ARRI ARRIFLEX D-21 HD User Manual

ARRIFLEX D-21 / D-21 HD

The Film Style Digital Cameras

2

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 lm camera features that have been rened over ARRI’s 90-year history.
They allow 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.

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 viewnder, the MscopeTM anamorphic output, a 4:3 format sensor,
simple operation and an unequalled lm-like image quality. In addition, the
D-21 is the only camera capable of simultaneously outputting raw data and HD.

The bright optical viewnder 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 lm-like
motion and color reproduction of any digital motion picture camera.

The cameras’ single, Super 35-sized CMOS sensor exhibits the same
cinematic depth of eld as 35 mm lm. The industry standard PL lens mount
accepts the same vast variety of prime, zoom and specialty lm lenses used
on 35 mm lm cameras. Since both cameras are the only digital high-end
cameras with a 4:3 aspect ratio sensor, they easily accommodate all im­age formats, including anamorphic 2.40:1. The anamorphic image can be
recorded in the new and innovative MscopeTM mode, utilizing a standard HD
workow, or, on the D-21, also in Data Mode.

Further lm style features include variable frame rates from 1 to 60 fps
(D-21)/1-30 fps (D-21 HD), exposure compensated speed ramps, compat­ibility with ARRI lm 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 exibility, both ARRIFLEX D-21 and D-21 HD easily adapt to a variety of
production requirements and budgets.

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ARRI | ARRIFLEX D-21 / D-21 HD

4

Main Features

n Two Models

ARRIFLEX D-21

· the most versatile lm style digital camera for all applications

· 1 - 60 fps maximum fps range

· raw data, MscopeTM and HD output modes

ARRIFLEX D-21 HD

· the lm style digital camera for HD productions

· 1 - 30 fps maximum fps range

· MscopeTM and HD output modes

n Cinematic Image Quality

· ARRI Imaging Technology for a cinematic look

· rotating mirror shutter for lm-like motion portrayal

· single, Super 35 sized 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 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

n 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 workow

· Data Mode: 4:3 ARRIRAW
uncompressed data for lm-like data workow (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

· bre optic option allows cable length of up to 500 m/1,600'

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ARRI | ARRIFLEX D-21 / D-21 HD

n Optical Viewnder

· zero delay

· outside image area

· bright, full color image

· works without power

· fatigue-free viewing

n Industry Standard PL Mount

· use 35 format lm lenses

· unequalled variety of prime, zoom and specialty lenses

· compatible with spherical and anamorphic lenses

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

· exposure compensated speed ramps

6

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 lter, 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 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 lmmakers. AIT provides super sharp, alias-free images through
over sampling, a nely tuned optical low pass lter and advanced image reconstruction
algorithms.

AIT also ensures that crews can 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 eld in every frame (for a staggering
total of 2.5 billion pixels analyzed each second) in real-time as the camera is running.

STAT E O F T H E A R T

TECHNOLOGY

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 lm-like color
reproduction of any digital motion picture camera.

7

ARRI | ARRIFLEX D-21 / D-21 HD

The cameras’ CMOS sensor was
specically designed and developed
for use in ARRI high-end digital motion
picture cameras.

A number of powerful FPGAs (Field Programmable
Gate Arrays) constitute the imaging hardware engine
inside the D-21 and D-21 HD. They are a crucial
component of ARRI Imaging Technology.

8

An optical viewnder 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 viewnder 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: © Sony Pictures TV

9

ARRI | ARRIFLEX D-21 / D-21 HD

The Optical Viewnder

While most digital cameras use electronic viewnders, the D-21 and D-21 HD
are equipped with the same optical viewnder as all other ARRI cameras. Thus
the cameras’ viewnder 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, magnied full color image in the viewnder. 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 viewnder image is delayed.

A CLEAR VIEW

The D-21 and D-21 HD optical viewnder can be freely rotated, extended or
ipped to the other camera side for comfortable viewing in any camera position.
An extension viewnder, eyepiece leveler and a heated eyepiece are useful
accessories in many shooting situations.

