Page 1
Pocket Guide
SUP
9.1
Page 2
ALEXA Pocket Guide
Table of Contents
Overview 4
Table of Contents
New features in SUP 9.0 and 9.1 6
The Home Screen 8
Home Screen Soft Buttons 9
Icons on Home Screen 12
MON OUT Icons 14
Recording Media 16
ALEXA XT Output Overview 20
ALEXA Output Overview 21
ARRIRAW uncompressed 22
ARRIRAW Converter 3.0 24
ARRIRAW capable software solutions 25
ProRes 26
DNxHD 28
New recording features in SUP 9.0 30
Working with ALEXA 32
Exposure Index 32
ND filters 34
False Color Exposure Check 37
Color Spaces 38
Video - Rec 709 38
Log C 40
Linear 41
ARRI LUT Generator 41
In-Camera Look Files 42
Legal and Extended Range 48
p and psf 49
Metadata Overview 50
Licenses 52
ALEXA Preshoot Checklist 54
Recording with the XR or SxS Module 55
Camera Setup 55
Shooting Highspeed 57
Recording ARRIRAW via T-Link 57
Shooting Stereo 3D 59
ALEXA M/ALEXA XT M fiber maintenance 59
Creating Lens Tables 60
ALEXA XT/XR Workflows 68
Compressed Recording Formats 68
Uncompressed ARRIRAW 68
Generating Deliverables 71
Scaling your Workflow 73
Specifications and Reference 74
Technical Specifications 74
Menu Settings & Button Functions 90
ARRI Lenses 104
ARRI/ZEISS Master Anamorphic Lenses 104
ARRI/ZEISS Master Prime Lenses 106
ARRI/ZEISS Ultra Prime Lenses 108
ARRI/ZEISS LDS Ultra Prime Lenses 110
ARRI/FUJINON Alura Zoom Lenses 112
ARRI/FUJINON Alura LDS Extender 114
ARRI Ultra Wide Zoom UWZ 9.5-18 116
ARRI/ZEISS Master Macro Lens 118
Resources and Contacts 122
ARRI Sales Contacts 122
ARRI Service Contacts 124
ARRI Digital Workflow Solutions 126
Online Resources 127
Table of Contents
32
Page 3
Overview
Overview
Introduction The ALEXA and the ALEXA XT family
Welcome to the Pocket Guide for the ALEXA and
the ALEXA XT family of cameras, which contains
important preproduction and production information
for an ALEXA shoot. The ALEXA platform has been
designed with ease of use and user-friendliness in
mind; the menu and controls are simple and intuitive,
so the best way to learn ALEXA is to get your hands
on the real thing. However, carrying this guide with
you and combining it with other resources such as
the ALEXA manual at www.arri.com/alexa/downloads
or the interactive ALEXA/ALEXA XT Camera
Simulator at www.arri.com/alexa/tools will ensure
your readiness to take full advantage of the camera’s
unique and versatile features.
ALEXA
ALEXA XT
Overview
ALEXA XT PlusALEXA XT M ALEXA XT Studio
54
Page 4
New features in SUP 9.0 and 9.1 for all ALEXA and ALEXA XT cameras
Software Update Packet (SUP) 9.0/9.1 enables a
Overview
number of new features for all ALEXA and ALEXA XT
cameras. It adds new recording capabilities, codec
options and provides the basis for the use of new recording media and new ARRI accessories. This SUP
also contains software update 1.37 for the ALEXA
Electronic Viewfinder EVF-1, which fixes an issue
that was discovered in EVF software 1.36.
Now available on all ALEXA XT cameras as well as
for DNxHD license owners is DNxHD 444. This is
the higest DNxHD flavour available which brings full
color fidelity and Log C capabilities to ALEXA.
In our manner to keep ALEXA an open, future prove
camera we have adopted the successor of the
Compact Flash card for recording on ALEXA:
CFast 2.0 (CompactFlash ATA Serial Transfer Standard
2.0, issued 2012). All ALEXA XT series cameras,
ALEXAs with XR Module as well as the ARRI AMIRA
camera support CFast 2.0. Other manufacturers have
also committed to support this new standard in
their devices.
Feature Overview
• ProRes 4444 16:9 High Speed recording up to 120 fps
• Pre-recording for ProRes (loop recording)
• Improved DNxHD 4:2:2 recording up to 120 fps
• DNxHD 4:4:4 recording up to 96 fps
• Phase user button
• Improved color management
• Increased CC range for white balance
• Support for CFast 2.0 media
• Preparation for Open Gate ARRIRAW
1
2
• Improved Lens Table programming
• Support for upcoming WCU-4 capabilities
• User Pixel Masking
• Support for 1.4x and 2x Alura LDS Extenders
1
ALEXA XT series cameras and XR Module cameras only
2
ALEXA XT series cameras only
1
Overview
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Page 5
Home Screen Soft ButtonsThe Home Screen
Overview
The soft buttons lead to screens where the respective
settings can be changed. In the home screen, the
following info is displayed:
FPS: Set sensor frame rate
AUDIO: When audio is active, audio levels are
shown. Audio can also be switched
OFF, or DISABLED (when the sensor is
not running at sync-sound speed)
SHUTTER: Set shutter angle (and turn mirror
shutter on/off for ALEXA Studio)
EI: Set exposure index (and insert internal
ND filter for ALEXA Studio)
COLOR: Set gamma for REC OUT and SxS
image paths. If REC and/or SxS icons
have a blue background, a look is
active on this image path.
WB: Set white balance, consisting of a Kelvin
value for red-blue correction and a
CC shift for green-magenta correction
(shown as exponent).
ALEXA Studio Icons
Name Icon Description
Mirror
Shutter
View
Position
Gate
Position
ND filter ND filter active
M
S
V
G
ND
Flashing Icon when the
Mirror Shutter is spinning.
Mirror Shutter in View position
Mirror Shutter in Gate position
Overview
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Home Screen Center Bar
TC Displays current timecode including
Overview
source (INT=internal or EXT=external
source). Frames are not displayed,
instead the time base of the timecode
is shown in small digits.
BAT 2 Voltage level of battery attached to
top and/or back onboard battery
adapter, or percentage of remaining
capacity of attached battery if it
transmits this information.
ProRes 2K
Displays active recording format
(ARRIRAW, ProRes (HD or 2K) or DNxHD).
SxS Pro
Drive SxS PRO adapter or XR Capture Drive
inserted into slot.
00:19:28 Remaining capacity of loaded magazine.
< Marks the active card.
• STBY The camera is in standby and
ready to record.
• PRE The camera is recording frames into
its ring buffer.
Overview
MASTER Camera is set to Ext sync: MASTER
SLAVE Camera is set to Ext sync: SLAVE
Settings sync is active.
BAT 1 Voltage level of power source present
at BAT connector, or percentage of
remaining capacity of attached battery
if it transmits this information.
REEL Identifies current reel. Consists of
camera index and reel counter.
CLIP Identifies current clip. Consists of
clip index and clip counter.
DUR Duration of current clip during
recording or length of last recorded
clip during standby. Shown as
h:mm:ss.
16:9
Displays active sensor mode
(16:9 or 4:3).
FULL Loaded Magazine is full.
No Media No Magazine in slot.
Type Magazine does not support the
currently selected Recording format.
SxS 1 24:26
1
Remaining capacity of card in SxS slot
1 in minutes. Calculated for the set
frame rate and codec.
Note: these are only approximate values.
SxS 1 INHIB
SxS 1 FULL
1
Card 1 is write protected.
1
Card 1 is full.
• REC The camera is recording.
• ERROR An error occured. Recording is not
possible. Press the INFO button
for more details.
If nothing is shown (neither the
red/green bar), the camera works
properly, but no SxS PRO card is
present for recording.
INT/SxS
Look
CDL Server active/connected
CDL Server active/not connected
1
not available on ALEXA XT
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Icons on Home Screen
Name Icon Description
Overview
General Important information
Warning waiting on the info
screen. Press the INFO
button for more details.
General An error occurred.
Error Press the INFO
button for more details.
Temperature Slight sensor temperature
Warning offset. Image quality might
be affected.
Temperature Great sensor temperature
Error offset. Image quality might
be affected seriously.
Lock Camera is locked.
Name Icon Description
SD Card SD Card present.
Turns orange during
card access.
Grab Still frame is being captured
to the SD card. A new still
frame can only be captured
when this is completed.
High Sensor is in high humidity
Humidity mode (= 40° C sensor temMode perature). Should only be
(e.g. indoor swimming pool).
WRS Radio WRS radio is active.
Only on ALEXA Plus
and Studio.
used in very humid conditions
Overview
ALEXA Studio left side. Additional buttons VIEW & GATE for mirror control.
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MON OUT Icons
Overview
Name Icon Description
General Important information
Warning waiting on the info
screen. Press the INFO
button for more details.
General An error occurred.
Error Press the INFO
button for more details.
Temperature Slight sensor temperature
Warning offset. Image quality might
be affected.
Temperature Great sensor temperature
Error offset. Image quality might
be affected seriously.
Lock Home screen is locked.
Name Icon Description
Peaking Peaking enabled for EVF
and/or MON OUT.
Smooth mode
Recording Displays current SxS
resolution resolution (HD or 2K).
Gamma Displays Gamma setting for
EVF or MON OUT.
Look active A look is active/burned-in
on EVF, MON OUT and/or
Internal recording.
Smooth mode active on EVF.
Overview
Grab Stil frame is being captured
to the SD card. A new still
frame can only be captured
when this is completed.
CDL server
Return IN Return is active, image from
RET/SYNC IN input is shown.
connected/disconnected.
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Recording Media
An ALEXA camera can be equipped with an SxS
Overview
Module or the new XR Module for internal recording. The SxS Module can record QuickTime/ProRes
or MXF/DNxHD files on Sony SxS PRO cards. SxS
PRO cards have an ExpressCard34 form factor and
are available with a capacity of 32 and 64 GB. ALEXA
cameras with an XR Module can also record to Sony
SxS PRO, CFast 2.0 cards or to Codex XR Capture
Drives, which additionally enables uncompressed
ARRIRAW recording. Using SxS PRO or CFast 2.0
cards requires a mechanical Adapter from ARRI and
does not allow recording ARRIRAW data. Codex XR
Capture Drives share the same mechanical interface
as other Codex Capture and Transfer Drives, only XR
drives can be used for recording on ALEXA cameras.
The table below shows the data rates and storage requirements for the available recording formats1.
Recording Media 64GB SxS PRO 120GB CFast 2.0 XR Capture Drive
Recording Format fps Range
16:9 ARRIRAW 2.8K
4:3 ARRIRAW 2.8K
Open Gate ARRIRAW
16:9 ProRes 4444 HD
16:9 ProRes 4444 2K
4:3 ProRes 4444 2K
16:9 ProRes 422 HQ HD
16:9 ProRes 422 HQ 2K
4:3 ProRes 422 HQ 2K
16:9 DNxHD 444
16:9 DNxHD 175x/185x/220x
16:9 DNxHD 115/120/145
3 4
3
3
3
3
3
– – – – – – 0.75 – 120 47 min 9 min
– – – – – – 0.75 – 90 35 min 9 min
– – – – – – 0.75 – 75 29 min 9 min
0.75 – 60 29 min 11 min 0.75 – 120 53 min 10 min 0.75 – 120 107 min 21 min
0.75 – 60 28 min 10 min 0.75 – 60 46 min 18 min 0.75 – 60 93 min 37 min
0.75 – 48 19 min 9 min 0.75 – 48 35 min 17 min 0.75 – 48 70 min 35 min
0.75 – 120 43 min 8 min 0.75 – 120 80 min 16 min 0.75 – 120 160 min 32 min
0.75 – 60 38 min 15 min 0.75 – 60 70 min 28 min 0.75 – 60 140 min 56 min
0.75 – 48 28 min 14 min 0.75 – 48 52 min 52 min 0.75 – 48 105 min 52 min
0.75 – 60 24 min 9 min 0.75 – 90 43 min 17 min 0.75 – 96 85 min 34 min
0.75 – 120 48 min 9 min 0.75 – 120 87 min 35 min 0.75 – 120 170 min 34 min
0.75 – 120 72 min 14 min 0.75 – 120 132 min 53 min 0.75 – 120 255 min 51 min
2
Recording
Time
@ 24 fps
Recording
Time
@ max fps
fps Range
2
Recording
Time
@ 24 fps
Recording
Time
@ max fps
fps Range
2
Recording
Time
@ 24 fps
Recording
Time
@ max fps
1
ProRes 422, 422 (LT) and 422 (Proxy) are also available, but left out
for reasons of clarity.
2
All speeds adjustable with 1/1000 fps precision. To record above
60 fps in any format, the camera needs to be switched to high
speed mode.
3
ProRes is a variable bit rate codec. Actual data rate and recording
time varies depending on image content.
4
ProRes 4444 high speed mode is not available on ALEXA classic
cameras.
Overview
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ALEXA Recording MatrixALEXA XT Recording Matrix
Overview
Recording Media
16:9
4:3
Open
Gate
ARRIRAW
uncompressed
2880x1620
(0.75-120fps)
2880x2160
(0.75-90fps)
3414x2198
(0.75-75fps)
Recording
Format
Sensor
Mode
1
DNxHD 444 is not available in Highspeed Mode
2
2K ProRes recording is limited to 30fps on 32GB SxS Pro cards
Internal recording
onto XR Capture Drives
1
HD
Highspeed
ProRes
& DNxHD
1920x1080
(60-120fps)
HD
ProRes
& DNxHD
1920x1080
(0.75-60fps)
– –
2K
ProRes
2048x1152
(0.75-60fps)
2048x1536
(0.75-48fps)
Internal Recording
with SxS PRO or CFast 2.0 adapter
(onto SxS PRO/CFast 2.0 card)
HD
ProRes
& DNxHD
1920x1080
(0.75-60fps)
– –
HD
Highspeed
ProRes
& DNxHD
1920x1080
(60-120fps)
1
ProRes
2048x1152
(0.75-60fps)
2048x1536
(0.75-48fps)
2K
– – – – – – –
2
External
recording
HD
uncompressed
1920x1080
(0.75-60fps)
–
Recording Media
Recording
Format
16:9
Sensor
Mode
1
DNxHD 444 is not available in Highspeed Mode
2
2K ProRes limited to 30fps on 32GB SxS Pro cards
4:3 – –
Open
Gate
HD
ProRes &
DNxHD
1920x1080
(0.75-60fps)
– – – – –
Internal Recording
onto SxS PRO cards
HD
Highspeed
ProRes &
1
DNxHD
1920x1080
(60-120fps)
2K
ProRes
2048x1152
(0.75-60fps)
2048x1536
(0.75-48fps)
External recording
via T-Link
2
ARRIRAW
uncompressed
2880x1620
(0.75-60fps)
2880x2160
(0.75-48fps)
External recording
via HD-SDI
HD
uncompressed
1920x1080
(0.75-60fps)
–
Overview
1918
Page 11
information overlay
ALEXA XT Output Overview ALEXA Output Overview
Overview
1 or 2x MON OUT HD-SDI 16:9
HD-SDI 16:9
ARRIRAW
(
1x XR Capture Drive
1x XR Capture Drive
or SxS card
or CFast 2.0 card
16:9, 4:3 or Open Gate
Quicktime 16:9 HD
or 16:9/4:3 2K
MXF 16:9 HD
HD-SDI with
Clean image
uncompressed 2x REC OUT
)
ProRes Proxy
ProRes 422 LT
ProRes 422
ProRes 422 HQ
ProRes 4444
DNxHD 145
DNxHD 220x
DNxHD 444
2x REC OUT
1 or 2x MON OUT
2x SxS Cards
T-Link
HD-SDI
HD-SDI 16:9 HD-SDI with
Quicktime HD,
2K 16:9 or 4:3
MXF 16:9 HD
ARRIRAW uncompressed
(16:9 or 4:3)
HD uncompressed 16:9
(4:4:4 or 4:2:2)
information overlay
ProRes Proxy
ProRes 422 LT
ProRes 422
ProRes 422 HQ
ProRes 4444
DNxHD 145
DNxHD 220x
DNxHD 444
Overview
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ARRIRAW uncompressed
ARRIRAW data delivers uncompromised image
Overview
quality from an ALEXA camera. It offers the
highest achievable resolution, the camera's natural
color response and great exposure latitude as
uncompressed and unprocessed sensor data. With
the introduction of the ALEXA XT series, ARRIRAW
data can be recorded directly in the camera at up
to 120 fps, which makes using ARRIRAW as your
chosen format easier than ever before.
