ARRI ARRIFLEX D-21 Digital Camera User Manual

The Film Style Digital Camera
The Film Style Digital Camera
The ARRIFLEX D-21 combines leading edge digital technology with
film camera features that have been refined over ARRI’s 90-year
history. It allows directors and cinematographers to shoot in the
same way as they would with 35 mm film, while taking advantage of
the immediacy and economy of digital acquisition.
Through ARRI Imaging Technology (AIT), the D-21 produces brilliant images with a cinematic look and feel. D-21 images have a high
dynamic range, high contrast and the most film-like color reproduction of any digital motion picture camera.
Incorporating a rotating mirror shutter, optical viewfinder and
compatibility with existing film accessories, the D-21 is immediately
recognizable as an ARRI camera and film crews feel comfortable
operating it. Further film style features include variable frame rate
and robust construction.
The D-21's single, Super 35-size CMOS sensor exhibits the same
cinematic depth of field as 35 mm film and the camera's industry
standard PL lens mount accepts the same unequalled variety of
spherical lenses as used on 35 mm film cameras. Since the D-21 is
the only digital high-end camera with a 4x3 aspect ratio sensor, it
can make full use of anamorphic lenses.
The ARRIRAW format enables the D-21 to output raw uncompressed data. Alternatively – or simultaneously – the camera can
output an uncompressed HD signal that works perfectly in the
established HD infrastructure. With such flexibility, the D-21 easily
adapts to a variety of production requirements and budgets.
ARRIFLEX D-21 – Main Features
n ARRI Imaging Technology (AIT)
· custom designed CMOS sensor
· powerful imaging hardware engine
· unique ARRI image processing software
· carefully tuned system integration
n Cinematic Image Quality
· ARRI Imaging Technology for a cinematic look
· rotating mirror shutter for film-like motion portrayal
· single, Super 35 size sensor for 35 format depth of field
· highest dynamic range of any digital motion picture camera
· super sharp, alias-free images
· extended color space for natural, film-like color reproduction
· consistent matching between cameras
n Flexible Output Option
· simultaneous data and HD outputs possible
· Data Mode: 4x3 ARRIRAW
uncompressed data for film-like data workflow
· Data Mode: ARRIRAW T-Link connects camera
to data recorders
· HD mode: 16x9 uncompressed HD output
· HD Mode: Linear or Logarithmic,
4:2:2 YCbCr or 4:4:4 RGB, Normal or Extended Range
· Fiber optic option allows cable length of up to 500 m/1,600'
n Modular Architecture
· sensor, electronics and firmware can be upgraded
· secure investment
· long product cycle
n Optical Viewfinder
· zero delay
· outside image area
· bright, full color image
· works without power
· fatigue-free viewing
n 35 Format Film Lenses
· industry standard PL mount
· unequalled variety of prime, zoom and specialty lenses
· compatible with spherical and anamorphic lenses
(1.33:1 sensor format)
n Compatibility with 35 Format Film
Accessories and Support Equipment
· ARRI matte boxes, follow focus,
wireless remote control
· dollies, cranes, Steadicam, etc.
n A True ARRI Camera
· silent running
· simple operation
· robust construction
· ergonomic design
· variable speed and shutter angle
Each component of the D-21 has been purpose-built with one goal in mind: to create
the most gorgeous cinematic images possible. Those images are the result of a custom
designed CMOS sensor, a carefully crafted optical low pass filter, a powerful imaging
hardware engine and advanced image processing algorithms. Having full control of the
D-21's imaging chain down to the smallest detail allows an optimization of the whole
system far beyond what would be possible with off-the-shelf components. The smart
orchestration of all these proprietary components is ARRI Imaging Technology (AIT).
AIT, which is in constant development, combines ground-breaking research and
development with knowledge, feedback and suggestions gleaned from an on-going dialogue with professional filmmakers. AIT provides super sharp, alias-free images through
over sampling, a finely tuned optical low pass filter and advanced image reconstruction
Image processing advances incorporated into the D-21 include increased sensitivity, with 'linear' HD output ranging between EI 100 and EI 800 equivalent, as well as
optimized sharpness and enhanced, film-like color reproduction.
