Arri Alexa SUP 8.0 Pocket Guide

Pocket Guide

SUP

8.0

ALEXA Pocket Guide

Table of Contents

Overview 4

Table of Contents

Introduction 4
The new ALEXA camera range: ALEXA XT 6
The Home Screen 8

Home Screen Soft Buttons 9
Icons on Home Screen 12
MON OUT Icons 14

Recording Media 16

Output Overview 20
ARRIRAW uncompressed 22
ARRIRAW Converter 3.0 24
ARRIRAW capable software solutions 25
ProRes Recording 26
DNxHD 28

Exposure Index 30

Working with ND filters 32

Precision FSNDs in comparison 34
False Color Exposure Check 35
Working with ALEXA 36
Color Spaces 36

Video - Rec 709 36

Log C 38
Linear 39

ARRI LUT Generator 39
In-Camera Look Files 40
Legal and Extended Range 46
p and psf 47
Metadata Overview 48
Licenses 50

ALEXA Preshoot Checklist 52
Recording with the XR or SxS Module 53
Additional notes 55

Shooting Highspeed 55

Recording ARRIRAW via T-Link 55
Shooting Stereo 3D 57
ALEXA M fiber maintenance 57
Creating Lens Tables 58
Required Equipment 59
Creating a Lens Table 60
ALEXA XT/XR Workflows 64

Compressed Recording Formats 64

Uncompressed ARRIRAW 64

Generating Deliverables 67
Scaling your Workflow 69

Specifications and Reference 70
Menu Settings & Button Functions 86
ARRI Lenses 100
ARRI/ZEISS Master Anamorphic Lenses 100
ARRI/ZEISS Master Prime Lenses 102
ARRI/ZEISS Ultra Prime Lenses 104
ARRI/ZEISS LDS Ultra Prime Lenses 106
ARRI/FUJINON Alura Zoom Lenses 108
ARRI/ZEISS Master Macro Lens 112
Annotations 114
Resources and Contacts 116
ARRI Sales Contacts 116
ARRI Service Contacts 118
ARRI Digital Workflow Solutions 120
Online Resources 121

Table of Contents

32

Overview

Overview

Introduction The ALEXA family

Welcome to the Pocket Guide for the ALEXA and
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

The new ALEXA camera range: ALEXA XT

The ALEXA XT brings new features to the ALEXA

Overview

product line, inspired by feedback from professional
users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus
and ALEXA XT Studio cameras replace all previ­ous models except for the original ALEXA. Existing
ALEXAs can be upgraded to deliver most of the
features of an ALEXA XT.

XR Module

• In-camera ARRIRAW up to 120 fps

• In-camera ProRes or DNxHD up to 120 fps

• Fast 512 GB XR Capture Drives

• Proven, efficient Codex workflows

In-camera Filter Module IFM-1

• Internal filtration to reduce reflections and weight

• Available in 8 densities from ND 0.3 to ND 2.4

• Neutral color balance at all densities

• High image sharpness and contrast

Plug and play anamorphic

• 4:3 sensor on all ALEXA XT models

• Anamorphic de-squeeze license included

High speed license included
LDS PL Mount

• On all ALEXA XT models for ubiquitous lens
metadata

Viewfinder Mounting Bracket VMB-3

• Strong and rigid 15 mm rod construction

• Can take lens motors, matte boxes, etc.

• Stronger Viewfinder Extension Bracket VEB-3

Super silent ALEXA XT fan

Overview

76

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

98

Home Screen Center Bar

TC Displays current timecode including

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

source (INT=internal or EXT=external
source). Frames are not displayed,
instead the time base of the timecode
is shown in small digits.

at BAT connector, or percentage of
remaining capacity of attached battery
if it transmits this information.

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.

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).

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.

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

1

Card 1 is write protected.

SxS 1 FULL

1

Card 1 is full.

< Marks the active card.

• STBY The camera is in standby and

ready to record.

• 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 active

CDL Server active/connected

CDL Server active/not connected

1

not available on ALEXA XT

Overview

1110

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.

1312

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.

1514

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 cards, or to Codex XR Capture Drives, which
additionally enables uncompressed ARRIRAW record­ing. Using SxS PRO cards requires an SxS 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, but with SUP 8.0, only XR drives can
be used for recording.

The table shows the data rates and storage requirements
for the available recording formats1.