10

A Film Sized Sensor & Film Lenses for a Film Look

Depth of eld is the one of the most powerful creative tools available to
cinematographers, 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 and D-21 HD’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 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 lm, they are also the only digital cameras that can take full
advantage of the unique CinemaScope look of anamorphic lenses.

Further enhancing the lm-like quality of the images is the 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 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
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

The PL lens mount.
Inside, the sensor is visible on
the left, and the half closed
mirror shutter is visible on
the right.

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ARRI | ARRIFLEX D-21 / D-21 HD

Typical 2/3" video camera sensor
aspect ratio: 1.78:1
dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.209"

D-21 sensor active pixel area
aspect ratio: 1.33:1
dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016”

ANSI Super 35 Silent camera aperture
aspect ratio 1.33:1
dimensions: 24.90 mm x 18.70 mm / 0.980" x 0.7362"

The rotating reex mirror shutter.
The mirror portion can be seen to the left, and to
the right the variable shutter blade is visible, here
restricting the open shutter angle to 11.2º.

The left upper area shows the sensor
used in the D-21 and D-21 HD on its
electronic backplane.
The right bottom area shows the
sensor frame that also holds the pro­tective glass and the low pass lter.

12

MscopeTM – 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 rst time the use of anamorphic lenses with the
economy of HD acquisition.

Filmmakers and audiences alike have grown up with the uniquely cinematic ana­morphic look and associate it with the emotional impact of big-screen movies. The
sheer width and clarity of the format, its shallow depth of eld, the way it handles out
of focus backgrounds and ares, 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 MscopeTM frames contain approximately 80% more
scanning lines than equivalent 2.40:1 scope images derived from ordinary 16:9 HD.

TM

TRUE ANAMORPHIC IN HD

The anamorphically squeezed image as it
appears on the D-21 or D-21 HD 4:3 sensor
(2880 x 2160 pixels)

After post production the image has been downscaled and cropped to cover a 2.40:1 area
(1920 x 800 pixels for HD distribution or 1728 x 1440 for ARRILASER lm recording)

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ARRI | ARRIFLEX D-21 / D-21 HD

2x HD-SDI 4:2:2 2x HD-SDI 4:2:2

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 HD­SDI streams, one contain­ing 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 MscopeTM
images. Examples: SONY
SRW-1, S.two DFR2K, Codex
Digital.

Each stream contains half the
lines, thus presents an un­squeezed image (circles are
circles) for on set previewing.

STORAGE MEDIA

Both streams are
stored interleaved
on one tape or data
magazine.

POST INGEST

For off-line editing, only
one stream is used to save
bandwidth.

For image recombining,
both streams can be in­gested either in parallel or
one after another.

RECOMBINING

After ingest, the two
streams are recombined
and rendered in postproduc­tion, resulting in the same
anamorphically squeezed
1920 x 1440 (1.33:1) HD im­age that was present in the
camera.

The rst company to sup­port MscopeTM is Quantel
with the Quantel iQ.

FURTHER POST

Images are de-squeezed,
cropped and scaled to the
desired delivery resolution,
for example HD Letterbox or
anamorphic lm-out.

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 MscopeTM format which utilizes
a more economical standard HD workow. In MscopeTM, 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
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 MscopeTM HD image. From
then on the project can be treated as a 35mm anamorphic feature,
right up to HD distribution or laser lm-out for theatrical distribution.

An added benet of the process is how easy it is to monitor an
undistorted image of the proper aspect ratio on set. Though the ana­morphic lens creates a squeezed 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 perfor­mance, exposure and focus; furthermore, either stream can be used
immediately for off-line editing.

The MscopeTM 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.

