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ARRI D-21 User's Manual

1. Lens motors plug directly into the FEM 2 portion of the D 21 and D 21 HD which can also accommodate the Universal Radio Module URM 3 for wireless lens and camera remote control ARRI ARRIFLEX D 21 D 21 HD ARRIFLEX EDS i ETT ur 200M FOCUS S i LL FA FL LT CHAN _ a gt lt LLI S R H a co lt 17 The Company Photo Jan Thijs Turner Broadcasting 2006 Pictures TV The Company Photo Sony Pictures TV And romeda Strai Y are e Ic Camera Operator cen i z Ea er with Jon Joffin Cinematographer right lt Photo A amp E Diyah Perag ARRI ARRIFLEX D 21 D 21 HD Mikael Salomon ASC Director of he Company and he Andromeda Strain l 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 circum stances I ve had questions from industry professionals asking how much was digital and how much was shot on film Great surprise when they learn that it was all digital except 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 syste
2. used in the D 21 and D 21 HD on its electronic backplane ANSI Super 35 Silent camera aperture The right bottom area shows the aspect ratio 1 33 1 sensor frame that also holds the pro dimensions 24 90 mm x 18 70 mm 0 980 x 0 7362 tective glass and the low pass filter The rotating reflex mirror shutter The mirror portion can be seen to the left and to the right the variable shutter blade is visible h P a r restricting the open shutter angle to 11 29 1 ir Sk mr a im c om Mscope A New and Unique Output Format A new and unique feature of both D 21 and D 21 HD is the patented Mscope 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 ana morphic look and associate it with the emotional impact of big screen movies The sheer width and clarity of the format its shallow depth of field the way it handles out of focus backgrounds and flares all of these have been burned into the subconscious of cinema goers for over half a century Both D 21 and D 21 HD are uniquely positioned to allow the use of anamorphic lenses through their 4 3 format sensor which captures the whole image projected by anamorphic lenses Most other digital cameras with their 16 9 sensors are less than ideal for anamorphic lenses the M
3. ARRIFLEX D 21 D 21 HD ARRI The Film Style Digital Cameras x fr a a lt 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 As the top of the line digital cameras from ARRI the market leader in professional imaging they are equipped with a number of unique features an optical viewfinder the Mscope M anamorphic output a 4 3 format sensor simple operation and an unequalled film like image quality In addition the D 21 is the only camera capable of simultaneously outputting raw data and HD The bright optical viewfinder has zero delay works without power and shows an image area outside the primary image Through ARRI Imaging Technology AIT both cameras produces brilliant images with a cinematic look and feel a high dynamic range high contrast and the most film like motion and color reproduction of any digital motion picture camera The cameras single Super 3b sized CMOS sensor exhibits the same cinematic depth of field as 35 mm film The industry standard PL lens mount accepts the same vast variety of prime zoom and specialty film lenses used on 35 mm film cameras Since both cameras are
4. Viale Edison 318 20099 Sesto San Giovanni Milano Italy General Manager Antonio Cazzaniga acazzaniga arri it Tel 39 02 262 271 75 Fax 39 02 242 1692 ARRI Italia S r l Sales amp 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 amp Service East Coast 617 Route 303 Blauvelt NY 10913 1109 USA Vice President J rgen Schwinzer jschwinzer arri com Tel 41 845 353 1400 Fax 1 845 425 1250 ARRI Inc Sales amp Service West Coast 600 North Victory Blvd Burbank CA 91502 1639 USA Vice President Bill Russell brussell amp arri com Tel 1 818 841 7070 Fax 1 818 848 4028 Canada ARRI Canada Limited Sales amp Service 415 Horner Ave Unit 11 amp 12 Toronto Ontario M8W 4W3 Canada Accounts Manager Camera amp Digital Systems S bastien Laffoux seb arrican com Tel 1 416 255 3335 Fax 1 416 255 3399 Asia ARRI Asia Limited 3B 29 F The Centrium 60 Wyndham Street Central Hong Kong General Manager Paul Ivan pivan arriasia hk Tel 852 2571 6288 Fax 852 2875 9181 Australia ARRI Australia PTY Limited Unit 6C 5 Talavera Road Macquarie Park NSW 2113 Sydney Australia General Manager Stefan Sedlmeier ssedimeier arri com au Tel 61 2 9855 4308 Fax 61 2 9855 4301 This ARRIFLEX D 21 product brochure K5 70447 0 is published by Arn