Recording Media 32 GB SxS PRO 64 GB SxS PRO XR Capture Drive

Recording Format fps Range

4:3 ARRIRAW 2.8K

16:9 ARRIRAW 2.8K

4:3 ProRes 4444 2K

16:9 ProRes 4444 2K

16:9 ProRes 4444 HD

4:3 ProRes 422 HQ 2K

16:9 ProRes 422 HQ 2K

16:9 ProRes 422 HQ HD

16:9 DNxHD 444

3

3

3

3

3

3

7

16:9 DNxHD 175x/185x/220x

16:9 DNxHD 115/120/145

6

– – – – – – 0.75 – 96435 min 9 min

– – – – – – 0.75 – 120 47 min 9 min

0.75 – 30 9 min 7 min 0.75 – 48 19 min 9 min 0.75 – 48 70 min 35 min

0.75 – 40 12 min 7 min 0.75 – 60 25 min 10 min 0.75 – 60 93 min 37 min

0.75 – 40 14 min 8 min 0.75 – 60 29 min 11 min 0.75 – 1205107 min 21 min

0.75 – 40 14 min 8 min 0.75 – 48 28 min 14 min 0.75 – 48 105 min 52 min

0.75 – 60 19 min 7 min 0.75 – 60 38 min 15 min 0.75 – 60 140 min 56 min

0.75 – 60 21 min 8 min 0.75 – 120 43 min 8 min 0.75 – 120 160 min 32 min

0.75 – 30 12 min 5 min 0.75 – 60 24 min 9 min 0.75 – 60 85 min 34 min

6

0.75 – 60 24 min 9 min 0.75 – 120 48 min 9 min 0.75 – 120 170 min 34 min

0.75 – 60 36 min 14 min 0.75 – 120 72 min 14 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

4:3 ARRIRAW recording on XR Capture Drives is limited to 48 fps in

SUP 8.0. 96 fps is planned for a future software update.

5

ProRes 4444 HD recording on XR Capture Drives is limited to 60 fps

in SUP 8.0. 120 fps is planned for a future software update.

6

DNxHD recording is temporarily unavailable in SUP 8.0. This feature

will be re-enabled as soon as possible.

7

DNxHD 444 recording is planned for a future software update.

Overview

1716

ALEXA Recording MatrixALEXA XT Recording Matrix

Overview

Recording Media

Recording
Format

16:9

Sensor
Mode

4:3

ARRIRAW

uncom­pressed

2880x1620

(0.75-120fps)

2880x2160

(0.75-96fps)

Internal recording

onto XR Capture Drives

HD

ProRes

& DNxHD

1920x1080

(0.75-60fps)

– –

1

HD

Highspeed

ProRes

& DNxHD

1920x1080

(60-120fps)

2K

ProRes

2048x1152

(0.75-60fps)

2048x1536

(0.75-60fps)

Internal Recording

with SxS PRO adapter

(onto SxS PRO card)

HD

ProRes

& DNxHD

1920x1080

(0.75-60fps)

– –

HD

Highspeed

ProRes

& DNxHD

1920x1080

(60-120fps)

2K

ProRes

2048x1152

(0.75-60fps)

2048x1536

(0.75-60fps)

External

recording

HD

uncom­pressed

1920x1080

(0.75-60fps)

–

Recording Media

Recording
Format

16:9

Sensor
Mode

4:3 – –

HD

ProRes &

DNxHD

1920x1080

(0.75-60fps)

Internal Recording

onto SxS PRO cards

HD

Highspeed

ProRes &

DNxHD

1920x1080

(60-120fps)

2K

ProRes

2048x1152

(0.75-60fps)

2048x1536

(0.75-48fps)

External recording

via T-Link

ARRIRAW

uncompressed

2880x1620

(0.75-60fps)

2880x2160

(0.75-48fps)

External recording

via HD-SDI

HD

uncompressed

1920x1080

(0.75-60fps)

–

Overview

1918

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 1x SxS card

16:9 or 4:3

Quicktime 16:9 HD
or 16:9/4:3 2K

MXF 16:9 HD

HD-SDI with
information overlay

Clean image

)

1

uncompressed 2x REC OUT

ProRes Proxy

ProRes 422 LT

ProRes 422

ProRes 422 HQ

ProRes 4444

DNxHD 145

DNxHD 175

DNxHD 444

1

feature available in a later SUP

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 175

DNxHD 444

1

feature available in a later SUP

1

Overview

2120

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 three­quarters 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 2K, for example, at a later
stage. Using this approach takes advantage of the
luminance resolution, which correlates to the sensor
pixel count.

Format Resolution Color Coding File size

4:3 ARRIRAW 2.8K

16:9 ARRIRAW 2.8K

1

Recording 4:3 ARRIRAW 2.8K on XR Capture Drives is limited to 48 fps in SUP 8.0. 96 fps is planned for a future software update.

2

All speeds adjustable with 1/1000 fps precision.

2880 x 2160 12 bit Bayer 9.3 MB 1.79 Gbit/s 806 GB/h 0.75 - 96

2880 x 1620 12 bit Bayer 7 MB 1.34 Gbit/s 605 GB/h 0.75 - 120

Data Rate

@ 24 fps

Data Volume

@ 24 fps

fps Range

2

1

Overview

2322

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 its first occurrence back in 2005. Right
now the ARC is undergoing a complete overhaul.
A totally new user interface in combination with a
feature rich tool palette will offer a more intuitive use
and better when working with ARRIRAW footage.
ARRI will show a sneak preview at NAB 2013, fol­lowed by a beta-test in the later this year. ARRIRAW
Converter is and will be available for Mac OSX,
Windows operating systems.

