ARRI ARRIFLEX D-21 Brochure & Specs Download Page 1 | Manualshive

Page: 1 / 24

ARRI ARRIFLEX D-21 Brochure & Specs Download Page 1

The Film Style Digital Camera

ARRIFLEX D-21

1
2
3
...
»

Summary of Contents for ARRIFLEX D-21

Page 1: ...The Film Style Digital Camera ARRIFLEX D 21 ...

Page 2: ... existing film accessories the D 21 is immediately recognizable as an ARRI camera and film crews feel comfortable operating it Further film style features include variable frame rate and robust construction The D 21 s single Super 35 size CMOS sensor exhibits the same cinematic depth of field as 35 mm film and the camera s industry standard PL lens mount accepts the same unequalled variety of sphe...

Page 3: ...3 ARRI ARRIFLEX D 21 ...

Page 4: ...tion simultaneous data and HD outputs possible Data Mode 4x3 ARRIRAW uncompressed data for film like data workflow Data Mode ARRIRAW T Link connects camera to data recorders HD mode 16x9 uncompressed HD output HD Mode Linear or Logarithmic 4 2 2 YCbCr or 4 4 4 RGB Normal or Extended Range Fiber optic option allows cable length of up to 500 m 1 600 n ARRI Imaging Technology AIT custom designed CMOS...

Page 5: ...at n Optical Viewfinder zero delay outside image area bright full color image works without power fatigue free viewing n Compatibility with 35 Format Film Accessories and Support Equipment ARRI matte boxes follow focus wireless remote control dollies cranes Steadicam etc n A True ARRI Camera silent running simple operation robust construction ergonomic design variable speed and shutter angle ...

Page 6: ...truction algorithms Image processing advances incorporated into the D 21 include increased sensitiv ity with linear HD output ranging between EI 100 and EI 800 equivalent as well as optimized sharpness and enhanced film like color reproduction AIT also ensures that crews can concentrate on the creative aspects of making images by automating many of the technical aspects The D 21 has for instance a...

Page 7: ... 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 ...

Page 8: ...g 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 meticulous composition and helps the operator prevent unwanted objects such as a boom or microphone from entering a shot The Company P...

Page 9: ...e in the viewfinder This direct light path free of any electronic image processing ensures fatigue free vie wing as well as zero delay a crucial feature when shooting fast action where a delay of even a few frames can be very confusing But even something as mundane as following a person getting up from a chair can become horrifying guesswork if the viewfinder image is delayed The D 21 optical view...

Page 10: ...s thanks to its industry standard PL lens mount Since the D 21 is the only high end digital camera with a 4x3 aspect ratio like 35 mm film it is also the only digital camera that can take full advantage of the unique CinemaScope look of anamorphic lenses Further enhancing the film like quality of D 21 images is the camera s rotating mirror shutter which functions exactly as it does on 35 mm ARRI f...

Page 11: ...aspect ratio 1 1 78 dimensions 9 40 mm x 5 30 mm 0 370 x 0 209 ANSI Super 35 Silent camera aperture aspect ratio 1 1 33 dimensions 24 90 mm x 18 70 mm 0 980 x 0 7362 D 21 sensor active pixel area aspect ratio 1 1 33 dimensions 23 76 mm x 17 82 mm 0 9354 x 0 7016 The D 21 mirror shutter The mirror portion can be seen to the left and to the right the variable shutter blade is visible here restrictin...

Page 12: ...er 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 meticulous composition and helps the operator prevent unwanted objects such as a boom mic from entering a shot The Andromeda Strain Marty McNally A Camera Operator center with Jon Joffin Cinematographer right Photo A E Diyah Pera The Compan...

Page 13: ...cept for a few slo mo shots the film intercuts seamlessly with the digital images Ridley Scott asked me to direct another miniseries and we decided once again to go with the ARRI digital camera We re currently shooting in the Vancouver and getting great feedback on dailies I ve been fielding calls from DP s interested in using the ARRI digital camera system As I tell them the best recommendation i...

Page 14: ... workflow 2K output files have the same resolution and colorimetry as 2K scans from film color conversion and lookup table decisions can be made in post simple image reposition and cropping upgraded image reconstruction can be applied to archived raw data for better image quality D 21 Data Mode Main Features ARRIFLEX D 21 2x BNC Cables Dual Link HD SDI Stream D 21 Raw Bayer Data mapped into RGBA T...

Page 15: ...for manu facturers and users alike The properties of the dual link HS SDI connection are defined in SMPTE 372M The standard specifies a maximum data rate of 2 97 Gb s which is enough bandwidth to carry the 12 bit D 21 raw Bayer data SMPTE 372M also defines a number of standardized source signal formats to be sent through two BNC cables affectionately known as Link A and Link B One of those source ...

Page 16: ...ece with leveler and a heavy zoom lens while a stripped down setup would permit handheld or Steadicam shooting The FEM 2 a Functional Expansion Module that attaches to the side of the D 21 houses a built in radio module for lens and camera control with the ARRI Wireless Remote System WRS It also contains motor drive electronics that allow the ARRI Controlled Lens Motors CLM to be plugged directly ...

Page 17: ...17 ARRI ARRIFLEX D 21 ...

Page 18: ...the next step in terms of pushing the camera to its limits and getting the best possible quality imaging straight off the chip itself avoiding all the processing and compression In Data Mode you have the highest quality of information not just resolution but color information as well all the way through the workflow so when you come to the grade you re not working with degraded compressed images w...

Page 19: ...ematographer and VFX Supervisor on VFX scenes for Grey s Anatomy As predicted it pulled the keys beautifully and the cinematography looks great as well Jason Statham stars in THE BANK JOB Photo Jack English FROM THE FIELD Before and after compositing the ﬁnal scene with visual effects and Seattle background footage Sam Nicholson Cinematographer and VFX Supervisor on VFX scenes for Grey s Anatomy P...

Page 20: ...he 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 Time Travel Cinematographer John Pardue FROM THE FIELD Tin Man Photo James Dittiger SCI FI Channel T...

Page 21: ...k Küpper Cinematographer on Afrika Mon Amour No grain instant availability of full resolution images and a 35 mm look 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 Afrika Mon Amour Cinematographer Frank Küpper framing a detail shot Photos Andras Berkl ...

Page 22: ...al link HD SDI SMPTE 372M 1920 x 1080 4 2 2 YCbCr 10 bit 48 50 59 94 60PsF 1920 x 1080 4 4 4 RGB 10 bit 23 976 24 25 29 97 30PsF Data Mode ARRIRAW T Link ARRIRAW transmission protocol mapped into RGBA dual link HD SDI stream according to SMPTE 372M 2880 x 2160 RAW 12 bit Bayer data 23 976p 24p 25p 2880 x 1620 RAW 12 bit Bayer data 29 97p 30p Recording HD recording devices supporting HD SDI SMPTE 2...

Page 23: ...23 ARRI ARRIFLEX D 21 ...

Page 24: ...niga acazzaniga arri it Tel 39 02 262 271 75 Fax 39 02 242 1692 ARRI Italia S r l Sales Service Rome Via Placanica 97 00040 Morena Roma Italy Camera Sales Mauro Sembroni msembroni arri it Tel 39 06 79 89 021 Fax 39 06 79 89 02 206 USA ARRI Inc Sales Service East Coast 617 Route 303 Blauvelt NY 10913 1109 USA Vice President Jürgen Schwinzer jschwinzer arri com Tel 1 845 353 1400 Fax 1 845 425 1250 ...

Reviews:

No comments