For over a decade the ARRI ALEXA camera family ard for digital cinem phy. Now, ALEXA 35 raises the bar even higher with anew sensor and REVEAL Color Science.
ARRI's discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing.
2.5 more stops than previous ALEXA cameras, with filmic highlight roll- off sier to handle any lighting conditions, more flexible in post Improvied sensitivity: lower noise, higher ISO 0 to El 6400, with color accuracy maintained at all exposure levels.
- First step in the new and improved image pipeline.
- Converts ARRIRAW into camera native RGB image data.
- Makes the most of the new sensor’s capabilities.
- Cleaner color edges for blue and greenscreens.
- Easy coinpositing speeds up VFX work in post.
| Model | ALEXA 35 | ||
|---|---|---|---|
| Sensor Type | Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern color filter array | ||
| Sensor Maximum Number of Photosites and Size | 4608 x 3164 27.99 x 19.22 mm/ 1.102x 0.757" Q 33.96 mm / 1.337" | ||
| Sensor Frame Rates | 0.75 - 120 fps | ||
| Weight | ~2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS)) | ||
| Photosite Pitch | ~6.075 um |
Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. With the software update 7.0, the Mini LF can now be universally used for large format and Super 35 productions.
Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.
Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.
| Model | ALEXA Mini LF | ||
|---|---|---|---|
| Sensor Type | Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array | ||
| Sensor Maximum Number of Photosites and Size | 4448 x 3096 36.70 x 25.54 mm / 1.444 x 1.005" ⌀ 44.71 mm / 1.760" | ||
| Sensor Frame Rates | 0.75 - 100 fps | ||
| Weight | ∼2.6 kg / ∼5.7 lbs (camera body with LPL lens mount) 800 g (MVF-2) |
ARRI's new large-format camera system consists of the ALEXA LF camera, ARRI Signature Prime and Zoom lenses, LPL lens mount and PL-to-LPL Adapter. Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.
Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.
| Model | ALEXA LF | ||
|---|---|---|---|
| Sensor Type | Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array | ||
| Sensor Maximum Number of Photosites and Size | 4448 x 3096 36.70 x 25.54 mm / 1.444 x 1.005" ⌀ 44.71 mm / 1.760" | ||
| Sensor Frame Rates | 0.75 - 100 fps | ||
| Weight | ∼7.8 kg / ∼17.2 lbs (camera body with LPL lens mount) |
Compact, lightweight, and self-contained - ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.
The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses, or with the even ARRI Signature Primes with the LPL mount for ALEXA Mini.
| Model | ALEXA Mini | ||
|---|---|---|---|
| Sensor Type | Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array | ||
| Sensor Maximum Number of Photosites and Size | 3424 x 2202 28.25 x 18.17 mm / 1.112 x 0.715" ⌀ 33.59 mm / 1.322" | ||
| Sensor Frame Rates | 0.75 - 200 fps | ||
| Weight | ∼2.3 kg / ∼5 lbs (camera body with titanium PL lens mount) |
The switch from analog to digital production has brought many positive changes. Amongst them is a high quality preview of the images on set, as well as the ability to see those images with the intended look and to carry that look through to dailies and editing. Color management and look workflows have been the topic of much debate in the past years. Based on half a decade of customer feedback and what has been learned from D-20 to ALEXA XT, the new ARRI Look Management has been devised for AMIRA and ALEXA Mini and then expanded for ALEXA SXT. This highly refined, powerful and flexible system will be used by ALEXA SXT, ALEXA Mini, AMIRA and future cameras to provide a wide range of unique looks and to maintain and share the cinematographer's intended look on set, in dailies and in editing.
- Powerful new ARRI Look File ALF-2.
- Live grading on-set .
- Automated dailies.
- Editing with looks.
- Flexible and future proof
The ALEXA camera system is known for its exceptional image performance that is simple to operate, reliable in even the most extreme environments and versatile enough to cover a wide range of workflow and budget requirements.
Based on this proven technology is the ALEXA SXT W: It has a built-in video transmitter which makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up are quicker, and productions are able to move faster.
| Model | ALEXA SXT W | ||
|---|---|---|---|
| Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array | |||
| Sensor Maximum Number of Photosites and Size | 3424 x 2202 28.25 x 18.17 mm / 1.112 x 0.715" ⌀ 33.59 mm / 1.322" | ||
| Sensor Frame Rates | 0.75 - 120 fps | ||
| Weight | ∼7.4 kg / ∼16.3 lbs (camera body with PL lens mount) |
The ALEXA XT Plus is the first major step in the evolution of the Alexa camera family. Offering a Super 35sensor with a switchable Open Gate*, 4:3 and 16:9 active sensor mode. The new XR Module (XtendedRecording), co-developed by Codex, makes it possible to record ARRIRAW in-camera onto XR Capture Drives.Through an adapter you’re still able to record ProRes or DNxHD to more economical Sony SxS Pro MediaCards.
