ARRI D-21?

[Jon Corcuera]

Hi all,

I wanted to know if it is true that the D-20 is coming away from prototype and is getting call D-20.

Is this happening at the NAB in Las Vegas?

Jon

[Chris Keth]

Hi all,

I wanted to know if it is true that the D-20 is coming away from prototype and is getting call D-20.

Is this happening at the NAB in Las Vegas?

Jon

 

I don't understand your question. The D20 is not a prototype.

[Jon Corcuera]

I don't understand your question. The D20 is not a prototype.

My fault I tryed to shorten and I ended up spresing myself wrongly. What I meant is that they have been operating like panavision, only renting it, at least in Spain. So I wanted to know if they are going to start selling it and if they are going to change the name to D-21 as somebody has sugested me.

Jon

DIT/AC

Edited February 29, 2008 by Jon Corcuera

[Brian Drysdale]

On Reduser someone mentioned that Arri were going to announce the D21 at NAB and it was going to sold rather than rented like the D20.

[Max Jacoby]

I don't understand your question. The D20 is not a prototype.

Depends what your definition of prototype is. Obviously there is more than one D20 around, but over the last years Arri has always said that the camera was still in its developmental stage, hence why they didn't sell it. The camera first got introduced in late 2003 and ever since they have been testing and improving it, gradually increasing the number of cameras and productions it has been on, to gather as much real life feedback as possible and iron out all the quirks and bugs. For those who have been following the camera from its inception, it is obvious that it has been improved quite a bit over the years. They obviously only want to sell it once they can offer their customers a well working system without any of the problems that plague other newly released camera systems.

[Timo Klages]

On Reduser someone mentioned that Arri were going to announce the D21 at NAB and it was going to sold rather than rented like the D20.

 

there was a workshop this month near munich i think. some people from Arri were going to tell something about the D20 Plus.

I was asking a guy at our university about it (since we have a D20 at our school), and he said, that it might be something that heads towards a higher resolution and things like that. but about really selling the cam i don´t know. sorry.

 

greets,

timo

[Max Jacoby]

I was asking a guy at our university about it (since we have a D20 at our school), and he said, that it might be something that heads towards a higher resolution and things like that. but about really selling the cam i don´t know. sorry.

You can expect a 4K camera from Arri in the near future, not sure if it's an upgrade from the D20 though. They'll need a new chip for that, that's for sure.

[John Brawley]

I don't understand your question. The D20 is not a prototype.

 

 

That's how Arri describe it. Arri say it's a prototype camera that's in development. I did a shoot with it last year and they wouldn't give me a manual....because it's a prototype.

 

jb

[Mikael Lindström]

My fault I tryed to shorten and I ended up spresing myself wrongly. What I meant is that they have been operating like panavision, only renting it, at least in Spain. So I wanted to know if they are going to start selling it and if they are going to change the name to D-21 as somebody has sugested me.

Jon

DIT/AC

 

My information from CSC, New York, is that D-20 is a rental camera. And that there will be a next generation called D-21, which will also be for sale. It will feature ugrades from the D-20 but I´m not sure in what way. Hopefully this means we will be able to use this nice piece of camera in Sweden soon.

 

 

Mikael Lindström, 1st AC/Focuspuller

Stockholm, Sweden.

[Yalu]

Please be informed that a leaflet about Arriflex D21 can be downloaded in www.arri.com. If you have any question for download, please kindly let me know.

 

Yalu from Hong Kong

[Brian Drysdale]

My first thought is wonder why they didn't come up with neater way of sending the RAW data than a dual HD SDI link. It would nice to have another, somewhat more robust single cable option as well. It always seemed to be something that was OK on the prototype, but something better would be on the production camera. However, I guess it fits to an industry standard.

[Keith Mottram]

Hi what is the link at arri.com website?

[Keith Mottram]

Hi what is the link at arri.com website?

 

found it

d21

 

heaven... i'm in heaven...

[Phil Rhodes]

Yes and it'll be twenty thousand pounds a day, thus making it completely irrelevant from a "why not just shoot film" point of view - as far as I'm concerned it may as well not exist.

 

On the day I get to use this the devil will be driving to work on a snowplough.