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", is available for
download at www.arri.com/alexa/downloads.

COMPANY PRODUCT CERTIFIED

Adobe Premiere Pro
Adobe Speedgrade

Assimilate

Autodesk Flame/Lustre
Autodesk Smoke
Black Magic Design Resolve
Codex Digital Transfer Station
Colorfront On-Set Dailies
DigitalFilmTechnology Flexxity
DVS Clipster
Éclair ColorUsDailies
eyeon Fusion
FilmLight Baselight
Gluetools Toolkit for FCP
Image Systems/

Digital Vision
MTI Film Control Dailies
Pretend Stereoid
Quantel Pablo
SGO Mistika
The Foundry Hiero
The Foundry Nuke
Tweak RV

Scratch
Scratch Lab

Nucoda FilmMaster

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Overview

2524

ProRes Recording

The ALEXA has been the first camera offering inter-

Overview

nal, ready-to-edit, QuickTime/ProRes HD recording
to SxS PRO cards. 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.

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 all ALEXA and ALEXA

XT models, except for ALEXA and ALEXA Plus.

2

This only applies to ALEXA cameras with the SxS

Module. ARRIRAW T-Link output is not available in
conjunction with the XR Module.

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.

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

fps Range

1

Overview

2726

DNxHD

The ALEXA and ALEXA XT cameras allow in-camera

Overview

recording of 1920 x 1080 (16:9) DNxHD encoded
MXF files onto SxS PRO cards1. 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.

Please note that DNxHD recording is temporarily un­available in SUP 8.0. This feature will be re-enabled
as soon as possible. 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 115/120/145

DNxHD 175x/185x/220x

DNxHD 444

1

DNxHD recording is temporarily unavailable in SUP 8.0. This feature will be re-enables as soon as possible.

2

DNxHD 444 recording is planned for a future software update.

3

All speeds adjustable with 1/1000 fps precision.

2

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 – 60

Data Rate @

24 fps [Mbit/s]

Data Volume @

1

24 fps [GB/h]

1

fps Range

3

Overview

2928

Exposure Index

While ALEXA’s 14 stops of exposure latitude and

Overview

unique highlight handling approaches that of film,
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

Overview

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.

3130

Working with ND lters

While traditional ND filters work great for film, for

Overview

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 gener­ally 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 will be 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 a true even reduction over the whole
spectrum (see next page).

The ALEXA Studio has a built-in ND filter 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.

IFM Empty Filter Frame

Optical Clear

ALEXA PL Lens Mount

IFM Filter Holder

8x Full Spectrum Neutral
Density Filters (FSND)

Overview

IFM Shim

3332

Working with ND lters cont.

False Color Exposure Check

FSNDs in comparison

Overview

350 400 450 500 550 600 650 700 750 800

0

-1

-2

-3

-4

-5

-6

-7

Attenuation (in stops)

-8

-9

-10

-11

-12

Wavelength (in nm)

IRND Brand 1

IRND Brand 2

FSND 1.2

Classic ND

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

Overview

3534

Working with ALEXA

Color Spaces

The ALEXA can deliver the captured footage with
"Video Rec 709" or "Log C ALEXA wide gamut"

Working with ALEXA

encoding.

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

3736

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

3938

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

4140

Non-Destructive Look Files

The Look File does not only go back 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.

Working with ALEXA

The LUT on the 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

4342

ASC CDL Looks

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

CDL values embedded in file header

Working with ALEXA

Dailies

4544

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

4746

Metadata Overview

Metadata is a set of data that describes and gives
information about other data. ALEXA always records
as much metadata as is available. This additional
information makes documentation easier as the
metadata is stored within the image files so it cannot

Working with ALEXA

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, 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 60.

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

camera: any from the ALEXA XT series, ALEXA Studio, Plus/Plus 4:3 or M

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

4948

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, High Speed and

Working with ALEXA

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 4441 (10bit 4:4:4) codecs, both
within an 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).

• On ALEXA XT the High Speed and Anamorphic
De-squeeze licenses are preinstalled.

1coming in a later SUP

Working with ALEXA

5150

ALEXA Preshoot Checklist

General considerations Recording with the XR or SxS Module

This chapter offers checklists for typical use-cases
of an ALEXA camera. During prep or pre-production,
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

5352

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 (automatically
start external recorders) 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

5554

Additional notes for shooting in other modes than the standard setup cont. Shooting Stereo 3D ALEXA 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

5756

Creating Lens Tables

Required Equipment

The ARRI Lens Data Archive (LDA) allows display­ing and embedding of lens data information from

Creating Lens Tables

non-LDS lenses with ALEXA Plus, ALEXA Plus 4:3,
ALEXA Studio and ALEXA XT series cameras.

Lens data tables of individual lenses can be stored in
and recalled from the Lens Data Archive. Creation of
individual lens data tables is now possible through
the ALEXA web browser interface.

• An LDS capable ALEXA camera.