14

D-21 Only: Data Mode Main Features

n Best Image Quality

- 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

n CinemaScope

- anamorphic lenses can be used

n 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 ofine editing

- ingest converted data les from data recorder to NLE

n Greatest Flexibility in Post

- ner detail and crisper edges

- higher resolution works better for compositing

- familiar workow: 2K output les have the
same resolution and colorimetry as 2K scans from lm

- 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

ARRIFLEX D-21 2x BNC Cables

D-21 Raw

Bayer Data

D-21 Raw Bayer Data

RGBA Transport

Stream Mapping

Dual Link HD-SDI Stream

D-21 Raw Bayer Data mapped

into RGBA Transport Stream

DataRecorder

D-21 Raw

Bayer Data

RGBA Format RGBA Format

File Formatting

Real-Time

Image Processing

Recorder File

Format Unpacking

RGBA Transport

Stream Extraction

Image

Reconstruction

HD Preview Image RGB Image

D-21 Raw

Bayer Data

Recorder

File Format

Postproduction

Non-Real-Time

Image Processing

Recorder File

Format Unpacking

RGBA Transport

Stream Extraction

Image

Reconstruction

15

ARRI | ARRIFLEX D-21 / D-21 HD

Different Productions Require Different Outputs

Different projects have different production requirements, budgets and distribu­tion channels; the equipment chosen has to be exible 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 Loga­rithmic output, 4:2:2 YCbCr or 4:4:4 RGB, Normal or Extended Range, as well as
an optional ber optic link. These output formats are well established standards
that integrated the cameras seamlessly into the existing HD infrastructure.

FLEXIBLE OUTPUT OPTIONS

Data recorders that can
record and play back the
ARRIRAW T-Link signal
can be certied by ARRI.

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 les which result from process­ing of the ARRIRAW recordings are as easy to grade as those scanned from lm
because they have the same pixel raster and colorimetry as lm scans.

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 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 workow for manufac­turers and users alike. The properties of the dual link HS-SDI connection are dened in SMPTE 372M.
The standard species 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 denes a number of standardized source signal formats to
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
alpha channel, technically called 4:4:4:4 (R'G'B'+A)/10 bit. The ARRIRAW T-Link works by mapping the
12 bit raw Bayer data into this RGBA data stream, so that it can be transported via a dual link HD-SDI
connection.

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 re­corder, 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-squeezed" image can be displayed on an HD monitor.

A similar but more rened 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 signicantly better image quality and greater exibility are possible. Note that
throughout the whole process, the image always stays uncompressed, at the highest quality.

16

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 lm accessories. Mounted
on a standard sliding baseplate, they share matte box, support rod and follow focus
options with the ARRI 35 mm lm cameras.

The extensive range of available accessories allows the D-21 and D-21 HD to be
congured 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 rmware 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
and D-21 HD, which can also accommodate the Universal Radio
Module URM-3 for wireless lens and camera remote control.

A COMPLETE SYSTEM

17

ARRI | ARRIFLEX D-21 / D-21 HD

18

The Company; Photo: Jan Thijs © Turner Broadcasting 2006

The Company; Photo: © Sony Pictures TV The Company; Photo: © Sony Pictures TV

Optical viewnders are 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 viewnder 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 mic) from entering a shot.

The Andromeda Strain;

Marty McNally, A Camera Operator (center)

with Jon Jofn, Cinematographer (right)

Photo: © A&E/Diyah Pera

19

ARRI | ARRIFLEX D-21 / D-21 HD

Mikael Salomon, ASC ­Director of The Company and The Andromeda Strain

“I'm very pleased with the nal 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 lm. Great surprise when they learn that it was

all digital except for a few slo-mo shots - the lm 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.”

FROM THE FIELD

“I've been elding calls from DP's interested in using the ARRI digital camera

system. As I tell them, the best recommendation is that I'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)

Photo: Jan Thijs © Turner Broadcasting 2006

20

Prisoners of the Sun; Cinematographer Ed Wild

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 lm lenses.”

Prisoners of the Sun; Photo © Miromar Entertainment AG

Frank Küpper - Cinematographer
on Afrika, Mon Amour

“No grain, instant availability of full

resolution images and a 35 mm look.”

Afrika Mon Amour;

Cinematographer Frank Küpper framing a detail shot,

Photos: © Andreas Berkl

Afrika Mon Amour;

Camera equipped with

“workhorse” ARRI Master Zoom

21

ARRI | ARRIFLEX D-21 / D-21 HD

Jason Statham stars in THE BANK JOB. Photo: © Jack English

FROM THE FIELD

Before and after compositing:
the nal scene with visual effects and Seattle background footage.