Like film negative, ARRIRAW data has to be
processed to produce a color image. ARRIRAW
images have only one channel. A color reconstruction
algorithm calculates the missing components of
each pixel based on the type and position of the
array of colored filters (Bayer pattern) on the camera
sensor. As a result, half of the reconstructed image's
green values are interpolated from the surrounding
photosites rather than captured, as are three-quarters
of the red and three-quarters of the blue.
The ALEXA sensor provides a horizontal resolution of
about 3K pixels, from which downsampling routines
produce optimized HD and 2K resolution images. For
VFX, however, the images often are processed using
the native sensor pixel count and then downscaled to
for example 2K at a later stage.
With the release of SUP 9.0 an additional ARRIRAW
mode has become available. It is called Open Gate.
In this format the captured frame extends beyond the
surround view area that can be seen in the electronic
viewfinder. The active frame size of this format is
28.25 x 18.17 mm (image circle: 33.5 mm), or 3414
by 2198 pixels with an aspect ratio of 1.55:1. Since
the Open Gate aperture is wider than a Super 35
frame, please make sure that the lenses you are
using actually cover the whole area. Wide angle
lenses are more critical in this respect than long focal
lengths.
Format Resolution Color Coding File size
16:9 ARRIRAW 2.8K
4:3 ARRIRAW 2.8K
Open Gate
2
ARRIRAW
1
All speeds adjustable with 1/1000 fps precision.
2
Open Gate mode is only available on ALEXA XT cameras.
2880 x 1620 12 bit Bayer 7 MB 1.34 Gbit/s 605 GB/h 0.75 - 120
2880 x 2160 12 bit Bayer 9.3 MB 1.79 Gbit/s 806 GB/h 0.75 - 96
3414 x 2198 12 bit Bayer 11.3 MB 2.17 Gbit/s 976 GB/h 0.75 - 75
Data Rate
@ 24 fps
Data Volume
@ 24 fps
fps Range
1
Overview
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ARRIRAW capable software solutionsARRIRAW Converter 3.0
The ARRIRAW Converter (ARC) is a free software
Overview
solution that reads, displays and renders ARRIRAW
files. Since in 2005 the first ARRIRAW files from
the D20 camera have been shot, ARC has undergone some iterations and gained more capabilities.
In 2012 we decided to develop a completely new
version of the ARRIRAW Converter which has been
released at IBC 2013.
Version 3.0 features a new user interface in combination with a feature rich tool palette. Working with
ARRIRAW has become more intuitive and straight
forward from browsing through the images to reviewing and finally rendering to other file formats.
To allow a quick start with ARC 3.0 we’ve created
a series of tutorial videos on all available features.
Also including the new User Pixel Mask, a feature
introduced to ALEXA cameras in SUP 9.0: www.arri.
com/goto/arriraw-tutorials
ARRIRAW Converter 3.0 is available for Mac OSX.
A version for Windows operating systems will be
released soon.
Download ARC at the ARRIRAW
Downloadpage:
http://www.arri.de/alexa/arriraw
A product which has been awarded
the ALEXA ARRIRAW Processing
Certificate is capable of rendering
ALEXA ARRIRAW images in
a quality that meets ARRI’s
requirements. Please note that for
CERTIFIED FOR
PROCESSING
ALEXA
all image processing parameters
(such as sharpness, color etc.) the
ARRI SDK, which is also part of
the ARRIRAW Converter, is the
reference.
You can find more information about working with
ARRIRAW at www.arri.com/alexa/workflow. Further
documents, covering ARRIRAW and other topics,
such as the "ALEXA VFX FAQ", are available for
download at www.arri.com/alexa/downloads.
COMPANY PRODUCT CERTIFIED
Adobe Premiere Pro
Adobe Speedgrade
Assimilate
Autodesk Flame/Lustre
Autodesk Smoke
Blackmagic Design Resolve
Codex Digital Transfer Station
Colorfront On-Set Dailies
DigitalFilmTechnology Flexxity
DVS Clipster
Éclair ColorUsDailies
eyeon Fusion
FilmLight Baselight
Glue Tools
Image Systems/
Digital Vision
MTI Film
Pretend Stereoid
Quantel Pablo
SGO Mistika
The Foundry Hiero
The Foundry Nuke
Tweak RV
Scratch
Scratch Lab
ARRIRAW Toolkit
for Mac OS X
Nucoda FilmMaster
Control Dailies Enterprise
Cortex: Control Dailies
Cortex: Convey
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
Overview
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ProRes Recording
The ALEXA/ALEXA XT is the first camera offer-
Overview
ing internal, ready-to-edit, QuickTime/ProRes HD.
With SUP 7.0, all cameras received a free upgrade
enabling QuickTime/ProRes 2K recording. Recording in ProRes 2K is a cost-efficient alternative to
shooting ARRIRAW, as it requires less storage space
and no processing, but at the same time delivers an
image quality that is superior to that of up-scaled HD
material. With the option to capture ProRes 2K in the
4:3 aspect ratio1, the format offers true anamorphic
capture with regular 2:1 anamorphic lenses and
offers extra room for repositioning when using standard spherical lenses. New for SUP 9.0 is the ability
to shoot ProRes 4444 in Highspeed Mode.
ProRes 2K Image Aperture
When the ProRes recording resolution is switched
from HD to 2K, the captured aperture changes from
2880 pixels / 23.76 mm / 0.935" width to 2868
pixels / 23.66 mm / 0.932" width. This allows the use
of an optimized in-camera downscaler and provides
the best possible 2K image output. When capturing
ARRIRAW, it is common to use the full 2880 image
width for processing a 2K deliverable. The ARRIRAW
SDK, however, allows to process 2K images from
both 2880 and 2868 pixels width to deliver an exact
match to ProRes 2K footage when ARRIRAW was
recorded in parallel with ProRes 2K2.
1
4:3 ProRes 2K is available on ALEXA Plus 4:3,
ALEXA Studio, ALEXA M, ALEXA XT, ALEXA XT
Plus, ALEXA XT Studio and ALEXA XT M.
2
This only applies to ALEXA cameras with the SxS
Module. ARRIRAW T-Link output is not available in
conjunction with the XR Module or on ALEXA XT
cameras.
For more information on using ProRes 2K in different
applications, please take a look at the “ProRes 2K in
Editorial“ white paper, available at www.arri.com/
alexa/downloads.
Format
ProRes 422 (Proxy)
ProRes 422 (LT)
ProRes 422
ProRes 422 (HQ)
ProRes 4444
1
ProRes is a variable bit rate codec. The actual data rate varies with the image content.
2
ProRes 4444 provides an alpha channel, which is not used by the ALEXA.
3
All speeds adjustable with 1/1000 fps precision.
4
2K ProRes recording is limited to 30fps on 32GB SxS Pro cards
2
Sensor
Mode
4:3 2048 x 1536 10 bit YCbCr 60 27 0.75 – 48
16:9 2048 x 1152 10 bit YCbCr 45 20 0.75 – 60
16:9 1920 x 1080 10 bit YCbCr 40 18 0.75 – 120
4:3 2048 x 1536 10 bit YCbCr 130 63 0.75 – 48
16:9 2048 x 1152 10 bit YCbCr 100 45 0.75 – 60
16:9 1920 x 1080 10 bit YCbCr 90 40 0.75 – 120
4:3 2048 x 1536 10 bit YCbCr 190 87 0.75 – 48
16:9 2048 x 1152 10 bit YCbCr 140 65 0.75 – 60
16:9 1920 x 1080 10 bit YCbCr 125 57 0.75 – 120
4:3 2048 x 1536 10 bit YCbCr 280 130 0.75 – 48
16:9 2048 x 1152 10 bit YCbCr 210 98 0.75 – 60
16:9 1920 x 1080 10 bit YCbCr 185 85 0.75 – 120
4:3 2048 x 1536 12 bit RGB 425 195 0.75 – 48
16:9 2048 x 1152 12 bit RGB 320 146 0.75 – 60
16:9 1920 x 1080 12 bit RGB 280 128 0.75 – 120
Resolution Color Coding
Data Rate @
24 fps [Mbit/s]
Data Volume @
1
24 fps [GB/h]
3 4
fps Range
1
Overview
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DNxHD Recording
The ALEXA and ALEXA XT cameras allow in-camera
Overview
recording of 1920 x 1080 (16:9) DNxHD encoded
MXF files onto SxS PRO cards, CFast 2.0 cards2
or XR Capture Drives2. With an installed DNxHD
license, ALEXA users can choose between MXF/
DNxHD or QuickTime/ProRes recording codecs.
ALEXA's MXF/DNxHD material can be edited in
Avid Media Composer Version 5.5 and later without
transcoding.
The Material eXchange Format (MFX) is a core
media container technology for nonlinear workflows.
An MXF container file can "wrap" different types
of video and audio material along with associated metadata. The internal structure of MXF files
is defined by the so-called Operational Patterns.
ALEXA cameras record DNxHD encoded images
together with sound and embedded metadata in an
MXF container file using the Operational Pattern 1a
(OP1a) file structure. An Avid Media Composer does
not need to transcode this material, as it already is
available in a native DNxHD codec. The OP1a MXF
format packages picture, sound and metadata in a
single file. This is ideal for both camera acquisition
and archiving since audio and video is always kept
together and no data is lost if recording is interrupted for any reason.
To get more information about working with ALEXA
DNxHD material, please take a look at the "MXF /
DNxHD White Paper" which is available at www.arri.
com/alexa/downloads.
Format Sensor Mode Resolution Color Coding
DNxHD 145
DNxHD 220x
DNxHD 444
1
All speeds adjustable with 1/1000 fps precision
2
CFast 2.0 cards can only be used on cameras with XR Module.
16:9 1920 x 1080 8 bit YCbCr 115 52 0.75 – 120
16:9 1920 x 1080 10 bit YCbCr 175 79 0.75 – 120
16:9 1920 x 1080 10 bit RGB 350 159 0.75 – 96
Data Rate @
24 fps [Mbit/s]
Data Volume @
24 fps [GB/h]
fps Range
1
Overview
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New recording features in SUP 9.0
Pre-recording
Overview
This feature allows you to roll the camera before you
press the REC button, so you won't miss the shot.
With pre-recording enabled and active, the camera
will continuously write frames into a ring buffer. As
the actual take is started with a second press of the
REC button, the camera keeps the content of the
ring buffer and appends frames into a single clip,
until the recording is stopped. Pre-recording is only
available for ProRes codecs.
Phase-Button
The new USER button function called "Phase
sensor" increases the sensor frame rate by 0.2 fps
for as long as the assigned user button is being
pressed. When shooting e.g. a CRT monitor, you
may see a horizontal black bar (video blanking
interval) across the CRT screen in the EVF or the
MON OUT image. It allows you to move that black
bar out of the frame. The phase-function is only
available in standby and with time code set to
REC RUN.
Overview
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Working with ALEXA
Exposure Index
While ALEXA’s 14+ stops of exposure latitude and
unique highlight handling approaches that of film,
Working with ALEXA
there is one major difference between the way film
and digital cameras behave: with digital cameras, a
change in EI will shift how many stops are available
above and below 18% grey – each EI step shifts the
location of 18% grey. What is special about ALEXA,
however, is that its wide exposure latitude is available at all EI settings.
EI 160
5.0 Stops
18% Gray
9.0 Stops
EI 200
5.3 Stops
18% Gray
8.7 Stops
EI 400
6.3 Stops
18% Gray
7.7 Stops
EI 800
7.4 Stops
18% Gray
6.6 Stops
EI 1600
8.4 Stops
18% Gray
5.6 Stops
EI 3200
9.4 Stops
18% Gray
4.6 Stops
As a shortcut, we have come up with the following
method of writing ALEXA’s exposure index:
Values next to the exposure index are the number
of stops above and below 18% grey. These values
are for Log C. Rec 709 has 0.5 stops fewer in the
Working with ALEXA
low end at EI 160, 0.4 stops fewer in the low end at
EI 200 and 0.2 stops fewer in the low end at EI 400.
Otherwise they are the same.
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Working with ND lters
While traditional ND filters work great for film, for
digital cameras we recommend the use of ND filters
that have a built-in far-red blocker. Traditional ND
filters should only be used up to an ND 0.9. A single
filter that combines a ND and a far-red cut off gener-
Working with ALEXA
ally yields better results and fewer reflections than a
traditional ND filter stacked on top of a separate IR-cut
off filter.
FSNDs & In-camera Filter Module (IFM-1)
With the launch of ALEXA XT a filter holder mechanism is available (preinstalled on ALEXA XT cameras
except ALEXA XT Studio), that allows to work with
a set of eight FSND (Full Spectrum Neutral Density)
filters. In comparison to other IRNDs which have
some bumps in their spectral behavior or the ordinary
ND which opens up at about 675nm the FSNDs offer
an even light attenuation across the whole spectrum
(see next page).
The ALEXA Studio and ALEXA XT Studio have a
built-in motorized ND with a density of ND 1.3 (4.3
stops), which can be moved in and out of the optical
path. The advantage over classical ND filters is that
it is located behind the mirror shutter, so the optical
viewfinder image stays bright.
ALEXA PL Lens Mount
IFM Empty Filter Frame
IFM Filter Holder
Working with ALEXA
IFM Shim
8x Full Spectrum Neutral
Density Filters (FSND)
Optical Clear
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Working with ND lters cont.
Classic ND
False Color Exposure Check
FSNDs in comparison
Working with ALEXA
Attenuation (in stops)
Wavelength (in nm)
350 400 450 500 550 600 650 700 750 800
0
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
-11
-12
IRND Brand 1
IRND Brand 2
FSND 1.2
The false color exposure check for the electronic
viewfinder and/or MON OUT output measures the
camera image, tints certain signal levels in a distinct
color and shows the rest as a black-and-white image.