AIT also ensures that crews can concentrate on the creative aspects of making
images, by automating many of the technical aspects. The D-21 has, for instance, an
automated black balancing circuit (Correlated Double Sampling - CDS), which continuously calibrates the black level of each pixel in each frame without any user intervention. In addition, an automated Defect Pixel Correction (DPC) guarantees that no single
defective pixel will ever be visible. DPC is a highly sophisticated process that analyzes
every pixel plus a surrounding pixel field in every frame (for a staggering total of 2.5
billion pixels analyzed each second) in real-time as the camera is running.
Through AIT, the D-21 produces outstanding images with a cinematic look and feel,
high contrast, the highest dynamic range and the most film-like color reproduction of
any digital motion picture camera.
ARRI Imaging Technology
A number of powerful FPGAs (Field Programmable
Gate Arrays) constitute the imaging hardware engine
inside the D-21. They are a crucial component of ARRI
Imaging Technology.
The CMOS sensor inside the D-21
was designed and developed for
use in ARRI high-end motion picture
HDTV 1.78
An optical viewfinder is the preferred choice of both cinematographers and
camera operators. The clear, full color image enables accurate assessment of
focus and facilitates precise and comfortable operating for complex camera
moves. Most crucial of all is the fact that an optical viewfinder shows an image larger than that being recorded and therefore allows the operator to see
not just what is in frame, but also what is just outside the frame. This safety
area permits meticulous composition and helps the operator prevent unwanted
objects (such as a boom or microphone) from entering a shot.
The Company; Photo: © Sony Pictures TV
The Optical Viewfinder
While most digital cameras use electronic viewfinders, the D-21 is equipped
with the same optical viewfinder as all other ARRI cameras. Thus the D-21
viewfinder always shows an image area larger than the image being recorded,
and it can be used even when the camera is not powered up.
Light entering the taking lens is diverted by a spinning mirror shutter and
generates a bright, magnified full color image in the viewfinder. This direct
light path, free of any electronic image processing, ensures fatigue-free viewing as well as zero delay, a crucial feature when shooting fast action, where
a delay of even a few frames can be very confusing. But even something as
mundane as following a person getting up from a chair can become horrifying
guesswork if the viewfinder image is delayed.
The D-21 optical viewfinder can be freely rotated, extended or flipped
to the other camera side for comfortable viewing in any camera position
An extension viewfinder, eyepiece leveler and a heated eyepiece are useful
accessories in many shooting situations.
Depth of field is the one of the most powerful creative tools available to cinematographers, and the shallow depth of field of 35 mm film cameras has become
associated with cinematic imagery in the minds of movie audiences over the last
100 years. The D-21’s sensor has the same size as a Super 35 mm film frame to give
cinematographers the same versatility and control of depth of field.
Having a wide range of lenses available is of immense importance, as it gives
cinematographers the greatest flexibility in expressing their vision. The 35 film
format enjoys the widest variety of prime, zoom and specialty lenses available for
any format, and the D-21 is compatible with all those lenses thanks to its industry
standard PL lens mount. Since the D-21 is the only high-end digital camera with a
4x3 aspect ratio like 35 mm film, it is also the only digital camera that can take full
advantage of the unique CinemaScope look of anamorphic lenses.
Further enhancing the film-like quality of D-21 images is the camera’s rotating
mirror shutter, which functions exactly as it does on 35 mm ARRI film cameras. This
method of progressive image capture results in the most film-like motion portrayal
The ARRIFLEX D-21 is the only digital high-end camera that can
make full use of anamorphic lenses for the CinemaScope format.
The image, as recorded by the D-21
with an anamorphic lens.
A simple 2:1 stretch and slight crop of the sides
in post results in a CinemaScope format image.
A Film Sized Sensor & Film Lenses for a Film Look
The D-21 PL mount. Inside,
the sensor is visible on the
left, and the half closed
mirror shutter is visible
on the right.
Typical 2/3" video camera sensor
aspect ratio: 1:1.78
dimensions: 9.40 mm x 5.30 mm / 0.370" x 0.209"
D-21 sensor active pixel area
aspect ratio: 1:1.33
dimensions: 23.76 mm x 17.82 mm / 0.9354” x 0.7016”
ANSI Super 35 Silent camera aperture
aspect ratio 1:1.33
dimensions: 24.90 mm x 18.70 mm / 0.980" x 0.7362"
The left upper area shows the D-21
sensor on its electronic backplane.
