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
Power Supply 31
Fig. 3: ALEXA with BAB-G and a Gold Mount battery
Not all Gold Mount 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.
8.6 Power Outputs
The ALEXA SXT EV has two 24 V power outputs and one 12 V power output for
accessories. ALEXA SXT Plus and ALEXA SXT Studio models have three 24 V power
outputs and one 12V power output.
NOTICE
Fig. 4: 24 V outputs (RS) and 12 V output
8.6.1 Powering 12 V Accessories
One 12 V output with a 2-pin LEMO connector is located on the right side of the
camera. It is limited to 12 V and can supply a device with a current of up to 2.2 A,
depending on the camera power supply.
32 Power Supply
8.6.2 Powering 24 V Accessories
Two 24 V remote start/stop (RS) outputs with 3-pin Fischer connectors are located on
the right side of the camera. They can supply two devices with a combined load of up
to 2.2 A (shared with the EXT connector power out), depending on the camera power
supply. When the camera is powered from a source with a voltage below 24 V, they
output 24 V. If the camera's power source supplies more than 24 V, this voltage level
is also present on the RS outputs.
Besides powering accessories, the RS outputs can also be used to send a remote
start/stop signal to the camera.
Camera Support 33
9 Camera Support
9.1 Minimum Equipment Recommended For Operation
ALEXA SXT EV camera body and Lens Adapter PL mount
•
Electronic Viewfinder EVF-1
•
Viewfinder Mounting Bracket
•
KC 150-S Viewfinder Cable short 0.35m/1.2ft
•
CCH-1 Center Camera Handle
•
BP-12 Bridge Plate with base plate, or BPA-1 with BP-5/BP-8 Bridge Plate and
•
base plate, or WA-1 Wedge Adapter and Quick Release HD Baseplate
SD card
•
Compatible power supply
•
Suitable media for recording
•
9.2 Tripod and Remote Heads
Tripod and remote heads must have adequate load ratings to support the ALEXA and
attached accessories. See the dimensional drawings and weights for your camera
model in the Appendix of the manual.
NOTICE
Always check the payload limits of a remote head and crane before mounting a
camera.
In applications where the camera mount is subject to high forces (e.g. car or helicopter
mounts) the camera must be additionally secured with appropriate safety restraints. All
mount screws must be tightened firmly with an appropriate screwdriver (not with the
commonly used coin!).
9.3 Electronic Viewfinder EVF-1
34 Camera Support
The electronic viewfinder EVF-1 employs a liquid crystal on silicon (LCOS) imaging
device with a temperature-stabilized LED light source to provide a bright, accurate
view of the sensor image in all operating conditions. Each EVF-1 is calibrated to
precisely match the image on the ALEXA's HD outputs.
The EVF-1 has a resolution of 1280x720 pixels, with 32 additional lines of resolution
above and 32 below the image to display camera status information. The EVF-1
can also display a 10% surround view area of the sensor to help the operator track
unwanted elements before they enter the recorded image area. Focus can be checked
by temporarily zooming into the image with a magnification factor of 2.25x. The lowlatency interface of the EVF-1 has a delay of less than 1 frame.
The EVF-1 has button controls for false color check and zoom, as well as buttons and
a jogwheel to control EVF and camera settings.
Connect the viewfinder to the camera using the viewfinder mounting bracket.
Do not point the viewfinder into direct sunlight, very bright light sources, or highenergy light sources (e. g. laser beams)! This may cause permanent damage to the
viewfinder display and optical elements. If possible, cover the eyepiece when not in
use to prevent any damage.
9.3.1 Viewfinder Cables
The viewfinder cables are unidirectional with a male plug to connect to the camera
and a female plug to connect to the viewfinder.
Cables are available in the following lengths:
Model Length
(m / ft)
KC-150-S 0.35 / 1.2 For use of EVF-1 on camera left side in hand-
KC-151-S 0.65 / 2.1 For use of EVF-1 on camera right side or when
KC-152-S 2.00 / 6.6 Longest possible length for use with specialty
NOTICE
Suggested use
held mode
using Viewfinder Extension Bracket VEB-1 or
VEB-3
rigs
Camera Support 35
Fig. 5: EVF cables: KC-150S (center), KC-151S (middle), KC-152S (outer)
9.3.2 Viewfinder Mounting Bracket
The Viewfinder Mounting Bracket VMB-3 is attached to the camera using two captive
3mm hex socket head screws on top of the camera at the front. The VMB-3 features a
leveling bubble and two internally threaded 15mm rods with standard 60mm distance.
These can be exchanged for or extended with standard 15mm rods for mounting
matte boxes, lens motors and the like above the lens if need be.
Attach the EVF-1 to the Viewfinder Mounting Bracket by sliding the dove tail into the
receptacle and closing the lever on the EVF-1.
The position of the EVF-1 can be adjusted by loosening the levers on the Viewfinder
Mounting Bracket, adjusting the position as desired and closing the levers to retighten.
The EVF-1 can be mounted on the camera-right side by unscrewing the threaded end
cap on the side-to-side adjustment rod, removing the rod itself and inserting it from the
other side. Remember to reattach the threaded end cap.
NOTICE
Camera-right operation is not possible with the standard EVF cable KC-150-S.
Instead, the longer cable KC-151-S is needed.
36 Camera Support
The Viewfinder Extension Bracket VEB-3 extends the mounting point of the EVF-1
further back. It can be attached to a tripod head for use with geared heads or greater
comfort when using fluid heads using its standard attachment point for the ARRI
Eyepiece Leveler EL-3. The VEB-3 has been improved over the VEB-1 in the following
aspects:
The redesigned shape provides greater sturdiness at a lighter weight.
•
The blue security pin at the VMB-3 connecting end prevents the VEB-3 from
•
accidently dropping out when it is released.
The connection part to the Eyepiece Leveler EL-3 is spring loaded so that it
•
automatically moves away from the camera body when it is not in use.
The VEB-3 features a fold-out arm that can be used to rest the VEB-3 on the
•
camera body when moving the camera.