The false color exposure check is based on the color
So if you have the viewfinder set to Rec 709, the
false color exposure check will be based on the Rec
709 image. If you have the MON OUT at the same
time set to Log C, the false color exposure check for
MON OUT will be based on Log C.
processing set for the respective output signal path.
Color Level Description
red 99 – 100% White clipping
yellow 97 – 99% Just below white clipping/white shoulder
pink 52 – 56% One stop over medium gray (Caucasian skin)
green 38 – 42% 18% neutral gray
blue 2.5 – 4.0% Just above black clipping/black slope
purple 0 – 2.5% Black clipping
Working with ALEXA
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Color Spaces
The ALEXA or ALEXA XT can deliver the captured
footage with "Video Rec 709" or "Log C ALEXA wide
gamut" encoding.
Working with ALEXA
Video - Rec 709
‘Rec 709’ is short for the International Telecommunication Union’s ITU-R Recommendation BT.709 - the
output format for a traditional television workflow.
Since the Video - Rec 709 encoding from an ALEXA
follows this standard for displaying images on video
monitors, ALEXA Rec 709 images can be directly
displayed on monitors or used for editing and dailies
review. Without the need for color space conversion, ALEXA Rec 709 images can be processed by
most HD video postproduction gear in real time.
While providing somewhat reduced choices in color
grading, Video - Rec 709 maintains ALEXA’s wide
exposure latitude, cinematic look and natural color
rendition and offers the fastest workflow for any HD
video-based infrastructure.
Working with ALEXA
Color comparison: split image Video/Log C
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Color Spaces cont.
Log C
The “C” in Log C is derived from “Cineon”. Cineon
was the digital film scanning, processing and recording system developed by Kodak in the 90s. It is also
the name of a file format that contains density data
Working with ALEXA
from scanned negative film. Density is a logarithmic
measure of the opacity of the film. The relation of
the density to the film’s exposure is called the characteristic curve of the film. Each stock has its own
characteristic curve, but the overall shape is always
the same.
ARRI introduced a scene based encoding for their
camera data, which, because of the similarity to
the Cineon standard, was named ‘Log C’. With Log
C encoding, the signal level increases by a fixed
amount with each increase of exposure measured
in stops. This encoding gradually advanced with an
initial implementation for the ARRIFLEX D-21 and
then a few upgrades for the ALEXA. Log C images
offer the original ALEXA-specific wide gamut color
space and are ideal to carry image information.
Viewing and Monitoring Log C
Shooting images in Log C delivers the best basis for
the colorist's work, as it provides the camera's full
latitude in an unconfined color space. When viewed
directly, Log C images look flat with desaturated
colors. To correctly display Log C material on an HD
monitor (Rec 709) or in a digital projection (P3), it
needs to be tone-mapped and transformed into the
target color space. This image conversion can be
performed using a 3D Look Up Table (LUT).
When recording Log C or ARRIRAW, the MON
OUT is typically set to display Rec 709 video. This
activates an internal Log C to video conversion LUT
on the output. The same applies if the REC OUT is
used, for example, to present a clean video feed to
the director. When an on-set color correction system
is used to apply live looks to the camera image, the
REC OUT is typically set to Log C output. The color
corrector then applies the settings in Log C and converts the output to REC 709 video using a 3D LUT.
ARRI provides these LUTs through the online ARRI
LUT Generator at www.arri.com/alexa/tools.
Recording Codecs
Log C material is best recorded using a 4:4:4 codec
(ProRes 4444 or DNxHD 444). The top quality 4:2:2
codecs (ProRes 422 (HQ) and DNxHD 220x) will also
provide acceptable results in Log C, but due to the
higher compression ratio, grading images recorded
with these codecs may exhibit artifacts.
Linear
Visual effects often work with linear light encoded
material. The ARRI LUT Generator can produce LUTs
that will convert Log C material to sensor linear
encoding. The linearization will preserve all image
information. It is therefore possible to do round-trip
conversions from Log C to linear and back to Log C.
ARRI LUT Generator
The ARRI LUT Generator can output 1D and 3D LUTs
for a wide range of common postproduction tools. It
is available online at www.arri.com/alexa/tools.
Working with ALEXA
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In-Camera Look Files
ARRI Look Files are editable XML files that can apply
a customized look to all outputs (EVF-1, MON OUT,
REC OUT, ProRes and/or DNxHD recording) that are
set to Rec 709.
A look file can be created based on a Log C DPX
Working with ALEXA
grab or a Log C QuickTime clip that was stored by
the camera. It contains parameters for saturation,
printer lights controls (RGB offsets) and for lift/
gamma/gain, similar to the CDL controls. Optionally,
a look file may also include a freeform curve (grey
scale tone map LUT) that will be applied instead of
the standard Log C to Video tone mapping curve.
The free ARRI Look Creator (ALC) allows the creation
of camera look files based on Log C DPX frame
grabs. Looks can also be created with third party
software Pomfort Silverstack SET and Colorfront
On-Set Dailies.
ARRI Look Files can be saved to an SD card and
imported into the camera. One Look File can be
activated at a time and applied to the different image paths individually. It is possible, for instance,
to record a clean Log C image onto the SxS PRO
card while outputting a Rec 709 image with a look
applied on the MON OUT output. As soon as a Look
File gets applied to any output, the data of the Look
File is stored in metadata.
Apply Look File
look embedded and/or burnt-in
SxS PRO Card
look embedded in file header
and/or burnt-in
2. Use Look
look embedded and/or burnt-in
REC OUT
1. Create Look
HD
ARRIRAW
look embedded in file header
Look File
copy *.xml file to SD card
Image with Look applied
save as cineon, dpx, jpeg or tiff
Working with ALEXA
Grab
*.dpx frame grab to SD card
ARRI Look Creator
load grab & create look
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Non-Destructive Look Files
The Look File does not only go into ALEXA where
it is embedded in the metadata/file header, but it is
also used in the ARRI LUT Generator at http://www.
arri.com/alexa/tools. The ARRI LUT Generator incorporates the Look File into a LUT. The LUT on the
Working with ALEXA
other hand is used e.g. in a color grading application
where it serves as a reference point for the grading
artist. In this way the director of photography’s vision is being transported directly to post, where the
actual ‘development’ of the images takes place.
LogC Image
Look File transported in file header
SxS PRO Card
LogC clips
2. Use Look
Dalies or Conform
ARRI LUT Generator
combine Look with LUT
1. Create Look
Color Grading
have a preview Grading on your footage
Look File
copy *.xml file to SD card
Working with ALEXA
Grab
*.dpx frame grab to SD card
ARRI Look Creator
load grab & create look
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ASC CDL Looks
CDL values embedded in file header
1. Create Look
The alternative to ARRIs in-camera look files is to
send a clean Log C signal from the camera's REC
OUT to an on-set color correction tool, such as
FilmLight Truelight, Technicolor DP Lights or Pomfort
Live Grade, and apply an ASC CDL (American Soci-
Working with ALEXA
ety of Cinematographers Color Decision List) color
correction to the live camera feed for monitoring.
The ASC CDL standard is supported by a wide range
of devices. Color correction settings that were made
during the shoot are logged with time code and can
be output in an Avid Log Exchange (ALE) file.
The ALE file then can then be used in a color
correction system to automatically apply the
color corrections when deliverables will be created.
ALEXAs with an XR Module and Codex Onboard
recorders can be connected to any color corrector
offering the Truelight CDL Protocol via Ethernet
and automatically capture the ASC CDL correction
values with the camera footage. The Codex VFS
can use the color correction settings and automatically apply them when generating files. On ALEXA
XT/XR cameras, the CDL values will be embedded
within the header of each ARRIRAW frame.
2. Transport
Look
Clean Feed
Log C live image from REC OUT
ARRIRAW Footage
CDL values embedded in file header
Live Color Correction
apply ASC CDL color correc tion
ALE
ASC CDL Values
send to ALEX A via Ethernet
CODEX VFS
generate deliverables for dailies and mastering
On-Set Monitoring
output color corrected live image
3. Use Look
including Log C to Video & CDL correction
ALE
Color Grading
CDL values with time code in ALE file
ARRIRAW Footage
Working with ALEXA
Dailies
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Legal and Extended Range p and psf
A 10 bit legal range signal uses digital code values
64 to 940 to represent the camera's full contrast
range from black to white. In an extended range signal, the same range is represented by code values 4
to 1019. Extended range encoding does not provide
Working with ALEXA
a higher dynamic range, nor does legal range encoding limit the dynamic range that can be captured.
It is only the quantization (the number of lightness
steps between the darkest and brightest image
parts) that is slightly increased (about 0.2 bits). The
same applies for 8 bit (0-256 range) or 12 bit (0-4096
range) signals.
An ALEXA always records ProRes and DNxHD clips
using legal range encoding, as required by the
codec specifications. Most editing or post production tools automatically transform the legal range
files to e.g. computer graphics RGB full range
(0-1024) for display.
Note: Some recorders will allow to record e.g.
ProRes clips in extended range. If this material
is brought into FCP, for example, the application
displays values outside the legal range as “superblack” and “superwhite”, but as soon as an RGB
filter layer is applied, those values are clipped.
The REC OUT and MON OUT on an ALEXA can be
set progressive (p) or progressive segmented frames
(psf) output. An ALEXA always captures progressively (full frame at once). The psf mode splits each
frame into two segments other than interlaced capture, which captures both segments in two separate
exposures. The psf output enables compatibility to
devices that only understand interlaced signals for
certain frame rates. It has no influence on the internal recording or ARRIRAW T-Link output.
Working with ALEXA
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Metadata Overview
camera: any from the ALEXA XT series, ALEXA Studio, Plus/Plus 4:3 or M
Metadata is a set of data that describes and gives
information about other data. ALEXA and ALEXA XT
always records as much metadata as is available.
This additional information makes documentation
easier as the metadata is stored within the image
Working with ALEXA
files so it cannot get lost.
A range of automatic and human-readable data is being delivered by the ALEXA camera; this data makes
work in post much easier: exposure index, gamma
and white balance information, for example, is essential for creating dailies or color grading. Reel number,
project fps, date and time become important when
combining images and sound from different sources.
Metadata in the ALEXA appears in several different
ways: embedded in the ARRIRAW header, QuickTime
metadata atom and ARRI Digital Meta Data (ADMD)
atom, MXF metadata XML, Final Cut Pro 7 XML and
Avid Log Exchange (ALE) file. These atoms or text
based files can be parsed by e.g. editing software
and offer the accompanying information mentioned
above to the application and its user.
For more information on the metadata have a look at
our whitepaper at www.arri.com/alexa/downloads.
Lens Data System
By combining the ALEXA XT Series, ALEXA Plus,
ALEXA M or ALEXA Studio camera with lenses
equipped with a Lens Data System (LDS) PL-Mount
additional frame by frame lens metadata for use in
VFX work will be acquired. When using a non-LDS
lens in combination with the ARRI Controlled Lens
Motors a profile for the lens can be created within
the Lens Data Archive (LDA); by doing so the ALEXA
camera can compensate for the missing sensors
inside the lens by reading the motor’s position and
calculating the current focus, iris or zoom value. A
guide on how to create an entry for an unknown lens
can be found on page 62.
Live update
of Lens Data Display
to keep the shot in focus
WCU-4
controls camera via white radio
CLM-2, -3 or 4
drives focus, zoom or iris on lens
1. Lens Data
creation
LDS capable lens & ALEXA camera
lenses: Master Anamorphics, Master Primes, LDS Ultra Primes or ALURA zooms
or Non-LDS lenses with LDA/Wireless System
2. Storing
Lens Data
010101
0001001
0101110
0101001
1000101
1010010
Lens Data
generated by e.g. a focus pull
3. Using
Lens Data
SxS PRO Card
Lens data embedded in file
header of the Quicktime clip
XR Capture Drive
Lens data embedded in file
header of each ARRIRAW frame
VFX Department
use Lens Data for effects work
ARRI META Extract
extract Lens Data from files
for use in VFX
Working with ALEXA
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Licenses
Licensed features expand the capabilities of an
ALEXA camera. A license file is serial number
sensitive and can only be used on the camera for
which it has been purchased. Currently there are
three licenses available: Anamorphic De-squeeze,
Working with ALEXA
High Speed and DNxHD Recording.
• Anamorphic De-squeeze shows a properly
de-squeezed image (with or without surround
view) on EVF-1 and/or MON OUT when working
with 1.3x or 2x anamorphic lenses.
• The High Speed license allows recording 60
to 120 fps in 16:9 HD with ProRes codecs up
to ProRes 422 HQ or with DNxHD codec up to
DNxHD 220x onto SxS PRO 64 GB cards. This
mode uses the same Super 35 sensor area as
Regular Speed mode (same depth of field, same
angle of view). ARRIRAW, 2K SxS resolution,
ProRes 4444 and 4:3 sensor mode are not
supported in High Speed mode; REC OUT will
be rerouted to clone MON OUT.
• The DNxHD license allows in-camera recording
onto SxS PRO cards of 16:9 HD Avid DNxHD
145 (8 bit 4:2:2 ), DNxHD 220x (10 bit 4:2:2)
and DNxHD 444 (10bit 4:4:4) codecs, both
within a MXF wrapper and embedded audio,
timecode and metadata. ALEXA MXF/DNxHD
files use operational pattern OP1a, frame
wrapped, per SMPTE 2019-4-2008 and a
MXF (Media eXchange Format) container
(compared to the Quicktime “mov” container).
MXF/DNxHD files can be linked to Avid Media
Composer 5.5 or greater using the ALEXA
AMA plug-in (available from the ARRI website
for Windows or Mac OS X). Of course DNxHD
recording is available in Regular and in High
Speed mode (see High Speed license).
Working with ALEXA
• On ALEXA XT the High Speed and Anamorphic
De-squeeze licenses are preinstalled.
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ALEXA Preshoot Checklist
General considerations Recording with the XR or SxS Module
This chapter offers checklists for typical use-cases of
an ALEXA or ALEXA XT camera. During prep or preproduction, the following topics should be clear:
The basic camera parameters (e.g. timecode basis
ALEXA Preshoot Checklist
respectively project speed, choice of gamma and
recording format) should always be discussed with
postproduction. The choice of camera settings can
be affected for different reasons. Sometimes the
reasons are creative, sometimes the production pace
may have an influence.
To avoid surprises, it is critical to give the planned
setup a try and run a short test through the entire
workflow before starting the shoot; This is the
fastest and most reliable way to identify problems in
the digital workflow.
We highly recommend that you make at least one
verified backup immediately after the recording
media is removed from the camera. We also
recommend that a first quality control should
ideally happen on location. With digitally captured
footage being viewable immediately after recording,
potential problems can be spotted right away and
re-shooting a scene will be less of a problem. Also
check the conditions of your completion bond; it
is not unusual that LTO backups are a mandatory
requirement for the footage to be covered.
Camera Setup
The following steps are necessary to prep the
camera for recording.
1. Start your initial camera setup by pressing
[MENU], going to User Setups > Factory reset
and press both soft buttons to confirm.
Note that ARRI Look Files and Custom Frame lines
need to be uploaded again after a factory reset.
2. Enter the [PROJECT] screen using the shortcut on
the bottom right.
1 Select a sensor mode to shoot in 16:9 or 4:3
aspect ratio.
