Arri Alexa SXT Packet 1.0 User Manual
ALEXA SXT Family of Cameras
ALEXA SXT Family of Cameras
Software Update Packet 1.0
Software Update Packet 1.0
U S E R M A N U A L
U S E R M A N U A L
23 November 2016
23 November 2016
2 Copyright
Copyright
All rights reserved.
This document is provided under a license agreement containing restrictions on use
and disclosure and is also protected by copyright law.
Due to continued product development this information may change without notice.
The information and intellectual property contained herein is confidential between
ARRI and the client and remains the exclusive property of ARRI. If you find any
problems in the documentation, please report them to us in writing. ARRI does not
warrant that this document is error-free.
Arnold & Richter Cine Technik
Tuerkenstr. 89
D-80799 Munich
Germany
mailto: service@arri.com
http://www.arri.com
Contents 3
Contents
1 Disclaimer...............................................................................................7
2 About This Manual................................................................................ 9
3 Scope.................................................................................................... 10
4 Introduction to the ALEXA SXT Camera System............................. 11
5 Layout of the ALEXA.......................................................................... 20
6 Safety Guidelines.................................................................................22
6.1 Explanation of Warning Signs and Indications.................................... 22
6.2 General Safety Guidelines.................................................................. 22
6.3 Specific Safety Instructions................................................................. 22
7 General Precautions............................................................................25
7.1 Storage and Transport........................................................................ 25
7.2 Electromagnetic Interference...............................................................25
7.3 Condensation.......................................................................................25
8 Power Supply.......................................................................................27
8.1 Power Management............................................................................ 27
8.2 BAT Connector.................................................................................... 27
8.3 Mains Unit NG 12/26 R.......................................................................28
8.4 Cine-Style Batteries.............................................................................28
8.5 Onboard Batteries............................................................................... 29
8.5.1 V-Lock Batteries.................................................................................. 29
8.5.2 Gold Mount Batteries...........................................................................30
8.6 Power Outputs.....................................................................................31
8.6.1 Powering 12 V Accessories................................................................ 31
8.6.2 Powering 24 V Accessories................................................................ 32
9 Camera Support...................................................................................33
9.1 Minimum Equipment Recommended For Operation........................... 33
9.2 Tripod and Remote Heads.................................................................. 33
9.3 Electronic Viewfinder EVF-1................................................................33
9.3.1 Viewfinder Cables................................................................................34
9.3.2 Viewfinder Mounting Bracket...............................................................35
9.4 Center Camera Handle CCH-1........................................................... 37
9.5 Side Camera Handle SCH-1............................................................... 38
9.6 Bridge Plates BP-12/BP-13................................................................. 38
9.7 Bridge Plate adapter BPA-1................................................................ 39
9.8 Wedge Adapter WA-1 and Quick-Release Plate QR-HD-1................. 39
4 Contents
9.9 Levelling Block LB-1............................................................................39
9.10 Shoulder Pad SP-3..............................................................................40
10 Connectors........................................................................................... 41
10.1 BAT...................................................................................................... 42
10.2 RET SYNC IN..................................................................................... 42
10.3 MON OUT 1/2/3.................................................................................. 43
10.4 EXT...................................................................................................... 43
10.5 ETHERNET..........................................................................................43
10.6 EVF...................................................................................................... 43
10.7 AUDIO IN.............................................................................................43
10.8 RS........................................................................................................ 44
10.9 12 V..................................................................................................... 44
10.10 TC........................................................................................................ 44
10.11 AUDIO OUT.........................................................................................44
10.12 SD Card...............................................................................................44
10.13 Recording Module............................................................................... 46
11 Lens Mounting..................................................................................... 50
11.1 Lens Adapter PL-Mount LA-PL-2........................................................ 50
11.2 Lens Support....................................................................................... 51
12 In-Camera Filter Module IFM-1...........................................................53
12.1 Safety instructions for in-camera filtration........................................... 54
12.1.1 Maximum lens mounting depth........................................................... 54
12.1.2 Basic precautions................................................................................ 55
12.1.3 Required shimming and maximum lens mounting depth.................... 55
12.2 Available FSND Filter Sets..................................................................55
12.2.1 FSND Filter Set (Basic).......................................................................56
12.2.2 FSND Filter Set (Completion)............................................................. 56
12.2.3 FSND Filter Set (Full)..........................................................................57
12.3 Shimming the lens mount................................................................... 58
12.4 Mounting in-camera filters................................................................... 63
12.5 Filter cleaning...................................................................................... 67
13 Camera Controls..................................................................................68
13.1 Main Controls...................................................................................... 68
13.1.1 Display................................................................................................. 68
13.1.2 Screen Buttons.................................................................................... 69
13.1.3 HOME screen...................................................................................... 69
13.1.3.1 Lists and User Lists................................................................................... 72
13.1.3.2 FPS.............................................................................................................73
13.1.3.3 AUDIO........................................................................................................ 74
13.1.3.4 SHUTTER...................................................................................................77
Contents 5
13.1.3.5 EI................................................................................................................ 77
13.1.3.6 COLOR.......................................................................................................79
13.1.3.7 WB.............................................................................................................. 82
13.1.4 Function Buttons..................................................................................83
13.1.4.1 TC............................................................................................................... 85
13.1.4.2 INFO........................................................................................................... 87
13.1.4.3 USER..........................................................................................................90
13.1.4.4 PLAY...........................................................................................................93
13.1.5 Menu.................................................................................................... 96
13.1.5.1 Recording................................................................................................... 96