The right bottom area shows the
sensor frame that also holds the protective glass and the low pass filter.
The D-21 mirror shutter. The mirror portion can be
seen to the left, and to the right the variable shutter
blade is visible, here restricting the open shutter
angle to 11.2º.
The Company; Photo: Jan Thijs © Turner Broadcasting 2006
The Company; Photo: © Sony Pictures TV
Optical viewfinders are the preferred choice of both cinematographers and
camera operators. The clear, full color image enables accurate assessment of
focus and facilitates precise and comfortable operating for complex camera
moves. Most crucial of all is the fact that an optical viewfinder shows an image
larger than that being recorded and therefore allows the operator to see not just
what is in frame, but also what is just outside the frame. This safety area permits
meticulous composition and helps the operator prevent unwanted objects (such
as a boom mic) from entering a shot.
The Company; Photo: © Sony Pictures TV
The Andromeda Strain;
Marty McNally, A Camera Operator (center)
with Jon Joffin, Cinematographer (right)
Photo: © A&E/Diyah Pera
Mikael Salomon, ASC Director of The Company and The Andromeda Strain
“I'm very pleased with the final look of the six-hour miniseries The Company,
which we shot in Canada, Hungary and Puerto Rico under very varied circumstances.”
“I've had questions from industry professionals asking how much was digital
and how much was shot on film. Great surprise when they learn that it was
all digital except for a few slo-mo shots - the film intercuts seamlessly with the
digital images.”
“Ridley [Scott] asked me to direct another miniseries and we decided - once
again - to go with the ARRI digital camera. We're currently shooting in the
Vancouver and getting great feedback on dailies.”
“I've been fielding calls from DP's interested in using the ARRI digital camera
system. As I tell them, the best recommendation is that I'm using it again!”
The Company; from left to right:
Michael Zimbrich (1st AD), Ben Nott (Cinematographer),
Michael Carella (A Cam OP), Michael Salomon (Director)
Photo: Jan Thijs © Turner Broadcasting 2006
D-21 Data Mode Main Features
n Best Image Quality
- records uncompressed, unprocessed 12 bit
raw Bayer sensor data (ARRIRAW)
- the output option with the highest dynamic
range and lowest noise
- improved image quality through advanced
image reconstruction in post
- 2880 x 2160 (4:3) at 24 and 25 fps
2880 x 1620 (16:9) at 30 fps
n CinemaScope
- anamorphic lenses can be used
n Greatest Flexibility on the Set
- ARRIRAW T-Link: transport ARRIRAW via dual link HD-SDI
- simultaneous data and HD output for HD video monitoring
and offline editing
- ingest converted data files from data recorder to NLE
n Greatest Flexibility in Post
- finer detail and crisper edges
- higher resolution works better for compositing
- familiar workflow: 2K output files have the
same resolution and colorimetry as 2K scans from film
- color conversion and lookup table decisions
can be made in post
- simple image reposition and cropping
- upgraded image reconstruction can be applied to
archived raw data for better image quality
D-21 Raw
Bayer Data
RGBA Transport
Stream Mapping
2x BNC Cables
Dual Link HD-SDI Stream
D-21 Raw
Bayer Data
D-21 Raw
Bayer Data
File Formatting
RGBA Format
RGBA Format
Image Processing
Recorder File
Format Unpacking
D-21 Raw Bayer Data
D-21 Raw Bayer Data mapped
into RGBA Transport Stream
File Format
Image Processing
Recorder File
Format Unpacking
RGBA Transport
Stream Extraction
RGBA Transport
Stream Extraction
HD Preview Image
RGB Image
Different Productions Require Different Outputs
Different projects have different production requirements, budgets and distribution channels; the equipment chosen has to be flexible enough to accommodate
those differences. The unique construction of the ARRIFLEX D-21 allows various
output signals to be generated, accommodating diverse production needs and
In HD Mode, HD output options include 'Linear' or Logarithmic output, 4:2:2
YPbPr or 4:4:4 RGB, Normal or Extended Range, as well as frame rates of up to
60 fps and an optional fiber optic link. HD Mode allows the D-21 to deliver its
unique images into the existing HD infrastructure.
