21 QUESTIONS ABOUT THE D-21

21 QUESTIONS ABOUT THE D-21

21 QUESTIONS ABOUT THE D-21

The ARRIFLEX D-21 film style digital camera is the successor to the D-20 and represents the significant progress ARRI has made in the field of digital image acquisition. Whilst the sensor and camera body of the D-20 have been retained, major hardware and software improvements, as well as greatly expanded versatility of functions and workflows, make the D-21 well suited to a wide range of applications. As a manufacturer of both film and digital motion picture cameras, ARRI is able to offer the right tools for any type of production through its global rental network. The design and development of the D-21 has benefited from ARRIs unrivalled knowledge of film camera technology and the result is the most film-like digital camera available today. Cinematographers and camera crews accustomed to working with Super 16 and 35mm film cameras adapt easily to the D-21, and the camera fits readily into established production processes. The D-21 can be used for feature films, high quality TV drama, visual effects sequences, commercials and music videos. Decisions regarding whether to use it, and how to use it, are inextricably linked to the entire workflow of a production and involve many variables. This booklet attempts to pose and answer the questions most commonly asked by producers, directors and technicians considering the ARRIFLEX D-21 for a forthcoming project.

HOW IS THE D-21 DIFFERENT FROM OTHER DIGITAL CAMERAS?

The ARRIFLEX D-21 belongs to a different category of camera; it is much more than just another HD model because it is designed to share as many features of an ARRI 35mm film camera as possible the same optical viewfinder, the same lenses and the same accessories. It uses a single CMOS sensor, which is the size (24 x 18mm) and shape (4:3) of a 35mm film frame, and incorporates a spinning mirror shutter that replicates 35mm motion capture better than any other digital camera. Unlike some single-sensor HD cameras, the D-21 does not make image resolution claims that ignore the significant effect of its Bayer colour filter array; the sensor has a native pixel count of 2880 x 2160, resulting in true 2K or HD alias-free effective resolution, after image processing.

ARRICAM Studio 35mm Camera

ARRIFLEX D-21

HOW AFFORDABLE IS THE D-21?

The D-21 is a premium product, with features in common with the finest 35mm film cameras. 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, equipment package and other factors. Of course, a detailed quotation for any particular project and advice on suitable camera equipment can be obtained from your usual contact at ARRI Media.

The D-21 at work on location

21 QUESTIONS ABOUT THE D-21

DOES THE D-21 USE ANY COMPRESSION AND WHAT ARE THE RECORDING OPTIONS?
In HD Mode the D-21 outputs uncompressed signals with full 16:9 resolution (1920 x 1080 pixels), and in addition full-height 4:3 video assist PAL or NTSC SD signals. The HD output can be either 4:2:2 (via single cable) or full RGB 4:4:4 (via dual cables or fibre) and set to either linear or logarithmic contrast characteristic. Signals can be recorded uncompressed using the Flashmag (10 minutes in 4:4:4 or 15 minutes in 4:2:2), mildly compressed with a Sony SRW-1 HDCAM SR portable VTR (with a maximum recording time of 50 minutes per cassette in standard mode) or on another HD format (such as HDCAM). Additionally, raw data can be provided from the camera in Data Mode for uncompressed recording on an S.two DFR system.

On ITVs Law & Order: UK, the D-21 was used with the on-board Flashmag

WHICH RECORDING FORMAT SHOULD I CHOOSE FOR A FEATURE FILM, TV DRAMA OR COMMERCIAL?
The decision on which format to use for any particular production will be bound up with the practicalities of the shoot and the workflow through post-production. Log HD Mode (either log C or log F) is likely to benefit a production destined for cinema screens because its advantages come to the fore in a DI environment, where technicians are used to dealing with log files generated by film scanners. Full RGB 4:4:4 is also likely to be beneficial for feature films or effects-heavy TV productions (including blue or greenscreen shots). The D-21 uniquely offers the option to shoot in full resolution anamorphic (2.40:1) using conventional anamorphic lenses, in either the Mscope HD-based workflow or Data Mode.

