ARRI ARRIFLEX D-21 Manuel utilisateur
The Film Style Digital Camera
ARRIFLEX D-21
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ARRIFLEX D-21
The Film Style Digital Camera
The ARRIFLEX D-21 combines leading edge digital technology with
lm camera features that have been rened over ARRI’s 90-year
history. It allows directors and cinematographers to shoot in the
same way as they would with 35 mm lm, 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 range, high contrast and the most lm-like color reproduc-
tion of any digital motion picture camera.
Incorporating a rotating mirror shutter, optical viewnder and
compatibility with existing lm accessories, the D-21 is immediately
recognizable as an ARRI camera and lm crews feel comfortable
operating it. Further lm 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 eld as 35 mm lm and the camera's industry
standard PL lens mount accepts the same unequalled variety of
spherical lenses as used on 35 mm lm cameras. Since the D-21 is
the only digital high-end camera with a 4x3 aspect ratio sensor, it
can make full use of anamorphic lenses.
The ARRIRAW format enables the D-21 to output raw uncom-
pressed data. Alternatively – or simultaneously – the camera can
output an uncompressed HD signal that works perfectly in the
established HD infrastructure. With such exibility, the D-21 easily
adapts to a variety of production requirements and budgets.
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ARRI | ARRIFLEX D-21
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ARRIFLEX D-21 – Main Features
n Cinematic Image Quality
· ARRI Imaging Technology for a cinematic look
· rotating mirror shutter for lm-like motion portrayal
· single, Super 35 size 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, lm-like color reproduction
· consistent matching between cameras
n Flexible Output Option
· simultaneous data and HD outputs possible
· Data Mode: 4x3 ARRIRAW
uncompressed data for lm-like data workow
· 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 sensor
· powerful imaging hardware engine
· unique ARRI image processing software
· carefully tuned system integration
n Modular Architecture
· sensor, electronics and rmware can be upgraded
· secure investment
· long product cycle
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ARRI | ARRIFLEX D-21
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 Optical Viewnder
· 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
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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 lter, 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 off-the-shelf components. The smart
orchestration of all these proprietary components is ARRI Imaging Technology (AIT).
AIT, which is in constant development, combines ground-breaking research and
development with knowledge, feedback and suggestions gleaned from an on-going dia-
logue with professional lmmakers. AIT provides super sharp, alias-free images through
over sampling, a nely tuned optical low pass lter and advanced image reconstruction
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, lm-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, an
automated black balancing circuit (Correlated Double Sampling - CDS), which continu-
ously calibrates the black level of each pixel in each frame without any user interven-
tion. In addition, an automated Defect Pixel Correction (DPC) guarantees that no single
defective pixel will ever be visible. DPC is a highly sophisticated process that analyzes
every pixel plus a surrounding pixel eld in every frame (for a staggering total of 2.5
billion pixels analyzed each second) in real-time as the camera is running.
Through AIT, the D-21 produces outstanding images with a cinematic look and feel,
high contrast, the highest dynamic range and the most lm-like color reproduction of
any digital motion picture camera.
STATE OF THE ART
TECHNOLOGY
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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.
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HDTV 1.78
An optical viewnder 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 viewnder 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; Photo: © Sony Pictures TV
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ARRI | ARRIFLEX D-21
The Optical Viewnder
While most digital cameras use electronic viewnders, the D-21 is equipped
with the same optical viewnder as all other ARRI cameras. Thus the D-21
viewnder 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, magnied full color image in the viewnder. 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 viewnder image is delayed.
The D-21 optical viewnder can be freely rotated, extended or ipped
to the other camera side for comfortable viewing in any camera position
An extension viewnder, eyepiece leveler and a heated eyepiece are useful
accessories in many shooting situations.
A CLEAR VIEW
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A Film Sized Sensor & Film Lenses for a Film Look
Depth of eld is the one of the most powerful creative tools available to cinema-
tographers, and the shallow depth of eld of 35 mm lm 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 lm frame to give
cinematographers the same versatility and control of depth of eld.
Having a wide range of lenses available is of immense importance, as it gives
cinematographers the greatest exibility in expressing their vision. The 35 lm
format enjoys the widest variety of prime, zoom and specialty lenses available for
any format, and the D-21 is compatible with all those lenses 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 lm, it is also the only digital camera that can take full
advantage of the unique CinemaScope look of anamorphic lenses.
Further enhancing the lm-like quality of D-21 images is the camera’s rotating
mirror shutter, which functions exactly as it does on 35 mm ARRI lm cameras. This
method of progressive image capture results in the most lm-like motion portrayal
possible.
The D-21 PL mount. Inside,
the sensor is visible on the
left, and the half closed
mirror shutter is visible
on the right.
The ARRIFLEX D-21 is the only digital high-end camera that can
make full use of anamorphic lenses for the CinemaScope format.
The image, as recorded by the D-21
with an anamorphic lens.
A simple 2:1 stretch and slight crop of the sides
in post results in a CinemaScope format image.
FOR AN AUTHENTIC CINEMATIC LOOK
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