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| From Motor Home Gear Head |
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| From Motor Home Gear Head |
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| From Motor Home Gear Head |
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| From Motor Home Gear Head |
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| From Motor Home Gear Head |
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| From Motor Home Gear Head |
2 months ago
Monday, 21 September 2009
Motor Home
Friday, 19 September 2008
Techniques of film making
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| From Camera Equipment : Camera |
When discussing shots, the idea of choice is key when considering the filming of any action simple or complex, conventional or unconventional.
http://cameratechniques.blogspot.com
Filmmaking Techniques
A senior-year Darwin High School video production project that demonstrates a variety of camera techniques including shots, angles, framing, movement, focus, white balance, composition, lighting and other experiments, as well as editing effects including animation, blue/green screen, keying, colour adjusting, cloning, slow-motion, image effects, transitions and sound editing.
Edited with Adobe Premiere Pro.
Filmed on a Canon MV800i MiniDV Handycam.
Songs are 'Clocks' and 'Speed of Sound' respectively by Coldplay.
Edited with Adobe Premiere Pro.
Filmed on a Canon MV800i MiniDV Handycam.
Songs are 'Clocks' and 'Speed of Sound' respectively by Coldplay.
Offhollywood RED Shoot - Behind The Scenes
Offhollywood shot some "camera tests" with their new Red digital cinema cameras (#0006 and #0007) over labor day weekend 2007. Watch us burn some rubber.
Sony Cinealta F23, il cinema รจ digitale
http://www.tuttodigitale.it
La nuova cinepresa digitale di Sony offre un'ampia latitudine di posa ed una gestione del gamma di tipo avanzato. Leggete il test completo su Alta Definizione Cinema & TV HD, in edicola ad ottobre
La nuova cinepresa digitale di Sony offre un'ampia latitudine di posa ed una gestione del gamma di tipo avanzato. Leggete il test completo su Alta Definizione Cinema & TV HD, in edicola ad ottobre
Sony F23 On The Rocks
New Sony add for an SLR camera shows a $200,000 F23 camera falling into space and crashing on the rocks below.
High Definition Camera : ARRIFLEX D-21 : Present
Hello P'Aum,
This is the invitation mail for the ARRI D-21 Seminar.
It is on 19th September @ Swissotel. Registration at 18.00 - 19.00
I hope I can see you and your collegues at that time.
Any questions, pls contact me or K.Aom for the reservation kub.
Regards
Teh.
Dear friend,
Cine Equipment Pte Ltd - Cine Group is proud to present
our latest High Definition Camera
ARRIFLEX D-21
in Asia,
You are cordially invited to our Official Launch in Bangkok
on 19th Sept 2008 (Friday).
Venue : Swissotel Le Concorde Bangkok,
Sarocha (Level III)
Time: 6 pm. – 10 pm.
Cocktail Reception follow by Seminar.
Kindly RSVP by 5th Sept 2008
Ms Tatsanee : tatsanee@cine-equipment.com
Tel : 66-2-9366557 Fax : 66-2-9356044
Admission is Free and by invitation only.
MAP
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SONY F35
Monday, 8 September 2008
And I think to myself what a wonderful world....
Our Shooting Style....
Sky Exits Films Production....
I see trees of green, red roses too
I see them bloom for me and you
And I think to myself what a wonderful world.
I see skies of blue and clouds of white
The bright blessed day, the dark sacred night
And I think to myself what a wonderful world.
The colors of the rainbow so pretty in the sky
Are also on the faces of people going by
I see friends shaking hands saying how do you do
They're really saying I love you.
I hear babies crying, I watch them grow
They'll learn much more than I'll never know
And I think to myself what a wonderful world
Yes I think to myself what a wonderful world.
Sky Exits Films Production....
I see trees of green, red roses too
I see them bloom for me and you
And I think to myself what a wonderful world.
I see skies of blue and clouds of white
The bright blessed day, the dark sacred night
And I think to myself what a wonderful world.
The colors of the rainbow so pretty in the sky
Are also on the faces of people going by
I see friends shaking hands saying how do you do
They're really saying I love you.
I hear babies crying, I watch them grow
They'll learn much more than I'll never know
And I think to myself what a wonderful world
Yes I think to myself what a wonderful world.
