Claus Richter

The ARRIFLEX D-21 is a film-style digital camera that combines the immediacy of digital cameras with high-end film style functionality, handling and creative options. Its bright optical viewfinder has no delay, works without power and shows an additional image area outside the primary image. Based on innovative ARRI Imaging Technology (AIT), the D-21 produces outstanding images with a cinematic look and film-like motion and colour reproduction. Through its single, Super 35-sized CMOS sensor, the D-21 accepts the unequalled variety of prime, zoom and specialty film lenses used on 35 mm film cameras. It has the same cinematic depth of field as 35 mm film and can use anamorphic lenses.

Further film-style features include variable frame rates, compatibility with ARRI film accessories, simple to use controls and the robust construction and ergonomic design for which ARRI cameras are famous. The D-21 outputs 4:3 ARRIRAW uncompressed raw sensor data for a film-like 2K workflow and/or a standard 16:9 uncompressed HD signal. The D-21’s modular system architecture allows upgrading when advances in sensor, electronics or firmware technology become available.

Main Features:

• Optical Viewfinder
• ARRI Imaging Technology
• Cinematic Image Quality
• 35 Format Film Lenses & Depth of Field
• 35 Format Film Accessories
• Variable Speed
• Simple Operation
• Data and/or HD Output
• Modular Architecture

More Information

On the heels of the very successful launch of the ARRIFLEX 416 Plus in 2006, we are now introducing the ARRIFLEX 416 PLUS High Speed, offering higher frame rates for slow-motion shots

This new camera shares most of the features that have made the 416 and 416 Plus so popular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equipped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the ARRI Wireless Remote System.

ARRI and Zeiss have again combined their expertise to extend the Ultra 16 lens set with four long focal lengths. In addition to the existing 6, 8, 9.5, 12 and 14mm lenses, Cinematographers can now also use 18, 25, 35, and 50mm Ultra 16 lenses. The Ultra 16 lens set now consists of nine high speed (T1.3) lenses designed specifically for the Super 16 format.

The new Ultra 16 lenses, as well as the existing set, combine high speed with outstanding optical performance. The widest stop of T1.3 allows shooting in low or available light to create more natural looking images and a cinematic look including, where necessary, a shallow depth of field.

The Ultra 16 lenses are now the only complete set of carefully matched modern lenses for the Super 16 format, equalled by no other Super 16 lens in optical performance.

All nine Ultra 16 lenses cover the full Super 16 format and are fully compatible with the optical quality, colour balance and ergonomics of the other ARRI/Zeiss lenses.

The Ultra 16 lenses are the perfect companions to the ARRIFLEX 416, 416 Plus and 416 Plus HS.

• 15.5 - 45mm, T2.6
• Weight 2Kg/4.4 Lbs
• Ultra Prime image quality through aspherical elements and Zeiss T* XP coating
• Super colour matched to Master Primes, Ultra Primes and Ultra 16 lenses
• Perfect for ARRIFLEX 235 & ARRICAM Lite

• High speed (T1.3) Super 35 primes wide angle 14mm and telephoto 150mm complete the Master Prime set to provide a total of 14 lenses
• Superior optical performance
• Sharper, more contrast
• No geometric distortion
• Dramatically reduced flare
• Minimized chromatic aberration
• Virtually no breathing
• Unique wide T-stop range (T1.3 to T22)
• Super colour matched to Ultra Primes, Lightweight Zoom LWZ-1 and Ultra 16 lenses

• Designed for film and digital cameras
• Works with wide angle HD zooms
• Modular construction allows all mounting options
• Offers up to three independently rotating filter stages
• Accommodates a wide range of filter sizes
• All filters can be individually rotated and locked off
• Can be equipped with top, bottom, side flags and masks
• Provides an upgrade path as wider HD lenses come to market
• Locking swing-away lens access

MB-20 System II
Modular Compact Matte Box

Like the MB-20, the MB-20 System II is a compact matte box designed to accommodate even wide angle lenses like the Fujinon 4.5 13, while still being lightweight enough to be used hand held. ARRI’s new and innovative patent-pending cage design allows for use of videography-style light shields without sacrificing durability, and gives full protection of the sunshade against shocks.