Alternatively, or even concurrently, the D-21 can work in Data Mode,
whereby the uncompressed, 12 bit raw Bayer data from the D-21's 4x3 sensor
is available in full resolution. The ARRIRAW T-link (Transport Link) is a method
of transporting the ARRIRAW data over a standard dual link HD-SDI connection.
The data files which result from processing of the ARRIRAW recordings are as
easy to grade as those scanned from film because they have the same pixel
raster and colorimetry as film scans.
One of the obstacles that has held back the use of raw data in the past has been the problem of how
to get data easily from the camera to a recorder. ARRI engineers have found a way to utilize a standard
dual link HD-SDI connection to transport the raw D-21 Bayer data. This new transport method is called
"ARRIRAW T-Link" (Transport Link). It allows any recorder capable of recording an uncompressed dual
link HD-SDI stream to record raw D-21 Bayer data, greatly simplifying the raw data workflow for manufacturers and users alike.
Data recorders that can
record and play back the
ARRIRAW T-Link signal
can be certified by ARRI.
The properties of the dual link HS-SDI connection are defined in SMPTE 372M. The standard specifies
a maximum data rate of 2.97 Gb/s, which is enough bandwidth to carry the 12 bit D-21 raw Bayer data.
SMPTE 372M also defines a number of standardized source signal formats to be sent through two BNC
cables (affectionately known as Link A and Link B).
One of those source signal formats is the RGBA format. RGBA stands for red, green and blue plus an
alpha channel, technically called 4:4:4:4 (R'G'B'+A)/10 bit. The ARRIRAW T-Link works by mapping the 12 bit
raw Bayer data into this RGBA data stream, so that it can be transported via a dual link HD-SDI connection.
Any recorder that is capable of recording a SMPTE 372M compliant RGBA signal and playing it back
without compression or further encoding can record this signal. If the signal is recorded by a data recorder,
the additional option of a live preview exists. The data recorder can extract the original D-21 raw Bayer data
out of the RGBA data stream, and use a real-time image reconstruction algorithm to display the 4:3 image as
a 1440 x 1080 preview HD image. If anamorphic lenses are used on the D-21 a suitably "de-squeezed" image
can be displayed on an HD monitor.
A similar but more refined process is used in postproduction. The original raw Bayer data is extracted
from the RGBA stream, and advanced image reconstruction algorithms are used to reconstruct a pristine
image in HD, 2K or 2.8K. Doing this in post has the added advantage that it does not have to be done in
real-time, so a significantly better image quality and greater flexibility are possible. Note that throughout the
whole process, the image always stays uncompressed, at the highest quality.
The D-21 is a true ARRI camera; it runs silently and has the same robust construction and ergonomic design ARRI cameras are famous for. Its controls are also
simple and straightforward for fast and safe operation.
The D-21 is also compatible with a broad selection of film accessories. Mounted on a standard sliding baseplate, the D-21 shares matte box, support rod and
follow focus options with the ARRI 35 mm film cameras.
The extensive range of available accessories allows the D-21 to be configured
for any style of shooting. A studio setup might involve a production matte box
and follow focus, extension eyepiece with leveler and a heavy zoom lens, while a
stripped-down setup would permit handheld or Steadicam shooting.
The FEM-2, a Functional Expansion Module that attaches to the side of the
D-21, houses a built-in radio module for lens and camera control with the ARRI
Wireless Remote System (WRS). It also contains motor drive electronics that
allow the ARRI Controlled Lens Motors (CLM) to be plugged directly into the D-21,
minimizing the number of boxes attached to the camera.
The D-21's modular system architecture allows upgrading when advances in
sensor, electronics or firmware technology become available, thus ensuring a long
product cycle for the camera.
Lens motors plug directly into the FEM-2 portion of the D-21,
which can also accommodate the Universal Radio Module
URM-3 for wireless lens and camera remote control.