13.1.5.2 Monitoring.................................................................................................100
13.1.5.3 Project.......................................................................................................107
13.1.5.4 System......................................................................................................109
13.1.5.5 Frame Grabs............................................................................................ 118
13.1.5.6 User Setups..............................................................................................119
13.2 Operator controls...............................................................................121
13.3 EVF-1 Controls.................................................................................. 122
13.3.1 Viewfinder EVF menu........................................................................122
13.3.2 Viewfinder CAM menu.......................................................................124
13.4 Web Remote......................................................................................124
14 Operation of the Camera.................................................................. 125
14.1 Internal recording...............................................................................125
14.1.1 Recording Module............................................................................. 125
14.1.2 Internal Recording Formats............................................................... 125
14.2 Monitoring.......................................................................................... 134
14.2.1 Frame Lines.......................................................................................134
14.2.2 Status Info Overlays..........................................................................134
14.3 Using Timecode.................................................................................137
14.4 Syncing the Sensors of Two Cameras..............................................138
14.5 Syncing the Settings of Two Cameras.............................................. 139
15 ALEXA SXT Plus................................................................................142
15.1 Radio System.................................................................................... 143
15.2 Wireless Remote System.................................................................. 144
15.2.1 Lens Motors.......................................................................................144
15.2.2 Hand Units.........................................................................................145
15.3 Lens Data Display LDD-FP............................................................... 146
15.4 Plus Camera Controls....................................................................... 146
16 ALEXA SXT Studio............................................................................ 153
16.1 ALEXA Studio Images.......................................................................153
16.2 Optics.................................................................................................155
16.2.1 Electronic Mirror Shutter....................................................................155
16.2.2 Lens Adapter PL Mount LA-PL-2...................................................... 155
6 Contents
16.2.3 Optical Viewfinder..............................................................................157
16.2.4 ND Filter............................................................................................ 163
16.3 Studio Camera Controls.................................................................... 164
17 Remote Control Unit RCU-4............................................................. 168
18 Index....................................................................................................169
19 Appendix.............................................................................................171
19.1 Technical data....................................................................................171
19.2 Connector Pin Outs...........................................................................173
19.3 False Color Display........................................................................... 177
19.4 Warning and Error Messages............................................................178
19.5 Dimensions, Weights and Menu Structure Trees..............................184
19.6 Declarations of conformity................................................................. 184
Disclaimer 7
1 Disclaimer
Before using the products described in this manual be sure to read and understand all
respective instruction.
The ARRI ALEXA is only available to commercial customers. The customer grants by
utilization that the ARRI ALEXA or other components of the system are deployed for
commercial use. Otherwise the customer has the obligation to contact ARRI preceding
the utilization.
While ARRI endeavors to enhance the quality, reliability and safety of their products,
customers agree and acknowledge that the possibility of defects thereof cannot be
eliminated entirely. To minimize risk of damage to property or injury (including death)
to persons arising from defects in the products, customers must incorporate sufficient
safety measures in their work with the system and have to heed the stated canonic
use.
ARRI or its subsidiaries do not assume any responsibility for incurred losses due to
improper handling or configuration of the camera or other system components, due
to sensor contamination, occurrence of dead or defective pixels, defective signal
connections or incompatibilities with third party recording devices.
ARRI assumes no responsibility for any errors that may appear in this document. The
information is subject to change without notice.
For product specification changes since this manual was published, refer to the
latest publications of ARRI data sheets or data books, etc., for the most up-to-date
specifications. Not all products and/or types are available in every country. Please
check with an ARRI sales representative for availability and additional information.
Neither ARRI nor its subsidiaries assume any liability for infringement of patents,
copyrights or other intellectual property rights of third parties by or arising from the
use of ARRI products or any other liability arising from the use of such products. No
license, express, implied or otherwise, is granted under any patents, copyrights or
other intellectual property right of ARRI or others.
ARRI or its subsidiaries expressly exclude any liability, warranty, demand or other
obligation for any claim, representation, or cause, or action, or whatsoever, express
or implied, whether in contract or tort, including negligence, or incorporated in terms
and conditions, whether by statue, law or otherwise. In no event shall ARRI or its
subsidiaries be liable for or have a remedy for recovery of any special, direct, indirect,
incidental, or consequential damages, including, but not limited to lost profits, lost
savings, lost revenues or economic loss of any kind or for any claim by third party,
downtime, good-will, damage to or replacement of equipment or property, any cost
or recovering of any material or goods associated with the assembly or use of our
products, or any other damages or injury of the persons and so on or under any other
legal theory.
In the case one or all of the foregoing clauses are not allowed by applicable law, the
fullest extent permissible clauses by applicable law are validated.
ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co Betriebs
KG.
The ALEXA viewfinder EVF-1 contains proprietary technology owned by Fourth
Dimension Displays Limited and licensed by ARRI.
This product contains licensed technology from Linotype.
Quicktime and Quicktime logo are trademarks or registered trademarks of Apple
Computer, Inc., used under license therefrom.
Apple ProRes 422 Proxy, Apple ProRes 422 LT, Apple ProRes 422, Apple ProRes 422
HQ, Apple ProRes 4444, Apple ProRes 444 XQ, and the ProRes logo are trademarks
or registered trademarks of Apple Computer, Inc., used under license therefrom.
SxS and are trademarks of SONY corporation.
8 Disclaimer
mkdosfs
Portions ©1998, Robert Nordier. All Rights Reserved.
© 1998, Robert Nordier. All rights reserved.
Redistribution and use in source and binary forms, with or without modification, are
permitted provided that the following conditions are met:
Redistributions of source code must retain the above copyright notice, this list of
conditions and the following disclaimer.
Redistributions in binary form must reproduce the above copyright notice, this list of
conditions and the following disclaimer in the documentation and/or other materials
provided with the distribution.
THIS SOFTWARE IS PROVIDED BY THE AUTHOR(S) “AS IS” AND ANY EXPRESS
OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR(S) BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY,
OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,
PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA,
OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE
USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH
DAMAGE.
About This Manual 9
2 About This Manual
ARRI recommends that all users of the ALEXA read the manual in its entirety prior
to use. For experienced users, the manual's structure also provides quick access for
reference.
In this manual:
Layout of the ALEXA
•
Safety Guidelines
•
General Precautions
•
Power Supply
•
Camera Support
•
Connectors
•
Lens Mounting
•
User Interface
•
Operation of the ALEXA
•
How to Use This Manual
All directions are given from a camera operator's point of view. For example, cameraright side refers to the right side of the camera when standing behind the camera and
operating it in a normal fashion.
