ARRI D21

THE CAMERA    FILE-BASED WORKFLOW    TAPE-BASED WORKFLOW

    The Arri D21 is consistently rated as one of the top digital cameras available. Functionality like optical viewfinders and wide dynamic range make it clear that Arri's rich history with film technology has crossed over to their digital acquisition devices.

  • Q: What frame rate should I shoot with on the Arri D21?
  • A: We recommend shooting in 23.98 for the greatest flexibility in post. This will allow you to create HD and SD masters and 35 mm film. You can also record in 25p for a PAL delivery.

  • Q: At what frame rate do I record my sound?
  • A: Most clients are recording sound at either 23.98 NDF or 29.97 NDF for a 23.98 D21 shoot. It is advised to have a master and backup copy of the audio media.

  • Q: What resolution should I acquire my images at on the D21?
  • A: Choosing a resolution is a creative choice that will depend on the project and style. In general we recommend the following resolutions:
    - 3k (1.78) for theatrical release.
    - 1920x1080 for HD release.

  • Q: How do you create offline media from camera original D21 RAW media?
  • A: If you are recording to SR it's a traditional video process to create color corrected dailies. For DPX sequences from the camera, we have file-based color correction systems that allow for color and export of offline media that will relink to the original files in a variety of ways.

  • Q: What is the advantage to shooting with the D-21?
  • A: Arri's long history in film has been applied to their digital cameras. Some distinct differences between this camera and some of their competitors include, optical viewfinders, 4x3 sensors for anamorphic lenses, uncompressed capture, extended dynamic range, and defect pixel correction.
  • Q: How do I archive my digital dailies negative shot RAW on the D21?

  • A: Archiving to data tape is essential for a RAW workflow. RAW media can consume over 900 gigs of space per hour of media. Having an efficient path to archive will protect your images for future use. FotoKem offers two archive formats to LTO data tape, which stores approximately 750 gigs of media per tape. For one hour of media at 3k on the D21 you will need at least 2 LTO4 data tapes.

  • Q: What is the advantage of shooting 3k if I know I will be finishing in 2k or HD?
  • A: Full sensor anamorphic and oversampled acquisition resolution. In traditional film DI we scan at resolutions up to 6k and down sample to 2k. This workflow is similar when acquiring 3k with the Arri D21.

  • Q: What post production tools offer native support for D21 media?
  • A: Several vendors now support RAW natively. We have methods of dealing with RAW files even if the native support for these vendors isn't yet available.

  • Q: Who handles my media on set and how do I protect my media?
  • A: A data wrangler or DMT will be responsible for moving all camera original footage. There are various record devices on the market with their own specifications.

  • Q: What is the danger working tapeless?
  • A: It is completely safe to work tapeless as long as you have the appropriate support. Transcoding, archiving, and data management can be a daunting tasks and relying on a post facility is the best way to make sure your project will be completed in a cost efficient and safe manner.