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.

HD RECORDER

 

STORAGE MEDIA

POST INGEST

Each HD-SDI stream contains

Both

streams are

For off-line editing, only

1920 x 720 (2.66:1) pixels of

stored

interleaved

one stream is used to save

image content in the 1920 x

on one tape or data

bandwidth.

1080 HD image.

 

magazine.

 

 

 

 

 

 

For image recombining,

Any HD

recorder

capable

 

 

both streams can be in-

of recording in dual stream

 

 

gested either in parallel or

mode can capture MscopeTM

 

 

one after another.

images.

Examples:

SONY

 

 

 

SRW-1, S.two DFR2K, Codex

Digital.

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 first 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 film-out.

Image is split into two HD-

Each stream contains half the

SDI streams, one contain-

lines, thus presents an un-

ing the even, the other the

squeezed image (circles are

odd lines.

circles) for on set previewing.

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 workflow. 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 film-out for theatrical distribution.

An added benefit 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.

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ARRI ARRIFLEX D-21 HD manual CinemaScope in Standard HD, 21 / D-21 HD

ARRIFLEX D-21 HD specifications

The ARRI ARRIFLEX D-21 HD is a distinguished digital cinematography camera that has made remarkable strides in the film industry since its introduction. Designed for professional filmmakers, it combines traditional film aesthetics with modern digital technology, making it a compelling choice for various cinematic endeavors.

One of the most notable features of the D-21 is its image quality. The camera is equipped with a Super 35mm-sized sensor, which is pivotal in achieving the characteristic depth of field and wide field of view synonymous with 35mm film. This sensor allows filmmakers to exploit the rich visual language that has been a hallmark of high-end cinema for decades.

To ensure maximum flexibility and integration in post-production, the D-21 captures images in a high-definition format with a resolution of up to 1920 x 1080 pixels. This resolution provides filmmakers with the ability to work with detailed and vibrant footage, making it suitable for various distribution formats, including theatrical releases and broadcasting.

The D-21 is also notable for its superior dynamic range, which extends the capabilities of the camera in capturing details in both highlights and shadows. This feature is particularly beneficial for filmmakers working in challenging lighting scenarios, as it permits greater creative latitude during the shoot and post-processing.

In terms of technology, the D-21 incorporates several advanced features. One such feature is its unique color processing system, which allows for precise control over color grading. Filmmakers can capture the scene with accurate color reproduction, thus minimizing the amount of post-production color correction required.

Moreover, the camera supports a modular design, enabling customization to fit various shooting styles and requirements. This includes interchangeable lenses, allowing filmmakers to utilize different focal lengths and depths of field without restriction.

The ergonomic design of the D-21 makes it user-friendly, accommodating the needs of professional crews during long shooting days. It is compatible with a range of accessories such as matte boxes, follow focus systems, and wireless monitoring solutions.

Overall, the ARRI ARRIFLEX D-21 HD stands as a bridge between traditional film and the digital future. Its combination of superb image quality, advanced technology, and a user-centric design cements its position as a preferred choice for many cinematographers striving for visual excellence in their storytelling.