Connectors are written in all capital letters, for example, MON OUT. Menus and
screens on the Main Camera Controls are written in all capital letters, for example,
RECORDING menu and HOME screen. Buttons are written in italic typeface capital
letters, for example, PLAY button.
The appendix at the back of the manual contains useful reference material including
ALEXA specifications, connector pin-out diagrams, a false color display explanation,
error and warning message explanations, ALEXA dimensional drawings and a menu
structure tree.
10 Scope
3 Scope
This instruction manual applies to the following hardware, software and firmware
versions:
ALEXA SXT EV, ALEXA SXT Plus: with Electronic Viewfinder EVF-1;
ALEXA SXT Studio: with optical viewfinder or with Electronic Viewfinder EVF-1;
Camera Software Update Packet (SUP) for ALEXA SXT cameras:1.0
Document revision history
1.0 10001880 V00 K09044 23 November 2016
Introduction to the ALEXA SXT Camera System 11
4 Introduction to the ALEXA SXT Camera
System
ALEXA SXT (Super Xtended Technology) is an extraordinary 35mm format digital
camera system designed for motion pictures and television, consisting of three
cameras and an extensive range of primes, zooms, accessories and recording
solutions. Combining innovative digital technology with a century of ARRI history and
experience has created a powerful camera system that makes it easy to create great
looking images.
More than ever before, ALEXA offers the best overall image quality with the SXT
cameras. For content producers that are increasingly concerned about compatibility
with next-generation standards for deliverables and displays, there is no better choice
than ALEXA SXT.
By striking a perfect balance between pixel size and resolution, ALEXA SXT is able
to produce beautiful images in HD, 2K, 4K UHD or 4K Cine, while also delivering the
highest dynamic range of any camera on the market, with 16 bit in-camera processing.
It is therefore uniquely suited to the creation of content for emerging HDR (High
Dynamic Range) display technologies. Since ALEXA SXT records a Wide Color
Gamut (WCG) signal larger than any current displays can show, its images are ready
for new color space standards like Rec 2020. In addition, the ability to record at up
to 120 fps in full image quality means that HFR (High Frame Rate) approaches to
enhancing viewer experience can also be easily accommodated.
ALEXA's reliability, simplicity of operation, as well as unequalled workflow efficiency
and versatility ensures lowest overall production costs.
What's New in ALEXA SXT Cameras?
While keeping the sensor and user interface of the original ALEXA design, the
capabilities of ALEXA SXT cameras have been greatly extended. Equipped with
the powerful electronics and sophisticated image processing of the ALEXA 65, SXT
cameras can manage more recording formats and handle more processor-intensive
tasks such as calculating looks with 3D LUTs or color space conversions to Rec 2020,
all in real time. Building on work done originally for the ALEXA Mini and AMIRA, the
new ARRI look management and optional noise reduction help creative filmmakers get
their ideas across. And last but not least, the new media bay can accept a wide range
of media, as well as the new, high-performance SXR Capture Drives.
New recording formats
14 carefully fine-tuned recording options for any production
•
All sensor modes in ARRIRAW and ProRes
•
6 new recording formats
•
16:9 ProRes 4K UHD
°
Open Gate ProRes 4K Cine
°
6:5 ProRes 2K Anamorphic
°
6:5 ProRes 4K Cine Anamorphic
°
16:9 ARRIRAW 3.2K
°
Open Gate ProRes 3.4K
°
New ARRI Look Management
Comprehensive look management from preproduction to post
•
12 Introduction to the ALEXA SXT Camera System
maintains, protects and shares the cinematographer's intended look on
°
set, in dailies and in editing
wide range of unique looks possible
°
same look file and tools for ALEXA SXT, ALEXA Mini (SUP 4.0) and
°
AMIRA (SUP 4.0)
new ARRI Look File contains name of target color space, CDL values and
°
3D LUT
ARRI Look File is always stored in metadata for
•
live grading on-set
°
automated dailies
°
editing with looks
°
Super flexible on-set monitoring
High Dynamic Range (HDR) monitoring
•
four independent monitoring outputs
•
Rec 709 or Rec 2020 output
•
Improved image quality
optional mild ARRI Noise Reduction (ANR)
•
advanced defect pixel correction
•
3D LUTs provide more flexibility for baked-in looks
•
Single speed mode
New media bay and drives
Supports wide range of media
•
XR and SXR Capture Drives
°
SxS PRO and SxS PRO+ cards
°
CFast 2.0 cards
°
New SXR Capture Drives
•
high reliability
°
high capacity
°
high speed
°
new SXR Capture Drive Dock (Thunderbolt)
°
ProRes RAID
•
Redundant recording to XR and SXR Capture Drives
°
ALEXA SXT Camera Models
The ALEXA SXT EV (Entry Version) provides the most affordable entry with full
ALEXA image quality, a Super 35 Open Gate sensor, ARRI Lens Data System, as well
as in-camera ARRIRAW and ProRes recording in a variety of recording formats.
The ALEXA SXT Plus is the most versatile and flexible of the ALEXA SXT cameras,
a true all-rounder. On top of the ALEXA SXT EV features, the ALEXA SXT Plus
provides an integrated wireless radio for camera and lens remote control (with the
ARRI Electronic Control System (ECS) or cmotion cvolution system), built-in tilt and
roll sensors, as well as additional connectors for remote control, video output (HDSDI) and accessory power (RS).
Introduction to the ALEXA SXT Camera System 13
The flagship of the range, the ALEXA SXT Studio, is the only digital motion picture
camera with an optical viewfinder and a rotating mirror shutter.
