ARRI ARRIFLEX D-21 HD User manual

The Film Style Digital Cameras
ARRIFLEX D-21 / D-21 HD

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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 im-
age 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, compat-
ibility 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

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Main Features
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 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'
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 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

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ARRI | ARRIFLEX D-21 / D-21 HD
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 Optical Viewnder
· zero delay
· outside image area
· bright, full color image
· works without power
· fatigue-free viewing
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

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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 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 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.
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.
STATE OF THE ART TECHNOLOGY

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ARRI | ARRIFLEX D-21 / D-21 HD
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.
The cameras’ CMOS sensor was
specically designed and developed
for use in ARRI high-end digital motion
picture cameras.

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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

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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.
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.
A CLEAR VIEW

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

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ARRI | ARRIFLEX D-21 / D-21 HD
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 pro-
tective glass and the low pass lter.
Typical 2/3" video camera sensor
aspect ratio: 1.78:1
dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.209"
ANSI Super 35 Silent camera aperture
aspect ratio 1.33:1
dimensions: 24.90 mm x 18.70 mm / 0.980" x 0.7362"
D-21 sensor active pixel area
aspect ratio: 1.33:1
dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016”
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.

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MscopeTM – A New and Unique Output Format
A new and unique feature of both D-21 and D-21 HD is the patented MscopeTM
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 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 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.
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
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 ana-
morphic 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 perfor-
mance, 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.
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 MscopeTM
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.
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 in-
gested either in parallel or
one after another.
RECOMBINING
After ingest, the two
streams are recombined
and rendered in postproduc-
tion, resulting in the same
anamorphically squeezed
1920 x 1440 (1.33:1) HD im-
age that was present in the
camera.
The rst company to sup-
port 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.
2x HD-SDI 4:2:2 2x HD-SDI 4:2:2

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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
D-21 Only: Data Mode Main Features
ARRIFLEX D-21 2x BNC Cables
Dual Link HD-SDI Stream
D-21 Raw Bayer Data mapped
into RGBA Transport Stream
HD Preview Image RGB Image
D-21 Raw Bayer Data
DataRecorder
Real-Time
Image Processing
Non-Real-Time
Image Processing
Postproduction
RGBA Transport
Stream Mapping File Formatting
Recorder File
Format Unpacking
Recorder File
Format Unpacking
RGBA Transport
Stream Extraction
RGBA Transport
Stream Extraction
Image
Reconstruction
Image
Reconstruction
D-21 Raw
Bayer Data
D-21 Raw
Bayer Data
D-21 Raw
Bayer Data
Recorder
File Format
RGBA Format RGBA Format

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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 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 Loga-
rithmic 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.
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 process-
ing 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 "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 workow for manufac-
turers 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 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-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.
FLEXIBLE OUTPUT OPTIONS
Data recorders that can
record and play back the
ARRIRAW T-Link signal
can be certied by ARRI.

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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

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ARRI | ARRIFLEX D-21 / D-21 HD

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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
The Company; Photo: Jan Thijs © Turner Broadcasting 2006
The Company; Photo: © Sony Pictures TV The Company; Photo: © Sony Pictures TV

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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.”
“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
FROM THE FIELD

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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.”
Frank Küpper - Cinematographer
on Afrika, Mon Amour
“No grain, instant availability of full
resolution images and a 35 mm look.”
Prisoners of the Sun; Photo © Miromar Entertainment AG
Prisoners of the Sun; Cinematographer Ed Wild
Afrika Mon Amour;
Camera equipped with
“workhorse” ARRI Master Zoom
Afrika Mon Amour;
Cinematographer Frank Küpper framing a detail shot,
Photos: © Andreas Berkl