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ARRI ARRIFLEX D-21 HD manual

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Table of contents for the manual

  • Page 1

    T he F ilm Style Digital Cameras ARRIFLEX D-21 / D-21 HD[...]

  • Page 2

    2 ARRIFLEX D-21 / D-21 HD Th e Film Style Digital Camer as The ARRIFLEX D-21 and D-21 HD combine leading edge digital technology with lm camera features that ha ve been rened ov er ARRI’ s 90-year history . The y allow directors and cinematographers to shoot in the same w ay as they w ould with 35 mm lm, while taking advantage of the imm[...]

  • Page 3

    3 ARRI | ARRIFLEX D-21 / D-21 HD[...]

  • Page 4

    4 Main F eatur es n Cinematic Image Quality · ARRI Imaging T echnology for a cinematic look · rotating mirror shutter f or lm-like motion portra yal · single, Super 35 sized sensor for 35 format depth of eld · highest dynamic range of any digital motion picture camera · super sharp, alias-free images · extended color space for natural, [...]

  • Page 5

    5 ARRI | ARRIFLEX D-21 / D-21 HD n Industry Standard PL Mount · use 35 format lm lenses · unequalled variety of prime, zoom and specialty lenses · compatible with spherical and anamorphic lenses n Optical Viewnder · zero delay · outside image area · bright, full color image · works without pow er · fatigue-free viewing n Compatibility[...]

  • Page 6

    6 ARRI Imaging T echnology 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 lter , a pow erful imaging hardware engine and advanced image pr ocessing algori[...]

  • Page 7

    7 ARRI | ARRIFLEX D-21 / D-21 HD A number of powerful FPGAs (Field Pr ogrammable Gate Arrays) constitute the imaging hardware engine inside the D-21 and D-21 HD. The y are a crucial component of ARRI Imaging T echnology. The cameras’ CMOS sensor w as specically designed and developed for use in ARRI high-end digital motion picture cameras.[...]

  • Page 8

    8 An optical viewnder is the pref erred choice of both cinematographers and camera operator s. The clear , full color image enables accurate assessment of focus and facilitates pr ecise and comfortable operating for complex camer a moves thr ough a complete lack of any delay . Most crucial of all is the fact that an optical viewnder shows an [...]

  • Page 9

    9 ARRI | ARRIFLEX D-21 / D-21 HD T he Optical V iewnder While most digital cameras use electr onic viewnders, the D-21 and D-21 HD are equipped with the same optical viewnder as all other ARRI cameras. T hus the cameras’ viewnder alw ays shows an image area larger than the image being recorded, and it can be used ev en when they are n[...]

  • Page 10

    10 A Film Sized Sensor & F ilm Lenses for a F ilm Look Depth of eld is the one of the most pow erful creative tools av ailable to cinematographers, and the shallo w depth of eld of 35 mm lm cameras has become associated with cinematic imagery in the minds of movie audiences ov er the last 100 years. T he D-21’ s and D-21 HD’ s sens[...]

  • Page 11

    11 ARRI | ARRIFLEX D-21 / D-21 HD The left upper ar ea shows the sensor used in the D-21 and D-21 HD on its electronic backplane. The right bottom ar ea shows the sensor frame that also holds the pro- tective glass and the low pass lter . T ypical 2/3" video camera sensor aspect ratio: 1.78:1 dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.[...]

  • Page 12

    12 Mscope TM – A New and Unique Output F ormat A new and unique f eature of both D-21 and D-21 HD is the patented Mscope TM process, which combines f or the rst time the use of anamorphic lenses with the economy of HD acquisition. Filmmaker s and audiences alike ha ve gro wn up with the uniquely cinematic ana- morphic look and associate it wit[...]

  • Page 13

    13 ARRI | ARRIFLEX D-21 / D-21 HD CinemaScope in Standard HD While the D-21 can record the full 4:3 sensor image in Data Mode, both D-21 and D-21 HD can use the Mscope TM format which utilizes a more economical standard HD worko w . In Mscope TM , a regular anamorphic lens is used on the D-21 or D-21 HD. The camera divides the resulting 4:3 imag[...]

  • Page 14

    14 n Best Image Quality - uncompressed, unprocessed 12 bit raw Bay er sensor data (ARRIRAW) - the output option with the highest dynamic range and lowest noise - improv ed 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 Greates[...]

  • Page 15

    15 ARRI | ARRIFLEX D-21 / D-21 HD Differ ent Productions Requir e Differ ent Outputs Different pr ojects have diff erent production requirements, budgets and distribu- tion channels; the equipment chosen has to be exible enough to accommodate those differences. T he unique construction of the ARRIFLEX D-21 and D-21 HD allows f or various output [...]

  • Page 16

    16 A T rue ARRI Camera The D-21 and the D-21 HD are true ARRI cameras; the y run silently and have the same robust construction and ergonomic design f or which ARRI cameras are famous. Their contr ols are also simple and straightforw ard for fast and saf e operation. Both cameras are compatible with a broad selection of lm accessories. Mounted o[...]

  • Page 17

    17 ARRI | ARRIFLEX D-21 / D-21 HD[...]

  • Page 18

    18 Optical viewnders are the pref erred choice of both cinematographers and camera operators. T he clear, full color image enables accurate assessment of focus and facilitates precise and comf ortable operating for complex camera moves. Most crucial of all is the f act that an optical viewnder shows an image larger than that being recorded an[...]

  • Page 19

    19 ARRI | ARRIFLEX D-21 / D-21 HD Mikael Salomon, ASC - Director of T he Company and The Andr omeda Strain “I'm very pleased with the nal 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 mu[...]

  • Page 20

    20 Ed W ild - Cinematogr apher on Prisoners of the Sun “Because it's a full-sized chip and a PL mount, there is a full choice of all the lm lenses. ” Fr ank K üpper - Cinematogr apher on Afrika, Mon Amour “No grain, instant availability of full resolution images and a 35 mm look. ” Prisoners of the Sun; Photo © Miromar Entertainme[...]

  • Page 21

    21 ARRI | ARRIFLEX D-21 / D-21 HD Michael Coulter , BSC - Cinematographer on T he 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 camer a. ” Sam Nicholson - Cinematogr apher and VFX Supervisor on VFX scenes for Gr ey’ s Anatomy “ As pre[...]

  • Page 22

    22 Common T echnical 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 Display Camera display on left side with individual buttons for: camera RUN, PHASE (electronic inching & mirror rotation), NORM-PS/CCU control, L OCK, MODE, SEL and SET . Video menu [...]

  • Page 23

    23 ARRI | ARRIFLEX D-21 / D-21 HD Diver gent T echnical Data ARRIFLEX D-21 ARRIFLEX D-21 HD Camera type 35 format digital lm style camera with an optical viewnder 35 format lm style HD camera with an optical viewnder HD-SDI connections 2x dual link HD-SDI out 1x dual link HD-SDI out Frame r ate Mode Setting Camer a fps Mode Setting Came[...]

  • Page 24

    Thi s ARRI FLE X D-21 pro duc t broc hure (K 5.704 47 .0) i s publi she d by Arn old & Ri chter C ine Techni k, Se ptemb er 01, 200 8 © ARRI /20 08 Techni cal da ta and o ffe ring s are sub jec t to chan ge wi thout n otic e. All r ight s rese rv ed. Wi thou t any warr ant y. Not bind ing 09 /20 08. A RRI is a r egis tere d tra demar k of Ar n[...]