5. are possible Note that throughout the whole process the image always stays uncompressed at the highest quality 15 RE A True ARRI Camera 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 The extensive range of available accessories allows the D 21 and D 21 HD to be configured for any style of shooting A studio setup 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 and D 21 HD 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 cameras minimizing the number of boxes attached The cameras modular system architecture allows upgrading when advances in sensor electronics or firmware technology become available thus ensuring a long product cycle for the camera
6. lenses compatible with spherical and anamorphic lenses F d A A T M tne o B Compatibility with 35 Format Film Accessories and Support Equipment ARRI matte boxes follow focus wireless remote control von dollies cranes Steadicam etc B A True ARRI Camera silent running simple operation robust construction ergonomic design variable speed and shutter angle exposure compensated speed ramps ARRI Imaging Technology 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 The smart orchestration of all these proprietary components is ARRI Imaging Technol ogy 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 filmmakers AIT provides super sharp alias free images through over sampling a finely tuned optical low pass filter and advanced image reconstruction algorithms AIT also ensures that crews c
7. 6 24 25 29 97 30 PsF 1920 x 1080 4 2 2 YCbCr 10 bit 48 50 59 94 60PsF Mscope dual link HD SDI SMPTE 372M 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 PsF 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 6 29 97p 30p Body only 8 6 kg 19 0 Ibs Body and viewfinder 10 9 kg 24 0 Ibs 23 760 x 13 365 mm 0 9354 x 0 5262 in HD Mode 23 760 x 17 820 mm 0 9354 x 0 7016 in Mscope HD Mode HD SDI SMPTE 292M 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 29 97 30 PsF HD Mode Dual link HD SDI SMPTE 372M 1920 x 1080 4 4 4 RGB 10 bit 23 976 24 25 29 97 30 PsF available with software packet 1 16 Mscope dual link HD SDI SMPTE 372M 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 PsF Body only 8 5 kg 18 8 Ibs Body and viewfinder 10 8 kg 23 8 Ibs 23 Germany Arnold amp Richter Cine Technik Headquarters Sales amp Service TurkenstraBe 89 D 80799 Munich Germany Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 Great Britain ARRI GB Limited Sales amp Service 2 Highbridge Oxford Road Uxbridge Middlesex UB8 1L X 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 Sales amp Service Milan
8. Inc Aass 21 Common Technical Data Lens mount Display Shutter Viewfinder Video assist Recording Common connections Power Power consumption Sound Dimensions Accessories Misc All data subject to change without notice 22 ARRIFLEX D 21 D 21 HD 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 amp mirror rotation NORM PS CCU control LOCK MODE SEL and SET Video menu over composite video output for control of operational parameters Output mode standard frame rates white balance and color matrix signal output range contrast characteristic and sensitivity Spinning electronically adjustable reflex mirror shutter Adjustable to 11 2 22 5 30 45 60 75 90 105 120 135 144 150 172 8 and 180 Optical reflex viewfinder with interchangeable ground glass Spherical or universal adjustable to spherical or anamorphic viewfinders available Viewfinders are adjustable in two axes with automatic or manual image compensation laterally extendable for left eye operation and show illuminated frame lines ARRIGLOW adjustable in brightness Optional medium or long finder extender including magnifier Optional heated eyecup SD monitoring PAL NTSC video downscaled from captured image with composite video