Wednesday, 13 August 2008
ARRIFLEX 416
35 Format Features in a Super 16 Camera
Continuous advances in lenses, film stock and postproduction technologies have elevated the Super 16 film format to new levels of image quality and production efficiency. Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries, and with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film - the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and the fact that film is the only globally accepted standard format - at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fast-paced production environments.
In response to market demand, ARRI is offering three new Super 16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on years of camera engineering, market research and focus groups with renowned industry professionals, the ARRIFLEX 416 cameras make features previously only found in high end 35 mm cameras available to Super 16 productions.
All three ARRIFLEX 416s are lightweight, modern Super 16 film cameras, each with a 35-style viewfinder and a mirror shutter that can be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus have an amazingly low sound level similar to that of the ARRICAM. Their speed range is from 1 to 75 fps, while the 416 Plus HS runs from 1 to 150 fps. A completely new lightweight ergonomic design, integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings make the 416 cameras the most powerful, flexible and portable Super 16 cameras ever built.
Detailed information:
Continuous advances in lenses, film stock and postproduction technologies have elevated the Super 16 film format to new levels of image quality and production efficiency. Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries, and with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film - the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and the fact that film is the only globally accepted standard format - at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fast-paced production environments.
In response to market demand, ARRI is offering three new Super 16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on years of camera engineering, market research and focus groups with renowned industry professionals, the ARRIFLEX 416 cameras make features previously only found in high end 35 mm cameras available to Super 16 productions.
All three ARRIFLEX 416s are lightweight, modern Super 16 film cameras, each with a 35-style viewfinder and a mirror shutter that can be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus have an amazingly low sound level similar to that of the ARRICAM. Their speed range is from 1 to 75 fps, while the 416 Plus HS runs from 1 to 150 fps. A completely new lightweight ergonomic design, integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings make the 416 cameras the most powerful, flexible and portable Super 16 cameras ever built.
Detailed information:
ARRIFLEX 416 Plus High Speed - New Model
The Power of 16 Video Clip
ARRIFLEX 416 Models Comparison
Detailed Information
Technical Data
Picture Download Gallery
416 Digitally Speaking
416 Frequently Asked Questions
News Archive:
2007 04 - New 16 mm Fiber Screens
2006 09 - ARRIFLEX 416 and ARRIMAX 18/12 Win cinec Awards
2006 09 - First 416 Productions - including 6 interviews
2006 06 - Interview: First Use of the 416
2006 04 - ARRIFLEX 416 Debuts in Los Angeles at Pre-NAB Event
2006 04 - A So-Called Life: Shooting Duane Hopwood
Product Related Links:
The Beauty of 16 - An Introduction to a Format
Ultra 16 Lenses Product Pages
Tutorial: How Does an Optical Viewfinder Work?
Product Related Downloads (PDF):
ARRIFLEX 416 - product brochure 04/2008
ARRIFLEX 416 - quick guide 04/2007
ARRIFLEX 416 - kurzanleitung 01/2008
ARRIFLEX 416 - manual 01/2007
Ultra 16 Lenses - product brochure 04/2008
The Beauty of 16 - An Introduction to a Format - white paper
ARRIFLEX 416 Plus HS
On the heels of the very successful launch of the ARRIFLEX 416 Plus in 2006, we are now introducing the ARRIFLEX 416 Plus High Speed, offering higher frame rates for slow-motion shots.
In 2006, significant improvements to Super 16 image quality were made through advances in lenses, film stock and post technology. This led to a remarkable renaissance of the Super 16 format and the debut of the ARRIFLEX 416 and 416 Plus cameras.
Since then the interest in and the use of Super 16 has grown with more technological advances, pushing Super 16 even further. New film stocks expand the exposure latitude of film and new Ultra 16 lenses give cinema- tographers a complete set of nine Super 16 prime lenses from 6 to 50 mm. In post, the ARRISCAN will scan an oversampled 3k image for a pristine 2k output, optionally with a wet gate and/or DICE. New de-grain- ing options make the images more palatable for those finicky encoders.
Stunning Results in Super 16
Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only worldwide accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fastpaced production environments.