To avoid damage to the VMB-3 when using the VEB-3 with an eyepiece leveler,
loosen the friction on VMB-3’s rotating assembly.
Fig. 6: VEB-3 with closed fold-out arm
Fig. 7: VEB-3 with opened fold-out arm
Camera Support 37
9.4 Center Camera Handle CCH-1
The Center Camera Handle CCH-1 is attached to the camera top with three captive
3mm hex socket head screws (two at the front and one at the back). Ensure that the
CCH-1 is securely fastened before attempting to lift the camera.
The Handle Extension Block HEB-2 mounts to the front end of the CCH-1 and adds
one more focus hook to the camera in a high position, allowing the tape measure to
clear the matte box.
38 Camera Support
9.5 Side Camera Handle SCH-1
The Side Camera Handle SCH-1 is used in conjunction with a BAT-V or BAT-G topmounting battery adapter, or with third-party onboard recorders. It is attached to the
camera using three captive 3mm hex socket head screws (two at the front and one
at the back). Ensure that the SCH-1 is securely fastened before attempting to lift the
camera.
If a tall battery or a tall third-party onboard recorder is used, the adjustable center grip
of the SCH-1 can be replaced by the taller Adjustable Center Grip Tall (ACG-2).
Fig. 8: SCH-1
9.6 Bridge Plates BP-12/BP-13
The bridge plate BP-12 for 19 mm studio rods has been specifically developed for
ALEXA. It mounts directly to the camera body using two 3/8"/16 screws and ensures
that support rods, matte boxes and follow focus units are positioned properly in
regards to the optical center of the camera, just like all other ARRI cameras.
The bridge plate BP-13 is equivalent to the BP-12, but for 15 mm studio rods.
Camera Support 39
NOTICE
Make sure bridge plates are tightened firmly with a wide bladed screwdriver, not the
commonly used coin!
9.7 Bridge Plate adapter BPA-1
The bridge plate adapter BPA-1 can be used to attach a BP-3/BP-5/BP-8/BP-9 to
ALEXA. First attach the BPA-1 to the camera with the two screws. Then attach the
bridge plate to the adaptor with its two screws. Make sure the screws are tightened
firmly with a screwdriver.
9.8 Wedge Adapter WA-1 and Quick-Release Plate QR-HD-1
The WA-1 can be mounted at the same position as a bridge plate. It has a dove tail
that slides into the counter part of a quick-release plate, like the ARRI QR-HD-1. The
quick-release plate has a pin at its back, which fits into the pin receptacle at the back
of the camera base.
Fig. 9: ARRI QR-HD-1
9.9 Levelling Block LB-1
The Leveling Block LB-1 attaches to the bottom of the ALEXA in the pin receptacle on
the back foot. It prevents the camera from resting on a rear-mounted battery when a
bridge plate is attached and the camera is placed on a flat surface.
Attach the LB-1 by inserting its pin into the pin receptacle at the end of the shoulder
arc in the camera base. Twist the knob clockwise to tighten.
40 Camera Support
Fig. 10: Leveling Block LB-1
9.10 Shoulder Pad SP-3
The camera base has an integrated arch to fit to the operator's shoulder. For extended
handheld shots, the shoulder pad SP-3 can be attached to the base of the camera
with velcro.
NOTICE
The SP-3 can only be used with a BP-12 and 19 mm rods or with 15 mm rods and
a Wedge Adapter WA-1 and a Quick-Release Plate QR-HD-1. When using the
BPA-1 with a BP-5/BP-8, the bridge plate has to be removed prior to attaching the
SP-3.
Fig. 11: SP-3 shoulder pad
Fig. 12: SP-3 below camera
Connectors 41
10 Connectors
Camera back
From top to bottom: MON OUT 1A, RET/SYNC IN, EXT, MON OUT 2, MON OUT 3,
BAT, ETHERNET
Camera right
Fig. 13: Connectors on right side
From left to right, top to bottom: 2x RS (24 V) out, AUDIO OUT, TC, 12V out, AUDIO
IN, SD CARD (camera bottom)
42 Connectors
Camera left
Camera front
Fig. 14: Camera front
EVF connector
10.1 BAT
The BAT connector can be used to power the camera from an external power source
with cables KC-20S and KC-29S.
It is located at the back of the camera on the camera-right side.
10.2 RET SYNC IN
A return signal from another image source can be fed into the ALEXA’s RET connector
for displaying on EVF and/or MON OUT. The signal must be a 1920x1080 422 1.5G
single link according to SMPTE 274M and 292M. The output routing of the RET
in signal can be set in the Monitoring menu. The SYNC IN function has not been
implemented.
The connector is located at the back of the camera on the camera-right side.
Connectors 43
10.3 MON OUT 1/2/3
The MON OUT connectors are BNC connectors capable of carrying a 1920x1080
422 YCbCr 1.5G HD-SDI signal with frame rates of 23.976, 24, 25, 29.97 or 30 fps
according to SMPTE standards 274M and 292M. The signal format can be changed in
the Monitoring menu.
The connectors are located at the back of the camera on the camera-right side.
10.4 EXT
The EXT connector is a multi-pin accessory connector that carries signals for
communication with various accessories and 24V power. The maximum power output
is 2.2A, shared with the RS outputs.
Cables are currently available for:
Connecting a UMC-3 remote motor controller (model UMC Connection Cable
•
(0.80m/2.6ft) K-UMC3-ALEXA)
Connecting two ALEXA cameras for synchronized operation (model EXT to
•
EXT Cable (2.00m/6.6ft) KC 155-S)
The connector is located at the back of the camera on the camera-right side.
10.5 ETHERNET
Standard Ethernet connectors cannot deliver the durability and reliability required
by ARRI, so the ALEXA uses a specially designed 10-pin LEMO connector. The
ARRI KC-153-S cable is required to connect the Ethernet socket to a standard RJ-45
Ethernet port.
The Ethernet port can be used to operate two ALEXA cameras with synced settings
by connecting the cameras with a KC 156-S cable, or to connect the Remote Control
Unit RCU-4 to the camera.
The Ethernet connector can output 24 V with 1.2 A power.