ALEXA SXT Main Features
Best Overall Image Quality
Film-like, organic look
•
High Dynamic Range
•
14+ stops dynamic range over the entire EI range as measured with the
°
ARRI Dynamic Range Test Chart
future proof for High Dynamic Range (HDR) displays
°
gentle highlight roll-off
°
low noise floor
°
holds up extremely well when over or underexposed
°
future proof for High Dynamic Range (HDR) displays
°
Sharp, natural images for HD, 2K, 4K UHD and 4K Cine deliverables
•
Unique tall sensor is ideal for anamorphic lenses
•
High Frame Rate (HFR)
•
up to 120 fps in full image quality
°
High sensitivity
•
true base sensitivity of EI 800
°
adjustable from EI 160 to EI 3200
°
ARRI color science
•
natural color reproduction, especially for skin tones
°
excellent color separation
°
great at resolving mixed color temperature sources
°
optional mild ARRI Noise Reduction (ANR)
°
All ALEXA cameras provide the best looking digital image with the least amount of
fuss. This is made possible by a unique imaging chain consisting of a high-end optical
low pass filter, a custom made CMOS sensor, as well as powerful custom electronics
and processing software. Carefully crafted by ARRI engineers, these components
work together to produce images with the organic look and feel of film.
The ALEXA has the highest dynamic range of any digital production camera, with
special consideration given to a gentle highlight treatment. Creating a good looking
roll-off in the highlights is probably one of the most difficult tasks for any camera
designer. We have spent enormous resources to ensure ALEXA's outstanding
performance in the critical area between almost overexposed and fully overexposed.
ALEXA footage is (and has been since its introduction in June, 2010) the best starting
point for creating stunning images for the emerging High Dynamic Range (HDR)
display technologies.
By striking a perfect balance between pixel size and resolution, ALEXA's 3.4K sensor
is able to produce beautiful, natural looking images for HD, 2K, 4K UHD and 4K Cine
deliverables.
ALEXA is the only camera on the market with a sensor that is tall enough for
anamorphic lenses to be used just as they were on film cameras. In addition, the
ability to record at up to 120 fps in full image quality means that High Frame Rate
(HFR) shooting can also be accommodated.
14 Introduction to the ALEXA SXT Camera System
ALEXA's high sensitivity and its ability to hold up very well, even when extremely
under or overexposed, work on any real-world set. ALEXA's color processing
was developed by our own color scientists (who have been also working on the
ARRILASER and ARRISCAN, so are intimately familiar with both film and digital color
science), and creates clean and natural colors, especially noticeable in ALEXA's great
looking skin tones. The low noise floor and great color separation helps greatly in color
correction and compositing, aided, when needed, by the mild ARRI Noise Reduction
(ANR).
Our goal is creating the best looking images. When assessing imaging technologies,
we ask if they improve image quality, disregarding the marketing hype.
Efficient and Versatile Workflows
Multiple recording and monitoring options
record/play back ARRIRAW or ProRes
•
multiple recording media
•
14 recording formats
•
ARRI Look Management
•
super flexible on-set monitoring
•
embedded rich metadata in ARRIRAW, ProRes and HD-SDI out
•
In-camera ARRIRAW
uncompressed, unencrypted raw sensor data
•
maximum image quality from ALEXA
•
greatest flexibility in post
•
best option for future-proof archiving
•
published in SMPTE RDD 30:2014 and 31:2014
•
In-camera Apple ProRes
compressed color image data
•
native Final Cut Pro X support
•
ProRes HD, 2K, 3.2K and 4K
•
ProRes 422, 422 HQ, 4444 and 4444 XQ
•
in-camera de-squeezed anamorphic formats
•
redundant, safe recording to XR and SXR Capture Drives
•
pre-recording
•
Multiple recording media
XR and SXR Capture Drives
•
SxS PRO and SxS PRO+ cards
•
CFast 2.0 cards
•
TM
14 recording formats
Carefully fine-tuned recording options for any production
•
All sensor modes in ARRIRAW and ProRes
•
Multiple resolutions: HD, 2K, 3.2K, 3.4K, 4K UHD and 4K Cine
•
In-camera de-squeezed ProRes for most economical anamorphic shooting
•
ARRI Look Management
Comprehensive look management from preproduction to post
•
Introduction to the ALEXA SXT Camera System 15
maintains, protects and shares the cinematographer's intended look on
°
set, in dailies and in editing
wide range of unique looks possible
°
same look file and tools for ALEXA SXT, ALEXA Mini (SUP 4.0) and
°
AMIRA (SUP 4.0)
new ARRI Look File contains name of target color space, CDL values and
°
3D LUT
ARRI Look File is always stored in metadata for
•
live grading on-set
°
automated dailies
°
editing with looks
°
Super flexible on-set monitoring
High Dynamic Range (HDR) monitoring
•
four independent monitoring outputs
•
High Dynamic Range (HDR) monitoring
•
Rec 709 or Rec 2020 output
•
streaming metadata in HD-SDI for immediate use
•
Stand-alone applications
ARRIRAW Converter (ARC)
•
ARRI Color Tool (ACT)
•
ARRI Meta Extract (AME)
•
Stand-alone online tools
ALEXA Camera Simulator
•
ARRI Lens Illumination Guide
•
ALEXA Frameline Composer
•
LUT Generator
•
ALEXA Pocket Guide WebApp
•
Shared code with third parties
All productions will benefit from using an ALEXA SXT, because of the efficiency and
versatility of the ALEXA workflows. ALEXA SXT cameras can record and play back
ARRIRAW or Apple ProRes in one of 14 recording formats. All recorded images
are always HDR, and a number of recording resolutions are available, such as HD,
2K, 3.2K, 3.4K, 4K UHD and 4K Cine. For budget-minded shows with anamorphic
lenses, ALEXA SXT cameras provide a special recording format, that performs
the anamorphic de-squeeze in-camera, delivering a ready-to-view CinemaScope
ProRes file in perfect DCI 2K or 4K resolution. Whatever the budget, intended market,
resolution requirements, aspect ratio, lens choices or postproduction intentions,
there is an ideal ALEXA SXT recording format to ensure easy operation on-set and a
seamless image pipeline. ALEXA SXT cameras work with a wide variety of recording
media, including XR and SXR Capture Drives, SxS PRO and SxS PRO+ cards as well
as CFast 2.0 cards.
