ARRI ARRIFLEX D-21 - Manual

10 A Film Sized Sensor & Film Lenses for a Film Look Depth of field is the one of the most powerful creative tools available to cinema-tographers, 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 y...

13 ARRI | ARRIFLEX D-21 Mikael Salomon, ASC - Director of The Company and The Andromeda Strain “I'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 professio...

14 n 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...

15 ARRI | ARRIFLEX D-21 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 allows ...

16 A True ARRI Camera The D-21 is a true ARRI camera; it runs silently and has the same robust construc-tion 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 acce...

18 Sean Bobbitt, BSC - Cinematographer on The Butcher’s Shop “The fact that you can work in log space and use LUTs to see the image on monitors on set is fantastic. It gives the director such confidence” “I’ve been shooting digital RAW with stills photography for some time and have recognised the cl...

19 ARRI | ARRIFLEX D-21 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...

21 ARRI | ARRIFLEX D-21 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.” Frank Küpper - Cinematographer on Afrika, Mon Amour “No grain, instant availability of full resolution images and a 35 mm look.” P...

22 Technical Data Camera Type 35 format digital film style camera with optical viewfinder. Frame Rate 20 - 60 fps forward in HD Mode (16:9), 20 - 30 fps forward in Data Mode (16:9), 20 - 25 fps forward in Data Mode (4:3), all speeds crystal and can be set with 0.001 fps precision. Does not run in re...