The connector is located at the back of the camera on the camera-right side.
10.6 EVF
The EVF connector connects the camera to an EVF-1 electronic viewfinder. The
signals on this connector are proprietary and can only be used to drive an EVF-1. This
proprietary signal assures low latency for the viewfinder image.
The connector is located at the front of the camera on the camera-left side.
10.7 AUDIO IN
2-channel analog line-level audio can be fed to the camera via the 5-pin XLR
connector located at the front of the camera on the camera-right side.
The ALEXA converts the audio signal from analog to 24 bit 48 kHz PCM.
44 Connectors
10.8 RS
The two RS connectors supply external accessories with at least 24 V power and a
combined load of up to 2.2 A (shared with the EXT connector power out). The sockets
also accept an ARRI remote start/stop trigger.
The connectors are located at the front of the camera on the camera-right side.
10.9 12 V
The 12 V connector supplies an external accessory with 12 V power and up to 2.2 A
current.
The connector is located at front of the camera on the camera-right side.
10.10 TC
The TC connector is a 5pin LEMO socket. It accepts and distributes a Longitudinal
Time Code (LTC) signal.
It can be used to
jam-sync the ALEXA's time code to a Clockit, TC Slate or another camera
•
transmit the ALEXA's time code to a Clockit, TC Slate or another camera
•
tune the frequency of the ALEXA’s crystal oscillator with an Ambient ACC
•
Clockit Controller
The connector is located at the front of the camera on the camera-right side.
Note that during playback, the timecode that is output via the TC connector does not
match the timecode of the played clip.
10.11 AUDIO OUT
The AUDIO OUT is a 3.5mm TRS connector (headphone jack), which outputs audio
fed to the 5-pin XLR AUDIO IN connector with a maximum power of 2.5 dBm.
The connector is located at the front of the camera on the camera-right side.
Connecting headphones to the camera while recording can cause a short audio
signal interruption due to static electricity.
10.12 SD Card
NOTICE
The ALEXA saves data such as user setups, frame grabs and system logs to an SD
card. Firmware, additional frame lines and ARRI Look File 2 files are loaded onto the
camera from the SD card. The SD card slot is located on the bottom of the camera on
the camera-right side. To access the SD card slot, slide the door towards the front of
the camera.
Connectors 45
SD Card Requirements
SD or SDHC card (most brands are compatible)
•
maximum capacity of 4GB
•
FAT or FAT32 format
•
NOTICE
Keep the SD card slot door closed to prevent dirt and moisture from entering
•
the camera.
After booting the camera or inserting an SD card, it might take some seconds
•
until the SD card is recognized and usable.
The SD card can be formatted on the ALEXA or the following folder structure can be
created manually on a computer. The SD card must be properly formatted prior to its
first use.
Fig. 15: Folder structure required for SD card
To format an SD card on the ALEXA:
1. Press the MENU button.
2. Using the jogwheel, select System.
3. Select SD Card.
4. Select Format + prepare SD card.
5. Press both FORMAT buttons simultaneously. The ALEXA will create the required
folder structure on the SD card after formatting.
NOTICE
Formatting the SD card will irreversibly remove all data on the SD card.
To create the required folder structure on the SD card in the ALEXA
without formatting:
1. Press the MENU button.
2. Using the jogwheel, select System.
3. Select SD Card.
4. Select Prepare SD card. The ALEXA will create the required folder structure on
the SD card without formatting or deleting any data.
46 Connectors
NOTICE
Firmware update files are recognized by the camera anywhere within the structure,
but it is recommended to copy them into the Firmware folder.
10.13 Recording Module
The ALEXA records clips using the recording module on the camera-left side. For
every recording medium type, the respective adapter needs to be inserted before a
medium can be inserted. The media slot can take SXR Capture Drives with the SXR
Capture Drive Adapter, XR Capture Drives with the XR Capture Drive Adapter, SxS
PRO and SxS PRO+ cards with the SxS Adapter 2, or CFast 2.0 cards with the CFast
2.0 Adapter 2.
When the ALEXA is in ProRes mode, it can record onto SXR/XR Capture Drives, SxS
PRO cards, SxS PRO+ cards, or CFast 2.0 cards. They do not need to be loaded
or unloaded, but can be used directly after insertion and can be safely removed
whenever they are in standby.
When the ALEXA is in ARRIRAW mode, it can only record onto SXR/XR Capture
Drives, which need to be loaded after insertion and unloaded prior to removal. Refer to
the respective sections below for more information.
The ALEXA supports recording to SxS PRO cards 64 GB (SBP-64A), SxS PRO+
cards 64 GB (SBP-64B & SBP-64C), SxS PRO+ 128 GB (SBP-128B & SBP-128C),
LEXAR 3600x CFast 2.0 cards 256 GB, SXR Capture Drives in 1 TB or 2 TB and XR
Capture Drives 512 GB.
To access the media slot, slide the OPEN slider towards camera back so that the
spring-loaded door jumps open.
Putting the lock slider in the (lower) lock position prevents accidental opening of the
door. Ensure that the lock slider is in the (upper) unlocked position before attempting
to open the door.
Connectors 47
NOTICE
Keep the door closed to prevent dirt and moisture from entering the camera.
•
Only Sony SxS PRO and SxS PRO+ cards can be used with ALEXA. Sony
•
SxS-1 cards are not supported.
For the remainder of this manual, whenever SxS PRO is mentioned, this
•
applies to SxS PRO+ likewise.
SXR Capture Drives are specified for a temperature range from 0° Celsius
•
to 70° Celsius (32° Fahrenheit to 158° Fahrenheit). When working in
environments with ambient temperatures below 0° Celsius, ensure that SXR
Capture Drives have a temperature of at least 0° Celsius when starting a
recording to ensure proper operation.
While we do everything we can to assure reliable functioning of different
•
recording medias such as SXR Capture Drives, and while the mean time
before failure (mtbf) for drives is excellent, a failure that results in loss of data
may occur at any time. Therefore, you are obliged to implement and maintain
at any time adequate and necessary data security measures and back up
drive content as soon as possible. ARRI assumes or accepts no liability or
responsibility for data loss or data corruption, or any other damages, loss or
harm due to malfunction of recording drives.