ARRIRAW is an unencrypted, uncompressed raw image format that contains the
full raw image data from the sensor for the absolute best image quality. For greatest
flexibility in post, nothing is "baked" into an ARRIRAW image. Therefore imageprocessing steps like debayer, white balance, sensitivity or resampling can be
optimized in post, based on image content and intent. Since ARRIRAW image
processing is openly published in SMPTE RDD 30:2014, 31:2014, and a number of
16 Introduction to the ALEXA SXT Camera System
white papers, it is also an excellent, future-proof archiving format. Footage archived
in ARRIRAW can be retrieved safely in the future and will look even better through
continuous advances in debayering technology.
By utilizing the Apple ProRes codecs, which are the same high-quality codecs used
natively by Apple’s Final Cut Pro editing software, ALEXA offers the most streamlined
and cost-effective workflow possible. While ProRes is the staple of TV productions
worldwide, its high image quality and specialized recording options also make it
suitable for the big screen. Between ProRes 3.2K, Open Gate ProRes, ProRes 4444
XQ, ProRes pre-recording and ProRes in-camera de-squeeze for shooting with
anamorphic lenses, filmmakers can choose the ProRes codec most appropriate
for their project. ProRes provides high image quality while using compression to
reduce file size and thus costs. Different ProRes flavors are available with different
compression ratios (422, 422 HQ, 4444 and 4444 XQ) for a trade-off between image
fidelity and file size/costs. In ALEXA SXT, ProRes files are always recorded in RAID
1 to Capture Drives, which provides extra security through data redundancy. Native
support by Apple and an existing infrastructure, from the built-in ProRes viewer in
every Mac to specialized VFX software, provides an unrivaled immediacy and speed
when working with ProRes files.
ALEXA SXT incorporates a completely new look management architecture, offering
total control of looks from preproduction through post in order to protect and share
the cinematographer's creative intentions. A new ARRI Color Tool (ACT) and ARRI
Look File (ALF-2) allow the creation of unique looks, which are compatible with ALEXA
Mini and AMIRA. ALF-2 look files contain the name of the target color space, CDL
values and a 3D LUT. With all look information stored in the metadata of recorded
files, this new system enables live grading on set, as well as automated dailies and
editing with looks. Early and wide adoption of the system by third parties ensures that
the desired look is maintained throughout a smooth workflow, no matter what your
preferred grading, dailies or editing tools.
While images recorded with ALEXA have been High Dynamic Range (HDR) since
2010, ALEXA SXT can be used with the latest HDR monitors to allow monitoring of
HDR images on set, for precise quality control. Four independent monitoring outputs
(EVF-1 and three MON OUTs) cater to the needs of different crew members. Each
output has completely independent settings such as image processing, surround view,
status info, peaking and false color. The color range captured by ALEXA (ALEXA Wide
Gamut) far exceeds the ability of current displays. Through its increased processing
power, ALEXA SXT can provide an independent color space for each MON OUT,
including the HD standard of Rec 709 and the new UHD standard of Rec 2020.
All files recorded with ALEXA SXT contain rich metadata that speeds up postproduction. Metadata is also streamed as part of the HD-SDI outputs for immediate
use.
Working with ALEXA and ALEXA generated images is made easier through a wide
range of powerful stand-alone applications, useful online tools and software code
ARRI shares with third parties through its partner program.
So, disregarding if you want to shoot a low budget TV series or Martin Scorsese's next
big Hollywood feature film, ALEXA SXT cameras can be easily configured for the task
at hand.
Simple and Safe Operation
ARRI Product Quality
•
Rugged and reliable
•
sealed electronics compartment
°
unique cooling system
°
stable lens mount/sensor holder
°
continuous file closing protects footage
°
ARRIRAW checksum for safe and fast downloading
°
Introduction to the ALEXA SXT Camera System 17
self-healing metadata
°
two auto-switching power inputs
°
Intuitive, easy to use controls
•
on-camera and EVF-1 controls
°
remote control through WCU-4, RCU-4 and Web Remote
°
High quality internal Full Spectrum Neutral Density (FSND) filters
•
neutral color balance at all densities from ND 0.3 to ND 2.4
°
High quality electronic viewfinder
•
Powerful assistive displays, including
•
surround view
°
anamorphic de-squeeze
°
false color exposure check
°
smooth mode for better motion portrayal
°
peaking focus check
°
electronic horizon
°
compare stored image with live image
°
RETURN IN video
°
Well balanced, ergonomic body design
•
Global ARRI service network
•
ALEXA SXT cameras are part of a long heritage of cameras from ARRI, and we are
quite familiar with the sometimes extreme and nightmarish things our cameras have
to endure in the field. We just have to go into our own service department to see the
carnage. Keeping that in mind, ALEXA SXTs are built to be rugged and reliable with
a sealed electronics compartment, a unique cooling system and the most stable lens/
sensor mount German engineering could devise. A special method of continuously
closing and re-opening container files ensures that very little image data is lost during
a power interruption, and the camera will heal any metadata damage automatically. A
checksum for ARRIRAW ensures safe and fast downloading.
We know what it is like to try to change fps and shutter angle at 4:00 am in the
morning in the rain after a long night's shoot. Professional cameras need to be simple
to operate, and they need to make sure that a good looking image is recorded, no
matter what. For ALEXA we have developed an intuitive user interface that is easy
to learn and quick to operate. The same interface is used on all models of ALEXA,
all with the same on-camera menu, buttons, etc., so there is no learning curve when
using another ALEXA model. Remote control of an ALEXA is possible through the
wireless WCU-4, the cabled and extremely sturdy RCU-4 or through any computer
with the ALEXA Web Remote.
Using internal ND filters allows a rating at the base sensitivity of EI 800 without the
need for external ND filters, even in bright sunlight. ALEXA's Full Spectrum Neutral
Density (FSND) filters offer light attenuation that maintains a neutral color balance at
all densities.