A True ARRI Camera
The Butcher's Shop; Cinematographer Sean Bobbitt, BSC
Sean Bobbitt, BSC - Cinematographer on The Butcher’s Shop
“The fact that you can work in log space and use LUTs to see the image on
monitors on set is fantastic. It gives the director such confidence”
“I’ve been shooting digital RAW with stills photography for some time and have
recognised the clear benefits. It just seemed logical to me that this is the next
step, in terms of pushing the camera to its limits and getting the best possible
quality imaging straight off the chip itself - avoiding all the processing and
“In Data Mode you have the highest quality of information – not just resolution
but color information as well – all the way through the workflow, so when you
come to the grade you’re not working with degraded, compressed images,
which for me have always been the biggest drawback of all the other HD
Photos: © Andy Subratie
Jason Statham stars in THE BANK JOB. Photo: © Jack English
Michael Coulter, BSC - Cinematographer on The Bank Job
“After using the ARRI digital camera on The Bank Job, I was very pleased with
the end result. I look forward to the future developments of this camera.”
Sam Nicholson - Cinematographer and
VFX Supervisor on VFX scenes for Grey’s Anatomy
“As predicted, it pulled the keys beautifully and the
cinematography looks great as well.”
Before and after compositing:
the final scene with visual effects and Seattle background footage.
Sam Nicholson - Cinematographer and
VFX Supervisor on VFX scenes for Grey's Anatomy
Photos: © American Broadcasting Companies, Inc.
John Pardue - Cinematographer on
Frequently Asked Questions
About Time Travel
“The camera is pretty much the same as a film
camera in many ways: it has a great viewfinder
and the same control panel as a 435. It’s also
wonderfully simple to operate”.
“Another impressive aspect is the shallow
depth-of-field, which is similar to 35 mm.”
“It copes with bright skies and allows you to
open up for the shadow areas without the
worry of blowing things out.”
Frequently Asked Questions About Time Travel; Cinematographer John Pardue
Tin Man; Photo: © James Dittiger/SCI FI Channel
Thomas Burstyn - Cinematographer
on Tin Man
“We were very pleased with the look - great
saturation, incredible acutance
and resolution.”
Tin Man; Director Nick Willng (right), Cinematographer Thomas Burstyn (left)
Photo: © James Dittiger/SCI FI Channel
Ed Wild - Cinematographer on Prisoners of the Sun
“Because it's a full-sized chip and a PL mount, there is a full
choice of all the film lenses.”
Prisoners of the Sun; Photo © Miromar Entertainment AG
Prisoners of the Sun; Cinematographer Ed Wild
Afrika Mon Amour;
Camera equipped with
“workhorse” ARRI Master Zoom
Frank Küpper - Cinematographer
on Afrika, Mon Amour
“No grain, instant availability of full
resolution images and a 35 mm look.”
Afrika Mon Amour;
Cinematographer Frank Küpper framing a detail shot,
Photos: © Andras Berkl
Technical Data
Camera Type
35 format digital film style camera with optical viewfinder.
20 - 60 fps forward in HD Mode (16:9),
20 - 30 fps forward in Data Mode (16:9),
Frame Rate
20 - 25 fps forward in Data Mode (4:3),
all speeds crystal and can be set with 0.001 fps precision.
Does not run in reverse.
Lens Mount
23.760 x 13.365 mm/0.9354” x 0.5262” in HD Mode,
23.760 x 17.820 mm/0.9354” x 0.7016” max. in Data Mode.
54 mm PL mount, centered for Super 35, with Lens Data System contacts (LDS).
Flange focal depth 52 mm nominal.
Camera display on left side with individual buttons for: camera RUN, PHASE (electronic inching & mirror rotation), NORM-PS/CCU control, LOCK,
MODE, SEL and SET. Allows setting programmable fps, beeper volume, beeper at start and/or stop, enable/disable mirror shutter, mirror shutter
angle, frame counter. Video Menu over composite video output for control of operational parameters: HD Mode/Data Mode, standard frame rates,
white balance and color matrix, signal output range, contrast characteristic and sensitivity.
Electronically adjustable mirror shutter. Adjustable through camera menu to
11.2°, 22.5°, 30°, 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°, 150°, 172.8° and 180°.