1 Pick a recording resolution and codec or
switch to ARRIRAW recording.
1 Set the project frame rate, which also acts as
timecode base and playback frame rate.
1 Assign an individual camera index when
shooting with more than one camera unit.
1 Next reel count usually starts with 001 and
automatically increments when the camera
starts recording to a new card or drive.
3. Press [TC] and enter the timecode [OPTIONS].
Assuming we'll get timecode from the Production
Sound Mixer:
1 Set Source to Ext LTC and verify that
1 Mode is set to Free Run and
1 Generator is set to Jam Sync.
4. Press [HOME] and go to the FPS screen.
1 Enter [SDI FPS] and adapt REC OUT and MON
OUT to the project frame rate.
1 Go [BACK], select the SENSOR FPS from the
list and enter by clicking the menu wheel.
ALEXA Preshoot Checklist
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Recording with the XR or SxS Module cont. Additional notes for shooting in other modes than the standard setup
5. Back on the Home screen, enter [COLOR] >
[GAMMA], set INTERNAL to LOG C (not used for
ARRIRAW) and everything else to REC 709.
From the HOME screen, adjust [EI], [SHUTTER], and
[WB] as required.
Frequently used functions should be assigned to
ALEXA Preshoot Checklist
user buttons. Press USER button and enter the
EDIT screen.
1 Buttons 1 to 3 are available on the assistant
and operator side, so it makes sense to assign
functions that are useful on both sides, like EVF
Gamma, MON OUT false color, MON OUT
peaking or Check last clip.
1 Buttons 4 to 6 are only available on the
assistant side through the user screen.
Shooting Highspeed
1 When shooting at 60 to 120 fps, the project
frame rate determines how many of the
recorded frames will make up one second in
playback (timecode base).
1 [TC] should be set to Int LTC and Rec Run
(Step 3).
1 Switch to [High Speed] from the FPS screen
(Step 4).
Recording ARRIRAW via T-Link (not available on
ALEXA XT cameras)
1 Unless you want to record ARRIRAW and e.g.
ProRes in parallel, the Codec setting can also
be used to turn off the SxS Module (Step 2).
This will output a record flag (to start external
recorders automatically) even if no SxS card is
present in the camera.
1 Go to [MENU] > Recording > REC OUT and
set the HD-SDI format to ARRIRAW 1.5G DL
or 3G SL for normal speed or 3G DL for high
speed (up to 60fps) ARRIRAW output.
1 Optionally, turn on REC OUT fps sets sensor fps.
1 Turn SDI remote on.
Please check the user manual of the recorder for
setup instructions. Operating the recording hardware
needs to be taken very seriously. Only trained personnel should be responsible for handling recording
equipment.
ALEXA Preshoot Checklist
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Additional notes for shooting in other modes than the standard setup cont. Shooting Stereo 3D ALEXA M/ALEXA XT M ber maintenance
XR Capture Drive/SxS PRO card Rotation
1. Take a fresh drive/card, make sure it is not locked
(SxS only) and insert it into the camera. Label
facing to the outside.
2. If the drive/card has been used before and still
contains footage:
1 First verify that the material has been
ALEXA Preshoot Checklist
properly transferred.
1 Then use MENU > Recording > Internal >
Quick format media to format/empty the card for
recording.
1 Ask the data wrangler to empty the drives/cards
before returning them to you.
3. Don't wait for a drive/card to fill up completely.
4. Remove the mag and prepare it to be backed up.
1 Put the drive/card into its case.
1 Visually mark the "exposed negative" with
colored tape.
5. The data wrangler should perform at least the following steps:
1 Transfer the drive's/card's contents including
checksum verification.
1 Depending on the recording mode, format the
drive/card (ProRes/DNxHD) or clear the drive
(ARRIRAW) before it is returned to the camera.
This greatly reduces risk to accidently format
a drive/card that has not been backed up and
made it back to the camera by mistake.
1 Put the drive/card back into its case without
color tape and hand over to the loader.
1. Do not use different ALEXA models in a 3D setup.
If a licensed feature will be used, the license key
must be installed on both cameras.
2. Connect both cameras using the EXT to EXT and
Ethernet to Ethernet cable.
3. Start the initial camera setup with a Factory reset
on both cameras and skip the Project settings.
4. Enter [MENU] > SYSTEM > External Sync.
1 Set the Eye index for each camera depending
on their position.
1 Set Sensor sync to EXT master on one camera
and EXT slave on the other.
1 Set Settings sync to ETH master on one
camera and EXR slave on the other. All settings
made on one camera will now automatically be
set on the other.
5. Now return to [MENU] > Project and proceed
from Step 2 in the regular camera setup.
Note: The camera that can be seen better in the 3D rig should be set to EXT/
ETH slave as only the slave camera indicates a missing sync between master
and slave before recording.
The cleanliness of the optical fiber connectors is
mandatory for seamless functionality. Make sure
not to touch the white fiber ends. Never leave the
connectors open but cover them with their rubber
covers when not in use. Plug the fiber end covers
together while using the fiber cable, to prevent dirt
from accumulating inside the cover. Regularly check
the cleanliness of the fiber end, e.g. with a fiber
microscope. If dirty, clean the fiber end with the
appropriate tools, such as the SMPTE cleaning pen
(K2.72082.0).
ALEXA Preshoot Checklist
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Page 31
Creating Lens Tables
Required Equipment
The ARRI Lens Data System (LDS) provides frameaccurate information about the focus, iris, and zoom
Creating Lens Tables
settings of a lens at the time of shooting. ALEXA
cameras can embed this information with the images, or send it to peripheral camera equipment
on set.
Embedded lens data is very helpful for VFX postproduction, as it eliminates paper and guesswork.
On set, the same data can be used with the WCU-4
hand unit’s integrated lens data display and premarked focus rings for more accurate focus pulls
and faster lens setups.
ARRI LDS lenses such as Master Anamorphics,
Master Primes, LDS Ultra Primes, ALURA Lightweight Zooms and the Ultra Wide Zoom deliver lens
data instantly, as they have integrated encoders that
determine the current lens position, as well as a lens
table that interprets those encoder values. The same
applies to Cooke /i lenses.
All other lenses require an external encoder and a
custom lens table for lens data generation. All ARRI
CLM motors include an accurate encoder that can
determine the lens position. Custom lens tables can
be generated with the ALEXA Webremote interface.
This document explains how to create and manage
custom lens files with an ALEXA Plus or Studio
type camera.
• An ALEXA Plus, ALEXA Plus 4:3, ALEXA Studio,
ALEXA XT Plus or ALEXA XT Studio.
• One or more lens motors (CLM-2, CLM-3 or
CLM-4). We recommend using one motor per lens
scale. If you have only one motor available but
need to add more than one lens axis, you can
create the lens scales sequentially, connecting the
motor to the respective controller connector. Data
points do not get lost unless the web browser’s
session cookie is deleted.
• One lens control hand unit (e.g. WCU-4). Alternatively, lens rings can also be moved manually with
the motor attached to the lens. motor attached to
the lens.
• A computer with installed web browser (e.g.
Firefox, Chrome, Safari). Cookies must be enabled.
Internet Explorer and Opera browsers are NOT
supported!
• An ALEXA Ethernet/RJ-45 Cable KC 153-S
(K2.72021.0)
Creating Lens Tables
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Creating a Lens Table
1. A prerequisite for lens table programming is the
correct setup of the lens motors. Please set up the
correct motor direction. If you mount the motor
on the camera right side (ALEXA’s display side),
set DIRECTION to RIGHT. If you mount a motor
Creating Lens Tables
on the left side, set DIRECTION to LEFT. Then
calibrate the lens motors by pressing the CAL.
ALL button.
Each ALEXA camera comes with an built-in basic
remote control web interface that can be accessed
through an ethernet connection using the Bonjour
protocol. Part of this web interface is the ‘LDA’
(Lens Data Archive) tab that allows creation and
storage of new lens tables to the ALEXA camera.
2. Connect the camera to a computer
3. Open the web browser on the computer and enter
the address alexa####.local, with #### being the
serial number of the camera.
4. Open the ‘LDA’ tab in the ALEXA web browser.
5. Enter the LDA tab and click the button Start new
session. A browser screen with lens scales comes
up. If you did not yet calibrate the lens motors,
you can do so by hitting the Calibrate button on
screen. The same applies if you are using one
motor sequentially for multiple lens axes.
The lens scales are displayed on the LDA browser
screen once the respective motors have been
calibrated. The green + symbol indicates the
current position of the motor attached to the lens.
6. Fill in the lens descriptive fields. Lens descriptions
will be shown on LDS screens or embedded as
metadata:
• Company: The lens manufacturer. Will not be
embedded as metadata.
• Description: Lens description that will be
displayed in the camera and WCU-4 screen and
embedded as metadata. Lens type, focal length
and serial number.
• Serial Number: Lens serial number will be
embedded as metadata.
• Focal Length: Focal length in mm. Will be
shown on LDS screens and embedded as
metadata. Enter ‘0’ (zero) for zoom lenses.
Creating Lens Tables
7. First, select the unit of measurement (metric or
imperial) by clicking on the ft/m icon in the upper
right corner of the focus scale. If you want to program the lens for both metric and imperial units,
you need to program both scales sequentially.
8. Move lens ring to the physical engraving that
you want to add as a new data point. Click on
the green ‘+’ in the LDA browser scale or hit the
‘Enter’ button on your keyboard to open the active
edit field.
9. Enter the current lens value.
10. Move the lens ring to the next position to enter
the next data point.
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Creating a Lens Table cont.
Creating Lens Tables
Data Point Options:
Each data point can have up to three characteristics
that have effects on display and interpolation of the
lens table. Inactivated options are displayed in grey
color and crossed out.
Data point will be indicated with a marking line.
Data point will be indicated with a number.
Data point will be used for interpolation.
Imperial Scales:
Enter feet values by using the prime symbol (’) and
enter inch values by using the double prime symbol
(”). The prime symbol for feet values can be used to
separate feet and inch values, e.g.
21 inches: 1’9 or 21“
14.5 inches: 1’2.5 or 14.5“
20 feet: 20’
Metric Scales:
Enter metric values as meters, e.g.
80 centimeters: 0.8
5.5 meters: 5.5
30 meters: 30
Infinity Point:
Enter ‘i’ to set the infinity point.
Creating Lens Tables
6564
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Creating a Lens Table cont.
Recommended Practice:
All three options are usually active with focus scales.
However, there are sometimes just the engraved
marking lines without any number in the close
focus area. If you are unsure about the numerical
Creating Lens Tables
value of such a mark, you can switch off the usage
for interpolation of this data point. You might want
to switch off marking lines for zoom values, if the
lens does not have those lines as well. Intermediate
iris steps can be programmed with a marking line
only, without a number and without being used for
interpolation.
Editing and Deleting Data Points
Existing data points can be moved on the lens scale
by using the ‘Snap’ function. Hitting the Snap button
underneath each lens scale will move the nearest
data point to the current motor position. This can
be particularly useful if an existing lens scale has a
slight offset and needs adjustment.
A data point can be deleted by moving the point to
the screen scale index. Once there, the icon changes
from the green + symbol to a red - symbol and can
be deleted by clicking on the red - symbol or pressing ENTER on the keyboard.
Click the Clear Scale button to delete all data points
on the respective scale.
Saving and Downloading Lens Tables
You can save a newly created lens table into the
camera’s internal Lens Data Archive (LDA) by clicking the Send to Camera button. The lens file will
then be processed and stored inside the ALEXA LDA
User Archive section.
The Webremote will prompt an error message in
case of any logical data errors within the lens file. In
such a case, please check the data consistency of
the lens values in the LDA browser and correct them.
Click Download from Camera to download any existing lens table from the ALEXA LDA User Archive
to the computer. Save them onto an SD card if you
want to load them into another camera from the SD
card (SD card folder: ARRI/ALEXA/LDA).
For more information on the LDS, LDA or lens table
creation have a look at our Programming Quick-Guide at
www.arri.com/camera/digital_cameras/downloads/.
Creating Lens Tables
6766
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ALEXA XT/XR Workflows
The XR Capture Drive is formatted differently for
uncompressed ARRIRAW and compressed ProRes/
DNxHD recording.
Compressed Recording Formats
When the XR Module is set to ProRes 2K/HD or
DNxHD recording, the drives are initialized like SxS
ALEXA XT/XR Workows
PRO cards, as a UDF volume. This provides 240 GB
storage capacity which equals over 100 minutes of
16:9 ProRes 4444 in 2K at 24 fps. Using the UDF
file system maintains an overall compatibility to
the established ALEXA ProRes/DNxHD workflows.
Capture Drives or SxS PRO cards containing ProRes
2K/HD or DNxHD material can be accessed directly
with the file names and directory structure in the
known order.
The most affordable solution to access Capture
Drives is the Single Dock, a USB-3 Dock that will
hold one drive.
Uncompressed ARRIRAW
When the camera records ARRIRAW, the Capture
Drives are initialized for use with the Codex Virtual
File System, which provides 480 GB of storage
capacity, or about 45 minutes of 16:9 ARRIRAW
2.8K. These drives can be accessed using a Single
Dock, or preferably the more powerful Dual Dock
(2 drive bays and faster SAS connection) using a
Codex software running on a Mac. Codex also offers
a standalone turnkey system called Vault for assisted
location-based data management.
When a Capture Drive with footage is loaded, the
contents are presented through the Codex Virtual
File System (VFS). The VFS can present various file
formats, such as readily processed DPX files and
Avid DNxHD proxies next to the original ARI files on
drive. Except for the recorded data, however, none
of these additional files actually exist. It's only when
these files are requested, that they are generated,
on-demand and on the fly. Hence the term "virtual".
The file formats, file naming and directory structure
that will be presented by the VFS are fully configurable through the Codex software. This makes the
VFS a highly flexible tool for providing exactly the
material you require, when you want it, without
redundant processing and storage overhead on your
drives.
ALEXA XT/XR Workows
6968
Page 36
ALEXA XT/XR Workows cont.
Generating Deliverables
Functions:
• Clone Capture Drives to transfer drives,
maintaining the VFS
• Checksum verification
ALEXA XT/XR Workows
• Generate files for review, edit and post
• Clear the data from the recording media
Optional Features:
• Codex Storage option, to keep footage in VFS
for several days before clearing
• Codex Offloader option, for verified copies to
external drives or LTFS tape
A "digital lab setup" as shown here can be used to
handle all regular data management tasks during a
production.
• *.ARI files are backed up to an internal or external
RAID (and collected for archiving to LTO tape).
Depending on the amount of footage per day, 5
TB of storage provides enough space for a few
shoot days worth of ARRIRAW footage. This gives
a production a few days buffer to confirm that
the material is OK before the storage needs to be
cleared.
• Deliverables for Dailies review and editorial can be
provided via Network or shuttle disks.
ALEXA XT/XR Workows
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ALEXA XT/XR Workows cont.
Scaling your Workow
This setup also offers several options to optimize the
performance in different production environments:
• The Dual Dock allows cloning Capture Drives to
Codex Transfer Drives. Cloning creates verified,
identical copies and maintains the VFS.
• An optional Codex Storage option will transform
ALEXA XT/XR Workows
up to 6TB of internal RAID storage into a Codex
volume, which allows cloning Capture Drives to
keep all data in the VFS.