Inserting media:
To insert an adapter:
1. Insert the adapter into the media slot with the contacts facing the front of the
camera and the metal housing facing out (away from the camera body).
2. Push the adapter towards camera front until the two securing plastic lids lock the
adapter.
To load an SXR/XR Capture Drive:
1. Insert the SXR/XR Capture Drive into the media slot with the contacts facing the
front of the camera and the ribbed side facing out (away from the camera body).
2. Push the SXR/XR Capture Drive towards camera front until the lock engages.
3. Close the door.
When the camera is in ARRIRAW mode, it automatically loads the SXR/XR Capture
Drive when the door has been closed, see "Explanation of LED States" below. If
closing the door is not possible, e. g. because it has been damaged, loading an SXR/
XR Capture Drive can also be triggered by pressing and holding the eject button for
about five seconds.
Loading an SXR/XR Capture Drive in ARRIRAW mode normally only takes a few
seconds. In certain situations, however, it may take up to 30 seconds, especially when
an SXR/XR Capture Drive has been removed previously without unloading it properly.
NOTICE
Do not put any labels or adhesive tape on the back of an SXR/XR Capture Drive
(the side facing the camera body). The SXR/XR Capture Drive must have full
contact to the camera body to ensure proper heat conduction.
To load an SxS PRO card or CFast 2.0 card:
1. Insert the card into the adapter with the contacts facing the front of the camera and
the label facing out (away from the camera body).
2. Push the card in against the spring until the lock engages.
3. Close the door.
48 Connectors
NOTICE
Do not force any media into the slot or into the adapter in wrong orientation—
•
the contacts could be damaged.
Do not force the door closed if the media is not fully inserted.
•
Removing media:
When the camera is in ProRes recording mode, SxS PRO cards, CFast 2.0 cards
and SXR/XR Capture Drives do not have to be mounted or unmounted—they can
be inserted or removed whenever the camera is in STBY mode. If media is removed
during recording, only the last second of the current clip will be lost. All clips on the
media will remain accessible.
When the camera is in ARRIRAW recording mode, SXR/XR Capture Drives need to
be unloaded before they can be safely removed. Unloading is triggered automatically
when the door is opened and the SXR/XR Capture Drive is in standby. When the door
is already open, but the SXR/XR Capture Drive is still loaded, press the eject button
on the SXR/XR Capture Drive to trigger unloading. See "Explanation of LED States"
below for information about how the camera signals loading state. If media is removed
during recording, only the last five seconds of the current clip will be lost. All clips on
the media will remain accessible.
NOTICE
If the recording process is interrupted by power loss or media removal,
•
transfer all the data from the media and format it before using it again.
If the door is opened while an ARRIRAW recording is running, the recording is
•
stopped and the medium is unloaded.
Before removing any media, open the door by sliding the OPEN slider towards camera
back. Ensure the lock slider is in the (upper) unlocked position, otherwise the OPEN
slider will be blocked.
To remove an SXR/XR Capture Drive:
► Carefully pull the SXR/XR Capture Drive towards camera back, taking care not to
drop it accidentally.
To remove an SxS PRO card or CFast 2.0 card:
► Push the card inwards (towards camera front) until the lock disengages, then pull
the card out backwards, taking care to prevent the card from dropping out of the
adapter.
To remove an adapter:
► Carefully lift the two securing plastic lids that secure the adapter and pull it towards
camera back, taking care not to drop it accidentally.
CAUTION!
It is possible that SXR/XR Capture Drives will get hot to the touch during extended
operation and can cause pain or even burns if held for too long. It is advisable
to handle the drive for no more than three seconds, and to remove the drive
quickly and carefully. Allow it to cool before further handling and consider wearing
protective gloves.
Explanation of LED States
SXR/XR Capture Drives, SxS Adapter 2 and CFast 2.0 Adapter 2 have an LED that
signals the media's state to the user.
Connectors 49
LED state Card state
Off
Solid green Media is in standby and ready
Solid red Media is being accessed (read/write)
DO NOT REMOVE MEDIA!
Red flashing Media error, see camera for details
Blue flashing
(SXR/XR Capture Drive only)
Solid blue
(SXR/XR Capture Drive only)
SXR/XR Capture Drive is being loaded or unloaded
SXR/XR Capture Drive is unloaded and can be
ejected safely
No media present
•
Media is unreadable (e.g. wrong file sys-
•
tem)
Media is inactive
•
50 Lens Mounting
11 Lens Mounting
The ALEXA is equipped with an interchangeable lens mount.
NOTICE
Lenses must cover an image circle of at least 27.3 mm for 16:9 sensor mode, 29.7
mm for 4:3 sensor mode and 33.5 mm for Open Gate sensor mode to prevent
vignetting.
11.1 Lens Adapter PL-Mount LA-PL-2
The ALEXA lens mount supports the ARRI Lens Data System. An LDS lens must
be mounted in the 12 o'clock or 3 o'clock position to enable the LDS functions. Take
care not to damage the LDS contacts on the lens and the camera when mounting or
unmounting a lens or lens port cover.
The LA-PL-2 also offers basic Cooke /i support for direct lens metadata capture
through the LDS contacts. The cameras can store a subset of lens data (focus
distance and lens iris settings) as dynamic camera metadata. Running the camera
outside the standard speeds of 23.976 to 30 fps may produce an offset of several
frames. Certain lens settings will produce an offset lens data readout (e. g. iris open).
This can be corrected manually, after the metadata had been extracted (ARRI Meta
Extract).
The basic /i compatibility has been tested and approved by Cooke Optics Limited. For
support and questions about /i Technology, please contact Cooke Optics directly.
To mount a PL-mount lens:
1. Turn the bayonet ring anti-clockwise until it stops.
2. Remove the lens port cap.
3. Carefully insert the lens into the lens port. Align the notch in the lens flange with
the index pin on the mount, keeping the lens rotated into a position where the lens
markings are visible from either side of the camera.