High Speed “Plus”
Based on strong market demand, we are now introducing the ARRIFLEX 416 Plus HS. This new camera shares most of the features that have made the 416 and 416 Plus so popular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equip- ped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the ARRI Wireless Remote System.
The 416 Plus HS also uses the same magazines as the 416 Plus. Unlike the 16SR series of cameras, which needed different magazines for high speed, the 416 magazines have proven completely up to the high speed task, simplifying equipment management in the rental house and on the set.
In order to increase the frame rate, however, three components of the camera had to be completely re-designed: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, a new motor had to be developed. Specially wound coils provide faster running while not increasing the size of the motor or the vibrations it produces.
At higher frame rates, any vibration created by the camera can re-duce image steadiness, and thus resolution. To ensure a steady image even at higher speeds, the mirror shutter of the 416 Plus had to be completely rethought. While the 416 Plus mirror shutter has already been dynamically balanced, the number of balancing adjustments for the 416 Plus HS mirror shutter was dramatically increased. Many more tiny counterweights allow the ARRI camera assembly department to fine-tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter.
Last but not least the suspension between the 416 inner skeleton and the camera body‘s outer housing had to be made stiffer, again to reduce vibrations for a crisp and sharp image. All these changes combined make the 416 Plus HS the most advanced high speed 16 mm camera available.
Link : http://www.arri.de/entry/news.htm
In 2006, significant improvements to Super 16 image quality were made through advances in lenses, film stock and post technology. This led to a remarkable renaissance of the Super 16 format and the debut of the ARRIFLEX 416 and 416 Plus cameras.
Since then the interest in and the use of Super 16 has grown with more technological advances, pushing Super 16 even further. New film stocks expand the exposure latitude of film and new Ultra 16 lenses give cinema- tographers a complete set of nine Super 16 prime lenses from 6 to 50 mm. In post, the ARRISCAN will scan an oversampled 3k image for a pristine 2k output, optionally with a wet gate and/or DICE. New de-grain- ing options make the images more palatable for those finicky encoders.
Stunning Results in Super 16
Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only worldwide accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fastpaced production environments.
High Speed “Plus”
Based on strong market demand, we are now introducing the ARRIFLEX 416 Plus HS. This new camera shares most of the features that have made the 416 and 416 Plus so popular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equip- ped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the ARRI Wireless Remote System.
The 416 Plus HS also uses the same magazines as the 416 Plus. Unlike the 16SR series of cameras, which needed different magazines for high speed, the 416 magazines have proven completely up to the high speed task, simplifying equipment management in the rental house and on the set.
In order to increase the frame rate, however, three components of the camera had to be completely re-designed: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, a new motor had to be developed. Specially wound coils provide faster running while not increasing the size of the motor or the vibrations it produces.
At higher frame rates, any vibration created by the camera can re-duce image steadiness, and thus resolution. To ensure a steady image even at higher speeds, the mirror shutter of the 416 Plus had to be completely rethought. While the 416 Plus mirror shutter has already been dynamically balanced, the number of balancing adjustments for the 416 Plus HS mirror shutter was dramatically increased. Many more tiny counterweights allow the ARRI camera assembly department to fine-tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter.
Last but not least the suspension between the 416 inner skeleton and the camera body‘s outer housing had to be made stiffer, again to reduce vibrations for a crisp and sharp image. All these changes combined make the 416 Plus HS the most advanced high speed 16 mm camera available.
Link : http://www.arri.de/entry/news.htm
Arriflex D-20 : From Wikipedia, the free encyclopedia
The D-20 uses a single CMOS sensor the width of a Super 35 film gate aperture. Effectively the D-20, when used with current 35 mm PL mount motion picture lenses, yields the same field of view and depth of field as that of Super 35 mm film motion picture cameras.
The D-20 captures images in two main modes.
In Data mode the sensor uses 2880x2160 active pixels generating RAW Bayer-data at 12 bit in a 4:3 aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly 1.85:1, is achieved by cropping from the original image, similar to the cropping necessary when shooting 35 mm film. In Data mode the sensor size also allows for the use of anamorphic lenses, producing the 2.35:1 widescreen aspect ratio from the full sensor height. Captured data is recorded to either flash or hard drives, notably the sTwo data recorder.