• Setting up the Mac in a 10 Gig Ethernet network
enables direct VFS access for postproduction tools
through a network share.
• The optional Codex Offloader option expands the
Software with an option to create verified copies
of the VFS to connected external disks or to LTO
tapes for archiving.
To overcome a situation where you will be faced
with more footage than a setup can handle, the obvious solution is to add a second setup. Sometimes, it
may be more beneficial to combine setups including a Single Dock and a Dual Dock or a Dual Dock
and a Vault, and to use the different feature-sets to
distribute the workload.
Sometimes (not even related to the amount of footage) higher efficiency may be gained by splitting
tasks between location and post production. One
example would be creating multiple deliverables for
editorial, dailies projection, streaming on the web,
iPad, etc., which can be done more efficiently using
a dedicated dailies tool. Archiving to LTO tape also
does not necessarily need to happen on location,
especially if postproduction is close by and possibly
connected over e.g. 10 Gig Ethernet.
ALEXA XT/XR Workows
7372
Page 38
Specifications and Reference
Technical Specications
Camera Types:
ALEXA 35 format film-style digital camera with integrated shoulder arch and receptacles
for 15 mm lightweight rods.
ALEXA XT 35 format film-style digital camera with integrated shoulder arch and receptacles
Specications and Reference
ALEXA Plus Offers in addition built-in support for the ARRI Wireless Remote System, cmotion
ALEXA Plus 4:3 This version of ALEXA Plus offers a 4:3 capture mode in addition to the “Plus”
for 15 mm lightweight rods. The ALEXA XT Series features a 4:3 sensor as well
as various improvements including a Lens Data Mount for all cameras.
cvolution lens control system and ARRI Lens Data System (including Lens Data
Mount and Lens Data Archive for lenses without built-in LDS).
feature set. It is bundled with Anamorphic Desqueeze, Highspeed and DNxHD
license.
ALEXA XT Plus Offers in addition built-in support for the ARRI Wireless Remote System and
cmotion cvolution lens control system.
ALEXA Studio In addition features a rotating mirror shutter, an optical viewfinder that can be
exchanged with the standard electronic viewfinder and 4:3 capture mode.
ALEXA XT Studio In addition features a rotating mirror shutter, an optical viewfinder that can be
exchanged with the standard electronic viewfinder.
ALEXA M Based on the ALEXA, but with separate camera head and body. Also offers 4:3
capture mode.
ALEXA XT M Based on the ALEXA, but with separate camera head (equipped with LDS PL
mount) and body.
Specications and Reference
7574
Page 39
Output Formats in 16:9, 4:3 and Open Gate Sensor Mode
Optical Viewfinder (ALEXA Studio)
26.14 x 19.0 mm / 1.029 x 0.748", ø: 32.32 mm / 1.272"
Sensor Mode Open Gate (1.55:1)
ARRIRAW –3414 x 2198 Photosites
28.17 x 18,13 mm / 1.109 x 0.714”, ø: 33.50 mm / 1.319”
Sensor Mode 4:3
ARRIRAW – 2880 x 2160 Photosites
23.76 x 17.82 mm / 0.935 x 0.702", ø: 29.70 mm / 1.169"
ProRes 2K – 2868 x 2150 Photosites
23.66 x 17.74 mm / 0.931 x 0.698", ø: 29.57 mm / 1.164"
Sensor Mode 16:9
ARRIRAW / ProRes HD / DNxHD – 2880 x 1620 Photosites
23.76 x 13.37 mm / 0.935 x 0.526", ø: 27.26 mm / 1.073"
ProRes 2K – 2868 x 1612 Photosites
Specications and Reference
Frameline ARRI 2.39 Flat
Frameline 1.85 2K DCI
Frameline 2.39 2x Scope
23.66 x 13.30 mm / 0.931 x 0.524", ø: 27.14 mm / 1.069"
EVF-1/MON OUT
4:3 Surround View – 3168 x 2160 Photosites
26.14 x 17,82 mm / 1.029 x 0.5702", ø: 31.64 mm / 1.246"
16:9 Surround View – 3168 x 1782 Photosites
26.14 x 14.70 mm / 1.029 x 0.579", ø: 29.99 mm / 1.181"
Sensor 35 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer
pattern color filter array.
Resolution
16:9 sensor mode: 2880 x 1620 pixels for ARRIRAW and HD recording formats
2868 x 1612 pixels for ProRes 2K recording
4:3 sensor mode: 2880 x 2160 pixels for ARRIRAW recording
2868 x 2150 pixels for ProRes 2K recording
Open Gate sensor mode: 3414 x 2198 pixels for ARRIRAW recording
Operating Modes Sensor mode 16:9, 4:3 or Open Gate. Switching takes approx. 60 seconds. 4:3
output only available for ARRIRAW and ProRes 2K recording; Open Gate only
available for ARRIRAW recording on ALEXA XT cameras
Regular or High Speed mode. Switching takes approximately 40 seconds.
High Speed mode is available for 16:9 sensor mode only.
Mirror shutter (ALEXA Studio only) on or off. Switching takes approximately
3 seconds through camera display.
Motorized Filter Sealed behind-the-lens motorized filter mechanism provides optical flat or
(ALEXA Studio/ ND 1.3 (4 1/3 stops).
ALEXA XT Studio only)
Specications and Reference
7776
Page 40
Frame Rates Please refer to the tables given in the chapter “Recording Media” on page 16 ff.
Shutter Rotating mirror shutter (ALEXA Studio only) (11.2º - 180.0º) or electronic rolling
shutter (0.75 - 60 fps: 5.0º - 358.0º; 60 - 120 fps: 356º). Shutter angle setting
precision: 1/10 degree. Certain fps limits apply for maximum mirror shutter
angle.
Exposure Latitude 14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with
the ARRI Dynamic Range Test Chart (DRTC).
Exposure Index
Specications and Reference
White Balance Separate red/blue and green/magenta balance available through Auto White
Values behind the exposure index are the number of available stops above and
below 18% grey. These values apply to Log C output. Rec 709 output provides
0.5 stops less on the low end at EI 160, 0.4 stops less on the low end at EI 200
and 0.2 stops less on the low end at EI 400.
Balance or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100
K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight),
7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035
Kodak CC values or 1/8 Rosco values.
Sound Level ALEXA: Under 20 db(A) @ 24 fps (mirror shutter running on the Studio) and
≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to
'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher
temperatures possible with fan mode set to 'Rec low'.
ALEXA XT: Under 19 db(A) @ 24 fps (mirror shutter running on the Studio) and
≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to
'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher
temperatures possible with fan mode set to 'Rec low'.
Power In BAT connector, optional V-Lock or Gold mount battery adapter back and top.
Camera accepts 10.5 to 34 V DC on all inputs.
Power draw Values stated here apply to typical use at 24 fps, without accessories.
ALEXA/Plus/Plus 4:3: 85 W for camera and EVF-1, recording to SxS PRO cards.
ALEXA XT/XT Plus: 100W for camera and EVF-1, recording to Capture Drives/SxS PRO cards.
ALEXA Studio: 90 W for camera with OVF-1, recording to SxS PRO cards, mirror shutter on.
ALEXA XT Studio: 105 W for camera with OVF-1, recording to Capture Drives/SxS PRO cards,
mirror shutter on.
When running over 30 fps with mirror shutter on, a supply voltage of 18 V or
more is recommended.
Specications and Reference
7978
Page 41
ALEXA M: 40 W for camera head and 85 W for body, recording to SxS PRO cards.
ALEXA XT M: 40 W for camera head and 100 W for body, recording to Capture Drives/SxS
PRO cards.
A 24 V power input to the body is required to power the camera head from the
body through a standard SMPTE hybrid cable up to 50 meters, without accessories. The camera head has one 10.5 to 34 V DC power input that can be used
to power the head independently form the camera body.
Power Out 12 V connector: limited to 12 V, up to 2.2 A.
RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V, above 24 V:
input = output voltage. Both RS and EXT connectors combined: up to 2.2 A.
Specications and Reference
ETHERNET: up to 1.2 A. Maximum power draw is also limited by the power source.
The camera head on the ALEXA M offers two RS connectors and one
ETHERNET connector, with the same specifics as on the camera body.
Weight
Camera Model Camera Body With Accessories
ALEXA with SxS Module 6.3 kg/13.8 lb 7.7 kg/16.9 lb
ALEXA XT with XR Module 6.6 kg/14.5 lb 8.0 kg/17.6 lb
ALEXA Plus/Plus 4:3 with SxS Module 7.0 kg/15.4 lb 8.4 kg/18.5 lb
ALEXA XT Plus with XR Module 7.3 kg/16.1 lb 8.7 kg/19.2 lb
ALEXA Studio with SxS Module
ALEXA XT Studio with XR Module
ALEXA M XT/XT M Head 2.9 kg/6.39 lb –
ALEXA M Backend 5.5 kg/12 lb –
ALEXA XT M Backend 5.8 kg/12.8 lb –
1
EVF-1 with Viewfinder Mounting Bracket VMB-1, viewfinder cable, and Center
2
2
8.0 kg/17.6 lb 10.2 kg/22.5 lb
8.3 kg/18.3 lb 10.5 kg/23.1 lb
Camera Handle (CCH-1)
2
Accessories for ALEXA Studio/XT Studio: OVF-1 and CCH-1
1
Specications and Reference
8180
Page 42
Dimensions
ALEXA: Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22”
ALEXA XT: Length: 332 mm/12.95”, width: 161 mm/6.33”, height: 158 mm/6.22”
ALEXA Plus/Plus 4:3: Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22”
ALEXA XT Plus: Length: 332 mm/12.95”, width: 183 mm/7.20”, height: 158 mm/6.22”
ALEXA Studio: With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”,
height: 241 mm/9.49”
ALEXA XT Studio: With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”,
height: 241 mm/9.49”
ALEXA M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”
ALEXA M Backend: Length: 323 mm/12.72”, width: 153 mm/6.02”, height: 158 mm/6.22"
ALEXA XT M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”
Specications and Reference
ALEXA XT M Backend: Length: 323 mm/12.72”, width: 161 mm/6.33”, height: 158 mm/6.22"
Detailed drawings can be found in the ALEXA Dimensions PDF document on
our website at: http://www.arri.com/alexa/downloads
Lens Mount ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount
with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. All
models but Standard ALEXA are outfitted with a Lens Data Mount.
Flange Focal Depth 52.00 mm nominal
Viewfinder Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280
x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above
and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards,
left/right, up/down, 360-degree rotation and placement on camera left or right.
EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x pixel
to pixel magnification), EXP button (false color exposure check) and jog wheel.
ALEXA Studio: Optical viewfinder OVF-1 shows a bright, high contrast image
for through-the-lens viewing with low distortion, accurate color fidelity and
no delay. Can be used camera left or right and the viewfinder arm telescopes
closer/farther from the camera body. Automatically keeps an upright image in
all positions with an optional override for manual image rotation. Includes a flip
in ND 0.6 contrast filter and 2x de-squeeze module for 2x anamorphic lenses
lenses (can also be retrofitted with a 1.3x de-squeeze module). Includes Basic
Insert Module BIM-1 for RGB frameglow. Accepts 8x and 10x 435 eyepieces,
435 eyepiece extensions and heated eyecups. With the optional ARRICAM
Eyepiece Adapter AEA-1, the OVF-1 can accept the 8x ARRICAM Studio eyepiece, ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio
Viewfinder Zoom Extension. Not compatible with Lite Universal Eyepiece. Can
be replaced with the ALEXA Electronic Viewfinder EVF-1 by using the Electronic
Viewfinder Adapter EVA-1.
Specications and Reference
8382
Page 43
Assistive Displays
For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking
focus check, electronic level, compare stored image with live image, RETURN
IN video and anamorphic de-squeeze. MON OUT only: reel & clip number.
For OVF-1: Warning LEDs for REC (recording), BAT (battery low), FULL (SxS PRO card
full). ALEXA Studio ground glass holder and frameglow frames are compatible
to ARRICAM. Exact alignment of framelines and captured frame, however,
requires the use of ALEXA Studio ground glasses and glow masks. For custom
aspect ratios not in the price list, please use the online ground glass composer
at http://www.arri.com/camera/ground_glass_composer.html.
Control
Specications and Reference
Camera right: main user interface with a 3” transflective 400 x 240 pixel LCD color screen,
illuminated buttons, button lock and jog wheel.
Camera left: operator interface with illuminated buttons, button lock and card swap button.
Optional accessory RCU-4 for remote control via camera ETHERNET connector.
In-camera Recording ALEXA: Records Apple QuickTime files with ProRes encoding or MXF files with
DNxHD encoding onto either one or two (Dual Recording) SxS PRO cards. All
codecs maintain legal range levels with embedded audio, timecode and meta-
data. MXF/DNxHD may require a license key.
ALEXA XT Series: Records ARRIRAW, ProRes or DNxHD onto XR Capture
Drives up to 120fps. With SxS Adapter: Apple QuickTime files with ProRes
encoding or MXF files with DNxHD encoding onto SxS PRO cards. All codecs
maintain legal range levels with embedded audio, timecode and metadata.
MXF/DNxHD may require a license key.
Recording Outputs ALEXA: 2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9)
or HD-SDI video (16:9). Both with embedded audio, timecode, metadata and
recording flag. ARRIRAW: uncompressed 2880 x 1620 (16:9) or 2880 x 2160
(4:3; ALEXA Studio, Plus 4:3 and M only) 12 bit log. Requires an ARRIRAW
T-Link certified recorder. HD-SDI: uncompressed 1920 x 1080 (16:9) 4:4:4 RGB
or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than
HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder
with Variflag support.
ALEXA XT Series: 2x 1.5 G or 3G REC OUT BNC connectors HD-SDI video
(16:9) or MON-OUT clone. HD-SDI: uncompressed 1920 x 1080 (16:9) 4:4:4
RGB or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other
than HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a
recorder with Variflag support.
Specications and Reference
8584
Page 44
Monitor Output 2x MON OUT BNC connector on ALEXA Plus/Plus 4:3 and Studio for uncom-
pressed 1.5G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; all legal range.
ALEXA and ALEXA M offer 1x MON OUT.
Image Processing 16 bit linear internal image processing. Target color spaces for ProRes, DNxHD
220x, REC OUT and MON OUT: Log C and Rec 709. Target color space for
DNxHD 145: Rec 709. For Rec 709, a customized look can be applied during
record and playback with ARRI Look Files. Optional horizontal image mirroring.
Playback ALEXA: QuickTime/ProRes or MXF/DNxHD playback from SxS PRO cards to
EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON OUT
and REC OUT signals and on the headphones jack.
ALEXA XT Series: ARRIRAW, QuickTime/ProRes or MXF/DNxHD playback from
XR Capture Drive or QuickTime/ProRes or MXF/DNxHD playback from SxS PRO
card to EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON
OUT and REC OUT signals and on the headphones jack.
Synchronization Master/Slave mode for precision sensor sync, synchronized settings, process-
ing, HD-SDI outputs and QuickTime/ProRes or MXF/DNxHD recording for 3D
Specications and Reference
applications. Automated sync of lens settings for 3D applications in Master/
Slave mode.