4. Press the lens flange flat onto the lens mount.
5. Turn the bayonet ring clockwise until the lens is locked securely.
6. Ensure that the lens is properly mounted.
NOTICE
When no lens is attached to the camera, use the lens port cap to prevent dust
•
from entering the lens cavity.
The sophisticated design principle of the camera’s optical module delivers
•
outstanding images with a cinematic look and feel, but also makes the imager
sensitive to contamination. Dust particles that have settled on the sensor
cover glass during a lens change may become visible as dark spots in the
output image, similar to lint leaving marks on exposed film. The degree of this
effect depends on the aperture of the lens.
Lens Mounting 51
Fig. 16: Lens adapter PL-Mount LA-PL-2 (with LDS)
11.2 Lens Support
Heavy lenses may require additional lens support. Using a lens support guarantees
that the weight of the lens will not influence the flange focal depth and reduces stress
on the lens mount.
To support a lens use 15mm studio or 19mm studio rods and an appropriate lens
bridge. 15mm studio rods require a bridge-plate with 15mm studio rod support, such
as a BP-3/BP-9 + BPA-1, while 19mm studio rods require a bridge-plate with 19mm
studio rod support, such as a BP-12 or BP-5/BP-8 + BPA-1.
Mount the lens bridge LS-10 for 15 mm studio rods by pushing it onto the rods from
the front. Mount the lens bridge LS-9 for 19 mm studio rods by clipping it on the rods
from the top.
Slide the bridge into position on the rods directly under the lens support ring on the
lens, and fix it in place by tightening the lever on its side. Align and tighten the center
screw in the lens support ring, adjusting the height of the center screw with the lever
on the back of the lens bridge.
52 Lens Mounting
In-Camera Filter Module IFM-1 53
12 In-Camera Filter Module IFM-1
The In-Camera Filter Module IFM-1 is standard to all ALEXA SXT models (except
ALEXA SXT Studio), which replaces the conventional reflex tube that is located inside
the PL lens mount tube with the IFM filter holder and allows the use of ARRI Full
Spectrum Neutral Density (FSND) filters (available separately).
By using internal filters you can rate the camera at the base sensitivity of EI 800
without the need for external filters, even in bright light conditions. In-camera filters for
IFM-1 can be used with a large variety of lens sizes and are much lighter than external
ND filters.
CAUTION!
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 internal filter or the camera.
NOTICE
Internal filtration requires additional shimming and does not work with ALEXA SXT
Studio. For PL mount lenses, the IFM-1 filters work only with a lens mounting depth
of 31.50 mm maximum.
Benefits of in-camera filtration
Filtering behind the lens rather than in front reduces weight, reflections and
operational complexity. The filters’ in-camera position significantly reduces the
camera’s total and front weight (because internal filters are smaller and lighter than
external ones).
Also, internal filters are far less exposed to damage than external ones and, since
lenses are changed more frequently than ND filters, the FSND filters provide extra
protection for the sensor.
The Full Spectrum Neutral Density (FSND) filters for IFM-1 are based on new
technologies that assure highest image quality. An absorptive full spectrum ND coating
attenuates the light while maintaining a perfectly neutral color balance at all densities.
A base of water-white optical glass, precision-polished to create perfectly parallel
surfaces, guarantees a clear and sharp image.
Additional broadband anti-reflective multi-coating reduces internal reflections and
ensures a high image contrast. FSND filters for IFM-1 are available in eight densities
from ND 0.3 to ND 2.4 and can be purchased separately or in sets.
All benefits at a glance:
Internal filtration reduces reflections, weight, hassle – and filter damage
•
New high-tech filters based on white-water optical glass
•
Internal filtration protects sensor
•
Available in 8 densities from ND 0.3 to ND 2.4
•
Neutral color balance at all densities through absorptive full spectrum ND
•
coating
High image sharpness through precision polishing
•
High contrast through anti-reflective multi-coating
•
IFM-1 filter holder is standard to all ALEXA SXT models (except ALEXA SXT
•
Studio)
54 In-Camera Filter Module IFM-1
12.1 Safety instructions for in-camera filtration
Proper shimming is crucial for the safe use of in-camera filters. Only correct shimming
ensures the proper flange focal depth.
12.1.1 Maximum lens mounting depth
Only cameras with the original IFM-1 Shim allow for 31.50 mm maximum lens
mounting depth of PL mount lenses, when using in-camera filters.
To avoid damage or injury when using PL mount lenses, use only lenses that do not
exceed the following dimensions:
Fig. 17: Allowed lens dimensions with in-camera filters
NOTICE
The original ARRI IFM/Extenders Depth Gauge (K2.72144.0) will help you stay
within allowed lens dimensions. Please ask your local ARRI Service Partner.
For a safe and correct use of internal filters, always shim your camera properly.
Observe all precautions and use only proper tools, lenses and materials
•
For PL mount lenses, use only lenses with 31.50 mm maximum mounting
•
depth
CAUTION!
Risk of damage and injury from improper lenses!
PL mount lenses with more than 31.50 mm mounting depth, might damage internal
filters and the camera. Shards from broken filter glass might cause injury.
Always check the lens mounting depth before mounting or changing a lens.
In-Camera Filter Module IFM-1 55
CAUTION!
Risk of damage and injury from insufficient shimming!
All internal filters require a properly shimmed lens mount. Otherwise, even PL
mount lenses with a nominal mounting depth of less than 31.50 mm might damage
internal filters and the camera. Shards from broken filter glass might cause injury.
To ensure maximum allowable lens mounting depth, and to avoid damage or injury,
always shim your camera correctly (see page 58).
The proper IFM-1 Shim comes with all three FSND Filter Sets (Basic, Full or
Completion) and is also available individually. Use only this original shim when
filtering with IFM-1.
CAUTION!
Risk of damage from improper tools, materials or negligence!
In-camera filters are very delicate. Always handle them very carefully and with
proper tools (e.g. the original Ground Glass/Frameglow tool). Never touch the filter
glass with bare fingers (sweat and physical contact might damage the sensitive
coating).