HOW DOES RAW DATA SHOOTING WORK IN PRACTICE AND WHAT ARE ITS PROS AND CONS COMPARED WITH HD?
The D-21 is (uniquely) capable of working in either HD Mode or Data Mode, or even both at once if appropriate. Using the D-21 in Data Mode to generate raw data can be beneficial when maximum flexibility of the recorded image is required in post-production. Just as in digital stills photography, professionals will find that there are advantages to recording raw data when it comes to digitally manipulating images subsequent to capturing them. Handling raw data in post has similarities to the film workflow. Recorded raw data needs to be processed before it can be viewed as a production quality image. However, the S.two DFR recorder also offers a live processed HD preview of the recorded material, suitable for viewing on set and for offline editing. Subsequent production quality data processing (which may be undertaken using the ARRI software package) offers the ability to output images in different sizes, characteristics and colour profiles which can then be handled using the familiar tools in a DI workflow. In general, Data Mode will offer the highest quality images for feature film or commercial shooting, though it requires careful data management, whilst HD Mode will be suited to most TV production requirements.

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CAN D-21 IMAGES BE SUCCESSFULLY INTER-CUT WITH 35MM OR S16 FILM?

Many productions have successfully combined D-21 material with 35mm film footage in situations where very high frame rates or exceptionally compact cameras are required. The D-21s 35mm format-based design features mean its images will cut far more readily with 35mm than Super 16 film material. For optimal integration, the D-21 should be set to 4:4:4 RGB HD or Data Mode recording and the 35mm film scanned at 2K resolution on an ARRISCAN.

IS PRODUCTION EFFICIENCY OR THE NUMBER OF SETUPS PER DAY AFFECTED?

Shooting with the D-21 is not inherently slower than shooting on 35mm film, though different cinematographers and directors prefer to work with HD in different ways; some like to spend significant time studying a large HD monitor in controlled conditions on set, while others use the D-21 more like a film camera and naturally shoot faster. A good crew will adapt to the D-21 quickly and have no difficulties in working at a demanding pace.

An operator with the D-21 on a studio set

21 QUESTIONS ABOUT THE D-21

ARE THERE ANY SPECIAL ENVIRONMENTAL CONSIDERATIONS HEAT, DUST, RAIN, ETC. TO WORRY ABOUT?
The D-21 (and its predecessor the D-20) have been used in a variety of extreme climatic conditions, from the heat of an African desert (on Afrika Mon Amour, 2007) to the humidity of jungles (on The Company, 2007 and Crusoe, 2008). In humid conditions a special drying bottle can be used overnight to avoid condensation problems. In terms of weather protection the D-21 should be treated with sensible care, in much the same way as a modern 35mm film camera.

The D-21 enduring humid conditions in South Africa on NBCs miniseries Crusoe

HOW DOES THE D-21 SENSOR INFLUENCE THE IMAGE COLOURIMETRY AND DEPTH OF FIELD?
The D-21 depth of field is almost indistinguishable from that of 35mm film. This gives cinematographers and directors the same opportunities to use depth of field as a creative tool and represents a huge advantage over the all-in-focus look of 2/3 HD cameras. In combination with ARRI Imaging Technology the D-21 produces a very pleasing look, with beautiful skin tones and the most film-like image of any digital camera.

D-21 depth of field (left) as compared to that of a 2/3 HD camera (right) with matching lens angles and f-stop

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WHAT ARE THE SENSITIVITY OPTIONS AND EXPOSURE LATITUDE?

The D-21 delivers striking images with rich colour, refined highlight handling and very fine textures. It can be set to the equivalent of 100, 200, 250, 320, 400, 500, 640 or 800 ISO equivalent for linear HD recording and can be digitally balanced for daylight or tungsten lighting; as with film, the granularity or noise in the image increases with the ISO rating. The D-21 comfortably provides 10 stops of exposure latitude in HD Mode, capturing detail in both highlight and shadow areas, with slightly greater latitude in Data Mode.