 

P

[Paul Bruening]

Along that note, Phil, I've been wondering about silver halide. Is it really the only useful light reactive compound on the entire planet? I guess we should be pleased it's not gold halide, platinum halide or diamond halide. I just don't know enough about chemistry to know better. Seems like there ought to be some kind of nano technology or something that could get the cost of film down. Actually, could a nano technology not only provide the grain and density but process itself as well? Just run the film through a blower to blast off the unused particles or something along those lines.

 

Call it, "Smart Grain Technologies."

[Phil Rhodes]

I wouldn't be enormously surprised to see exactly that sort of thing.

 

Many, many little birds have told me that Kodak are capable of slashing the price of raw stock enormously before it will actually give them a financial problem - there is, after all, no more than a smear of actual metallic silver in a roll. That said I'm sure they want to future-proof themselves as much as possible, and if there are workable alternatives, I'm sure they're working on them.

 

Bear in mind that the first photographs (Daguerrotypes, etc) were not halide based, and with the importance of a positive-negative process diminishing with digital postproduction, it's possible I suppose that some of the older chemistries might be reinvestigated.

 

P

[Brian Drysdale]

Yes and it'll be twenty thousand pounds a day, thus making it completely irrelevant from a "why not just shoot film" point of view - as far as I'm concerned it may as well not exist.

 

On the day I get to use this the devil will be driving to work on a snowplough.

 

P

 

 

Currently £1,500 a day (£4500 weekly) for the D20 recording onto HDCAM SR, from ARRI Media. I assume £550 of that is for the VTR and the Astro monitor. Without the glassware etc.

 

I expect a producer could do a bit of talking... Also, rumours of something called a RED.

 

The RAW output is the new feature on the D21.

[Keith Mottram]

Yes and it'll be twenty thousand pounds a day, thus making it completely irrelevant from a "why not just shoot film" point of view - as far as I'm concerned it may as well not exist.

 

On the day I get to use this the devil will be driving to work on a snowplough.

 

P

 

looks like your best bet will be a red then phil..... ;)

[John Sprung]

- there is, after all, no more than a smear of actual metallic silver in a roll.

The silver isn't quite so insignificant. Back when Emory Cohen built his lab, he showed us the silver recovery system. IIRC, there were crates of the recovered metal, and it was an important item in the lab's balance sheet. He had some silver medallions made for Christmas one year.

 

 

 

 

-- J.S.

[Leo Anthony Vale]

The silver isn't quite so insignificant. Back when Emory Cohen built his lab, he showed us the silver recovery system. IIRC, there were crates of the recovered metal, and it was an important item in the lab's balance sheet. He had some silver medallions made for Christmas one year.

 

When the Hunt Brothers were trying to corner the silver market in the late 70s, The price of Kodak MP film doubled in a few months. Wasn't so bad for still films, probably because of the cost of cassettes and loading the film into them.

[Joe Walker]

found it

d21

 

heaven... i'm in heaven...

 

 

Wow!!! And it takes anamorphic lenses too!!!

[Mitch Gross]

The Phantom HD works perfectly for anamorphic capture. The full sensor is 2048x2048 -- a big square. Once chooses the resolution desired in 8 pixel increments. We've tested two different anamorphic formats: one that uses the standard image area to duplicate exactly what a 35mm negative would see and one that utilizes the full size of the sensor (25.5mm x 25.5mm). Standard image area is a resolution of 1760x1467 (2.58 million pixels) and using the full size of the sensor is 2048x1706 (3.49 million pixels). Note that for anamorphic the height is larger than the width. The full sensor method yields an image area 35% bigger than the standard area with an increased mathmatical resolution of 16% (measuring just one direction). So far in testing all the anamorphic lenses we've tried have fully covered the larger format.

 

And remember that the Phantom HD records uncompressed RAW to CineMag flash memory.

[Phil Rhodes]

I can't remember what you said the cinemag costs, but I do remember going "that's a lot of money."

 

These things can be as peachy as peach pie, but while they're still your soul and an internal organ for twelve hours, they may as well not exist.

 

P

[Will Earl]

Note that for anamorphic the height is larger than the width.

 

Mitch, I gather this is a typo, but incase it's not - could you explain height greater than width?

 

With a pixel aspect of 2, the frame size you gave (2048x1706) calculates to the correct aspect ratio.

 

(2048 x 2) / 1706 = 2.40

[David Mullen ASC]

The anamorphic frame is not taller than wide, but it is nearly square -- around a 1.19 : 1 rectangle with a 2X horizontal image squeeze, which when unsqueezed gets you a nearly 2.40 : 1 image.