Check and clean each filter before and after use. Store it properly. Use only original
ARRI cleansing utensils and materials (others might damage the filter).
12.1.2 Basic precautions
When using IFM-1 and internal filters:
1. Ensure a clean, dust-and-moisture-free environment.
2. Wear fresh rubber gloves to avoid fingerprints and smear.
3. Place the camera on a flat, level and safe surface.
4. Never touch the sensor.
5. Work very carefully due to the delicate nature of tools/components.
6. Safely store all tools/components afterwards.
7. Shim you camera exactly to required flange focal depth.
8. Check each lens mounting depth and flange shape.
9. Use only lenses within allowed dimensions.
12.1.3 Required shimming and maximum lens mounting depth
Only proper shimming will ensure the maximum allowable lens mounting depth (see
page 54):
For safe use of in-camera filters, always prepare your camera with the original
•
IFM-1 Shim.
See "Shimming the lens mount", page 58.
•
12.2 Available FSND Filter Sets
Three different FSND sets are available:
FSND Filter Set (Basic): Basic set of filters and tools
•
FSND Filter Set (Completion): Complementary set of filters
•
FSND Filter Set (Full): Complete set of filters and tools
•
56 In-Camera Filter Module IFM-1
12.2.1 FSND Filter Set (Basic)
The FSND Filter Set (Basic) contains all components and filters essential for incamera ND filtering:
Storage Case
•
IFM Optical Clear (1) ND 0.0
•
Ground Glass/Frameglow tool (2)
•
IFM Shim (3)
•
IFM/Extenders Depth Gauge (4)
•
Microfiber Cloth (5)
•
Eight 0.1 mm washers (also available separately as K4.0000762)
•
Three Internal Filters (6) FSND 0.6, 1.2, 1.8
•
Cleaning Instructions
•
Fig. 18: The FSND Filter Set (Basic)
12.2.2 FSND Filter Set (Completion)
The FSND Filter Set (Completion) is a useful completion. It offers:
5 Internal Filters FSND 0.3, 0.9, 1.5, 2.1, 2.4
•
In-Camera Filter Module IFM-1 57
Fig. 19: Each filter of the FSND Filter Set (Completion) comes in a practical individual box
and is also available separately
To insert or change a filter:
See "Mounting in-camera filters", page 63. Each filter is also available
separately or in bundles.
12.2.3 FSND Filter Set (Full)
The FSND Filter Set (Full) is a set with all FSND filters and required tools. It consists
of:
Storage Case
•
IFM Optical Clear (1) ND 0.0
•
Ground Glass/Frameglow tool (2)
•
IFM Shim (3)
•
IFM/Extenders Depth Gauge (4)
•
Microfiber Cloth (5)
•
Eight 0.1 mm washers (also available separately as K4.0000762)
•
Eight Internal Filters (6) FSND 0.3, 0.6, 0.9 1.2, 1.5, 1.8, 2.1, 2.4
•
Cleaning Instructions
•
58 In-Camera Filter Module IFM-1
Fig. 20: The FSND Filter Set (Full) for ALEXA XT
To insert or change a filter:
See "Mounting in-camera filters", page 63. Each filter is also available separately or
in bundles.
12.3 Shimming the lens mount
In-camera filtration will change your flange focal depth. Therefore, all internal filters
require a properly shimmed lens mount (see page 54).
NOTICE
Use only the original shim IFM Shim when filtering with IFM-1.
To compensate for the change in flange focal depth due to the shim, always insert
the IFM Optical Clear filter when no filtering is needed.
When the camera is no longer shimmed for IFM-1, the glassless IFM Empty Filter
Frame must be placed back into the filter position.
General shimming precautions:
Fix the IFM Shim properly between lens lock and lens mount.
•
The shim's inscription must face camera-outwards.
•
Mount all proper shims correctly without omitting, adding or losing any.
•
Otherwise, the flange focal depth will not be correct.
Mark your cameras shimmed for IFM-1 to avoid confusion.
•
Once the camera is shimmed for IFM-1: Immediately replace the IFM Empty Filter
Frame with an FSND filter or the IFM Optical Clear filter.
Store the IFM Empty Filter Frame in a safe place: When the camera is no longer
shimmed for IFM-1 in the future, the IFM Empty Filter Frame must be placed back into
the filter position.
If you de-shim the camera: Immediately replace the IFM Optical Clear filter or any
other FSND filter with the IFM Empty Filter Frame.
In-Camera Filter Module IFM-1 59
To compensate for the change in flange focal depth due to the shim:
► Always use the IFM Optical Clear filter when no filtering is needed.
Tools needed:
TX6 torx screwdriver
To shim the mount:
1. Remove lens or lid (1) from the PL lens mount and turn the lens lock into position
CLOSED (2).
2. Unscrew (only with a TX6 torx screwdriver!) the four accessible torx screws (1)
that hold the lens lock (the other two torx screws are still hidden by lock position
CLOSED).
3. Turn the lens lock into position OPEN (2) to unhide and unscrew the other two torx
screws (1).
60 In-Camera Filter Module IFM-1
4. Remove the lens lock (1) from the PL mount. Keep all installed shims (if any)
carefully in place (2):
5. Remove the LDS pin support and MCA print (2) by unscrewing the four TX6 torx
screws (1).
In-Camera Filter Module IFM-1 61
6. Add two 0.1 mm washers (1) on each of the four positioning pins (see detailed
section).
7. Reattach the LDS pin support and MCA print (2) by fastening the four TX6 torx
screws (1) hand-tight.
62 In-Camera Filter Module IFM-1
8. Accurately place the IFM Shim, with its inscription always facing camera-outwards
(2), onto the PL mount. The shim's screw holes must line up exactly with the
mount's thread holes and the index pin (3):
9. Fasten the lens lock, still in position OPEN (2), back to the PL mount; use two of
the six torx screws (1) hand-tight:
In-Camera Filter Module IFM-1 63
10. Turn the lens lock into Position CLOSED (2) and fasten the other four torx screws
hand-tight (1). Check if all screws and the shim fit correctly:
11. Before mounting a lens, always check its mounting depth (see "Safety instructions
for in-camera filtration", page 54 and "Maximum lens mounting depth",
page 54)
NOTICE
Make sure the LDS connection between lens and camera’s PL mount works
properly. If not, add more washers (see step 6).