Critically important to camera operators is the viewfinder. Based on our experience
with optical viewfinders, ALEXA's electronic viewfinder provides an exceptionally clear
image with natural skin tones and smooth motion portrayal that is easy on the eye. It
includes powerful assistive displays like surround view, anamorphic de-squeeze, false
color exposure check, smooth mode, peaking and an electronic horizon. In order to
check previz footage or the image from a second camera, ALEXA has a RETURN IN
video input, and when it is critical to perfectly line up a product shot, it is possible to
18 Introduction to the ALEXA SXT Camera System
compare a stored still image with the live camera image. For those who prefer optical
viewfinders, the ALEXA SXT Studio can be operated with an optical or electronic
viewfinder.
The hardware of the camera is designed for the best and most ergonomic use on the
set, including a built-in shoulder cut-out, many attachment points on the camera's
precision machined housing and a large variety of accessories. With meticulous
attention to detail we have added many small but helpful design refinements, including
built-in supports for 15 mm lightweight. Additionally, the camera has various extrusions
(eyebrows) above some buttons so the operator can feel the button's position even
from the other side of the camera or when shooting in low light. The same care has
been taken to ensure compatibility with the extensive range of existing accessories.
ALEXAs are well balanced and can be quickly switched from shoulder use to tripod,
crane or Steadicam. They accept a wide range of power input from 10.5 to 34 V DC.
Multiple power sources can be simultaneously connected (with hot-plug capability)
and a smart circuit will automatically switch to the one with the highest voltage.
All ALEXA SXTs are backed by ARRI's global service network, providing a friendly
ARRI service technician accessible 24/5.
Open, Future-proof Architecture
Compatibility with industry standards
•
Super 35 PL mount lenses
°
Apple ProRes, HD-SDI
°
SxS PRO, SxS PRO+ and CFast 2.0 cards
°
Gold mount or V-lock on-board batteries
°
12 or 24 V power inputs and outputs
°
support for ARRI ECS and cmotion cvolution wireless lens control systems
°
Shared code through ARRI Partner Program
•
ARRIRAW Software Developers Kit (SDK)
°
ARRI Look Management library
°
Camera Access Protocol (CAP)
°
ARRI Metadata Bridge (AMB) library
°
White papers and information about ARRI color science
°
Flexible upgrade options
•
upgradable in-camera recording module
°
upgradable electronics interface module (Plus side panel)
°
Exchangeable Lens Mount (ELM)
°
free Software Update Packets (SUPs)
°
Long and reliable product cycles
•
The ALEXA system is based on an open architecture, with many industry-standard
interfaces and compatibility with third-party products. This provides more choice to the
filmmaker and ensures that best-of-class components can be used, such as Super 35
PL mount lenses, SxS PRO, SxS PRO+ and CFast 2.0 cards, Apple ProRes, HD-SDI,
Gold or V-mount on-board batteries, the cmotion lens control system and both 12 and
24V accessories.
To ensure a smooth workflow, we share our know-how and source code with third
parties through the ARRI Partner Program. The ARRIRAW Software Development
Kit (SDK) allows them to integrate the ARRI debayering algorithm and various other
image processing steps into their own products. The ARRI Look Management library
Introduction to the ALEXA SXT Camera System 19
allows third parties access to all look management functions found in the ARRI Color
Tool, including the ability to change looks live in-camera via the Camera Access
Protocol (CAP). The ARRI Metadata Bridge (AMB) tackles the tricky problem of getting
metadata from the ARRIRAW or ProRes recording files into the file formats (DPX and
OpenEXR) of those who can actually benefit from the metadata. We have published
our color science in various white papers and the ARRIRAW debayering method in
two SMPTE Recommended Disclosure Documents (RDD 30:2014 and RDD 31:2014).
To protect customers’ investment in ALEXA, a plethora of affordable hardware and
software upgrades have been promised and delivered, continually expanding the
feature set. The Software Upgrade Packages (SUPs) are continuously improving
ALEXA cameras with new and exciting features. All this, combined with our long
product cycles, creates a sustainable business model for ALEXA owners.
Older Generation ALEXA Cameras
ALEXA Classic Cameras
First generation ALEXAs are called ALEXA Classic cameras. They were released
between 2010 and 2012. ALEXA Classic camera models are the ALEXA, ALEXA Plus,
ALEXA Plus 4:3, ALEXA M, ALEXA Studio, ALEXA HD and ALEXA HD Plus. The
ALEXA HD and HD Plus are the basis for the ALEXA Fiber Remote Option (FRO) and
Fiber Remote Option Plus camera sets. All ALEXA Classic cameras are equipped with
an SxS Module located on the left side of the camera with two slots for SxS PRO or
SxS PRO+ cards.
ALEXA XT Cameras
Second generation ALEXAs are called ALEXA XT cameras (Xtended Technology),
sold from 2013 until 2016. In addition to all the features of the ALEXA Classic
cameras, they are equipped with a Super 35 sensor with Open Gate and 4:3 sensor
modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal
FSND filters, Lens Data System, integrated CDL capture and ARRIRAW checksum.
In addition, they use a new viewfinder mounting bracket (VMB-3), include anamorphic
de-squeeze and high speed licenses, as well as a super silent fan. ALEXA XT
cameras are the ALEXA XT, ALEXA XT Plus, ALEXA XT M and ALEXA XT Studio.
The XR Module is on the left side of the camera. It has one slot for either an XR
Capture Drive, the SxS Adapter for use with one SxS PRO or SxS PRO+ card or the
CFast 2.0 Adapter for use with one CFast 2.0 card.
With the exception of the Open Gate sensor mode, ALEXA Classic cameras can be
upgraded with the XR Module and other parts for most of the features of ALEXA XT.
20 Layout of the ALEXA
5 Layout of the ALEXA
The following images show the ALEXA SXT EV:
Layout of the ALEXA 21
22 Safety Guidelines
6 Safety Guidelines
Any violation of these safety instructions or non-observance of personal care could
cause serious injuries (including death) to users and affiliates and damage to the
equipment or other objects.
6.1 Explanation of Warning Signs and Indications
Indicates a possible risk of injury or damage to the equipment
Indicates the risk of electric shock or fire danger that could result in injury or
damage to the equipment.