- In-camera ARRIRAW recording up to 120fps** onto XR Capture Drives.
- Faster and longer ProRes/DNxHD recording.
- Open Gate* sensor mode to capture the largest available sensor area.
- Capture true anamorphic, thanks to the tall 4:3 sensor mode.
| Model | ALEXA XT PLUS | |
|---|---|---|
| Resolution | ||
| From used sensor photo sites to target resolution: 16:9 2880 x 1620 down-sampled to 1920 x 1080 for ProRes HD 2868 x 1612 down-sampled to 2048 x 1152 for ProRes 2K 3168 x 1778 used for ProRes 3.2K 16:9 2880 x 1620 used for ARRIRAW 16:9 4:3 Full 2868 x 2150 down-sampled to 2048 x 1536 for ProRes 2K 4:3 2880 x 2160 used for ARRIRAW 4:3 Full 4:3 Cropped 2578 x 2160 used for ARRIRAW 4:3 Cropped Open Gate 3414 x 2198 used for ARRIRAW Open Gate |
The Arriflex 535 is a movie camera product line created by Arri in 1990 to replace the Arriflex 35 BL line. As such, its potential applications are widespread, and thus it is regularly used as a primary camera on feature films, second unit work on features, on music videos, commercials, special effects work and motion control, among other usage. Before the introduction of the Arricam System, the 535 was one of the most popular 35 mm sync-sound movie camera in usage, due to its wide range of production adoption, intuitive design, high reliability, and retail availability. In recognition of the achievements of the 535 system, AMPAS awarded Arri a Scientific and Engineering Academy Award in 1995. The original variant was capable of between three and fifty frames per second.
- Robust and functional 35 format sync sound.
- Versatile & affordable.
- Bright and modular optical viewfinder system.
- Silent operation and absolute image steadiness.
- Mechanically adjustable shutter.
- Digital frame rate selection and time code.
| Model | Arriflex 535 | ||
|---|---|---|---|
| Runtime | 2 hr 11 min (131 min) 2 hr 10 min (130 min) (Canada) | ||
| Sound Mix | Dolby Digital |
The ARRIFLEX 235 is a small and lightweight 35mm MOS (Motor Only Sync) film camera designed for handheld and remote applications. The 235 is spectacularly lightweight, small and compact. It’s body and viewfinder weight about 3.5kg, half the weight of a 435 body with viewfinder. With a smaller and lighter camera it’s possible to work faster, use less rigging and utilize lighter support equipment. Despite its compact size, the 235 is a thoroughly modern motion picture camera, Super 35, a 3 perforation option and speed ramps.
The Arriflex 235 is a compact, lightweight camera designed for handheld and remote applications where size and weight are crucial.
The scale of the Arriflex 235 makes it ideal for Steadicam, car rigs, underwater applications, aerial photography, etc. The 235 is also ideal as a ‘C’ camera – perfect for capturing alternative and spontaneous angles.
- A lightweight 35mm Arriflex, the 235 is capable of 1-75 frames per second and is ideal for compact shooting scenarios like steadicam, car rigs, and underwater applications. The 235 still features ARRI’s world class design and robustness.
- Film Type: Super 35mm Film.
- Maximum Frame Rate: 1-75 FPS.
- Weight: 7.71 lbs (Body Only - No Magazine)
- *3-Perf movement avail.
| Model | Arriflex 235 | ||
|---|---|---|---|
| Full Gate | 35mm DIN 15501 | ||
| Ground Glass | 1.78:1 = 24 x 13,5mm 1.85:1 = 24 x 13mm 2.35:1 = 24 x 10,5mm |
The ARRIFLEX 435 family was for long time the workhorse for the film industry, which still offers a range of in-camera effects that aren’t possible on any digital cinema camera on the market. Effects like in-camera speed ramps, depth of field ramps, time shift ramps or hand cranking still make the ARRIFLEX 435 Xtreme the most versatile MOS camera ever built. Ideal for commercials or music video’s.
- Run forward or reverse (direction set on the camera).
- 3 different gear ratios: approx. 16 frames, 8 frames or 4 frames per revolution.
- Gear ratios may be changed during handcrank operation.
- Ramp speed can be changed in hand crank operation mode (movement has to stand still).
- Dynamic switching between NORM operation and hand crank (PS/CCU) camera mode during standby.
| Model | Arriflex 235 | ||
|---|---|---|---|
| Full Gate | 35mm DIN 15501 | ||
| Ground Glass | 1.78:1 = 24 x 13,5mm 1.85:1 = 24 x 13mm 2.35:1 = 24 x 10,5mm |