12.4 Mounting in-camera filters
Internal filters are very delicate. Before you mount or change a filter, check the lens
mounting depth (see "Safety instructions for in-camera filtration", page 54 and
"Maximum lens mounting depth", page 54).
64 In-Camera Filter Module IFM-1
NOTICE
By default, the filter position in the lens mount of the ALEXA SXT (except ALEXA
SXT Studio) is occupied by the IFM Empty Filter Frame. This glassless filter ring
must be replaced by a real filter or IFM Optical Clear filter, once the camera is
shimmed for IFM-1 use (see page 58)
Tools needed:
Ground Glass/Frameglow tool
To insert or change an in-camera filter:
1. Remove the lens or lid (1) from the PL lens mount (2).
2. Carefully screw the Ground Glass/Frameglow tool (1) into the filter ring’s (2) thread
hole in the 12 o'clock position (1).
3. Pull the filter (2) from the bottom ring in the camera's PL mount. If the filter position
is held by an IFM Empty Filter Frame, remove it likewise.
In-Camera Filter Module IFM-1 65
4. Clean the removed filter and stow it properly in its individual box and the storage
case. If the filter position was held by an IFM Empty Filter Frame, store it likewise
(in case the camera is no longer shimmed for IFM-1 in the future).
5. Place the removed filter into its padded filter box (2) in the storage case (3).
Remove the Ground Glass/Frameglow tool (1) to pick up the next filter.
6. Make sure the next filter is clean (2) and the Ground Glass/Frameglow tool is in
the 12 o’clock position (1).
66 In-Camera Filter Module IFM-1
7. Place the next filter onto the bottom ring in the camera’s PL mount. The Ground
Glass/Frameglow tool has to be in the 12 o’clock position (1).
8. Align the filter ring’s main notch with the bottom ring’s red nut in the 6 o’clock
position. To ensure an accurate fit, align the filter ring’s other notches with the two
red noses in the bottom ring’s 10:30 and 1:30 positions.
9. After the magnetic filter ring has audibly snapped into position, carefully unscrew
the Ground Glass/Frameglow tool. The filter has to sit precisely on the bottom ring.
10. Mount a lens (observe maximum lens dimensions!), or cover the PL lens mount
properly with its lid (1).
In-Camera Filter Module IFM-1 67
NOTICE
All internal filters require a properly shimmed lens mount (see page 58).
•
To compensate for the change in flange focal depth due to the shim, always
insert the IFM Optical Clear filter when no filtering is needed.
When the camera is no longer shimmed for IFM-1, the glassless IFM Empty
Filter Frame must be placed back into the filter position.
Internal filtration does not work with ALEXA SXT Studio. For PL mount
•
lenses, IFM-1 works only with a lens mounting depth of 31.50 mm maximum.
12.5 Filter cleaning
Tools needed:
Cleaning Instructions
•
Fresh rubber gloves
•
Micro bellows
•
Cotton swab
•
Purified alcohol
•
Microfiber Cloth from FSND Filter Set
•
To clean the filters:
NOTICE
To avoid in-camera damage, always clean all filters outside of camera.
1. Ensure a clean, dust-and-moisture-free environment
2. Wear fresh rubber gloves to avoid fingerprints and smear
3. Never touch the sensor
4. Check the coating for dirt, smear and scratches
5. Remove sand, dust or solid particles with micro bellows
6. Clean off oil, grease or smear with a cotton swab (or the microfiber cloth) slightly
wetted in purified alcohol only
68 Camera Controls
13 Camera Controls
The ALEXA can be controlled through three user interfaces:
Main controls Location: camera-right side
Interface: 3-inch LCD-screen with floating-function buttons, a
jogwheel to navigate through menus and adjust parameters,
and a range of fixed-function buttons.
Operator controls Location: camera-left side
Interface: three assignable function buttons plus three fixedfunction buttons for easy operator access.
EVF controls Location: Electronic Viewfinder EVF-1
Interface: fixed function buttons and a jogwheel for adjustment of viewfinder parameters and primary shooting parameters.
13.1 Main Controls
The main controls can be used to set all camera parameters.
Fig. 21: Main controls
13.1.1 Display
The 3-inch LCD has a resolution of 400x240 pixels. The back-lit, transflective display
has exceptional contrast even in bright sunlight.
To adjust the LCD brightness:
► On the HOME screen, rotate the jogwheel while pressing the BACK button.
Camera Controls 69
A plastic shield protects the display from scratches. It can be removed by pulling it off
the four pins.
13.1.2 Screen Buttons
Six screen buttons are located above and below the LCD display. Their function varies
depending on the screen content and is shown directly above or below each button.
If no function is shown above or below a button on the LCD, it has no function for that
screen.
As a failsafe, operations that cannot be reversed and can result in the loss of data
require pressing two buttons simultaneously to confirm the operation.
13.1.3 HOME screen
The HOME screen is the ALEXA’s default screen. It shows the most important camera
parameters and gives quick access to changing them through the screen buttons. To
return to the HOME screen from any menu in the camera, press the HOME button.
NOTICE
To adjust the LCD brightness from the HOME screen, rotate the jogwheel while
pressing the BACK button.
Screen buttons
Button Function
FPS Sets the frame rate of the sensor.
AUDIO Shows the current audio level. If AUDIO is set to Off, the audio
input is switched off: no audio is embedded in the HD-SDI outputs, and no audio tracks are recorded onto internal media. The
same applies if AUDIO is disabled, which is the case if the sensor frame rate is different from the project fps setting (for example, while over- or undercranking).
SHUTTER Sets the shutter angle of the sensor. Shutter angle and sensor
fps determine exposure time of the sensor in seconds by the following equation: angle / (360 * fps).
EI Sets the exposure index rated in ASA. The ALEXA has a base
sensitivity of 800 ASA.
Note: ASA rating is identical to ISO rating.