Optical reflex viewfinder with interchangeable ground glass, spherical or universal (adjustable to spherical and anamorphic) viewfinders available.
Viewfinders are adjustable in two axes with automatic or manual image compensation, laterally extendable for left eye operation and show
illuminated frame lines (ARRIGLOW, adjustable in brightness). Optional medium or long finder extender including magnifier. Optional heated eyecup.
SD monitoring (PAL/NTSC video downscaled from captured image).
HD Mode – HD-SDI (SMPTE 292M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30PsF
HD Mode – dual link HD-SDI (SMPTE 372M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF,
Signal Output
- 1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24, 25, 29.97, 30PsF
Data Mode – ARRIRAW T-Link
(ARRIRAW transmission protocol mapped into RGBA dual link HD-SDI stream according to SMPTE 372M):
- 2880 x 2160 RAW 12 bit Bayer data @ 23.976p, 24p, 25p,
- 2880 x 1620 RAW 12 bit Bayer data @ 29.97p, 30p
HD recording devices supporting HD-SDI (SMPTE 292M) or dual link HD-SDI (SMPTE 372M) signals for HD Mode operation. Optional on-board HD
recording using solid-state memory recorder Flash Mag.
ARRIRAW T-Link compatible recording devices for Data Mode operation.
2x dual link HD-SDI out, 2x composite video out (CVBS), 1x S-Video out (Y/C),
1x power in (BAT), 1x 12 V accessory power out (Fisher 11-pin), 1x 24 V accessory power out (RS), 1x lens data display (LDD), 2x lens control system
bus (LCS), 1x accessory interface (ACC), 1x camera control unit (CCU), 1 each focus, iris, zoom for lens motors.
24V DC (acceptable voltage range: 20.5 to 36 V DC)
Power Consumption
2.1 A @ 24 fps, 1.9 A in Standby
Less than 20 dB(A) @ 24 fps
Weight (without lens)
39 cm/15.35”
Width (viewfinder left):
27 cm/10.83”
Height with handle:
30 cm/11.81”
Height without handle:
23 cm/9.06”
Body only:
8.6 kg/19.0 lbs
Body and viewfinder:
10.9 kg/24.0 lbs
Accepts the whole range of ARRI matte boxes, 15 mm or 19 mm rod systems, follow focus and ARRI electronic accessories, Lens Control System
(LCS), Lens Data System (LDS), Wireless Remote System (WRS), Wireless Remote Control WRC-2, Iris Control Unit for speed/iris ramps (ICU-1),
Remote On/Off Switch (RS-4), Integrated Video System (IVS), External Synchronization Unit (ESU-1). Specifically for ARRIFLEX D-21/D-21 HD: Low
mode support set for Steadicam operation or underslung use and top-mounting of accessories without bridge plate, Flash Mag Mounting Adapter
(FMA-1), Sony Fiber Interface (SFI-1) and Sony Fiber Remote (SFR-1).
All data subject to change without notice.
Extra attachment points for rigging.
Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245
Great Britain
ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain
Imaging Equipment Sales: Allan Fyfe,
Tel: +44 (0)1895 457 000, Fax: +44 (0)1895 457 001
ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga,
Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692
ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00040 Morena (Roma), Italy
Camera Sales: Mauro Sembroni,
Tel: +39 (06)79 89 021, Fax: +39 (06)79 89 02 206
ARRI Inc. (Sales & Service, East Coast)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer,
Tel: +1 (845)353 1400, Fax: +1 (845)425 1250
ARRI Inc. (Sales & Service, West Coast)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell,
Tel: +1 (818)841 7070, Fax: +1 (818)848 4028
ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux,
Tel: +1 (416)255 3335, Fax: +1 (416)255 3399
ARRI Asia Limited
Office 3B on 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan,
Tel: +852 9018 2066, Fax: +852 3755 6371
ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier,
Tel: +61 (2)9855 4308, Fax: +61 (2)9855 4301
This ARRIFLEX D-21 product brochure (K5.40460.0) is published by Arnold & Richter Cine Technik, April 01, 2008 © ARRI/2008
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2008. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich · phone +49 (0)89 3809 0 · fax +49 (0)89 3809 1245 ·
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