9. an concentrate on the creative aspects of making images by automating many of the technical aspects The D 21 and D 21 HD have 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 analyzed each second in real time as the camera is running Through AIT the D 21 and D 21 HD produce 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 LOW PASS FILTER SENSOR AIT ARRI IMAGING TECHNOLOGY IMAGE PROCESSING HARDWARE SOFTWARE IMAGING ENGINE fn oz lt Ll 2 Eis O Lid lt uv TECHNOLOGY aa h dil TIT i Tnys v ALLET i M E li AE mm Quis The cameras CMOS sensor was specifically designed and developed for use in ARRI high end digital motion P picture cameras E TX 410 T ys A number of powerful FPGAs Field Programmable Gate Arrays constitute the imaging hardware engine inside the D 21 a
10. ate Aperture Signal output Weig ht without lens ARRIFLEX D 21 ARRI ARRIFLEX D 21 D 21 HD ARRIFLEX D 21 HD Ww m a Oc a 35 format digital film style camera with an optical viewfinder 2x dual link HD SDI out Mode Setting Camera fps HD422 16 9 1 60 HD Mode HD444 16 9 1 30 Mscope Mscope HD422 4 3 1 25 ARRIRAW 16 9 1 30 Data Mode ARRIRAW 4 3 1 25 Frame rates other than the standard HD video frame rates of 23 976 PsF 24 PsF 2b PsF 29 97 PsF 30 PsF 48 PsF 50 PsF 59 94 PsF and 60 PsF can be achieved with a recorder that can interpret the Variframe Flag All frame rates are crystal controlled and can be set with 0 001 fps precision 35 format film style HD camera with an optical viewfinder 1x dual link HD SDI out Mode Setting Camera fps HD422 16 9 1 30 HD Mode HD444 16 9 1 30 Mscope Mscope HD422 4 3 1 25 Frame rates other than the standard HD video frame rates of 23 976 PsF 24 PsF 25 PsF 29 97 PsF and 30 PsF can be achieved with a recorder that can interpret the Variframe Flag Exposure compensated speed ramps are supported by the electronic mirror shutter 23 760 x 13 365 mm 0 9354 x 0 5262 in HD Mode 23 760 x 17 820 mm 0 9354 x 0 7016 max in Data Mode amp Mscope HD Mode HD SDI SMPTE 292M 1920 x 1080 4 2 2 YCbCr 10 bit 23 976 24 25 29 97 30 PsF HD Mode dual link HD SDI SMPTE 372M 1920 x 1080 4 4 4 RGB 10 bit 23 97
11. ed source signal formats to T LINK be sent through two BNC cables affectionately known as Link A and Link B One of those source signal formats is the RGBA format RGBA stands for red green and blue plus an Data recorders that can alpha channel technically called 4 4 4 4 R G B A 10 bit The ARRIRAW T Link works by mapping the record and play back the 12 bit raw Bayer data into this RGBA data stream so that it can be transported via a dual link HD SDI ARRIRAW T Link signal connection can be certified by ARRI Any recorder that is capable of recording a SMPTE 372M compliant RGBA signal and playing it back without compression or further encoding can record this signal If the signal is recorded by a data re corder the additional option of a live preview exists The data recorder can extract the original D 21 raw Bayer data out of the RGBA data stream and use a real time image reconstruction algorithm to display the 4 3 image as a 1440 x 1080 preview HD image If anamorphic lenses are used on the D 21 a suitably de sgueezed image can be displayed on an HD monitor A similar but more refined process is used in postproduction The original raw Bayer data is extracted from the RGBA stream and advanced image reconstruction algorithms are used to reconstruct a pristine image in HD 2K or 2 8K Doing this in post has the added advantage that it does not have to be done in real time so a significantly better image quality and greater flexibility
12. ee 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 image is delayed The D 21 and D 21 HD 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 or a Film Look 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 Having a wide range of lenses available is of immense importance as it gives cinematographers the greatest flexibility in expressing their vision The 35 film format enjoys the widest variety of prime zoom and specialty lenses available for any format and the D 21 and D 21 HD are compatible with all those lenses thanks to their industry standard PL lens mount Since the D 21 and the D 21 HD are the only high end digital cameras with a 4 3 aspect ratio like 35 mm film they are als