Audio 1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio
input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps.
Audio is recorded uncompressed into the QuickTime/ProRes or MXF/DNxHD
files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW
T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Specications and Reference
8786
Page 45
Connectors
Connector type Name ALEXA (XT)
SxS Module/XR Module
BNC recording out HD-SDI, 1.5G/3G
BNC monitoring out HD-SDI, 1.5G
XLR 5 pin audio in
BNC return signal HD-SDI, 1.5G
LEMO 16 pin external accessories
Fischer 2 pin 24 V power in
Fischer 3 pin 24 V remote start and accessory power out
LEMO 2 pin 12 V accessory power out
Specications and Reference
LEMO 5 pin timecode in/out
TRS 3.5 mm headphone mini stereo jack out
LEMO custom 16 pin electronic viewfinder
LEMO 10 pin Ethernet with 24 V power
Fischer 5 pin Lens Control System
Fischer 5 pin Lens Data Display
Fischer 12 pin for CLM-2, CLM-3 or later
Fischer 12 pin for CLM-2, CLM-3 or later
Fischer 12 pin for CLM-2, CLM-3 or later
LEMO SMPTE 304M hybrid fiber connector
SxS/– 2/1 2/1 2/1 -/REC-OUT 1/2 2 2 2 –
MON OUT 1 2 1 –
AUDIO IN 1 1 1 –
RET/SYNC IN 1 1 1 –
EXT 1 1 1 –
BAT 1 1 1 1
RS 2 3 2 2
12 V 1 1 1 –
TC 1 1 1 –
AUDIO OUT 1 1 1 –
EVF 1 1 – 1
ETHERNET 1 1 1 1
LCS – 2 – –
LDD – 1 – –
IRIS – 1 – –
ZOOM – 1 – –
FOCUS – 1 – –
Optical Link – – 1 1
ALEXA (XT)
Plus/4:3/
Studio
ALEXA (XT) M
Backend
ALEXA (XT) M
Head
SD Card For importing ARRI Look Files, camera set up files, frame line files, feature
license keys and custom lens tables for the Lens Data Archive (LDA); also used
for installing software update packets (SUPs). Stores captured stills from the
REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit)
and JPEG (.jpg, 8 bit) format as well as logging files.
Upgrades The Storage Interface Module (currently available for SxS PRO cards or XR
Capture Drives) can be exchanged for future storage modules. The Electronics
Interface Module (available as either regular ALEXA or ALEXA Plus versions)
can be exchanged for future control electronics. Exchangeable Lens Mount
(ELM) allows other lenses beyond PL mount lenses to be used. Simple camera
software updates via License keys. Currently available for purchase: Anamorphic De-squeeze, High Speed and DNxHD. ALEXA Studio/ALEXA XT Studio
and ALEXA Plus 4:3/ ALEXA XT Plus come with all license keys pre-installed.
Note: All technical data based on Software Update Packet (SUP) 9.0.
All data is subject to change without notice.
Specications and Reference
8988
Page 46
)
*XT/PLUS 4:3
Specications and Reference
*NON XT
MENU
Internal >>
Mode (Off/ProRes/ARRIRAW)
Codec/HS Codec (ARRIRAW, DNxHD 145/220x/444,
ProRes 422 Proxy/422 LT/422/422 HQ/4444)
RECORDING menu
Resolution (HD (1920x1080)/2K (2048x1152/1536)
Menu Settings & Button Functions
Note: The only differences between ALEXA XT and the classic ALEXA can be found in the RECORDING menu.
This chart reflects the ALEXA XT menu, Software Update Packet version 9.0/9.1.
*PRORES
Dual Recording (On/Off)
Prerecord >>
*XT
/Capture Drive
*NON XT
*NON XT
Prerecord (On/Off)
Buffer size (220MB/660MB/1100MB)
Quick format SxS Card 1/2
Erase SxS Card 1/2
1.5G DL/3G SL/3G DL
*NON XT
or MON OUT clone)
REC OUT >>
Framerate (23.976/24/25/29.97/30/48/50/59.94/60fps)
Scan format (psf/p)
HD-SDI format (422 1.5G SL/1.5G DL/3G SL/444 1.5 DL
444 3G SL/3G DL/RAW
Output range (Legal/Extended/Raw)
REC OUT fps sets sensor fps (On/Off)
MONITORING menu
Electronic viewfinder >>
Brightness (0-5)
Rotate image (On/Off)
Smooth mode (On/Off)
Surround view (On/Off)
Frame lines + status info >>
Frame lines (On/Off)
Surround mask (Black line/Color line/Mask 25%/50%/75%)
Center mark (Off/Dot/Cross)
Status info (On/Off)
Electronic horizon (On/Off)
(Off/1.3x/2.0x/2.0xmag)
(Off/1.3x/2.0x/2.0xmag)
XT/ANAMORPH
LDS info (On/Off)
Peaking (Off/On) >>
Peaking (On/Off)
Peaking level (Low/Medium/High)
Anamorphic desqueeze*
Zoom position (Centered/Eye level)
MON OUT >>
Framerate (23.976/24/25/29.97/30fps)
Scanformat (psf/p)
Surround view (On/Off)
Frame lines + status info >>
Frame lines (On/Off)
Surround mask (Black line/Color line/Mask 25%/50%/75%)
Center mark (Off/Dot/Cross)
Status info (On/Off)
Electronic horizon (On/Off)
LDS info (On/Off)
Camera index letter (On/Off)
Peaking (Off/On) >>
Peaking (On/Off)
ALEXA XT/ANAMORPH
Peaking level (Low/Medium/High)
False Color (On/Off)
Anamorphic desqueeze*
Frame lines >>
Frame line 1 (choose/add/delete; Off)
Frame line 2 (choose/add/delete; Off)
User rectangles >>
User rectangles (Off/Rect 1/Rect 2/Rect 1+2)
Set rect 1/2 >>
Top, Bottom, Left, Right (0 - 1000), Reset
Color (Red/Green/Blue/Yellow/Black/White)
Intensity (1-4)
RET IN path (EVF, MON OUT, EVF+MON)
Electronic horizonsensitivity (1x, 2x, 4x, 8x, 16x)
False color index >>
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
Specications and Reference
9190
Page 47
*06
)
16:9/4:3
Specications and Reference
(16:9/4:3/OPEN GATE)
XT/STUDIO/M/PLUS 4:3
MENU
Sensor Mode*
Rec. resolution (Menu > Recording > INTERNAL)
Codec (Menu > Recording > INTERNAL)
Project frame rate (23.976/24/25/29.97/30fps)
Camera index (A-Z)
PROJECT menu
Next reel count (001-999)
Production info >>
Production
Prod. Company
Director
Cinematographer
Camera Operator
Location
Scene
Tak e
User Info 1/2
Menu Settings & Button Functions
(
ALEXA XT/STUDIO/M/PLUS 4:3
*
SYSTEM menu
Sensor >>
Sensor mode
Sensor temperature (Standard/High humidity)
Mirror image horizontal (On/Off)
Power >>
BAT1 (Plug) warning (10.0-30.0V; 21.0V)
BAT2 (Onboard) warning (10.0-30.0V; 12.0V)
External sync >>
Eye index (L/R)
Sensor sync (Off/EXT master/EXT slave)
HD out phase (+/-30 clocks; 0 clocks)
Send HD sync trigger >
Settings sync (Off/ETH master/ETH slave)
Test signal >>
Color bar (On/Off)
Enable test tone (On/Off)
Test tone level (0 dB(fs)/-9 dB(fs)/-18 dB(fs))
Display + beeper >>
Display button brightness (0-8)
Button brightness (Off/Low/Medium/High)
Run beeper mode (Off/Start/Stop/Start+Stop)
System time + date >>
set date, time, timezone and daylight saving time
Fan mode (Regular/Rec low)
Specications and Reference
ALEXA XT M/M
File format (Jpeg/Tiff/Dpx/Ari)
Compare grab to live image >>
load grab
Options Compare Options >>
Compare mode (Toggle/Interleave)
Active on EVF (On/Off)
Active on MON OUT (On/Off)
Grabbed images inherit REC OUT settings!
Network access read-only (On/Off)
SD card >>
Format + prepare SD card
Prepare SD card
Firmware >>
Select update file >>
FRAME GRABS menu
Licensed features >>
install/delete licenses; save hardware info
Ari only possible, when REC OUT = ARRI RAW
USER SETUPS menu
Save current setup
Load setup
Factory reset
LDS *
see Lens Data for PLUS/STUDIO
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
9392
Page 48
; 24fps)
HS
ALEXA XT/HS
)
(Look ON/OFF for REC 709)
}
REC OUT
GAMMA
ALEXA XT
COLOR > GAMMA >>
INTERNAL (REC 709, LOG C, RAW*
REC OUT (REC 709, LOG C)
MON OUT (REC 709, LOG C)
EVF (REC 709, LOG C)
set WHITEBALANCE (2000K - 11000K, Auto WB; 5600K;
and CC SHIFT)
add/rename/delete value
WB
Specications and Reference
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
ALEXA XT/
Specications and Reference
HOME
FPS
(boot ALEXA to HS mode; 60-120fps)
ALEXA XT/HS
(0.75 fps-60fps /120fps*
MODE (MENU > RECORDING > INTERNAL)
MEDIA INFO (INFO > MEDIA INFO)
SDI FPS >>
set sensor speed
add/delete value
HIGHSPEED/EXIT HS*
REC OUT (23.976, 24, 25, 29.97, 30fps)
adjust CH1+/- (level +20/-10; unity)
AUDIO
MON OUT (23.976, 24, 25, 29.97, 30fps)
adjust CH2+/- (level +20/-10; unity)
AUDIO OUT
set AUDIO OUT
Phones Level (+/-)
OPTIONS
AUDIO OUT > OPTIONS >>
Left out (CH1, CH2, CH1+2, None)
Right out (CH1, CH2, CH1+2, None)
Audio OUT level (Manual, Unity max.)
OPTIONS
AUDIO IN > OPTIONS >>
(On/Off)
*ALEXA XT STUDIO/STUDIO
Record (On/Off)
Channel 1/2 level (Manual/Unity)
Channel 1/2 source (L/R in)
Soundroll (=Tape) (edit name)
SHUTTER
set shutter angle (5.0° - 358.0°; 172,8°)
in highspeed mode (5.0°-356.0°)*
add/delete value
see calculated exposure time
MIRROR
(On/Off)
*ALEXA XT STUDIO/STUDIO
EI
set exposure index (160ASA - 3200ASA; 800ASA)
ND FILTER
COLOR
SET LOOK
choose/delete/load look from SD
ARRI LCC look loaded by default
> set ip adress
ALEXA XT
CDL CONF*
ALEXA XT
CDL (On/Off)*
set COLORPATH
EVF (Look ON/OFF for REC 709)
MON OUT (Look ON/OFF for REC 709)
INTERNAL
Menu Settings & Button Functions
9594
Page 49
XT/ANAMORPH
None
set Button 4, 5, 6
MON OUT surround
MON OUT gamma
MON OUT look
MON OUT frame lines
MON OUT status info
MON OUT false color
*
MON OUT peaking
MON anam. desqu.
Return in active
NON XT/XR
NON XT/XR
*
Frame lines color
Toggle SxS
Phase sensor
Color bars
Specications and Reference
XT/ANAMORPH
*
NON XT/XR
*
*
Format Card1
Format Card2
False color index
STUDIO
XT
*
*
Format media
Mirror shutter
XT/ANAMORPH
*
NON XT/XR
*
Specications and Reference
Menu Settings & Button Functions
USER
None
USER BUTTON ASSIGNMENT
set Button 1, 2, 3
MON OUT surround
MON OUT gamma
MON OUT look
MON OUT frame lines
MON OUT status info
MON OUT false color
MON OUT peaking
MON anam. desqu.
Frame lines color
EVF surround
EVF gamma
EVF look
EVF frame lines
EVF status info
EVF zoom
EVF false color
EVF peaking
EVF anam. desqu.
Grab still frame
Return in active
Toggle SxS
Check last clip
Circle clip
Auto WB
Phase sensor
Color bars
Grab GUI
PLAY
start Playback of last clip (press wheel or PLAY 2x on operator’s side)
+/- 10%
CLIPLIST
OPTIONS
PLAY Options >>
Clip end action (Pause/Loop)
Show frame lines (On/Off)
Status info on MON OUT (On/Off)
STEPSIZE (1 frame/1 second)
SxS PLAYBACK screen
CIRCLE CLIP
GRAB
FRAMEGRAB screen
save Framegrab to SD Card
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
9796
Page 50
!
