PalmaVideo offer finest ARRI - TV/Film-Equipment &
exclusive at Mallorca: THE ARRI D21 - Film Look
At PalmaVideo only !
ARRIFLEX Digital Cinema Camera 2,5 K UNCOMPRESSED Full Format Sensor -
PL Mount - ARRIRAW - Global Shutter -
Formats: Apple ProRes - DNxHD - DPX - MP4
4:3 / 16:9 License - Anamorphotic 2.35 :1 - HD 4:4:4 uncompressed
Optical Viewfinder - allways the right colours - allways working without battery
Viewfinder extension with magnifier
The ARRI D21 gives you the best "film-feel" and "FILM-LOOK" of all existing electronic Cameras and without the need of special LUTs or additional extreme grading !
Specially made for 35mm Film-Look !
Canon D5 MK II / MKIII - Full Format - 2.3K/25p - Magig Lantern Software
Sony RX 100 MK IV - 4 K - & Slowmotion (up to 500fs/sec)
Sony Alpha 7S - Full Frame - Hight ISO Sensor
Sony FDR53 HD/4K - up to 100fs/sec incl. optical Stabilizer - small and inobstrusive
Lenses from Canon, Zeiss, Helios -more PL/EF Lenses on request
Raindisk - spinning disk in front of camera eliminates any liquid spray on the image
Convergence Gemini uncompressed 444 DPX Format Recorder
BMD Video Assist 4K - Records to 2 x SD Card in Apple Pro Res / DNxHD
HDMI + SDI in
Vinten L Head - identical to Ronford F 7 - with underslung mode and Mitchel Adaptor
Vinten Heavy Duty Stativ HD-1 up to 130 KG - Dollyframe with wheels
25" Class-1 HD Reference Monitor with Vector/Wave - Panasonic BT2550
ENG Camera Crew, incl HD 4:2:2 XDCam & Audioequipment (2 Wireless & Boom)
Sony XDCam 4:2:2 - 1/2" on request
Sony FS7 S35 MKi/II on request
Sond Devices Mixer 302 - on request
Wendt Audio Field Mixer 4 Kanal - Stereo
Tascam 4 Spur Audio Digital Recorder
Wireless Microphones from Beyer, Zeck, AKG and Sennheiser
Cable Microphones from Sennheiser, Beyerdynamic, AKG
Boom Poles - Grizzlys
FTP Filtransfer up to 400 mbit/sec upload
Stanton Triangle ONE MAN - Lightweight Camera Crane with 2 axis Remote Head
Reach - 5,70m - incl. Operator
Supertechno 30/35 incl 2 axis Remote Head - 10m reach - 7m telescope movements
with Tecnician and Operator - Minimum 4 days rental period
Selection of Grip Stuff
via friends & partners:
DJI Ronin Gimbal
Fresnel Tungsten / HMI -
LED - Softboxes
Post Production &
Grading & Audio
Da Vinci Resolve
Da Vinci Fusion
Adobe After Effects
Knoll Light Factory
Basic Editing Operator
FTP Transfer 400mbit/sec upload
Some interesting informations about ARRI D21 and RED....
(courtesy by Phil Rhodes)
It is a very common misconception that RED data is uncompressed. It's compressed between 9 and 12 to one, and if I mention that a 3:1 MJPEG used
to be the absolute maximum amount of compression considered tolerable for broadcast television you'll see why that raises some eyebrows. The compression technique used by RED is probably better
than JPEG, but not three or four times better. If RED had figured out how to store an uncompressed HD image on a flash card, they would have done something really special. They haven't. This is
why people like me question RED calling their data "raw". It's a term which has in common use been applied to DSLR stills which are stored as data on a flash card which is both uncompressed and
unprocessed. RED's data is unprocessed, but it is certainly not uncompressed. ARRI's RAW mode on the other hand is both uncompressed and unprocessed and fully entitled to
With regard to the whole bayer thing, as briefly as I can:
Image sensors are intrinsically black and white devices; they see only brightness, not colour. Making them see colour requires putting a colour filter on the front. Both D21 and Red (and F35/Genesis, which use the same sensor, effectively all DSLRs, and a lot of modern HD consumer devices such as the Canon HV-20 and cellphone cameras like iPhone) are single chip cameras, as opposed to the three-chip blocks we get in things like F23 and most television-oriented video cameras.
Three chip cameras use one each for red, green and blue, splitting the light up so that a proportion of it hits each sensor in alignment:
Single chip cameras use patterns of colour filters printed onto the front of the imaging chip. The most common of these patterns was developed by an imaging scientist called Bayer, and the technique bears his name (notably, Genesis/F35 are not Bayer patterned).
To recover a full colour image from a 3-chip device, you simply need to read the three chips and assume the information from each represents red, green or blue according to what sort of filter you put in front of the sensor. Clearly you can't do that with a Bayer patterned chip; if you just lined all the pixel values from the sensor up next to one another, you'd get a sort of (but not) checkerboarded pattern with alternate pixels representing the different colour channels, which would have very little meaning:
Using a single image sensor in a camera is beneficial in some ways - mainly those ways in which it makes the camera work more like a film camera. Lenses for 3-chip cameras need special considerations to land the image accurately on all three sensors at once. This is rarely done with 100% precision and that's why out-of-focus artifacts on 3-chip cameras often shade magenta to green top and bottom.
However, recovering a colour image from Bayer patterned data is not trivial, and is a process with inherent compromises. The biggest problem is where the image contains sharp edges with pronounced colour differences. The edge may fall between the widely-spaced RGB channel photosites on a Bayer patterned sensor, leading to uncertainty over where it really is (aliasing). Such a discontinuity in one RGB channel is usually associated with discontinuities in others - say you're looking at a yellow object; it is active in both the green and red channels. Because the green and red photosites are not in the same place (as they are on a 3-chip device), you may get a different idea of where that pronounced colour edge is in two RGB channels. This can lead to strange chromatic aberration:
Here we see the partial solution to the problem: the in-camera de-mosaic uses different mathematics than Photoshop, and achieves a result with less chromatic aberration. However, it probably also has less sharpness, and that's an engineering compromise that's unavoidable with Bayer pattern sensors. This is also why people who shoot test charts on a Red where the test charts are comprised of black markings on white are not really answering any questions.
The mathematics involved in getting the best possible compromise out of this situation is very complicated and takes up a lot of computer time; it involves very careful interpolation of the RGB values that weren't sampled by the sensor. People have various terms for this: Dalsa were in love with the word "algorithms", but it is unavoidably interpolation, it is making up data, and from this it should be fairly obvious that if we want, say, an image 1920 pixels wide that has truly valid and unambiguous colour information, we need to use a Bayer pattern sensor at least twice that large in order to be able to scale down the results and minimise any problems. This is the reason people question Red's "4K" resolution claim; it is widely recognised that the 2K windowed mode on a Red camera is not really good enough for broadcast HD production and this is largely why.
It is probably not particularly more difficult to debayer RED's footage than ARRI's, although recovering compressed data is an additional processing load in and of itself and of course RED are using more pixels than ARRI are (though the accuracy of the information in those pixels will be massively compromised by the massive amount of compression they're applying).
The fact that a ARRI D21 in RAW gives you a larger amount of ACCURATE data is not really debatable.