13. 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 2x BNC Cables DataRecorder Dual Link HD SDI Stream Postproduction File Formatting i Real Time Non Real Time Image Processing Image Processing Recorder File Recorder File Format Unpacking Format Unpacking RGBA Transport RGBA Transport Stream Extraction Stream Extraction Image Image Reconstruction Reconstruction D 21 Raw Bayer Data mapped HD Preview Image RGB Image into RGBA Transport Stream ARRI ARRIFLEX D 21 D 21 HD Different Productions Require Different Outputs Different projects have different production requirements budgets and distribu tion 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 Both the D 21 and the D 21 HD are capable of generating the Mscope signal as well as a number of HD signals HD output options include Linear or Loga rithmic output 4 2 2 YCbCr or 4 4 4 RGB Normal or Extended Range as well as an optional fiber optic link These output formats are well established standards that integrated the ca
14. l standard HD workflow In Mscope a regular anamorphic lens is used on the D 21 or D 21 HD The camera divides the resulting 4 3 image into two HD streams the A stream contains the even lines of the original frame while the B stream contains the POST INGEST For off line editing only one stream is used to save bandwidth For image recombining both streams can be in gested either in parallel or one after another odd lines These streams are recorded on any HD recorder capable of recording dual HD SDI streams In postproduction the two streams are recombined to produce a high resolution Mscope M HD image From then on the project can be treated as a 35mm anamorphic feature right up to HD distribution or laser film out for theatrical distribution An added benefit of the process is how easy it is to monitor an undistorted image of the proper aspect ratio on set Though the ana morphic lens creates a sgueezed image each of the two HD streams contains only half the lines of that image so a monitor displaying either the A or B link will show a picture of the correct proportions The quality of this picture is more than adequate for assessing perfor mance exposure and focus furthermore either stream can be used immediately for off line editing RECOMBINING After ingest the two streams are recombined and rendered in postproduc tion resulting in the same FURTHER POST Images are de squeezed cropped and sca
15. led to the desired delivery resolution for example HD Letterbox or anamorphically squeezed anamorphic film out 1920 x 1440 1 33 1 HD im age that was present in the camera The first company to sup port Mscope is Quantel with the Quantel iQ FilmOut The Mscope process divides the anamorphically squeezed image into two HD streams Since each stream consists of half the image lines the image is automatically stretched and thus an undistorted HD image can be previewed on the set and used for off line editing ARRIFLEX D 21 e RGBA Transport Stream Mapping D 21 Raw Bayer Data 14 D 21 Only Data Mode Main Features B Best Image Ouality 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 S Pat 5 335 013 o 3 ur Tr B CinemaScope 7818422 anamorphic lenses can be used JE 2 l SF MH 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 E Greatest Flexibility in Post finer detail and crisper edges higher resolution works better for compositing familiar workflow 2K output
16. m As tell them the best recommendation is that l m using it again The Company from left to right Michael Zimbrich 1st AD Ben Nott Cinematographer Michael Carella A Cam OP Michael Salomon Director V Photo Jan Thijs O Turner Broadcasting 2006 19 Prisoners of the Sun Cinerffarsgrapher Ed Wild 1 WU si E k SU x Pr Frank Kupper Cinematographer on Afrika Mon Amour No grain instant availability of full resolution images and a 35 mm look Afrika Mon Amour Cinematographer Frank Kupper framing a detail shot Photos O Andreas Berkl 20 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 d REPE Michael Coulter BSC Cinematographer on he Bank Job After using the ARRI digital camera on The Bank Job was very pleased with the end result 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 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 Photos American Broadcasting Companies