In HD Video mode the sensor uses 2880x1620 active pixels to generate an image with a 16:9 aspect ratio. This output is 1920x1080 pixels in either YUV 4:2:2 10 bit (via single link HD-SDI) or RGB 4:4:4 10 bit (via dual link HD-SDI). Typically, the D-20 is tethered to a Sony HDCamSR recorder. Other recording options exist, including the Grass Valley flash mag which provides untethered recording of up to 15 minutes per "mag" in RGB 4:4:4.
The D-20 has a mechanical shutter, variable from 11.2° to 180° or an electronic shutter that simulates a 270° mechanical shutter at 24frame/s. The camera is capable of running at speeds from 1 to 48frame/s, though this shall be improved in the future. Numerous components of the camera were borrowed from Arri film camera models (most notably the 435ES), assuring compatibility with Arri film camera accessories and support equipment.
Though the D-20 system is capable of variable speeds from 1 to 60 frames per second in Data mode, these are currently limited to 23.976 frame/s, 24 frame/s, 25 frame/s, 29.97 frame/s & 30 frame/s in the video mode.
The sensitivity of the D-20 in video mode is regulated by the application of LUTs (Look Up Tables) prior to output. With sensitivity settings ranging from ISO 100 to ISO 320 with linear responses, the D-20 also offers log curve options designed to mimic the response of film negative. Unlike some other digital cameras, the D-20 does not offer gain boost, instead relying on the advantages of adding gain in the post production process. The sensitivity of the camera in Data mode is regulated by applying LUTs in the outboard processing of the image.
The D-20 captures images in two main modes.
In Data mode the sensor uses 2880x2160 active pixels generating RAW Bayer-data at 12 bit in a 4:3 aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly 1.85:1, is achieved by cropping from the original image, similar to the cropping necessary when shooting 35 mm film. In Data mode the sensor size also allows for the use of anamorphic lenses, producing the 2.35:1 widescreen aspect ratio from the full sensor height. Captured data is recorded to either flash or hard drives, notably the sTwo data recorder.
In HD Video mode the sensor uses 2880x1620 active pixels to generate an image with a 16:9 aspect ratio. This output is 1920x1080 pixels in either YUV 4:2:2 10 bit (via single link HD-SDI) or RGB 4:4:4 10 bit (via dual link HD-SDI). Typically, the D-20 is tethered to a Sony HDCamSR recorder. Other recording options exist, including the Grass Valley flash mag which provides untethered recording of up to 15 minutes per "mag" in RGB 4:4:4.
The D-20 has a mechanical shutter, variable from 11.2° to 180° or an electronic shutter that simulates a 270° mechanical shutter at 24frame/s. The camera is capable of running at speeds from 1 to 48frame/s, though this shall be improved in the future. Numerous components of the camera were borrowed from Arri film camera models (most notably the 435ES), assuring compatibility with Arri film camera accessories and support equipment.
Though the D-20 system is capable of variable speeds from 1 to 60 frames per second in Data mode, these are currently limited to 23.976 frame/s, 24 frame/s, 25 frame/s, 29.97 frame/s & 30 frame/s in the video mode.
The sensitivity of the D-20 in video mode is regulated by the application of LUTs (Look Up Tables) prior to output. With sensitivity settings ranging from ISO 100 to ISO 320 with linear responses, the D-20 also offers log curve options designed to mimic the response of film negative. Unlike some other digital cameras, the D-20 does not offer gain boost, instead relying on the advantages of adding gain in the post production process. The sensitivity of the camera in Data mode is regulated by applying LUTs in the outboard processing of the image.
Distinctive Characteristics
Of the currently available high resolution digital motion picture cameras, the Dalsa Origin, the SI 2K and the D-20 feature detachable optical viewfinders. Some advantages of an optical over purely electronic viewing systems include:
extremely high viewfinder resolution, with the option to zoom in on the image to check critical focus
availability of viewing area outside the image capture area, useful for predictive framing
ability to set camera framing without need of a power supply
Additionally, electronic viewing options can be added to the camera. Modifications to the camera filmbay have helped improve previous visual faults. Typically, the 6" Astro combination vector/waveform "onboard" monitor is used to both view and evaluate images for the camera.