• At least one lens motor (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-3 + ZMU­3A, WFU-3 + WZU-3 + WHA-3, …). Alternatively,
lens rings can also be moved manually with the
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 Ethernet connection between ALEXA camera
and computer using ALEXA Ethernet/RJ-45 Cable
(KC 153-S, K2.72021.0)

Creating Lens Tables

5958

Creating a Lens Table

Each ALEXA camera contains an inbuilt 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

Creating Lens Tables

lens tables to the ALEXA camera.

1. Connect the camera to a computer

2. Open the web browser on the computer that is
connected to the camera.

3. Enter the address alexa####.local, with ####
being the camera serial number.

4. Open the ‘LDA’ tab in the ALEXA web browser.

5. Calibrate the lens motors by hitting the ‘Calibrate’
button on the LDA browser screen. Alternatively
calibrate the motors by using the ‘Calibrate’ func­tion in the camera or the WRS hand unit. After
performing the calibration of the lens motors,
the respective lens scales are being displayed on
the LDA browser screen. The green ‘+’ symbol
indicates the current position of the lens ring.

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/WRS screen and
embedded as metadata.

• Serial Number: Lens serial number will be
embedded as metadata.

• Focal Length: Focal length of a prime lens.
Will be shown on LDS screens and embedded
as metadata. Enter ‘0’ (Zero) for zoom lenses.

7. Move lens ring to the physical engraving that you
want to add in as a new data point (with WRS
hand unit or manually with the motor attached).

8. 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, do NOT hit ‘Enter’ on
your keyboard afterwards.

10.

Move the lens ring to the next position to enter

the next data point.

Creating Lens Tables

6160

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.

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 value
of such a mark, you can switch off the usage for
interpolation of this data point.
Zoom scales usually do not have marking lines, and
they are displayed without marking lines on an

LDD-FP display as well. So you might want to switch
off marking lines for zoom values.
Intermediate iris steps can be programmed with a
marking line only, without a number and without
being used for interpolation.

Special Lens Values:

Special lens values such as ‘infinity’ for focus and
‘close’ for iris are being entered by using their initial
letters: ‘I’ for Infinity and ‘C’ for Close

Feet Scales:

You can enter feet values by using the prime symbol
(‘) and enter inch values by using the double prime
symbol (“). The prime symbol for feet values is
optional and can be used to separate feet and inch
values:
21 inch: 1’9 or 21“

14.5 inch: 1’2.5 or 14.5“
20 feet: 20 or 20’

Editing and Deleting Data Points

The value of a data point can be edited by clicking
on the data field and entering a new value. It is not
possible to move a data point on the scale. The data
point has to be deleted and re-entered at the desired
place.
A data point can be deleted by moving the point to
the scale index. Once there, the symbol changes
from the green ‘+’ symbol to a red ‘-’ symbol and
can be deleted by clicking on the ‘-’ symbol or press­ing ‘Enter’ on the keyboard.

Saving and Downloading Lens Tables

You can save a newly created lens table into the
camera’s internal Lens Data Archive (LDA) by hitting
the ‘Send to Camera’ button in the LDS browser.
Click ‘Download from Camera’ to download existing
lens tables from the camera’s Lens Data Archive
(LDA) to the computer. Save them onto SD card if
you want to load them into another camera using
the SD card.

Creating Lens Tables

6362

ALEXA XT/XR Workows

The XR Capture Drive is formatted differently for
uncompressed ARRIRAW and compressed ProRes/
DNxHD recording.

Compressed Recording Formats

Creating Lens Tables

When the XR Module is set to ProRes 2K/HD or
DNxHD recording, the drives are initialized like SxS
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.

Creating Lens Tables

6564

ALEXA XT/XR Workows cont.

Creating Lens Tables

Generating Deliverables

Functions:

• Clone Capture Drives to transfer drives,
maintaining the VFS

• Checksum verification

• 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.

Creating Lens Tables

6766

ALEXA XT/XR Workows cont.

Scaling your Workow

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,

Creating Lens Tables

identical copies and maintains the VFS.

• An optional Codex Storage option will transform
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.

Creating Lens Tables

6968

Specifications and Reference

Technical Specications

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

Specications 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.

Specications and Reference

7170

Output Formats in 16:9 and 4:3 Sensor Mode

Specications and Reference

Frameline ARRI 2.39 Flat

Frameline 1.85 2K DCI

Frameline 2.39 2x Scope

Optical Viewfinder (ALEXA Studio)

26.14 x 19.0 mm / 1.029 x 0.748", ø: 32.32 mm / 1.272"

Sensor Size – 3392 x 2200 Photosites

27.98 x 18.15 mm / 1.102 x 0.715", ø: 33.352 mm / 1.3123"

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

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"

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

Operating Modes Sensor mode 16:9 or 4:3. Switching takes approx. 60 seconds. 4:3 output

only available for ARRIRAW and ProRes 2K recording; Not available for DNxHD
recording.

Regular or High Speed mode. Switching takes approximately 40 seconds.

High Speed mode is only available for 16:9 sensor mode.

