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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

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.

__________________________________________________________________________________________

The new 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 on the market today.

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 4×3 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.

In addition, the ARRIFLEX D-21 is the only digital high-end camera that can make full use of anamorphic lenses for the CinemaScope® format.

ARRIFLEX D-21 Main Features:
The ARRIFLEX D-21 is a film style digital camera that combines the immediacy of digital cameras with high-end film style functionality, handling and creative options. Its bright optical viewfinder has no delay, works without power and shows an additional image area outside the primary image. Based on innovative ARRI Imaging Technology (AIT), the D-21 produces outstanding images with a cinematic look and film-like motion and color reproduction. Through its single, Super 35-sized CMOS sensor, the D-21 accepts the unequalled variety of prime, zoom and specialty film lenses used on 35 mm film cameras. It has the same cinematic depth of field as 35 mm film and is capable of using anamorphic lenses for the CineScope® format.

• ARRIRAW T-Link
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 new transport method is called “ARRIRAW 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 manufacturers and users alike.

The properties of the dual link HD-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).

• 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.

• 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.

• A Film Sized Sensor & Film Lenses for 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 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 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 4×3 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 35mm ARRI film cameras. This method of progressive image capture results in the most film-like motion portrayal possible. The ARRIFLEX D-21 is the only digital high-end camera that can make full use of anamorphic lenses for the CinemaScope® format.

• Flexible Output Options
Different projects have different production requirements, budgets and distribution channels; the equipment chosen has to be flexible enough to accommodate those differences. The unique construction of the ARRIFLEX D-21 allows various output signals to be generated, accommodating diverse production needs and pipelines.

In HD Mode, HD output options include ‘Linear’ or Logarithmic output, 4:2:2 YPbPr or 4:4:4 RGB, Normal or Extended Range, as well as frame rates of up to 60 fps and an optional fiber optic link. HD Mode allows the D-21 to deliver its unique images into the existing HD infrastructure. 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 4×3 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 (look-up 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® Format
* 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 off-line 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

ARRI D21 Signal Output Specifications:

HD Mode – HD-SDI (SMPTE 292M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30PsF
HD Mode – dual 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

• 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 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 hand-held 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.