest, the two Images are de-squeezed, the image by a factor of 2 1920 x 720 (2.66:1) pixels of stored interleaved one stream is used to save streams are recombined cropped and scaled to the (circles become ovals). image content in the 1920 x on o
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D-21 Only: Data Mode Main Features n Best Image Quality - 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 processing in post - 2880 x 2160 (4:3) at 1 - 25 fps 2880 x 1620 (16:9) at 1 - 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 and HD
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ARRI | ARRIFLEX D-21 / D-21 HD 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 and D-21 HD allows for various output signals to be generated, accommodating diverse production needs and pipelines. Both the D-21 and the D-21 HD are capable of generating the Mscope signal,
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A True ARRI Camera The D-21 and the D-21 HD are true ARRI cameras; they run silently and have the same robust construction and ergonomic design for which ARRI cameras are famous. Their controls are also simple and straightforward for fast and safe operation. Both cameras are compatible with a broad selection of film accessories. Mounted on a standard sliding baseplate, they share matte box, support rod and follow focus options with the ARRI 35 mm film cameras. The extensive range of availab
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ARRI | ARRIFLEX D-21 / D-21 HD 17
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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 / D-21 HD 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
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Ed Wild - Cinematographer on Prisoners of the Sun “Because it's a full-sized chip and a PL mount, there is a full choice of all the film lenses.” Prisoners of the Sun; Photo © Miromar Entertainment AG Prisoners of the Sun; Cinematographer Ed Wild Afrika Mon Amour; Camera equipped with “workhorse” ARRI Master Zoom Frank Küpper - Cinematographer on Afrika, Mon Amour “No grain, instant availability of full resolution images and a 35 mm look.” Afrika Mon Amour; Cinematographer Frank Küpper f