Mirror shutter (ALEXA Studio only) on or off. Switching takes approximately

3 seconds through camera display.

Specications and Reference

Sensor 35 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer

pattern color filter array.

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)

7372

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

Specications 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.

Specications and Reference

7574

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.

Specications 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

Specications and Reference

7776

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”

Specications 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.

Specications and Reference

7978

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

Specications 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.

Specications and Reference

8180

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

Specications 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.

Specications and Reference

8382

Connectors 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.

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.

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

Specications 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

Upgrades The Storage Interface Module (currently available for SxS PRO cards or XR

Note: All technical data based on Software Update Packet (SUP) 8.0.
All data is subject to change without notice.

Specications and Reference

8584

)

*ALEXA XT/4:3

(Off/1.3x/2.0x/2.0xmag)

Specications and Reference

ALEXA XT/ANAMORPH

MENU

RECORDING menu

Internal >>

Mode (Off/ProRes/ARRIRAW)

Codec (ARRIRAW, ProRes 422 Proxy/422 LT/422/

ProRes 422 HQ/4444)

Resolution (HD (1920x1080/2K (2048x1152/1536)

Quick format SxS Card/Capture Drive

Erase SxS Card

REC OUT >>

Framerate (23.976/24/25/29.97/30/48/50/59.94/60fps)

HD-SDI format (422 1.5G SL/422 1.5G DL/422 3G SL

444 1.5 DL/444 3G SL/444 3G DL

or MON OUT clone)

Scan format (psf/p)

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)

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)

Show reel + clip number (On/Off)

Camera index letter (On/Off)

Peaking (Off/On) >>

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‘s menu.

(Off/1.3x/2.0x/2.0xmag)

ALEXA XT/ANAMORPH

Peaking (On/Off)

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 >>

Specications and Reference

ALEXA SUP 8.0 underlined values represent the factory reset

8786

)

16:9/4:3

Specications and Reference

MENU

(16:9/4:3)

ALEXA XT/STUDIO/M/PLUS 4:3

Sensor Mode*

Camera index (A-Z)

Next reel count (001-999)

SxS resolution (Menu > Recording > SxS Cards)

Codec (Menu > Recording > SxS Cards)

PROJECT menu

Project frame rate (23.976/24/25/29.97/30fps)

Production info >>

Director

Cinematographer

Location

Production

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 >>

ALEXA XT M/M

Fan mode (Regular/Rec low)

Channel (1 thru 11)

SD card >>

Format + prepare SD card

Prepare SD card

WNA-1 >>

WNA state (shows WNA-1 status)

WiFi power (On/Off)

Mode (Ad Hoc/Infrastructure)

SSID (set SSID name)

Security mode (None/WEP 64)

Password (set Password)

IP Address (adjust IP address)

Subnet (adjust subnet mask address)

Frequency band (2.4 GHz/5 GHz)

Firmware >>

Select update file >>

Licensed features >>

install/delete licenses; save hardware info

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)

FRAME GRABS menu

Grabbed images inherit REC OUT settings!

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 8.0 underlined values represent the factory reset

Specications and Reference

8988

; 24fps)

ALEXA XT/HS

Specications and Reference

(boot ALEXA to HS mode; 60-120fps)

ALEXA XT/HS

(0.75 fps-60fps /120fps*

HOME

FPS

SxS CODEC (MENU > RECORDING > SxS CARDS)

SxS INFO (INFO > SxS CARDS)

SDI FPS >>

set sensor speed

add/delete value

HIGHSPEED/EXIT HS*

REC OUT (23.976, 24, 25, 29.97, 30fps)

MON OUT (23.976, 24, 25, 29.97, 30fps)

adjust CH1+/- (level +20/-10; unity)

AUDIO

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 >>

Record (On/Off)

Channel 1/2 level (Manual/Unity)

Channel 1/2 source (L/R in)

Soundroll (=Tape) (edit name)

Menu Settings & Button Functions

ALEXA XT/HS

(On/Off)

*ALEXA XT STUDIO/STUDIO

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)*

ALEXA XT

ALEXA XT

Specications and Reference

(Look ON/OFF for REC 709)*

}

set COLORPATH

EVF (Look ON/OFF for REC 709)

MON OUT (Look ON/OFF for REC 709)

INTERNAL

REC OUT

GAMMA

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

ALEXA SUP 8.0 underlined values represent the factory reset

9190

ALEXA 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.

Specications and Reference

ALEXA XT/ANAMORPH

*

Return in active

Frame lines color

Color bars

ALEXA XT

*

False color index

Format media

Mirror shutter

ALEXA XT/ANAMORPH

*

Specications 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

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 8.0 underlined values represent the factory reset

9392

!