17. meras seamlessly into the existing HD infrastructure Additionally the D 21 is capable of generating a raw data signal that can be output concurrently with the HD signal The uncompressed 12 bit raw Bayer data from the D 21 s 4 3 sensor is thus 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 process ing of the ARRIRAW recordings are as easy to grade as those scanned from film because they have the same pixel raster and colorimetry as film scans N 2 O _ an O an O LL ead AX Lid mal LL One of the obstacles that has held back the use of raw data in the past has been the problem of how to get data easily from the camera to a recorder ARRI engineers have found a way to utilize a standard dual link HD SDI connection to transport the raw D 21 Bayer data This transport method is called AR RIRAW T Link Transport Link It allows any recorder capable of recording an uncompressed dual link HD SDI stream to record raw D 21 Bayer data greatly simplifying the raw data workflow for manufac ARRI CERTIFIED FOR turers 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 ARRIRAW bit D 21 raw Bayer data SMPTE 372M also defines a number of standardiz
18. nd D 21 HD They are a crucial component of ARRI Imaging Technology Aa a Se ha hl CILR amp hhhh hb bh blbl hh LR bh Ahhh TIN 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 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 O Sony Pictures TV ARRI ARRIFLEX D 21 D 21 HD The Optical Viewfinder 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 This direct light path free of any electronic image processing ensures fatigue fr
19. nd HD output modes B Modular Architecture ARRIFLEX D 21 HD sensor electronics and firmware can be upgraded the film style digital camera for HD productions Secure investment 1 30 fps maximum fps range long product cycle Mscope and HD output modes E Cinematic Image Quality ARRI Imaging Technology for a cinematic look rotating mirror shutter for film like motion portrayal single Super 35 sized 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 ARRIFLEX B Flexible Output Option 1 33 1 format sensor supports all image formats including anamorphic 2 40 1 simultaneous data and HD outputs D 21 Mscope anamorphic images with standard HD workflow Data Mode 4 3 ARRIRAW uncompressed data for film like data workflow D 21 Data Mode ARRIRAW T Link connects camera to data recorders D 21 HD mode 16 9 uncompressed HD output HD Mode linear or logarithmic 4 2 2 YCbCr or 4 4 4 RGB normal or extended range fibre optic option allows cable length of up to 500 m 1 600 ARRI ARRIFLEX D 21 D 21HD EEEE Bl Optical Viewfinder zero delay outside image area bright full color image works without power fatigue free viewing B industry Standard PL Mount use 35 format film lenses unegualled variety of prime zoom and specialty
20. o the only digital cameras that can take full advantage of the unique CinemaScope look of anamorphic lenses Further enhancing the film like quality of the images is the rotating mirror shutter which functions exactly as it does on 35 mm ARRI film cameras This method of progressive image capture results in the most film like motion portrayal possible The ARRIFLEX D 21 and D 21 HD are the only digital high end cameras that can make full use of anamorphic lenses for the CinemaScope format The image as recorded by the D 21 A simple 2 1 stretch and slight crop of the sides with an anamorphic lens in post results in a CinemaScope format image 10 x O O f lt Ll Q ns 2 kld mn lt 2 lt ec O LL The PL lens mount Inside the sensor is visible on the left and the half closed mirror shutter is visible on the right O BEER HALE eT ERE E TE 4 CR wdi CZ x 17 EGS SNS c CARER C XIII O 6 HL Oi sa H mien siv TP RANA AX aha ts TE S iy Y e gz U i Cat vw v WM te some eer Or e O A e o t o up p SS gt Oe Typical 2 3 video camera sensor aspect ratio 1 78 1 dimensions 9 40 mm x 5 30 mm 0 370 x 0 209 es ce eee D 21 sensor active pixel area aspect ratio 1 33 1 The left upper area shows the sensor dimensions 23 76 mm x 17 82 mm 0 9354 x 0 7016