Michael Coulter, BSC - Cinematographer on The Bank Job

“After using the ARRI digital camera on The Bank Job, I was very pleased with

the end result. I 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.”

Sam Nicholson - Cinematographer and

VFX Supervisor on VFX scenes for Grey's Anatomy

Photos: © American Broadcasting Companies, Inc.

22

Common Technical Data

ARRIFLEX D-21 / D-21 HD

Lens mount

Display

Shutter

Viewnder

Video assist

Recording

Common connections

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 & 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 reex mirror shutter.

Adjustable to 11.2°, 22.5°, 30°, 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°, 150°, 172.8° and 180°

Optical reex viewnder with interchangeable ground glass.

Spherical or universal (adjustable to spherical or anamorphic) viewnders available. Viewnders 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 nder extender including magnier. Optional heated eyecup.

SD monitoring (PAL/NTSC video downscaled from captured image) with composite video 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.

Power

Power consumption

Sound

Dimensions

Accessories

Misc.

All data subject to change without notice.

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 (viewnder 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).

Specically 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

23

ARRI | ARRIFLEX D-21 / D-21 HD

Divergent Technical Data

ARRIFLEX D-21 ARRIFLEX D-21 HD

Camera type

HD-SDI connections

Frame rate

Aperture

35 format digital lm style camera with an optical viewnder 35 format lm style HD camera with an optical viewnder

2x dual link HD-SDI out 1x dual link HD-SDI out

Mode Setting Camera fps Mode Setting Camera fps

HD Mode

TM

Mscope

Data Mode

Frame rates other than the standard HD video frame rates of 23.976 PsF,

24 PsF, 25 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.

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 & Mscope

HD Mode – HD-SDI (SMPTE 292M):

- 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30 PsF

HD422 (16:9) 1 - 60

HD444 (16:9) 1 - 30 HD444 (16:9) 1 - 30

MscopeTM HD422 (4:3) 1 - 25

ARRIRAW (16:9) 1 - 30

ARRIRAW (4:3) 1 - 25

HD Mode

Mscope

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.

23.760 x 13.365 mm/0.9354” x 0.5262” in HD Mode

TM

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

TM

HD422 (16:9) 1 - 30

MscopeTM HD422 (4:3) 1 - 25

TM

Signal output

Weight (without lens)

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

- 1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF

MscopeTM – 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 @ 29.97p, 30p

Body only: 8.6 kg/19.0 lbs

Body and viewnder: 10.9 kg/24.0 lbs

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

MscopeTM – 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 lbs

Body and viewnder: 10.8 kg/23.8 lbs

Germany

Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: [phone], Fax: [phone]

Great Britain

ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain
Imaging Equipment Sales: Allan Fyfe, [e-mail]
Tel: [phone], Fax: [phone]

Italy

ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga, [e-mail]
Tel: [phone], Fax: [phone]

ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00040 Morena (Roma), Italy
Camera Sales: Mauro Sembroni, [e-mail]
Tel: [phone], Fax: [phone]

USA

ARRI Inc. (Sales & Service, East Coast)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer, jschwinzer @arri.com
Tel: [phone], Fax: [phone]

ARRI Inc. (Sales & Service, West Coast)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell, [e-mail]
Tel: [phone], Fax: [phone]

Canada

ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux, [e-mail]
Tel: [phone], Fax: [phone]

Asia

ARRI Asia Limited
3B, 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan, [e-mail]
Tel: [phone], Fax: [phone]

Australia

ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier, [e-mail]
Tel: [phone], Fax: [phone]

This ARRI FLEX D -21 product b rochur e (K5.70447.0) is pub lished by A rnold & Ri chter Cin e Technik, Se ptember 01, 20 08 © ARRI /2008

Technical da ta and of ferings a re subjec t to change without n otice. A ll rights r eser ved. With out any warr anty. Not bi nding 09 /2008 . ARRI is a re gister ed tradem ark of Ar nold & Rich ter Cine Techni k GmbH & Co. Be triebs KG.

Arnold & Richte r Cine Technik GmbH & Co. Betrieb s KG · Türkenstrasse 8 9 · D- 80799 Munich · phone [phone] · fa x [phone] · www.arri.com