ALEXA XT/PLUS & STUDIO
Specications and Reference
*
(value 1, value 2, value 3)
item A
item B (underlined values represent the 16:9 defaults)
1st level menu heading
2nd level menu heading
>>
Specications and Reference
Menu Settings & Button Functions
INFO
SYSTEM INFORMATION screen
LIVE INFO
SAVE TO SD
VERSION
MEDIA INFO
SYSTEM
FPS INFO
TC
TIMECODE screen
Project (Menu > Project)
locks HOMESCREEN,MENU, PLAY, TC and INFO;
also locks the buttons on EVF and WRS
BUTTON LOCK
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
SET TC (SET TO TIME/RESET/MANUAL)
LOCK
Options
Timecode Op tions >>
Source (Int TC/ Ex t LTC)
Mode (Rec run/Free Run)
Generator (Regen/Jam Sync)
User bi t source (Internal/UB in E xt TC)
Userbits (set Userbits)
factory reset
possible values
LEGEND SUP 9.0/9.1
SD card access
menu hierarchy
leads to new screen
*ALEXA XT = function available on ALEXA XT/XR only
*ANAMORPH = requires Anamorphic Desqueeze License
*DNxHD = requires DNxHD License
*HS = requires High Speed License
*PLUS = ALEXA PLUS only
*PLUS 4:3 = ALEXA PLUS 4:3 only
*STUDIO = ALEXA STUDIO only
*M = ALEXA M only
9998
Page 51
Specications and Reference
Menu Settings & Button Functions
ALEXA (XT) Studio, ALEXA (XT) Plus and ALEXA (XT) M*
WRS
RADIO
STATUS
Channel: 0
Units: 0
Ready/Off
WRS radio power (On/Off)
WRS radio channel (0-7)
CAM LEVEL
WRS > RADIO >>
STATUS READOUT FROM SENSORS
Tilt: 0.0°
Roll: 0.0°
CAM LEVEL > RESET
use to reset your null balance
LENS DATA
LDS READOUT
Status
LENS DATA
displays FOCAL LENGTH, IRIS,
FOCUS and DoF close/far
LDS OPTIONS
Lens distance unit (Metric, Imperial, Default Unit)
Circle of confusion (0.013/0.025/0.035/0.050mm)
LDS mount (On/Off)
LDA available when non-LDS lens in use
manage lens data for non-LDS lenses
IRIS/ZOOM/FOCUS CLM
CLM STATUS
displays TYPE, DIRECTION and TORQUE (1-4; CLM-3 & 4)
IRIS/ZOOM/FOCUS CLM
set DIRECTION
set TORQUE (only CLM-3 & 4)
CALIBRATE/CALIBRATE ALL motors
*on ALEXA XT M and ALEXA M via SYSTEM > LDS
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
Specications and Reference
101100
Page 52
ALEXA SUP 9.0/9.1 underlined values represent the factory reset
HS
XT/
*
; 24fps)
HS
XT/
Specications and Reference
(0.75 fps-60fps /120fps*
F
E
V
VIEW
switch to VIEW-mode (Operator sees an image)
Brightness (0-5)
Rotate Image (On/Off)
Smooth Mode (On/Off)
EVF menu
Surround View (On/Off)
Surround Mask (Black line/Color Line/Mask 25%/50%/75%)
Status Info (On/Off)
Frame Lines (On/Off)
Select Frame Lines 1 (choose from list)
Select Frame Lines 2 (choose from list)
Center Mark (Off/Dot/Cross)
User Rectangles (Off/Rect 1/Rect 2/Rect 1&2)
Edit User Rectangles (only when User Rectangles active)
Frame Lines Color (Red/Green/Blue/Yellow/Black/White)
Frame Lines Intensity (1-4)
press 2x for spinning mirror
GATE
switch to GATE-mode (sensor & all video outs “see” an image)
press 2x for spinning mirror
Mirror Control on ALEXA (XT) Studio
Menu Settings & Button Functions
C
A
M
FPS
set sensor speed
SHUTTER
set shutter angle (5.0° - 358°; 172,8°) in High Speed Mode 5.0°-356.0°)
EI
set exposure index (160ASA - 3200ASA; 800ASA)
WB
set white balance (2000K - 11000K, Auto WB; 5600K; and CC SHIFT)
EXP
false color exposure check (toggle mode)
ZOOM
get 2.25x image magnification (toggle mode)
Electronic Viewnder EVF-1
Specications and Reference
103102
Page 53
ARRI Lenses
Name
Lens
Mount
1
Aperture Close Focus
2
Magnification
Ratio
3
Length
4
Length
14
Front
Diameter
5
Maximum Housing
Diameter
Weight
(kg)
Weight
(lb)
Angle of View
H - V
Entrance Pupil
6
Super 35 Cinemascope
8
ID = 29.26 mm
7
Master Anamorphic 35mm/T1.9 PL LDS T1.9 - T22 0.75 m / 2'6"
H: 1:32.3
V: 1: 16.1
183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7" 114 mm / 4.5" 2,6 5.7
65.5° - 29.9° 178.8 mm / 7.0”
Master Anamorphic 40mm/T1.9 PL LDS T1.9 - T22 0.70 m / 2'4"
H: 1:25.6
V: 1: 12.8
183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7" 114 mm / 4.5" 2,7 6.0
58.7° - 26.3° 176.0 mm / 6.9”
Master Anamorphic 50mm/T1.9 PL LDS T1.9 - T22 0.75 m / 2'6"
H: 1:22.2
V: 1: 11.1
183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7" 114 mm / 4.5" 2,6 5.7
48.5° - 21.2° 171.5 mm / 6.8”
Master Anamorphic 60mm/T1.9 PL LDS T1.9 - T22 0.90 m / 3'
H: 1:24.3
V: 1: 12.2
183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7" 114 mm / 4.5" 2,7 6.0
41.1° - 17.7° 152.0 mm / 6.0”
Master Anamorphic 75mm/T1.9 PL LDS T1.9 - T22 0.90 m / 3'
H: 1:19.6
V: 1: 9.8
183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7" 114 mm / 4.5" 2,6 5.7
33.4° - 14.2° 136.7 mm / 5.4”
Master Anamorphic 100mm/T1.9 PL LDS T1.9 - T22 0.95 m / 3'1"
H: 1:14.7
V: 1: 7.4
206 mm / 8.1" 258 mm / 10.2" 95 mm / 3.7" 114 mm / 4.5" 3,1 6.8
25.4° - 10.7° 145.9 mm / 5.7”
Master Anamorphic 135mm/T1.9 PL LDS T1.9 - T22 1.20 m / 3’11”
H: 1:15.6
V: 1:7.8
226 mm / 9.1” 278 mm / 10.7” 95 mm / 3.7" 114 mm / 4.5" 3,8 8.4
18.9° - 7.9° 129.3 mm / 5.1”
ARRI/ZEISS Master Anamorphic Lenses
ARRI Lenses
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
105104
Page 54
Name
Lens
Mount
1
Aperture Close Focus
2
Magnification
Ratio
3
Length
4
Length
14
Front
Diameter
5
Maximum
Housing Diameter
Weight Angle of view H – V – D Entrance pupil
6
Normal 35
9
ID = 27.20 mm
7
DIN Super 35
10
ID = 30.00 mm
7
ANSI Super 35
11
ID = 31.14 mm
7
Master Prime 12 mm/T1.3 PL LDS T1.3 - T22 0.40 m / 16" 1:16.5 197 mm / 7.8" 249 mm / 9.80" 156 mm / 6.1" 159 mm / 6.3" 2.9 Kg / 6.4 lb
83.87° -66.44° - 96.13° 88.85° - 72.70° - 101.97° 90.98° - 74.78° - 104.26° 208,3 mm / 8.2“
Master Prime 14 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.7 172 mm / 6.8" 224 mm / 8.82" 114 mm / 4.5" 128 mm / 5" 2.4 Kg / 5.3 lb
76.42° - 59.41° - 88.52° 81.24° - 65.39° - 94.07° 83.44° - 67.49° - 96.33° 189,3 mm / 7.5“
Master Prime 16 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.8 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.2 Kg / 4.8 lb
70.07° - 53.79° - 81.76° 74.85° - 59.56° - 87.24° 76.87° - 61.50° - 89.33° 158,8 mm / 6.3“
Master Prime 18 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.0 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.2 Kg / 4.8 lb
63.98° - 48.60° - 75.29° 68.56° - 53.97° - 80.52° 70.53° - 55.80° - 82.48° 154,9 mm / 6.1“
Master Prime 21 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:9.5 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.4 Kg / 5.3 lb
55.96° - 42.05° - 66.60° 60.22° - 46.85° - 71.70° 62.07° - 48.50° - 73.66° 149,3 mm / 5.9“
Master Prime 25 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:8.6 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.6 Kg / 5.1 lb
48.12° - 35.79° - 57.97° 52.01° - 40.00° - 62.89° 53.72° - 41.45° - 64.81° 135,9 mm / 5.4“
Master Prime 27 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:7.8 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.2 Kg / 4.8 lb
43.82° - 32.45° - 53.08° 47.45° - 36.31° - 57.80° 49.06° - 37.64° - 59.66° 136,7 mm / 5.4“
Master Prime 32 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:7.1 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.3 Kg / 5.1 lb
38.84° - 28.74° - 47.10° 42.07° - 32.16° - 51.31° 43.51° - 33.35° - 52.98° 128,4 mm / 5.1“
Master Prime 35 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:6.4 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.2 Kg / 4.8 lb
35.04° - 25.82° - 42.64° 38.01° - 28.94° - 46.52° 39.33° - 30.02° - 48.04° 126,9 mm / 4.9“
Master Prime 40 mm/T1.3 PL LDS T1.3 - T22 0.40 m / 16" 1:7.0 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.3 Kg / 5.1 lb
30.91° - 22.75° - 37.68° 33.55° - 25.51° - 41.15° 34.73° - 26.46° - 42.52° 119,6 mm / 4.7“
Master Prime 50 mm/T1.3 PL LDS T1.3 - T22 0.50 m / 20" 1:7.0 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.7 Kg / 5.9 lb
25.02° - 18.27° - 30.81° 27.26° - 20.53° - 33.88° 28.26° - 21.32° - 35.13° 136,1 mm / 5.4“
Master Prime 65 mm/T1.3 PL LDS T1.3 - T22 0.65 m / 2'3" 1:8.2 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.6 Kg / 5.7 lb
19.27° - 14.06° - 23.72° 20.99° - 15.80° - 26.08° 21.59° - 16.58° - 27.00° 107,3 mm / 4.2“
Master Prime 75 mm/T1.3 PL LDS T1.3 - T22 0.80 m / 2'9" 1:8.9 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.8 Kg / 6.2 lb
16.66° - 12.17° - 20.51° 18.15° - 13.67° - 22.56° 18.82° - 14.20° - 23.39° 102,5 mm / 4.0“
Master Prime 100 mm/T1.3 PL LDS T1.3 - T22 1.00 m / 3'6" 1:8.9 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5" 2.9 Kg / 6.4 lb
12.60° - 9.17° - 15.56° 13.74° - 10.32° - 17.14° 14.25° - 10.72° - 17.79° 57,2 mm / 2.3“
Master Prime 135 mm/T1.3 PL LDS T1.3 - T22 0.95m / 3'3'' 1:6.6 172 mm / 6.8" 224 mm / 8.82" 114 mm / 4.5" 128 mm / 5" 2.8 Kg / 6.2 lb
9.49° - 6.91° - 11.72° 10.35° - 7.77° - 12.91° 10.73° - 8.07° - 13.40° 30.1 mm / 1.2"
Master Prime 150 mm/T1.3 PL LDS T1.3 - T22 1.50 m / 4'11" 1:10.3 210 mm / 8.3" 262 mm / 10.31" 134 mm / 5.3" 137 mm / 5.4" 4.0 Kg / 8.8 lb
8.53° - 6.22° - 10.53° 9.30° - 6.99° - 11.59° 9.65° - 7.26° - 12.03° -89,0 mm / -3.5“
ARRI/ZEISS Master Prime Lenses
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
ARRI Lenses
107106
Page 55
ARRI/ZEISS Ultra Prime Lenses
Name
Lens
Mount
1
Aperture Close Focus
2
Length
4
Front
Diameter
5
Maximum housing
diameter
Weight Angle of view H – V – D Entrance pupil
6
Normal 35
9
ID = 27.20 mm
7
DIN Super 35
10
ID = 30.00 mm
7
ANSI Super 35
11
ID = 31.14 mm
7
Ultra Prime 8R PL T2.8 to T22 0.35 m / 13.8" 130 mm / 5.1" 134 mm / 5.3" 137 mm / 5.4” 2.0 Kg / 4.4 lb 107.1° - 89.1° - 118.3° 111.8° - 95.8° - 123.1° 113.7° - 98.0° - 124.8° 155,2 mm / 6.1"
Ultra Prime 12 PL T2.0 to T22 0.30 m / 11.8" 140 mm / 5.5" 156 mm / 6.1" 159 mm / 6.3” 2.0 Kg / 4.4 lb 85.5° - 67.8° - 97.6° 90.5° - 74.2° - 103.2° 92.6° - 76.3° - 105.2° 113,4 mm / 4.4"
Ultra Prime 14 PL T1.9 to T22 0.22 m / 8.7" 112 mm / 4.4" 114 mm / 4.5" 114 mm / 4.5” 1.8 Kg / 4.0 lb 75.6° - 58.9° - 87.6° 80.5° - 64.8° - 93.2° 82.6° - 66.8° - 95.4° 91,3 mm / 3.5"
Ultra Prime 16 PL T1.9 to T22 0.25 m / 9.8" 94 mm / 3.7" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 68.6° - 52.8° - 80.3° 73.3° - 58.4° - 85.8° 75.4° - 60.2° - 88.1° 85,1 mm / 3.3"
Ultra Prime 20 PL T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 58.9° - 44.6° - 69.8° 63.2° - 49.6° - 75.1° 65.1° - 51.3° - 77.2° 73,3 mm / 2.8"
Ultra Prime 24 PL T1.9 to T22 0.30 m / 11.8" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 50.5° - 37.8° - 60.5° 54.4° - 42.2° - 65.4° 56.2° - 43.7° - 67.5° 67,4 mm / 2.6"
Ultra Prime 28 PL T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 43.6° - 32.4° - 52.6° 47.1° - 36.2° - 57.2° 48.7° - 37.5° - 59.0° 67,3 mm / 2.6"
Ultra Prime 32 PL T1.9 to T22 0.35 m / 13.8" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb 38.6° - 28.5° - 46.8° 41.8° - 31.9° - 51.0° 43.2° - 33.1° - 52.7° 61,1 mm / 2.4"
Ultra Prime 40 PL T1.9 to T22 0.38 m /15" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 31.0° - 22.8° - 37.9° 33.7° - 26.6° - 41.5° 34.9° - 26.6° - 42.9° 59,2 mm / 2.3"
Ultra Prime 50 PL T1.9 to T22 0.60 m / 23.6" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 24.3° - 17.8° - 29.8° 26.5° - 20.0° - 32.8° - 27.4° - 20.8° - 33.9° 13,4 mm / 0.5"
Ultra Prime 65 PL T1.9 to T22 0.65 m / 25.6 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb 19.4° - 14.2° - 23.9° 21.9° - 16.5° - 27.2° 21.9° - 16.5° - 27.2° 19,0 mm / 0.7"
Ultra Prime 85 PL T1.9 to T22 0.90 m / 35.4" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 15.2° - 11.1° - 18.7° 16.5° - 12.4° - 20.5° 17.1° - 12.9° - 21.3° 3,5 mm / 0.1"
Ultra Prime 100 PL T1.9 to T22 1.00 m / 39.4" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 12.3° - 8.9° - 15.2° 13.4° - 10.0° - 16.7° 13.9° - 10.4° - 17.3° 12,4 mm / 0.4"
Ultra Prime 135 PL T1.9 to T22 1.50 m / 59.1" 119 mm / 4.7" 95 mm / 3.7" 102 mm / 4.0” 1.6 Kg / 3.5 lb 9.3° - 6.7° - 11.5° 10.1° - 7.6° - 12.6° 10.5° - 7.9° - 13.1° -56,9 mm / -2.2"
Ultra Prime 180 PL T1.9 to T22 2.60 m / 102.4" 166 mm / 6.5" 114 mm / 4.5" 119 mm / 4.7” 2.6 Kg / 5.7 lb 6.9° - 5.1° - 8.5° 7.6° - 5.7° - 9.5° 7.9° - 5.9° - 9.9° -19,7 mm / -0.7"
ARRI Lenses
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
109108
Page 56
ARRI/ZEISS LDS Ultra Prime Lenses
Name
Lens
Mount
1
Aperture Close Focus
2
Length
4
Front
Diameter
5
Maximum housing
diameter
Weight Angle of view H – V – D Entrance pupil
6
Normal 35
9
ID = 27.20 mm
7
DIN Super 35
10
ID = 30.00 mm
7
ANSI Super 35
11
ID = 31.14 mm
7