21. old amp Richter Cine Technik September 01 2008 O ARRI 2008 Technical data and offerings are subject to change without notice All rights reserved Without any warranty Not binding 09 2008 ARRI is a registered trademark of Arnold amp Richter Cine Technik GmbH amp Co Betriebs KG Arnold amp Richter Cine Technik GmbH amp Co Betriebs KG Turkenstrasse 89 D 80799 Munich phone 49 0 89 3809 O fax 49 0 89 3809 1245 www arri com
22. or S Video outputs HD recording devices supporting HD SDI SMPTE 292M or dual link HD SDI SMPTE 372M signals for HD Mode operation Optional on board HD recording using solid state memory recorder Flash Mag 2x composite video out CVBS 1x S Video out Y C 1x power in BAT 1x 12 V accessory power out Fisher 11 pin 1x 24 V accessory power out RS 1x lens data display LDD 2x lens control system bus LCS 1x accessory interface ACC 1x camera control unit CCU 1 each focus iris zoom for lens motors 24V DC acceptable voltage range 20 5 to 36 V DC 2 1 A 24 fps 1 9 A in Standby Less than 20 dB A 24 fps Length 39 cm 15 35 Width viewfinder left 27 cm 10 83 Height with handle 30 cm 11 81 Height without handle 23 cm 9 06 Accepts the whole range of ARRI matte boxes 15 or 19 mm rods follow focus and ARRI electronic accessories Lens Data System LDS Wireless Remote System WRS Wireless Remote Control WRC 2 Iris Control Unit for speed iris ramps ICU 1 Remote On Off Switch RS 4 External Synchronization Unit ESU 1 Specifically for ARRIFLEX D 21 D 21 HD Low mode support set for Steadicam operation or underslung use and top mounting of accessories without bridge plate Flash Mag Mounting Adapter FMA 1 Fibre Unit and Fibre Remote for an optical link to the recorder Extra attachment points for rigging Divergent Technical Data Camera type HD SDI connections Frame r
23. scope frames contain approximately 80 more scanning lines than equivalent 2 40 1 scope images derived from ordinary 16 9 HD The anamorphically squeezed image as it After post production the image has been downscaled and cropped to cover a 2 40 1 area appears on the D 21 or D 21 HD 4 3 sensor 1920 x 800 pixels for HD distribution or 1728 x 1440 for ARRILASER film recording 2880 x 2160 pixels 12 ARRI ARRIFLEX D 21 D 21 HD D 21 D 21 HD Anamorphic lens squeezes the image by a factor of 2 circles become ovals Camera sensor creates a 2880 x 2160 pixel 1 33 1 Bayer raster image Image is reconstructed and downscaled to a 1920 x 1440 1 33 1 HD image Image is split into two HD SDI streams one contain ing the even the other the odd lines HD RECORDER Each HD SDI stream contains 1920 x 720 2 66 1 pixels of image content in the 1920 x 1080 HD image Any HD recorder capable of recording in dual stream mode can capture Mscope images Examples SONY SRW 1 S two DFR2K Codex Digital Each stream contains half the lines thus presents an un squeezed image circles are circles for on set previewing 7 720 1080 STORAGE MEDIA Both streams are stored interleaved on one tape or data magazine 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 format which utilizes a more economica
24. the only digital high end cameras with a 4 3 aspect ratio sensor they easily accommodate all im age formats including anamorphic 2 40 1 The anamorphic image can be recorded in the new and innovative Mscope mode utilizing a standard HD workflow or on the D 21 also in Data Mode Further film style features include variable frame rates from 1 to 60 fps D 21 1 30 fps D 21 HD exposure compensated speed ramps compat ibility with ARRI film style accessories simple to use controls and the robust construction and ergonomic design for which ARRI cameras are famous The ARRIRAW format enables the D 21 to output raw uncompressed data Alternatively both D 21 and D 21 HD can output an uncompressed HD signal that works perfectly in the established HD infrastructure With such flexibility both ARRIFLEX D 21 and D 21 HD easily adapt to a variety of production reguirements and budgets ARRIFLEX D 21 ARRI ARRIFLEX D 21 D 21 HD mmm 2 OHI yy L M P m Vv W A a S a S IH Dy D ZOOM F CUS i Ii PA T m p Main Features B Two Models B 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 Mscope a

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