ALEXA XT/PLUS & STUDIO

Specications 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

>>

Specications and Reference

Menu Settings & Button Functions

INFO

SYSTEM INFORMATION screen

LIVE INFO

SAVE TO SD

VERSION

SxS CARDS

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 8.0 underlined values represent the factory reset

SET TC (SET TO TIME/RESET/MANUAL)

LOCK

Options

Timecode Options >>

Source (Int TC/Ex t LTC)

Mode (Rec run/Free Run)

Generator (Regen/Jam Sync)

User bit source (Internal/LTC in UB)

Userbits (set Userbits)

possible values

LEGEND SUP 8.0

factory reset

menu hierarchy

SD card access

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

9594

Specications 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)

Inverse iris scale (On/Off)

Inverse zoom scale (On/Off)

Inverse focus scale (On/Off)

LDA available when non-LDS lens in use

manage lens data for non-LDS lenses

IRIS CLM

CLM STATUS

displays TYPE, DIRECTION and

TORQUE (1-4; CLM-3 & 4)

IRIS CLM

set DIRECTION

set TORQUE (only CLM-3 & 4)

CALIBRATE/CALIBRATE ALL motors

ZOOM CLM

CLM STATUS

displays TYPE, DIRECTION and

TORQUE (1-4; CLM-3 & 4)

ZOOM CLM

set DIRECTION

set TORQUE (only CLM-3 & 4)

CALIBRATE/CALIBRATE ALL motors

FOCUS CLM

CLM STATUS

displays TYPE, DIRECTION and

TORQUE (1-4; CLM-3 & 4)

FOCUS CLM

set DIRECTION

set TORQUE (only CLM-3 & 4)

CALIBRATE/CALIBRATE ALL motors

*on ALEXA XT M and M via SYSTEM > LDS

ALEXA SUP 8.0 underlined values represent the factory reset

Specications and Reference

9796

ALEXA SUP 8.0 underlined values represent the factory reset

ALEXA XT/HS

*

; 24fps)

ALEXA XT/HS

Specications 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 Viewnder EVF-1

Specications and Reference

9998

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

65.47° - 29.91° 178.8 mm / 7.040”

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

58.72° - 26.31° 176.0 mm / 6.929”

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

48.46° - 21.18° 171.5 mm / 6.75”

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

41.11° - 17.71° 152.0 mm / 5.984”

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

33.40° - 14.21° 136.7 mm / 5.380”

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

25.36° - 10.68° 145.0 mm / 5.709”

Master Anamorphic 135mm/T1.9 PL LDS T1.9 - T22 1.50 m / 5' tbd

tbd tbd tbd tbd tbd tbd

18.92° - 7.92° tbd

ARRI/ZEISS Master Anamorphic Lenses

ARRI Lenses

ARRI Lenses

For Annot ations, see Page 114.
All data i s subject to change without noti ce.

101100

Name

Lens

Mount

1

Aperture Close Focus

2

Magnification

Ratio

3

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

Master Prime 12 mm/T1.3 PL LDS T1.3 - T22 0.40 m / 16" 1:16.5 197 mm / 7.8" 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" 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 / 7.4“

Master Prime 16 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.8 153 mm / 6" 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 / 6.2“

Master Prime 18 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.0 153 mm / 6" 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" 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 / 5.8“

Master Prime 25 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:8.6 153 mm / 6" 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 / 5.3“

Master Prime 27 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:7.8 153 mm / 6" 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" 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 / 5.0“

Master Prime 35 mm/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:6.4 153 mm / 6" 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" 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° 119.5 mm / 4.7“

Master Prime 50 mm/T1.3 PL LDS T1.3 - T22 0.50 m / 20" 1:7.0 153 mm / 6" 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 / 5.3“

Master Prime 65 mm/T1.3 PL LDS T1.3 - T22 0.65 m / 2'3" 1:8.2 153 mm / 6" 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" 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" 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 / 2.2“

Master Prime 135 mm/T1.3 PL LDS T1.3 - T22 0.95m / 3'3'' 1:6.6 172 mm / 6.8" 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° 29.9 mm / 0.098"

Master Prime 150 mm/T1.3 PL LDS T1.3 - T22 1.50 m / 4'11" 1:10.3 210 mm / 8.3" 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

ARRI Lenses

For Annot ations, see Page 114.
All data i s subject to change without noti ce.

103102

ARRI/ZEISS Ultra Prime Lenses

Name

Lens

Mount

1

Aperture Close Focus

2

Length

4

Front

Diameter

5

Weight Horizontal Angle of View 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" 2.0 Kg / 4.4 lb 107.0° 112.0° 114.0° 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" 2.0 Kg / 4.4 lb 85.2° 90.2° 92.6° 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" 1.8 Kg / 4.0 lb 75.6° 80.6° 82.6° 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" 1.2 Kg / 2.6 lb 70.8° 73.0° 75.2° 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" 1.2 Kg / 2.6 lb 58.4° 62.8° 65.0° 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" 1.0 Kg / 2.2 lb 50.2° 54.2° 55.8° 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" 1.0 Kg / 2.2 lb 43.2° 46.8° 48.4° 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" 1.1 Kg / 2.4 lb 38.2° 41.6° 43.0° 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" 1.0 Kg / 2.2 lb 30.6° 33.2° 34.7° 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" 1.0 Kg / 2.2 lb 24.0° 26.2° 27.2° 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" 1.1 Kg / 2.4 lb 19.2° 21.0° 21.8° 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" 1.2 Kg / 2.6 lb 15.2° 16.5° 17.1° 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" 1.2 Kg / 2.6 lb 12.6° 13.7° 13.9° 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" 1.6 Kg / 3.5 lb 9.3° 10.2° 10.5° -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" 2.6 Kg / 5.7 lb 7.0° 7.6° 7.9° -19,7 mm / -0.7"

ARRI Lenses

ARRI Lenses

For Annot ations, see Page 114.
All data i s subject to change without noti ce.

