Gebruiksaanwijzing /service van het product FLEX D-21 HD van de fabrikant ARRI
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T he F ilm Style Digital Cameras ARRIFLEX D-21 / D-21 HD.
2 ARRIFLEX D-21 / D-21 HD Th e Film Style Digital Camer as The ARRIFLEX D-21 and D-21 HD combine leading edge digital technology with lm camera features that ha ve been rened ov er ARRI’ s 90-year history .
3 ARRI | ARRIFLEX D-21 / D-21 HD.
4 Main F eatur es n Cinematic Image Quality · ARRI Imaging T echnology for a cinematic look · rotating mirror shutter f or lm-like motion portra yal · single, Super 35 sized sensor for 35 format.
5 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.
6 ARRI Imaging T echnology 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.
7 ARRI | ARRIFLEX D-21 / D-21 HD A number of powerful FPGAs (Field Pr ogrammable Gate Arrays) constitute the imaging hardware engine inside the D-21 and D-21 HD. The y are a crucial component of ARRI Imaging T echnology. The cameras’ CMOS sensor w as specically designed and developed for use in ARRI high-end digital motion picture cameras.
8 An optical viewnder is the pref erred choice of both cinematographers and camera operator s. The clear , full color image enables accurate assessment of focus and facilitates pr ecise and comfortable operating for complex camer a moves thr ough a complete lack of any delay .
9 ARRI | ARRIFLEX D-21 / D-21 HD T he Optical V iewnder While most digital cameras use electr onic viewnders, the D-21 and D-21 HD are equipped with the same optical viewnder as all other ARRI cameras.
10 A Film Sized Sensor & F ilm Lenses for a F ilm Look Depth of eld is the one of the most pow erful creative tools av ailable to cinematographers, and the shallo w depth of eld of 35 mm lm cameras has become associated with cinematic imagery in the minds of movie audiences ov er the last 100 years.
11 ARRI | ARRIFLEX D-21 / D-21 HD The left upper ar ea shows the sensor used in the D-21 and D-21 HD on its electronic backplane. The right bottom ar ea shows the sensor frame that also holds the pro- tective glass and the low pass lter . T ypical 2/3" video camera sensor aspect ratio: 1.
12 Mscope TM – A New and Unique Output F ormat A new and unique f eature of both D-21 and D-21 HD is the patented Mscope TM process, which combines f or the rst time the use of anamorphic lenses with the economy of HD acquisition.
13 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 Mscope TM format which utilizes a more economical standard HD worko w . In Mscope TM , a regular anamorphic lens is used on the D-21 or D-21 HD.
14 n Best Image Quality - uncompressed, unprocessed 12 bit raw Bay er sensor data (ARRIRAW) - the output option with the highest dynamic range and lowest noise - improv ed image quality through advanc.
15 ARRI | ARRIFLEX D-21 / D-21 HD Differ ent Productions Requir e Differ ent Outputs Different pr ojects have diff erent production requirements, budgets and distribu- tion channels; the equipment chosen has to be exible enough to accommodate those differences.
16 A T rue ARRI Camera The D-21 and the D-21 HD are true ARRI cameras; the y run silently and have the same robust construction and ergonomic design f or which ARRI cameras are famous. Their contr ols are also simple and straightforw ard for fast and saf e operation.
17 ARRI | ARRIFLEX D-21 / D-21 HD.
18 Optical viewnders are the pref erred choice of both cinematographers and camera operators. T he clear, full color image enables accurate assessment of focus and facilitates precise and comf ortable operating for complex camera moves.
19 ARRI | ARRIFLEX D-21 / D-21 HD Mikael Salomon, ASC - Director of T he Company and The Andr omeda 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.
20 Ed W ild - Cinematogr apher 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. ” Fr ank K üpper - Cinematogr apher on Afrika, Mon Amour “No grain, instant availability of full resolution images and a 35 mm look.
21 ARRI | ARRIFLEX D-21 / D-21 HD Michael Coulter , BSC - Cinematographer on T he Bank Job “ After using the ARRI digital camera on The Bank Job, I was very pleased with the end result.
22 Common T echnical Data ARRIFLEX D-21 / D-21 HD Lens mount 54 mm PL, centered for Super 35, with Lens Data System (LDS) contacts Flange focal depth 52 mm nominal Display Camera display on left side with individual buttons for: camera RUN, PHASE (electronic inching & mirror rotation), NORM-PS/CCU control, L OCK, MODE, SEL and SET .
23 ARRI | ARRIFLEX D-21 / D-21 HD Diver gent T echnical Data ARRIFLEX D-21 ARRIFLEX D-21 HD Camera type 35 format digital lm style camera with an optical viewnder 35 format lm style HD camera.
Thi s ARRI FLE X D-21 pro duc t broc hure (K 5.704 47 .0) i s publi she d by Arn old & Ri chter C ine Techni k, Se ptemb er 01, 200 8 © ARRI /20 08 Techni cal da ta and o ffe ring s are sub jec t to chan ge wi thout n otic e. All r ight s rese rv ed.
Een belangrijk punt na aankoop van elk apparaat ARRI ARRIFLEX D-21 HD (of zelfs voordat je het koopt) is om de handleiding te lezen. Dit moeten wij doen vanwege een paar simpele redenen:
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