The new patent-pending cage

MB-20 II Super Wide 16x9 Module
Modular Compact Matte Box 16x9

The MB-20 System II Super Wide 16 x 9 Module is a sunshade, carrier and filter stage primarily intended for use with 4 x 5.65 filters. When used in HDTV format, it is compatible with lenses as wide as 3.9mm. The MB-20 System II accepts MB-20 support brackets and filter rings, improving convenience and utilization for multiple camera owners.

The ARRI LMB-15 is the perfect choice for those requiring a lightweight clamp-on mattebox solution. The 4 x 5.65 horizontally oriented filter trays slide into heavy duty machined guides with ease. The LMB-15 can be rapidly configured for two or three stage capacity.

The LMB-15 is compatible with LMB-5 filter trays, clamp adapter backs and carbon fiber light shields. For greater flexibility, the new 130mm back also works with clamp-on rings from the MB-20 system. The LMB-15 accepts ENG lenses as wide as 3.9mm and has a quick release removable sunshade for close-up applications.

With the ARRI Follow Focus FF5-HD, a completely modular, film style follow focus is now available for digital productions. Designed specifically for lenses with a smaller diameter focus barrel, the FF-5’s longer swing arm ensures proper gear position on the focus ring and a lower gear ratio for a more exacting focus pull on smaller diameter lenses or those with compressed focus scales.

The FF5-HD integral snap-on mechanism locks to 15mm lightweight support rods and can be adapted to work with ARRI standard 15mm or 19mm bridgeplate support rods. ARRI Follow Focus drive gears can be attached to either side of the swing arm, allowing greater mounting flexibility.

ARRI gears are made from low friction Delrin for optimal drive smoothness and use precise self-centering stainless steel couplings to eliminate runout and wear.

For more options, the FF-5HD is compatible with all ARRI FF-4 Follow Focus accessories. Right and left focus knobs and the FF-5’s longer body allow operation from either camera side with ENG lenses.

In addition, an extension is available to clear the largest matteboxes. Short and long focus whips allow the assistant to stand farther away from the camera and a focus crank makes fast snap zooms smooth and accurate.

The need to change between studio and handheld configurations is a common production problem and the quick release mechanism in ARRI’s QR-HD1 makes transitions fast and easy. The bridgeplate adapts to either ARRI Standard 19mm rod size or the popular ARRI 15mm rods.

The Quick Release Baseplate’s unique attachment mechanism provides rock-solid camera support with a centering adjustment that compensates for variations in camera base to optical axis measurements. Full compatibility with cameras such as the Panasonic Varicam, Sony F950 and Sony HDC-1500 is thus assured.

The dedicated baseplate rod holder has a unique centering system, adjustable both vertically and horizontally. The rear clamp collar post is adjustable from 1.5mm to 2mm, ensuring a solid attachment.

The QR-HD1 features a mechanically locked camera base to bridgeplate attachment which can be adjusted for a perfect fit via a knurled knob on the rear of the unit. This system provides a more solid attachment than the common spring-tensioned systems.

Note: The Sony F23 and RED One are not V-Lock cameras. The F23 is fully compatible with ARRIFLEX cine bridgeplates BP-3, BP-5, BP-8 and BP-9. The RED One uses a proprietary support system (available from RED) that fully conforms to the ARRI support rod standard.

The ULB-3, specifically designed for digital cine-matography, replaces the stock v-shoe attachment common on cameras such as the Sony F900, Panasonic Varicam and HDX 900.*

A universal drill pattern allows direct mounting to the camera body and new dial support post attachments provide additional stability and reduce flex.

This unit incorporates a right side rosette for handgrip attachment with optional left rosette for two-handed operation.

As with the QR-HD1, the ULB-3 incorporates a centering adjustment system to compensate for variations in camera base to optical axis measurement.

*For compatibility with other cameras please contact your ARRI representative.