ARRIFLEX D-21 / D-21 HD The Film Style Digital Cameras
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.
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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 · raw data, MscopeTM 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 productions · se
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, etc.
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 with off-the-shelf components.
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.
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.
ARRI | ARRIFLEX D-21 / D-21 HD The Optical Viewfinder A CLEAR VIEW 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.
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.
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 aspect ratio: 1.33:1 dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016” ANSI Super 35 Silent camera aperture aspect ratio 1.33:1 dimensions: 24.90 mm x 18.70 mm / 0.980" x 0.7362" The left upper area shows the sensor used in the D-21 and D-21 HD on its electronic backplane.
A new and unique feature of both D-21 and D-21 HD is the patented MscopeTM 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 anamorphic look and associate it with the emotional impact of big-screen movies.
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 the image by a factor of 2 (circles become ovals). Each HD-SDI stream contains 1920 x 720 (2.66:1) pixels of image content in the 1920 x 1080 HD image. Both streams are stored interleaved on one tape or data magazine. For off-line editing, only one stream is used to save bandwidth.
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 output for HD video mon
FLEXIBLE OUTPUT OPTIONS ARRI | ARRIFLEX D-21 / D-21 HD Different Productions Require Different Outputs Different projects have different production requirements, budgets and distribution 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.
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.
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The Company; Photo: Jan Thijs © Turner Broadcasting 2006 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.
FROM THE FIELD 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 circumstances.” “I've had questions from industry professionals asking how much was digital and how much was shot on film.
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.
FROM THE FIELD ARRI | ARRIFLEX D-21 / D-21 HD 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.
Common Technical Data ARRIFLEX D-21 / D-21 HD Lens mount 54 mm PL, centered for Super 35, with Lens Data System (LDS) contacts Flange focal depth 52 mm nominal Camera display on left side with individual buttons for: camera RUN, PHASE (electronic inching & mirror rotation), Display NORM-PS/CCU control, LOCK, MODE, SEL and SET.
ARRI | ARRIFLEX D-21 / D-21 HD Divergent Technical Data ARRIFLEX D-21 ARRIFLEX D-21 HD Camera type 35 format digital film style camera with an optical viewfinder 35 format film style HD camera with an optical viewfinder HD-SDI connections 2x dual link HD-SDI out 1x dual link HD-SDI out Mode Setting Camera fps HD422 (16:9) 1 - 60 HD Mode MscopeTM Frame rate Mode Setting Camera fps HD422 (16:9) 1 - 30 HD444 (16:9) 1 - 30 MscopeTM HD422 (4:3) 1 - 25 HD Mode HD444 (16:9) 1 - 30 Mscop
Germany Arnold & Richter Cine Technik (Headquarters, Sales & Service) Türkenstraße 89, D-80799 Munich, Germany Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245 Great Britain ARRI GB Limited (Sales & Service) 2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain Imaging Equipment Sales: Allan Fyfe, afyfe@arri-gb.com Tel: +44 (0)1895 457 000, Fax: +44 (0)1895 457 001 Italy ARRI Italia S.r.l.