Uniquely, the D-20 also accepts a traditional film style video assist system, sharing the image available through the optical viewfinder. This can be useful in Steadicam and remote crane applications where visibility outside the sensor capture area is preferable.
Like Arri film cameras, the D-20 is modularly constructed so that both the mechanical and electronic components are upgradable over time.
Of the currently available high resolution digital motion picture cameras, the Dalsa Origin, the SI 2K and the D-20 feature detachable optical viewfinders. Some advantages of an optical over purely electronic viewing systems include:
extremely high viewfinder resolution, with the option to zoom in on the image to check critical focus
availability of viewing area outside the image capture area, useful for predictive framing
ability to set camera framing without need of a power supply
Additionally, electronic viewing options can be added to the camera. Modifications to the camera filmbay have helped improve previous visual faults. Typically, the 6" Astro combination vector/waveform "onboard" monitor is used to both view and evaluate images for the camera.
Uniquely, the D-20 also accepts a traditional film style video assist system, sharing the image available through the optical viewfinder. This can be useful in Steadicam and remote crane applications where visibility outside the sensor capture area is preferable.
Like Arri film cameras, the D-20 is modularly constructed so that both the mechanical and electronic components are upgradable over time.
Similar Cameras
Other single-chip Super 35 mm film-sized digital motion picture cameras directly in competition with the D-20 include the Panavision Genesis camera, the Dalsa Origin II camera and the Red One camera.
Other single-chip Super 35 mm film-sized digital motion picture cameras directly in competition with the D-20 include the Panavision Genesis camera, the Dalsa Origin II camera and the Red One camera.
External links
Official site
More detailed information can be found on the D-20 page in the Movie Making Manual WikiBook.
Eric Fletcher's (SOC) experience with the D-20.
Indie filmmaker reviews Arriflex D-20
CSC News Article Arriflex D20
Anthem VFX works with footage from Arriflex D20 on the Mini Series "Tin Man" Studio Daily
The Arriflex D20 officially landed in South Africa, rental only (04 Feb 2008) Media Film Service
Official site
More detailed information can be found on the D-20 page in the Movie Making Manual WikiBook.
Eric Fletcher's (SOC) experience with the D-20.
Indie filmmaker reviews Arriflex D-20
CSC News Article Arriflex D20
Anthem VFX works with footage from Arriflex D20 on the Mini Series "Tin Man" Studio Daily
The Arriflex D20 officially landed in South Africa, rental only (04 Feb 2008) Media Film Service
Retrieved from "http://en.wikipedia.org/wiki/Arriflex_D-20"
ARRI Upgrades the ARRIFLEX D-21 Film Style Digital Camera
ARRI Upgrades the ARRIFLEX D-21 Film Style Digital Camera (24/7/2008)
Based on feedback from the field, ARRI has undertaken a major upgrade of our film style digital camera. The ARRIFLEX D-21 has significant improvements to the image processing engine, an improved image quality, simpler operation and new accessories. New output options include a 2K raw data output mode and the use of anamorphic lenses.
The ARRIFLEX D-21 is a film style digital camera that combines the immediacy of digital cameras with high-end film style functionality and creative options. Based on innovative ARRI Imaging Technology (AIT), the D-21 produces outstanding images with a cinematic look and feel. Through its single, Super 35 sized CMOS sensor, the D-21 uses the same lenses as 35mm film cameras. It also has the same cinematic depth of field and can be used with anamorphic lenses. It has a bright optical viewfinder, is capable of variable frame rates and is compatible with ARRI film camera accessories. The D-21 outputs either the raw sensor data for a 2K workflow, or a standard HD signal.
While the D-20 has already received accolades for its superb image quality, the D-21 images have an improved color saturation and increased sharpness. A higher MTF was achieved by re-writing the down sampling algorithm from scratch and by carefully fine tuning the interaction of the optical low pass filter to the down sampling algorithm. A cleaner signal path, improved internal power management, the correction of defect pixels through Defect Pixel Correction (DPC) and the elimination of various artifacts have also led to improved low light performance. Color Management Look Up Tables (LUTs) for 100, 200, 250, 320, 400, 500 and 640 & 800 ASA are now available.
