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ARRIFLEX D-21 The Film Style Digital Camera
The ARRIFLEX D-21 combines leading edge digital technology with film camera features that have been refined over ARRI’s 90-year history. It allows 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.
Through ARRI Imaging Technology (AIT), the D-21 produces brilliant images with a cinematic look and feel. D-21 images have a high dynamic range, high contrast and the most film-like color reproduction of any digital motion picture camera.
Incorporating a rotating mirror shutter, optical viewfinder and compatibility with 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 spherical lenses as used on 35 mm film 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 uncompressed data. Alternatively – or simultaneously – the camera can output an uncompressed HD signal that works perfectly in the established HD infrastructure. With such flexibility, the D-21 easily adapts to a variety of production requirements and budgets.
ARRIFLEX D-21 Main Features
Optical Viewfinder
- zero delay
- outside image area
- bright, full color image
- works without power
- fatigue-free viewing
ARRI Imaging Technology (AIT)
- custom designed CMOS sensor
- powerful imaging hardware engine
- unique ARRI image processing software
- carefully tuned system integration
Cinematic Image Quality
- ARRI Imaging Technology for a cinematic look
- rotating mirror shutter for film-like motion portrayal
- single, Super 35 size sensor for 35 format depth of field
- highest dynamic range of any digital motion picture camera
- super sharp, alias-free images
- extended color space for natural, film-like color reproduction
- consistent matching between cameras
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)
Compatibility with 35 Format Film Accessories and Support Equipment
- ARRI matte boxes, follow focus, wireless remote control
- dollies, cranes, Steadicam, etc.
A True ARRI Camera
- silent running
- simple operation
- robust construction
- ergonomic design
- variable speed and shutter angle
Flexible Output Options
- simultaneous data and HD outputs possible
- Data Mode: 4x3 ARRIRAW uncompressed data for film-like 2K workflow
- Data Mode: ARRIRAW T-Link
- 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'
Modular Architecture
- sensor, electronics and firmware can be upgraded
- secure investment
- long product cycle
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 finely tuned optical low pass filter, 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 dialogue with professional filmmakers. AIT provides super sharp, alias-free images through over sampling, finely tuned optical low pass filter and advanced image reconstruction algorithms.
Image processing advances incorporated into the D-21 include increased sensitivity, 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, an automated black balancing circuit (Correlated Double Sampling - CDS), which continuously calibrates the black level of each pixel in each frame without any user intervention. 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 field in every frame (for a staggering total of 2.5 billion pixels per 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 film-like color reproduction of any digital motion picture camera.
The Optical Viewfinder
While most digital cameras use electronic viewfinders, the D-21 is equipped with the same optical viewfinder as all other ARRI cameras. Thus the D-21 viewfinder 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, magnified full color image in the viewfinder. This direct light path, free of any electronic image processing, ensures fatigue-free viewing 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 images is delayed.
The D-21 optical viewfinder can be freely rotated, extended or flipped to the other camera side for comfortable viewing in any camera position An extension viewfinder, eyepiece leveler and a heated eyepiece are useful accessories in many shooting situations.
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.
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 safety area permits meticulous composition and helps the operator prevent unwanted objects (such as a boom or microphone) from entering a shot.
A Film Sized Sensor & Film Lenses for a Film Look
make full use of anamorphic lenses for the CinemaScope format.）現在我們看的電影其實長寬比要遠大於16:9，成為anamorphic畫幅 也叫Panavision畫幅，這種畫幅最早被美國潘娜維申發明並推廣，成為業界標準，甚至這家公司也因此畫幅而命名Panavision）
The image, as recorded by the D-21 A simple 2:1 stretch in post results in a CinemaScope format image.
with an anamorphic lens.
Alternatively, or even concurrently, the D-21 can work in Data Mode, whereby the uncompressed, 12 bit raw Bayer data from the D-21's 4x3 sensor is available in full resolution. The ARRIRAW T-link (Transport Link) is a method of transporting the ARRIRAW data over a standard dual link HD-SDI connection. The data files which result from processing of the ARRIRAW recordings are as easy to grade as those scanned from film, because a special color conversion matrix and LUTs (lookup tables) in post create the same pixel raster and colorimetry as film scans.
D-21 Data Mode Main Features
Best Image Quality
- records 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 reconstruction in post
- 2880 x 2160 (4:3) at 24 and 25 fps, 2880 x 1620 (16:9) at 30 fps
CinemaScope
- full use of anamorphic lenses
Greatest Flexibility on the Set
- ARRIRAW T-Link: transport ARRIRAW via dual link HD-SDI
- simultaneous data and HD output for HD video monitoring and offline editing
- ingest converted data files from data recorder to NLE
Greatest Flexibility in Post
- finer detail and crisper edges
- higher resolution better for compositing
- familiar workflow: 2K 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
A True ARRI Camera
The D-21 is a true ARRI camera; it runs silently and has the same robust construction and ergonomic design ARRI cameras are famous for. Its controls are also simple and straightforward for fast and safe operation.
The D-21 is also compatible with a broad selection of film accessories. Mounted on a standard sliding baseplate, the D-21 shares matte box, support rod and follow focus options with the ARRI 35 mm film cameras.
The extensive range of available accessories allows the D-21 to be configured for any style of shooting. A studio etup might involve a production matte box and follow focus, extension eyepiece 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 into the D-21, minimizing the number of boxes attached to the camera.
The D-21's modular system architecture allows upgrading when advances in sensor, electronics or firmware technology become available, thus ensuring a long product cycle for the camera.
Lens motors plug directly into the FEM-2 portion of the D-21, which can also accommodate the Universal Radio Module URM-3 for wireless lens and camera remote control.
