IndiesHD

01. What is so special about the D-21?
The most noticeable difference between the D-21 and any other digital or HD camera is the picture quality it produces. The D-21 is renowned for a cinematic look that comes very close to 35mm film in terms of sharpness, colorimetry, exposure latitude and depth of field. This is because the D-21’s sensor is the same size and shape as an open gate 35mm film frame.

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02. Why is the optical viewfinder so important?
Because it helps your operator to work more creatively and more efficiently; the direct look-through from viewfinder to lens creates a crisp, bright image with zero electronic delay. Since the image in the viewfinder is much larger than that being recorded, the operator has absolute compositional control and can prevent unwanted objects from entering the frame, therebyminimising costly retakes.

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03. Who is using the D-21 and for what kind of productions?
The D-21 has been used for numerous movies, commercials and TV productions across the globe. Many prominent producers, directors and cinematographers have become loyal proponents of the D-21 over the last few years. To see a list of D-21 production credits please go to PRODUCTION CREDITS; to read about the experiences of those who have shot with the camera, please visit the NEWS & VIEWS section.

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04. What impact could the D-21 make on my schedule?
Talented and well prepared crews can easily get through more than 20 setups per day on a D-21 shoot, so even in the worst case it should not be much different to shooting on film or HD. In our experience, large-scale TV productions routinely achieve over 25 setups per day with the D-21.

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05. What impact could the D-21 make on my budget?
Though it is ARRI’s flagship model and a premium product, the D-21 is actually more affordable than you might think. Since the look of images generated by the D-21 is nearer to 35mm film than conventional HD, it is to film that the D-21 must be compared. This being the case, the stock and processing costs of shooting on film play an important part in evaluating the cost-effectiveness of the D-21. In general, if a production can afford Super 16 then it can afford the D-21, though exact costs will depend on the shooting ratio and other factors. Of course, a detailed quotation for any particular project can be obtained from your usual camera rental company.

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06. What kind of a cinematographer do I need?
The D-21 is known as the film-style digital camera, designed by a company that has been making professional film cameras for over 90 years; any cinematographer with 35mm film experience should be able to create great looking pictures with it. Ergonomically, the D-21 will be familiar to anybody who has shot with a modern ARRI film camera. In contrast to the numerous pages of camera settings that typically comprise the menu structures of other HD cameras, the D-21 features a single menu page, making it far more intuitive and film-like. The D-21 credit list shows the names of cinematographers that have used the camera and its predecessor, the D-20.

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07. Do I need a bigger crew?
An experienced film crew will have no problems getting to grips with the camera system as it is straightforward to set up and operate, and has been designed with filmmakers in mind. As with all equipment, it is advisable for the crew to perform thorough preparations before shooting. It is not usually necessary to supplement the camera crew with a digital technician, unless your production has unusual complexity, but the best thing would be to discuss requirements with your cinematographer.

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08. Do I need a video village?
This is entirely up to you, your director and your cinematographer; some productions use minimal monitoring on-set and work in the same way as they would on a film shoot, while others opt for an elaborate monitoring setup. It is straightforward to get a range of outputs from the D-21, allowing many different monitoring needs to be met. Due to extremely sophisticated in-camera processing, the D-21 produces stunning pictures instantly in full colour and resolution for the benefit of those who want to see the full results while shooting.

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09. What are the D-21 workflow options?
Thanks to the unique flexibility of the D-21 you can choose between a wide variety of workflow options to suit your production needs and budget. The HD output can be either 4:2:2 or full RGB 4:4:4 and set to either ‘linear’ or ‘log’ modes. Alternatively, uncompressed raw sensor data can be outputted from the camera in Data Mode. A range of recording devices can be used for either HD or Data Mode output. Moreover, the D-21 offers an option to shoot full resolution anamorphic (2.40:1), using conventional anamorphic lenses, in either Mscope (HD-based) or Data Mode. To find the optimal recording and workflow solution for your production, please consult your cinematographer, camera rental company and postproduction/DI facility.

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10. Should I worry about make-up, costume and set design?
Commonly voiced concerns about the “hyper” clarity of HD revealing and mercilessly emphasising performers’ skin imperfections and the artifice of make-up and costume are unfounded when it comes to the D-21. No more or less care and attention to detail should be applied on a D-21 shoot than is required on a film set. The natural and forgiving look of the sensor, combined with film lenses and film-like depth of field, make the camera an excellent choice particularly for highly demanding period or costume-heavy productions.

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