Great strides have been made towards a feasible method for recording raw data. The newly minted ARRIRAW format contains the raw sensor information and can be used up to 30 fps. It can be transported via the HD-SDI link, embedded in the standard RGBA 4:4:4:4 transport protocol. Close cooperation with manufacturers of data recorders ensures a method of recording and previewing the ARRIRAW format. ARRI software tools that are currently in beta testing can process the ARRIRAW files through advanced debayering algorithms. The ARRI software can output either an HD image or a 2K data file. 2K data files are similar to the files created by a scanner, and so as easy to grade as scanned data. Thus the D-21 can supply image content for the existing 2K workflow.
Since the raw data format transports all pixels of the 4:3 aspect ratio D-21 sensor, the D-21 is the only digital camera that allows plug & play use of standard anamorphic lenses, expanding the creative choices of directors and cinematographers who choose to work with digital images.
A number of new hardware pieces complete the picture. A new shoulder set S-5 has been created specifically for the D-21, and new ground glasses for the 1.33, 1.78, 1.85 & 2.39 formats are now available. All D-21 cameras will come equipped with the FEM-2 addition, which provides a built-in radio for wireless lens and camera control. The FEM-2 also contains motor drive electronics, so the ARRI Controlled Lens Motors (CLM) can be plugged directly into the camera without any annoying extra boxes.
Based on feedback from the field, ARRI has undertaken a major upgrade of our film style digital camera. The ARRIFLEX D-21 has significant improvements to the image processing engine, an improved image quality, simpler operation and new accessories. New output options include a 2K raw data output mode and the use of anamorphic lenses.
The ARRIFLEX D-21 is a film style digital camera that combines the immediacy of digital cameras with high-end film style functionality and creative options. Based on innovative ARRI Imaging Technology (AIT), the D-21 produces outstanding images with a cinematic look and feel. Through its single, Super 35 sized CMOS sensor, the D-21 uses the same lenses as 35mm film cameras. It also has the same cinematic depth of field and can be used with anamorphic lenses. It has a bright optical viewfinder, is capable of variable frame rates and is compatible with ARRI film camera accessories. The D-21 outputs either the raw sensor data for a 2K workflow, or a standard HD signal.
While the D-20 has already received accolades for its superb image quality, the D-21 images have an improved color saturation and increased sharpness. A higher MTF was achieved by re-writing the down sampling algorithm from scratch and by carefully fine tuning the interaction of the optical low pass filter to the down sampling algorithm. A cleaner signal path, improved internal power management, the correction of defect pixels through Defect Pixel Correction (DPC) and the elimination of various artifacts have also led to improved low light performance. Color Management Look Up Tables (LUTs) for 100, 200, 250, 320, 400, 500 and 640 & 800 ASA are now available.
Great strides have been made towards a feasible method for recording raw data. The newly minted ARRIRAW format contains the raw sensor information and can be used up to 30 fps. It can be transported via the HD-SDI link, embedded in the standard RGBA 4:4:4:4 transport protocol. Close cooperation with manufacturers of data recorders ensures a method of recording and previewing the ARRIRAW format. ARRI software tools that are currently in beta testing can process the ARRIRAW files through advanced debayering algorithms. The ARRI software can output either an HD image or a 2K data file. 2K data files are similar to the files created by a scanner, and so as easy to grade as scanned data. Thus the D-21 can supply image content for the existing 2K workflow.
Since the raw data format transports all pixels of the 4:3 aspect ratio D-21 sensor, the D-21 is the only digital camera that allows plug & play use of standard anamorphic lenses, expanding the creative choices of directors and cinematographers who choose to work with digital images.
A number of new hardware pieces complete the picture. A new shoulder set S-5 has been created specifically for the D-21, and new ground glasses for the 1.33, 1.78, 1.85 & 2.39 formats are now available. All D-21 cameras will come equipped with the FEM-2 addition, which provides a built-in radio for wireless lens and camera control. The FEM-2 also contains motor drive electronics, so the ARRI Controlled Lens Motors (CLM) can be plugged directly into the camera without any annoying extra boxes.
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