105104

ARRI/ZEISS LDS Ultra Prime Lenses

Name

Lens

Mount

1

Aperture Close Focus

2

Length

4

Front

Diameter

5

Weight Horizontal Angle of View 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" 2.2 Kg / 4.8 lb 85.2° 90.2° 92.6° 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" 1.8 Kg / 4.0 lb 75.6° 80.6° 82.6° 91,3 mm / 3.5”
LDS Ultra Prime 16 PL LDS T1.9 to T22 0.25 m / 9.8" 94 mm / 3.7" 104 mm / 4.1" 1.5 Kg / 3.3 lb 70.8° 73.0° 75.2° 85,1 mm / 3.3”
LDS Ultra Prime 20 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 104 mm / 4.1" 1.5 Kg / 3.3 lb 58.4° 62.8° 65.0° 73,3 mm / 2.8”
LDS Ultra Prime 24 PL LDS T1.9 to T22 0.30 m / 11.8" 91 mm / 3.6" 104 mm / 4.1" 1.3 Kg / 2.9 lb 50.2° 54.2° 55.8° 67,4 mm / 2.6”
LDS Ultra Prime 28 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 104 mm / 4.1" 1.5 Kg / 3.3 lb 43.2° 46.8° 48.4° 67,3 mm / 2.6”
LDS Ultra Prime 32 PL LDS T1.9 to T22 0.35 m / 13.8" 91 mm / 3.6" 104 mm / 4.1" 1.4 Kg / 2.1 lb 38.2° 41.6° 43.0° 61,1 mm / 2.4”
LDS Ultra Prime 40 PL LDS T1.9 to T22 0.38 m /15" 91 mm / 3.6" 104 mm / 4.1" 1.4 Kg / 2.1 lb 30.6° 33.2° 34.7° 59,2 mm / 2.3”
LDS Ultra Prime 50 PL LDS T1.9 to T22 0.60 m / 23.6" 91 mm / 3.6" 104 mm / 4.1" 1.2 Kg / 2.6 lb 24.0° 26.2° 27.2° 13,4 mm / 0.5”
LDS Ultra Prime 65 PL LDS T1.9 to T22 0.65 m / 25.6 91 mm / 3.6" 104 mm / 4.1" 1.4 Kg / 2.1 lb 19.2° 21.0° 21.8° 19,0 mm / 0.7”
LDS Ultra Prime 85 PL LDS T1.9 to T22 0.90 m / 35.4" 91 mm / 3.6" 104 mm / 4.1" 1.5 Kg / 3.3 lb 15.2° 16.5° 17.1° 3,5 mm / 0.1”
LDS Ultra Prime 100 PL LDS T1.9 to T22 1.00 m / 39.4" 91 mm / 3.6" 104 mm / 4.1" 1.5 Kg / 3.3 lb 12.6° 13.7° 13.9° 12,4 mm / 0.4”
LDS Ultra Prime 135 PL LDS T1.9 to T22 1.50 m / 59.1" 119 mm / 4.7" 104 mm / 4.1" 2.0 Kg / 4.4 lb 9.3° 10.2° 10.5° -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" 2.8 Kg / 6.2 lb 7.0° 7.6° 7.9° -19,7 mm / -0.7”

ARRI Lenses

ARRI Lenses

For Annot ations, see Page 114.
All data i s subject to change without noti ce.

107106

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

Alexa 2K

13

ID = 29.08 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° 75.5° - 60.3° - 88.1° 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° 51.3° - 39.6° - 61.9° 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° 29.9° - 22.6° - 36.9° 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° 43.6° - 33.4° - 53.1° 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° 27° - 20.4° - 33.4° 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° 17.1° - 12.8° - 21.2° 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° 70.3° - 43.2° - 77.9° 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° 28.4° - 16.2° - 32.4° 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° 18.0° - 10.2° - 20.6° 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° 31.4° - 18.0° - 35.8° 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° 9.7° - 5.4° - 11.1° 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° 5.8° - 3.3° - 6.7° -101.5 mm / -4.0"

ARRI Lenses

For Annot ations, see Page 114.
All data i s subject to change without noti ce.

ARRI Lenses

109108

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 Zomms with Alura Extenders

ARRI Lenses

111110

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 114.
All data i s subject to change without noti ce.