LDS Ultra Prime 12 PL LDS T2.0 to T22 0.30 m / 11.8" 140 mm / 5.5" 156 mm / 6.1" 159 mm / 6.3” 2.0 Kg / 4.4 lb 85.5° - 67.8° - 97.6° 90.5° - 74.2° - 103.2° 92.6° - 76.3° - 105.2° 113,4 mm / 4.4”
LDS Ultra Prime 14 PL LDS T1.9 to T22 0.22 m / 8.7" 112 mm / 4.4" 114 mm / 4.5" 114 mm / 4.5” 1.8 Kg / 4.0 lb 75.6° - 58.9° - 87.6° 80.5° - 64.8° - 93.2° 82.6° - 66.8° - 95.4° 91,3 mm / 3.5”
LDS Ultra Prime 16 PL LDS T1.9 to T22 0.25 m / 9.8" 94 mm / 3.7" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 68.6° - 52.8° - 80.3° 73.3° - 58.4° - 85.8° 75.4° - 60.2° - 88.1° 85,1 mm / 3.3”
LDS Ultra Prime 20 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 58.9° - 44.6° - 69.8° 63.2° - 49.6° - 75.1° 65.1° - 51.3° - 77.2° 73,3 mm / 2.8”
LDS Ultra Prime 24 PL LDS T1.9 to T22 0.30 m / 11.8" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 50.5° - 37.8° - 60.5° 54.4° - 42.2° - 65.4° 56.2° - 43.7° - 67.5° 67,4 mm / 2.6”
LDS Ultra Prime 28 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 43.6° - 32.4° - 52.6° 47.1° - 36.2° - 57.2° 48.7° - 37.5° - 59.0° 67,3 mm / 2.6”
LDS Ultra Prime 32 PL LDS T1.9 to T22 0.35 m / 13.8" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb 38.6° - 28.5° - 46.8° 41.8° - 31.9° - 51.0° 43.2° - 33.1° - 52.7° 61,1 mm / 2.4”
LDS Ultra Prime 40 PL LDS T1.9 to T22 0.38 m /15" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 31.0° - 22.8° - 37.9° 33.7° - 26.6° - 41.5° 34.9° - 26.6° - 42.9° 59,2 mm / 2.3”
LDS Ultra Prime 50 PL LDS T1.9 to T22 0.60 m / 23.6" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb 24.3° - 17.8° - 29.8° 26.5° - 20.0° - 32.8° - 27.4° - 20.8° - 33.9° 13,4 mm / 0.5”
LDS Ultra Prime 65 PL LDS T1.9 to T22 0.65 m / 25.6 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb 19.4° - 14.2° - 23.9° 21.9° - 16.5° - 27.2° 21.9° - 16.5° - 27.2° 19,0 mm / 0.7”
LDS Ultra Prime 85 PL LDS T1.9 to T22 0.90 m / 35.4" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 15.2° - 11.1° - 18.7° 16.5° - 12.4° - 20.5° 17.1° - 12.9° - 21.3° 3,5 mm / 0.1”
LDS Ultra Prime 100 PL LDS T1.9 to T22 1.00 m / 39.4" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb 12.3° - 8.9° - 15.2° 13.4° - 10.0° - 16.7° 13.9° - 10.4° - 17.3° 12,4 mm / 0.4”
LDS Ultra Prime 135 PL LDS T1.9 to T22 1.50 m / 59.1" 119 mm / 4.7" 95 mm / 3.7" 102 mm / 4.0” 1.6 Kg / 3.5 lb 9.3° - 6.7° - 11.5° 10.1° - 7.6° - 12.6° 10.5° - 7.9° - 13.1° -56,9 mm / -2.2”
LDS Ultra Prime 180 PL LDS T1.9 to T22 2.60 m / 102.4" 166 mm / 6.5" 114 mm / 4.5" 119 mm / 4.7” 2.6 Kg / 5.7 lb 6.9° - 5.1° - 8.5° 7.6° - 5.7° - 9.5° 7.9° - 5.9° - 9.9° -19,7 mm / -0.7”
ARRI Lenses
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
111110
Page 57
ARRI/FUJINON Alura Zooms Lenses
Name
Lens
Mount
1
Focal Length
Wide
Focal Length
Long
Focal Length
Ratio
Aperture
Close
Focus
2
Magnification
Ratio
3
Length
4
Front
Diameter
5
Maximum
Housing Diameter
Weight Focal Length Angle of view H – V – D Entrance pupil
6
Normal 35
9
ID = 27.20 mm
7
DIN Super 35
10
ID = 30.00 mm
7
Alexa/D-21 HD
12
ID = 27.26 mm
7
Alura Zoom 15.5-45 PL LDS 15.5 45 2.9 T2.8 - T22 0.6 m / 2'0" 1:8.1 228 mm / 9.0" 114 mm / 4.5" 114 mm / 4.5" 2.2 Kg / 4.9 lb
at 15.5 mm 70.7° - 54.6° - 82.5° 74.9° - 46.7° - 82.7° 78.5° - 49.4° - 86.3° 237.0 mm / 9.3"
at 25 mm 47.5° - 35.5° - 57.1° 50.8° - 29.9° - 57.2° 53.8° - 31.8° - 60.4° 230.9 mm / 9.1"
at 45 mm 27.5° - 20.2° - 33.6° 29.6° - 16.9° - 33.7° 31.4° - 18° - 35.8° 222.6 mm / 8.8"
Alura Zoom 30-80 PL LDS 30 80 2.7 T2.8 - T22 0.6 m / 2'0" 1:4.9 228 mm / 9.0" 114 mm / 4.5" 114 mm / 4.5" 2.2 Kg / 4.9 lb
at 30 mm 40.3° - 29.9° - 48.8° 43.2° - 25.1° - 48.9° 45.8° - 26.7° - 51.7° 219.3 mm / 8.6"
at 50 mm 24.8° - 18.2° - 30.4° 26.7° - 15.2° - 30.5° 28.4° - 16.2° - 32.4° 201.0 mm / 7.9"
at 80 mm 15.7° - 11.4° - 19.3° 16.9° - 9.6° - 19.3° 18° - 10.2° - 20.6° 187.4 mm / 7.4"
Alura Zoom 18-80 PL 18 80 4.4 T2.6 - T22 0.7 m / 2'4" 1:5.5 285 mm / 11.2" 134 mm / 5.3" 134 mm / 5.3" 4.7 Kg / 10.4 lb
at 18 mm 62.8° - 48.0° - 74.1° 67.4° - 53.1° - 79.6° 66.8° - 40.7° - 74.3° 264.0 mm / 10.4"
at 50 mm 24.8° - 18.2° - 30.4° 27.0° - 20.4° - 33.4° 26.7° - 15.2° - 30.5° 231.6 mm / 9.1"
at 80 mm 15.6° - 11.4° - 19.3° 17.1° - 12.8° - 21.2° 16.9° - 9.5° - 19.3° 213.9 mm / 8.4"
Alura Zoom 45-250 PL 45 250 5.6 T2.6 - T22 1.2 m / 3'11" 1:4 370 mm / 14.6" 134 mm / 5.3" 153 mm / 6" 7.5 Kg / 16.5 lb
at 45 mm 27.5° - 20.2° - 33.6° 29.9° - 22.6° - 36.9° 29.6° - 16.9° - 33.7° 234.4 mm / 9.6"
at 150 mm 8.4° - 6.1° - 10.4° 9.1° - 6.9° - 11.4° 9.1° - 5.1° - 10.4° 2.0 mm / 0.1"
at 250 mm 5.0° - 3.7° - 6.2° 5.5° - 4.1° - 6.9° 5.4° - 3.1° - 6.2° -101.5 mm / -4.0"
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
ARRI Lenses
113112
Page 58
ARRI/FUJINON Alura LDS Extender
Name Weight Diameter without knobs Length (mm) without knobs
Alura LDS Extender 1.4x 300 g / 0.66 lb 77 mm / 3.03” 44 mm / 1.73”
Alura LDS Extender 2.0x 530 g / 1.17 lb 77 mm / 3.03” 60 mm / 2.36”
Alura Zoom Alura Extender Resulting Combination
Alura 15.5-45 / T2.8 Alura LDS Extender 1.4x Alura 22-63 / T4.0
Alura 15.5-45 / T2.8 Alura LDS Extender 2.0x Alura 31-90 / T5.6
Alura 30-80 / T2.8 Alura LDS Extender 1.4x Alura 42-112 / T4.0
Alura 30-80 / T2.8 Alura LDS Extender 2.0x Alura 60-160 / T5.6
Alura 18-80 / T2.6 Alura LDS Extender 1.4x Alura 25-112 / T3.7
Alura 18-80 / T2.6 Alura LDS Extender 2.0x Alura 36-160 / T5.2
Alura 45-250 / T2.6 Alura LDS Extender 1.4x Alura 63-350 / T3.7
Alura 45-250 / T2.6 Alura LDS Extender 2.0x Alura 90-500 / T5.2
ARRI Lenses
Combining the Alura Zooms with Alura Extenders
ARRI Lenses
115114
Page 59
ARRI Ultra Wide Zoom UWZ 9.5-18
Name
Lens
Mount
1
Focal Length
Wide
Focal Length
Long
Focal Length
Ratio
Aperture
Close
Focus
2
Magnification
Ratio
3
Length
4
Front
Diameter
5
Maximum
Housing Diameter
15
Weight Focal Length Angle of view H – V – D Entrance pupil
6
Normal 35
9
ID = 27.20 mm
7
DIN Super 3510
ID = 30.00 mm
7
Alexa HD
12
ID = 27.26 mm
7
UWZ 9.5-18 PL LDS 9.5 18 1.9 T2.9 - T22 0.55 m / 1'9" 1:10.7
335.5 mm /
13.2"
156 mm / 6.1" 112 mm / 4.4" 4.8 Kg / 10.5 lb
at 9.5 mm 98.6° - 80.3° - 110.5° 103.5° - 87.0° - 115.7° 103.0° - 70.3° - 110.6° 310.4 mm / 12.22”
at 14 mm 76.3° - 59.5° - 88.3° 81.2° - 65.5° - 94.0° 80.6° - 51.1° - 88.5° 309.4 mm / 12.18”
at 18 mm 62.8° - 47.9° - 74.1° 67.3° - 53.1° - 79.5° 66.8° - 40.8° - 74.2° 308.0 mm / 12.13”
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
ARRI Lenses
117116
Page 60
ARRI/ZEISS Master Macro Lens
Name
Lens
Mount
1
Aperture Close Focus
2
Magnification
Ratio
3
Length
4
Front
Diameter
5
Weight Horizontal Angle of View
Normal 35
9
ID = 27.20 mm
7
DIN Super 35
10
ID = 30.00 mm
7
ANSI Super 35
11
ID = 31.14 mm
7
Master Macro 100 mm/T2.0 PL LDS T2.0/T4.3 to T32 0.35 m / 13 3/4" 1:1 210.0 mm / 8.27" 114 mm / 4.5" 2.6 kg / 5.7 lbs 12.42° 13.52° 14.02°
ARRI Lenses
ARRI Lenses
For Annot ations, see Page 120.
All data is subject to change without noti ce.
119118
Page 61
Annotations
Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F
ARRI Lenses
ARRI Lenses
1 Positive locking (PL) 54mm stainless steel lens
mount on some models with Lens Data System
(LDS) contacts
2 Close focus is measured from the film/sensor
plane
3 Magnification ratio is the relationship of the size of
an object on the film/sensor plane (first number) to
the size of that object in real life (second number)
at the close focus setting (on zoom lenses also at
the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
4 Length is measured from the lens mount to the
front of the lens housing
5 Diameter of the lens/matte box interface;
Maximum lens housing diameter for the Master
Macro 100 is 138 mm.
6 The distance from the entrance pupil to the film/
sensor plane (at focus = infinity). Positive numbers
indicate an entrance pupil in front, negative numbers indicate an entrance pupil behind the film/
sensor plane. The entrance pupil (often mistakenly
called "nodal point") is the center of perspective;
moving the camera/lens system around the center
of the entrance pupil prevents parallax errors.
While largely irrelevant for live action, this measurement is important for special effects work.
7 The image diameter (ID) is the diameter of the
image circle needed for the respective format.
These lenses are designed for the largest ID given
here.
8 Horizontal (H) and vertical (V) angles of view for a
Super 35 Cinemascope camera aperture
(22,5mm x 18,7mm / 0.8858" x 0.7362")
9 Horizontal (H), vertical (V) and diagonal (D) angles
of view for a Normal 35 Academy camera aperture
(1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
10 Horizontal (H), vertical (V) and diagonal (D) angles
of view for a DIN Super 35 Silent camera aperture
(1.33:1, 24mm x 18mm / 0.944" x 0.7087")
11 Horizontal (H), vertical (V) and diagonal (D) angles
of view for an ANSI Super 35 Silent camera aperture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
12 Horizontal (H), vertical (V) and diagonal (D) angles
of view for the Alexa/D-21 HD camera aperture
(1.78:1, 2880 x 1620 pixels,
23.76 mm x 13.37mm / 0.935" x 0.526")
14 Length is measured from the sensor plane to the
front of the lens housing.
15 Excluding front and gear.
121120
Page 62
Resources and Contacts
ARRI Sales Contacts
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Resources and Contacts
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Resources and Contacts
123122
Page 63
ARRI Service Contacts
ZONE 2 ZONE 1 ZONE 3
Zone Availability Service Center E-Mail Telephone Hotline
Munich, Germany
Arnold & Richter Cine Technik
London, Great Britain
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Hong Kong
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ARRI China Co. Limited
Sydney, Australia
ARRI Australia Pty Limited
service@arri.de +49 89 3809 2121
service@arri-ct.com +44 1895 457 051
service@arri.it +39 335 749 00 70
arri@bars-pro.ru
service@cineom.com +91 22 42 10 9000
service@arri.com +1 877 565 2774
service@arri.com +1 877 565 2774
service@arri.com +1 416 255 3335
service@arriasia.hk +852 2537 4266
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service@arri.com.au +61 2 9855 4305
Resources and Contacts
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1
2
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Monday – Friday:
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ARRI Service is the first port of call for all questions
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centers and 24h availability on Monday to Friday.
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Well trained technicians cover all hardware- and
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Resources and Contacts
125124
Page 64
ARRI Digital Workow Solutions
Online Resources
The Digital Workflow Solutions (DWS) group deals
with all workflow related issues including ARRI
Look File handling, data copying, backups, quality
check, LUTs, metadata or working with Log C files.
In addition the DWS group provides support for
such tools as the ARRIRAW Converter, ARRI Look
Creator, ARRI LUT Generator and ALEXA Frameline
Resources and Contacts
Composer.
Feel free to contact DWS at digitalworkflow@arri.de
This ARRI ALEX A Pocket Guide (Ident.-Nr.: 80.0001361) is published by Arnold & Richter Cine Technik, April 01, 2014 © ARRI/2014
Technical data and offerings are subject to change without notice. All rights reser ved. Without any warranty. Not binding 04/2014.
ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
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Tel +49 (0)89 3809 0 · Fax +49 (0)89 3809 1245 · www.arri.com
ALEXA Manual www.arri.com/alexa/downloads
ALEXA Data Sheets www.arri.com/alexa/downloads
ALEXA Dimensions www.arri.com/alexa/downloads
ALEXA Tech Talk Videos www.arri.com/alexa/techtalk
Frequently Asked Questions www.arri.com/alexa/learn
ALEXA Software Update Packets www.arri.com/alexa/downloads
Technical details on recording
ARRIRAW www.arri.com/alexa/arriraw
ProRes www.arri.com/alexa/sxs
DNxHD www.arri.com/alexa/sxs
ALEXA Camera Simulator www.arri.com/alexa/tools
ALEXA Frameline Composer www.arri.com/alexa/tools
ALEXA LUT Generator www.arri.com/alexa/tools
ALEXA Pocket Guide WebApp www.arri.com/alexa/apg
Resources and Contacts
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ALEXA Pocket Guide WebApp
www.arri.com/alexa/apg
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