WHAT FRAME RATE OPTIONS DO I HAVE?

The D-21 can run at frame rates between 1 and 60 fps in full resolution, allowing a degree of slow motion shooting, though the range of usable speeds depends on the recording device. With the Sony SRW-1 recorder speeds can be selected between 1 and 60 fps in 4:2:2 mode, and between 1 and 30 fps in 4:4:4 mode. The Flashmag can record in either 4:2:2 or 4:4:4 at up to 30 fps, which is also the maximum frame rate when recording in Data Mode. Speed ramps are possible with both the SRW-1 (using the fibre connection option) and the S.two DFR.

HOW DO CREW ROLES COMPARE TO SHOOTING ON FILM?

The D-21 uses standard ARRI accessories and can be operated much like a 35mm camera

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. The D-21 shares many features and accessories with ARRI film cameras, and has a more simple and logical menu structure than most HD cameras. As with all equipment, it is advisable for the crew to perform thorough preparations before shooting and ARRI Media technicians are readily available to guide and support them through the process. It is not usually necessary to supplement the camera crew with a specialist digital technician, although a crew member with relevant HD experience will often facilitate shooting.

21 QUESTIONS ABOUT THE D-21

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WHY IS THE OPTICAL VIEWFINDER SO IMPORTANT?

While all other HD cameras use electronic viewfinders, the D-21 is equipped with the same type of optical viewfinder as ARRI film cameras, with a range of ground glass designs available. The full-colour viewfinder image is bright and crystal clear, making precise focussing easier, and shows an area larger than that being recorded, without any time delay or electronic image processing; it is possible to see the image prior to powering the camera. For camera operators, this means greater comfort and the same accurate, responsive camerawork that is possible on film. For producers, it means a better-equipped, happier crew and fewer wasted takes.

The D-21 viewfinder shows an image area larger than that being recorded

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ARE THERE ANY SOUND-RELATED ISSUES?

The camera is completely silent in operation, and has no fan to produce distracting noise on the set. The Flashmag recording unit is also reasonably quiet, and while tape and disk recorders do have fans, they can either be turned off in situations demanding absolute quiet or the recorder placed at a distance from the set. All recording systems offer the option to record guide-track (or full quality) audio along with the images, in sync and ready for editing.

RHI Entertainment

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WHICH LENSES CAN BE USED AND HOW ABOUT ANAMORPHIC?

Any 35mm format PL mount lens can be fitted directly onto the D-21, with no back focus issues; if necessary, lenses can be shared between the D-21 and ARRI film cameras. The unique size and shape of the D-21 sensor means conventional 2:1 squeeze anamorphic lenses can be used without any loss of quality, either in Data Mode for recording to a disk system or in Mscope for recording to HDCAM SR. Anamorphic lenses utilise more of the area of the sensor than spherical lenses, so true anamorphic shooting offers increased resolution, just as with 35mm film.

The D-21s 4:3 sensor is perfect for capturing an anamorphically squeezed image (above) which can be scaled to cover a 2.40:1 widescreen area (below)

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DOES THE D-21 WORK WELL FOR GREEN/BLUESCREEN SHOOTING?

The D-21 produces grain-free, rock-steady images with sharp and natural edges, without requiring electronic enhancement vital factors when pulling mattes for compositing. With the options of shooting in Data Mode or full RGB HD 4:4:4 to either tape or disk, the D-21 is an extremely useful tool for effects shots, even on mainly film-originated productions.

The D-21 is well suited to productions involving a lot of visual effects

Stuttgart Media University (HdM)

21 QUESTIONS ABOUT THE D-21

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CAN I SHOOT HANDHELD OR ON A STEADICAM RIG?