NOTICE
Indicates further information or information from other instruction manuals
6.2 General Safety Guidelines
Always follow these guidelines to ensure against injury to yourself or others
•
and damage to the system or other objects.
This safety information is in addition to the product specific operating
•
instructions in general and must be strictly observed for safety reasons.
Read and understand all safety and operating instructions before you operate
•
or install the system!
Retain all safety and operating instructions for future reference.
•
Heed all warnings on the system and in the safety and operating instructions
•
before you operate or install the system. Follow all installation and operating
instructions.
Do not use accessories or attachments that are not recommended by ARRI, as
•
they may cause hazards and invalidate the warranty!
Do not attempt to repair any part of the system! Repairs must only be carried
•
out by authorized ARRI Service Centers.
6.3 Specific Safety Instructions
Safety Guidelines 23
Do not remove any safety measures from the system!
•
Do not operate the system in areas with humidity above operating levels or
•
expose it to water or moisture!
Do not cover the fan openings at the camera back top and bottom!
•
Do not subject the system to severe shocks!
•
Do not place the system on an unstable trolley/hand truck, stand, tripod,
•
bracket, table or any other unstable support device! The system may fall,
causing serious personal injury and damage to the system or other objects.
Operate the system using only the type of power source indicated in the
•
manual! Unplug the power cable by gripping the power plug, not the cable!
Never insert objects of any kind into any part of the system if not clearly
•
qualified for the task in the manual, as objects may touch dangerous voltage
points or short out parts! This could cause fire or electrical shock.
Unplug the system from the power outlet before opening any part of the system
•
or before making any changes to the system, especially the attaching or
removing of cables!
Do not use solvents to clean!
•
Do not remove any stickers or paint marked screws!
•
Always place a lens or a protective cap in the lens mount receptacle!
•
Never run a camera with a mirror shutter without a lens or a protective cap in
•
the lens mount receptable!
Changing camera lenses should be done in a dry and dust-free environment.
•
If this is not possible, take extra care that no dust enters the camera while the
lens is off!
When no lens is attached to the camera, immediately place the protective on
•
the lens mount to avoid contamination of the sensor cover glass!
After changing lenses, always perform a dust check to make sure no dust has
•
settled on the sensor cover glass!
Clean optical lens surfaces only with a lens brush or a clean lens cloth. In
•
cases of solid dirt or grease, moisten a lens cloth with pure alcohol. Discard
contaminated lens cloth after use! Never attempt to clean a lens brush with
your fingers!
NEVER USE CANS WITH COMPRESSED AIR OR GAS TO BLOW OFF THE
•
DUST! This can severely damage optical elements.
If the sensor cover glass has been contaminated by solid dirt or grease, special
•
optical cleaning kits should be used for dirt removal under very high care! If
the contamination cannot be removed, the camera should be taken to an ARRI
service center for cleaning.
THE USE OF METHANOL TO CLEAN OPTICAL SURFACES IS NOT
•
RECOMMENDED!
NEVER USE ACETONE TO CLEAN OPTICAL SURFACES!
•
NEVER TRY TO REMOVE THE SENSOR COVER GLASS!
•
DO NOT POINT THE CAMERA INTO DIRECT SUNLIGHT, VERY BRIGHT
•
LIGHT SOURCES, OR HIGH-ENERGY LIGHT SOURCES (e.g. laser beams)!
This may cause permanent damage to the camera image sensor.
24 Safety Guidelines
DO NOT POINT THE VIEWFINDER INTO DIRECT SUNLIGHT, VERY
•
BRIGHT LIGHT SOURCES, OR HIGH-ENERGY LIGHT SOURCES (e.g. laser
beams)! This may cause permanent damage to the viewfinder display and
optical elements.
During extended operation, high data rates and/or operation at high ambient
•
temperatures, the camera's surfaces and especially the area around the
ventilation grille on top of the camera at the camera rear can get hot. Use
caution and never cover, obstruct or block the fan inlets or outlets while the
camera is powered.
General Precautions 25
7 General Precautions
7.1 Storage and Transport
Use a lens port cap to prevent damage to the sensor cover glass and sensor
•
whenever there is no lens attached.
Unplug all cables when transporting the ALEXA in a camera case.
•
Do not store the camera in places where it may be subject to temperature
•
extremes, direct sunlight, high humidity, severe vibration, or strong magnetic
fields.
7.2 Electromagnetic Interference
ALEXA meets EC regulations by fulfilling the specifications of the European Directive
2004/108/EC (15th December 2004).
This equipment has been tested and found to comply with the limits for a Class A
digital device, pursuant to part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference when the equipment is
operated in a commercial environment. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with
the instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful interference
in which case the user will be required to correct the interference at his own expense.
Changes or modifications not expressly approved by the party responsible for
compliance could void the user's authority to operate the equipment.
Complies with the canadian ICES-003 Class A specifications. Cet appareil numérique
de la Classe A est conformé à la norme NMB-003 du Canada.
This device complies with RSS 210 of Industry Canada. This Class A device meets
all the requirements of the Canadian interference-causing equipment regulation. Cet
appareil numérique de la Class A respecte toutes les exigences du Réglement sur le
matérial brouilleur du Canada.
7.3 Condensation
When moving the camera from a cool to a warm location or when the camera is
used in a damp environment, condensation may form inside the lens port, on the
sensor cover glass, between the sensor and the sensor cover glass, and on internal or
external electrical connections.
Operating the camera while condensation is present may result in personal injury or
damage to the equipment.
Condensation on the optical components may have a visible effect on the output
images. To reduce the risk of condensation:
Find a warmer storage location.
•
Attach the ARRI air-drying cartridge (silica bottle) to the PL-Mount of the
•
camera during storage
26 General Precautions
Note: Do NOT leave the air-drying cartridge attached to the PL-Mount during
•
transportation of the camera!
If the camera needs to be stored in a place that is considerably cooler than the
•
location where it will be used, consider keeping the camera powered from a
mains unit in addition to using the air-drying cartridge.
