177:(Look Up Tables) prior to output. With sensitivity settings ranging from ISO 100 to ISO 800 with linear responses, the D-20 also offers log curve options designed to mimic the response of film negative. Unlike some other digital cameras, the D-20 does not offer gain boost, instead relying on the advantages of adding gain in the post production process. The sensitivity of the camera in Data mode is regulated by applying
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The D-20 has a mechanical shutter, variable from 11.2° to 180° or an electronic shutter that simulates a 270° mechanical shutter at 24frame/s. The camera is capable of running at speeds from 1 to 60frame/s. Numerous components of the camera were borrowed from Arri film camera models (most notably the
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The D-20 also accepts a traditional film style video assist system, sharing the image available through the optical viewfinder. This can be useful in
Steadicam and remote crane applications where visibility outside the sensor capture area is preferable.
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Like Arri mechanical cameras, the D-20 is modularly constructed so that both the mechanical and electronic components are upgradable over time, the camera however was discontinued in 2008 and the D-21 was introduced.
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Though the D-20 system is capable of variable speeds from 1 to 60 frames per second, in RAW Data mode these are currently limited to 23.976 frame/s, 24 frame/s, 25 frame/s, 29.97 frame/s & 30 frame/s per second.
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lenses, producing the 2.39:1 widescreen aspect ratio from the full sensor height. Captured data is recorded to either flash or hard drives, notably the sTwo data recorder.
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aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly
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Electronic viewing options can be added to the camera. Typically, an additional monitor is used to both view and evaluate images for the camera.
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120:(via dual link HD-SDI). Typically, the D-20 is tethered to a Sony HDCamSR recorder. Other recording options exist, including the
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first introduced in
November 2005. The camera's attributes are its optical viewfinder, modularity, and
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extremely high viewfinder resolution, with the option to zoom in on the image to check critical focus
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no monitoring of what is recorded on the sensor, only what appears in front of the sensor.
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loss of light and sensitivity, as light has to go to the viewfinder instead of the sensor
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flash mag which provides untethered recording of up to 15 minutes per "mag" in RGB 4:4:4.
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Of the currently available high resolution digital motion picture cameras, the
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In HD mode the sensor uses 2880x1620 active pixels to generate an image with a
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Some advantages of an optical over purely electronic viewing systems include:
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Anthem VFX works with footage from
Arriflex D20 on the Mini Series "Tin Man"
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The sensitivity of the D-20 in video mode is regulated by the application of
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Some disadvantages an optical viewing introduces to a camera system:
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In Data mode the sensor uses 2880x2160 active pixels generating RAW
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aspect ratio downsampled to 1920x1080 pixels in either YUV 4:2:2
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1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30 PsF
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aperture. Effectively the D-20, when used with current 35 mm
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ability to set camera framing without need of a power supply
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1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24, 25, 29.97, 30 PsF
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1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF*
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2880 x 2160 RAW 12 bit Bayer data @ 23.976p, 24p, 25p
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138:2880 x 1620 RAW 12 bit Bayer data @ 29.97p, 30p
310:More detailed information can be found on the
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81:The D-20 captures images in two main modes:
128:Following recording formats are possible:
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150:HD Mode – dual link HD-SDI (SMPTE 372M):
63:motion picture lenses, yields the same
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116:(via single link HD-SDI) or RGB 4:4:4
18:American digital motion picture camera
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230:Films shot with Arriflex D-20
27:digital motion picture camera
316:Movie Making Manual WikiBook
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185:Distinctive characteristics
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361:Film and video technology
332:Indie filmmaker reviews
76:motion picture cameras
366:Digital movie cameras
256:The Andromeda Strain
281:Other single-chip
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338:CSC News Article
321:Eric Fletcher's (
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283:Super 35 mm film
270:Captain Abu Raed
25:is a film-style
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23:Arriflex D-20
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346:Studio Daily
340:Arriflex D20
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263:Uncertainty
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131:Data Mode:
38:CMOS sensor
355:Categories
287:Panavision
249:RocknRolla
103:anamorphic
73:35 mm film
35:35mm-width
312:D-20 page
89:-data at
71:as Super
57:film gate
296:camera.
61:PL mount
54:Super 35
48:Overview
29:made by
314:in the
294:Red One
290:Genesis
118:10 bit
114:10 bit
99:1.85:1
91:12 bit
164:435ES
93:in a
87:Bayer
236:Luna
179:LUTs
175:LUTs
110:16:9
67:and
31:Arri
21:The
323:SOC
95:4:3
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