Whilst not lightweight, the D-21 can be shoulder-operated with an ARRI shoulder set. Being the size and weight of a typical 35mm film camera it can be handled in a similar manner, with power supplied by a standard 24V battery belt. The optional on-board Flashmag is the ideal recording unit for handheld or Steadicam shooting and the standard definition output from the camera is available to feed the Steadicam monitor.

The D-21 in use, mounted on a Steadicam

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WHAT KIND OF VIDEO ASSIST SYSTEM CAN I USE?

Video assist recordings can be set up in much the same way as on a film shoot. A standard definition signal can be fed directly from the camera (4:3 PAL or NTSC), or a down-converted signal from the recorder can be used to feed any conventional SD tape or disk-based playback system. For more demanding productions, parallel HD recording is possible and provides HD video assist viewing. Another option is to fit an ARRI IVS video assist system to the D-21 for applications (such as remote head crane work) where this facility would be of value. When using the S.two DFR system, or the Flashmag, playback is typically provided in full HD direct from the recorder, since there is no risk of over-recording master material.

D-21 productions typically use the same video assist setup as film shoots

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DO I NEED BIG AND HEAVY HD MONITORS ON THE SET?

Due to its optical viewfinder, the D-21 can be operated much like a film camera (with or without video assist), or as an HD camera with whatever HD monitoring is required. The usual camera package includes a sophisticated 6-inch Astro HD LCD picture and waveform monitor, which is useful for verifying picture quality and signal levels during the shoot. Additional monitors are typically high quality HD LCD displays, which are lighter and less costly than large CRT monitors (though CRT types are also available in a range of sizes). When shooting in log HD Mode it is often convenient to have a corrected image for viewing on set, which may be achieved through a suitable lookup table (LUT) applied in the recorder or in a monitor such as a Cine-tal unit.

HD LCD displays on a D-21 set

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SHOULD I WORRY ABOUT MAKE-UP, COSTUME AND SET DESIGN?

Commonly voiced concerns about the clarity of HD revealing 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 35mm 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 for period or costume-heavy productions.

The natural look of D-21 images is ideal for make-up and costume heavy productions, such as Sky1s Colour of Magic

RHI Entertainment

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ARE THERE ANY SPECIAL CONSIDERATIONS AFFECTING OFFLINE, GRADING OR POST-PRODUCTION?

D-21 rushes can be fed into a conventional SD offline system via a down-converted output from the SRW-1 or disk recorder. In some instances, productions combine digital cloning of rushes with down-conversion immediately after shooting. Increasingly, offline editing is taking place using HD systems, which allow finer judgement of image quality during editing. Post-production in 4:2:2 can be carried out in any HD-capable edit/grading suite, whereas for more demanding full RGB treatment at the 4:4:4 level, the post environment will need to accept a dual HD-SDI signal. In the case of feature films it is advisable to put D-21 material through a 2K DI pipeline, just as with film-originated material.

Whether you are producing for TV (which is fast becoming HDTV) or cinema, for the domestic or international audience, the D-21 will give you outstanding screen value. It delivers a highly-desired distinctive look of the highest quality at a reasonable price level. ARRI is a global provider of innovative products and services for cinema, advertising and television productions. For more information about the company and its product range visit www.arri.com. The ARRI Rental network includes ARRI companies in the UK, Germany, and the USA, with partners in France, Japan, South Africa, South Korea and other locations. For current information on the D-21 visit: www.arri.com/d-21 and/or www.arrid21.com

United Kingdom ARRI Media Andrew Prior aprior@arrimedia.com Tel: +44 1895 457100 www.arrimedia.com

Germany ARRI Rental Munich Andreas Berkl aberkl@arri.de Tel: +49 89 3809 1303 www.arri.com

USA ARRI CSC Andreas Weeber aweeber@cameraservice.com Tel: +1 212 757 0906 www.cameraservice.com