In ambient temperatures above 30°C/86°F and/or humidity above 60%, always
•
attach the air-drying cartridge to the PL-Mount of the camera when not in use.
This not only applies to storage, but also to shooting breaks and situations
when the camera remains without an attached lens for an extended time.
MAKE SURE THE SILICA BOTTLE IS SECURELY FASTENED. UNDER NO
•
CIRCUMSTANCES SPILL SILICA INTO THE LENS PORT!
Power Supply 27
8 Power Supply
Use only ARRI-recommended power supply solutions.
•
Manipulation of power supplies could result in serious injury or death, or
•
damage to the ALEXA.
The ALEXA accepts an input voltage range from 10.5 to 34 V DC. The camera can
be powered through the BAT connector or battery adapters accepting V-Lock or Gold
Mount batteries.
The power supply should deliver an output of more than 90 W to power the camera
sufficiently. The power draw of the camera in basic configuration is about 85 W.
A 12 to 15 V battery should have at least 6 A maximum output current.
NOTICE
When powering accessories through the camera, the total power draw of the
•
camera is increased by the amount of power drawn by the accessories.
Always keep the BAT connector or attached battery accessible so that they
•
can be unplugged quickly in case of emergency.
8.1 Power Management
When using the BAT connector and one or more onboard battery adapters
simultaneously, the camera’s power management system ensures that the power
source with the highest voltage level is used. When the voltage level of one power
source drops below the level of the other, or a power source is disconnected from the
camera, the power management system automatically switches to the other power
source, avoiding shutdown of the camera.
For example, a 12 V onboard battery can be used as backup for the main 24 V battery.
Using a 12 V onboard battery in addition to the main 24 V battery also allows for quick
switchover to handheld mode—the power cable can simply be disconnected from the
BAT connector.
When using two onboard battery adapters (with batteries in parallel—one on top and
one on the back), the camera will treat them as a single source. When used this way,
the load is spread across two batteries, creating a strong power source.
8.2 BAT Connector
The BAT connector is the primary power input on the ALEXA. It is a Fischer 2-pin
socket located at the back of the camera on the camera-right side.
The socket accepts power cables KC-20S and KC-29S. The cables can either be
connected to the mains unit NG 12/26R or to 24 V cine-style batteries with three-pin
XLR outputs.
28 Power Supply
Fig. 1: BAT connector
8.3 Mains Unit NG 12/26 R
Use of the mains unit is recommended for shooting in the studio and when using
electronic accessories with high power consumption.
To power the ALEXA using the Mains Unit NG 12/26 R:
1. Set the correct mains voltage on the mains unit using the fuse on the back of the
unit. For example, set it to 220 V if the AC mains power source is 220 V.
2. Connect the mains unit to AC mains power.
3. Ensure that the camera power is turned off.
4. Set the voltage switch on the mains unit to 26 V.
5. Connect the battery cable KC-20S or KC-29S (spiral cable) to the power supply
socket on the camera and the 26 V socket on the mains unit.
The NG 12/24 R was the original design that provided 12 & 24 volts output – it was
superseded by the NG 12/26 R, which outputs 12 & 26 volts. The NG 12/24 R can
easily be upgraded to NG 12/26 R specification at an ARRI service center.
8.4 Cine-Style Batteries
Any 24 V cine-style battery with a three-pin XLR output can be used to power the
camera through a KC-20S or a KC-29S battery cable.
To connect the battery to the camera:
1. Ensure that the main switch on the camera is off.
2. Connect the battery cable KC-20S or KC-29S (spiral cable) to the power supply
socket on the camera and the 28V output on the battery.
NOTICE
NOTICE
When the battery voltage drops below the warning level, the BAT1 level in the
camera display will start flashing. A white i will appear, signaling more information
is available on the INFO screen. For more information on setting the low battery
warning level, see Menu>System>Power (on page 112).
Power Supply 29
8.5 Onboard Batteries
The camera can be equipped with adapters for either V-Lock or Gold Mount
video-style batteries. When a battery equipped with the TI-protocol for battery
communication is used, the ALEXA will display remaining capacity as a percentage
on the HOME screen. For these batteries, the user does not need to set the battery
warning level.
Four different adapters are available:
BAB-G: Battery Adapter Back for Gold Mount batteries
•
BAB-V: Battery Adapter Back for V-Lock batteries
•
BAT-G: Battery Adapter Top for Gold Mount batteries
•
BAT-V: Battery Adapter Top for V-Lock batteries
•
NOTICE
Adapters must be installed by a trained technician!
8.5.1 V-Lock Batteries
V-Lock batteries from different manufacturers may be used on the ALEXA. When
batteries from manufacturers such as ID-X and bebob are used, their remaining
capacity will be displayed as a percentage on the HOME screen.
To attach a V-Lock battery:
1. Align the v-shaped wedge on the battery with the v-shaped notch on the battery
plate.
2. Press the battery downwards until you hear a click.
3. Check that the battery is securely mounted on the battery plate.
30 Power Supply
To release a V-Lock battery:
1. Press the release button on the camera-left side or top of the battery
(manufacturer dependent).
2. While pressing the release button, slide the battery upwards.
Fig. 2: ALEXA with BAB-V and V-Mount battery
Not all V-Lock batteries deliver enough power to supply the camera. Use only
batteries with a capacity of 90 Wh or more to prevent damage to the battery and
unpredictable camera behavior. Any camera-battery combination should be tested
prior to use, especially when accessories are powered through the camera.
8.5.2 Gold Mount Batteries
If the ALEXA is equipped with a Gold Mount, Anton/Bauer batteries can be used. Their
remaining capacity will be displayed as a percentage on the HOME screen.
To attach a Gold Mount battery:
1. Align the three pins on the back of the battery to the three corresponding holes on
the battery plate.
2. Press the battery to camera-right until you hear a click.
3. Check that the battery is securely mounted on the battery plate.
To release a Gold Mount battery:
1. Press the release button on the camera-left side of the battery plate.
2. While pressing the release button, slide the battery camera-left, and pull it straight
out.
NOTICE
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