113112

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")

13 Horizontal (H), vertical (V) and diagonal (D) angles

of view for the Alexa 2K 16:9 camera aperture
(1.78:1, 3072 x 1728 pixels,

25.34 mm x 14.26 mm / 0.998" x 0.561")

14 Length is measured from the image to the front

of the lens housing.

115114

Resources and Contacts

ARRI Sales Contacts

Europe, Middle East, Africa, India

Arnold & Richter Cine Technik
GmbH & Co. Betriebs KG

Resources and Contacts

(Headquarters, Sales & Service)
Türkenstraße 89, 80799 Munich, Germany
[e-mail]
Tel: [phone], Fax: [phone]

ARRI Cine + Video Geräte Gesellschaft mbH

Pottendorfer Straße 25-27
1120 Vienna, Austria
Tel: [phone]
Fax: [phone]

ARRI CT Limited (Sales & Service)
2 Highbridge
Oxford Road, Uxbridge
UB8 1LX Middlesex, United Kingdom
Tel: [phone]
Fax: [phone]

ARRI Italia S.r.l. (Sales & Service)
Viale Edison 318,
20099 Sesto San Giovanni (Milano), Italy
[e-mail]
Tel: [phone], Fax: [phone]

Americas

ARRI Inc./West Coast & Mexico (Sales & Service)

600 North Victory Blvd., Burbank, CA 91502-1639, USA
[e-mail]
Tel: [phone], Fax: [phone]

ARRI Inc. / East Coast (Sales & Service)
617 Route 303, Blauvelt, NY 10913-1109, USA
[e-mail]
Tel: [phone], Fax: [phone]

ARRI Inc. / Central & Southern America (Sales)
2385 Stirling Road, Ford Lauderdale, FL 33312, USA
[e-mail]
Tel: [phone], Fax: [phone]

ARRI Canada Limited (Sales & Service)
1200 Aerowood Drive,
Unit 29 Mississauga, Ontario L4W 2S7
[e-mail]
Tel: [phone], Fax: [phone]

Asia

ARRI Asia Limited (Sales & Service)

2203B, The Centrium, 60 Wyndham Street,
Central, Hong Kong
[e-mail]
Tel : [phone], Fax : [phone]

ARRI China (Beijing) Co. Ltd. (Sales & Service)
Chaowai SOHO Tower C, 6/F, 0628/0656
Chaowai Dajie Yi 6, Beijing, China
[e-mail]
Tel : [phone], Fax : [phone]

Australia / New Zealand

ARRI Australia Pty Ltd (Sales & Service)

Level 1, Unit 1, 706 Mowbray Road,
Lane Cove NSW 2066, Sydney, Australia
[e-mail]
Tel: [phone], Fax: [phone]

Resources and Contacts

117116

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

ARRI CT Limited

Rome, Italy

ARRI Italia S.r.l.

Moscow, Russia

Bars-Pro Ltd.

Mumbai, India

CINEOM Broadcast India Pvt. Ltd.

Burbank, USA

ARRI Inc. West Coast

New York, USA

ARRI Inc. East Coast

Mississauga, Canada

ARRI Canada Limited

Hong Kong

ARRI Asia Limited

Beijing, China

ARRI China Co. Limited

Sydney, Australia

ARRI Australia Pty Limited

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

[e-mail]

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

[e-mail] [phone]

Resources and Contacts

Monday – Friday:

09:00 – 17:00 (CET)

Monday – Friday:

09:00 – 17:30 (CMT)

1

2

3

Monday – Friday:

09:00 – 18:00 (CET)

Monday – Saturday

09:00 - 18:00 (MSK)

Monday – Saturday:

10:00 – 18:00 (IST)

Monday – Friday:

08:15 – 17:00 (PST)

Monday – Friday:

08:00 – 17:30 (EST)

Monday – Friday:

08:30 – 17:00 (EDT)

Monday – Friday:

09:00 – 18:00 (HKT)

Monday – Friday:

09:00 – 18:00 (CST)

Monday – Friday:

08:00 – 18:00 (AEST)

[phone]
[phone]
[phone]

Zone 2

Mississauga

Burbank

New York

ARRI Service is the first port of call for all questions
concerning not only the ALEXA cameras, but all
ARRI cameras ever made, with worldwide service
centers and 24h availability on Monday to Friday.

London

Rome

Zone 1 Zone 3

Moscow

Munich

Mumbai

Well trained technicians cover all hardware- and
software-related issues, upgrades or e.g. the recov­ery of cards that have been accidentally erased.

Beijing

Hong Kong

Sydney

Resources and Contacts

119118

ARRI Digital Workow 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 digitalworkfl[e-mail].

This ARRI ALEX A Pocket Guide (Ident.-Nr.: K5.40980.B) is published by Arnold & Richter Cine Technik, Mai 2013 © ARRI
Technical data and offerings are subject to change without notice. All rights reser ved. Without any warranty. Not binding 05/2013.
ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.

Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-8079 9 Munich
Tel [phone] · Fax [phone] · 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
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

121120

ALEXA Pocket Guide WebApp

www.arri.com/alexa/apg