Note: Exposure Index is not applied to ARRIRAW signals.
70 Camera Controls
Button Function
COLOR Opens the color screen, where gamma and look settings for in-
ternal recording, MON OUT 1/2/3 and EVF can be changed.
WB Sets the camera’s white balance. This is the color temperature
of the light source that the ALEXA is currently adjusted for. In addition to the red/blue correction of the white balance, the ALEXA
can also compensate for a green/magenta tint. This value, called
CC (color compensation), is shown as an exponent of the WB
value. Positive values are marked with a "+" and negative values
with a "-".
The user can execute an automatic white balance by pressing
the AUTO WB button in the WB screen.
Camera Status Section
TC Displays the current time code including the source (INT: inter-
nal, EXT: external source). Frames are not displayed. The timebase of the time code is shown after the @ sign.
Camera is set to Ext sync: MASTER
Camera is set to Ext sync: SLAVE
Settings sync is active
BAT 1 The voltage level of the power source present at the BAT con-
nector, or the remaining capacity of an attached battery in percentage if it transmits this information.
BAT 2 The voltage level of a battery attached to the onboard battery
adapter, or the remaining capacity of an attached battery in percentage if it transmits this information.
REEL Identifies the current reel with the camera index letter, such as A
or B and the reel number.
CLIP Identifies the current clip with the clip index and clip number.
DUR Displays the duration (i.e. screen time in relation to project rate)
of the current clip while recording or of the last recorded clip
while in standby, in the format h:mm:ss.
The camera is in standby and ready to record.
The camera is recording.
The camera is prerecording.
An error occurred and recording is not possible. Press the INFO
button for more information.
Camera Controls 71
If nothing is shown, the camera has detected no errors, but no
media is present for recording.
Type of inserted media (SXR/XR Capture Drive, SxS PRO,
CFast 2.0)
During standby, shows remaining capacity of the inserted media
in hours, minutes, and seconds. It is calculated for the current
framerate and codec.
*
During recording, shows remaining length for current clip in
hours, minutes, and seconds, prefixed with 'C'.
Shows media status when media is not ready for recording.
*
When recording is set to ProRes, the value shown is the minimum available recording time for the
current sensor frame rate and codec combination. Apple ProResTM is a variable bit rate codec, so the
actual remaining recording time depends on the image content. The remaining time is updated during
recording. After stopping recording, the remaining time may skip a few seconds because some media
space is needed for file management.
NOTICE
Media that has been formatted with a newer or older SUP version may not be
•
recognized correctly and be shown as invalid, or may trigger the warning "files
not consistent". In this case, backup any data from the media and format it incamera.
In SUP 1.0, the maximum size of a single clip is limited to about 229 GB.
•
Therefore, the camera shows a little 'C' (for clip) next to the clock icon as
soon as recording starts, and it counts down the remaining time for the
current recording. During standby, the camera shows the remaining capacity
for the whole medium.
COLOR Section
Name of the selected ARRI Look File 2 file
Selected gamma for recording path
Icons
Name Icon Description
General Warning Important information is waiting on the INFO
screen.
General Error An error has occurred. Check the INFO screen
for more information.
Temperature
Warning
Temperature Error
There is a minor sensor-temperature offset.
Image quality may be slightly affected.
There is a substantial sensor-temperature offset. Image quality may be seriously affected.
72 Camera Controls
Name Icon Description
Lock The Main Controls are locked.
SD Card An SD card is present. The icon turns orange
when the card is accessed.
Grab The GRAB icon flashes while a still frame is be-
ing taken and written to the SD card.
High Humidity
Mode
Radio The ARRI Wireless Remote System (WRS) ra-
A sensor temperature warning or error after boot-up is normal, as it takes a few
seconds for the sensor to reach its preset temperature.
13.1.3.1 Lists and User Lists
On the HOME screen, press the FPS, SHUTTER, WB (white balance) and EI
(exposure index) buttons to open lists of preconfigured values for each setting.
User-defined values can be added to the FPS, SHUTTER and WB lists. The EI list is
fixed and user-defined values cannot be added. It contains values from 160-3200 ASA
in steps of 1/3 stops.
Setting a list value
The sensor is in High Humidity mode (i.e. the
sensor is kept at 40° C sensor temperature to
avoid condensation).
dio is active.
NOTICE
Fig. 22: SENSOR FPS screen
Any value in a list may be set. Invalid values will appear grayed out.
To set a list value:
1. Rotate the jogwheel to select the desired list value.
2. Press the jogwheel to set the list value.
Camera Controls 73
Adding a list value
If the desired list value does not appear in the list, a user-defined value can be added.
To add a list value:
1. Press the ADD button.
2. On the ADD screen, use the jogwheel and + or – buttons to enter a new list value.
3. When you are finished entering the new list value, press the jogwheel to add it to
the list.
NOTICE
Each list supports a maximum of 16 entries. To add new user-defined list values to
a full list, you must delete previously added user-defined list values.
Deleting a list value
User-defined list values that are no longer required can be deleted.
To delete a list value:
1. Press the DELETE button.
2. On the DELETE screen, use the jogwheel to select the user-defined value you
wish to delete.
3. Press both DELETE buttons simultaneously.
NOTICE
Preconfigured values cannot be deleted and will appear grayed out on the DELETE
screen.
Figure 23: DELETE SENSOR FPS screen
NOTICE
The EI list is static and cannot be changed by the user. It contains ASA values from
160-3200 ASA in steps of 1/3 stop.
13.1.3.2 FPS
Press the FPS (frames per second) button on the HOME screen to open the SENSOR
FPS list screen, which lists the default frame rates as well as user-defined frame rates.
74 Camera Controls
NOTICE
Access to this screen is disabled during record.
The maximum frame rate that can be set is dependent on the type of media and the
codec.
If the desired frame rate cannot be set because it is grayed out, change the codec to
one with a lower data rate.
There are shortcut buttons on the FPS screen for CODEC, INFO and SDI FPS. In the
SDI FPS screen, MON OUT 1/2/3 frame rates can be adjusted within the limits of their
current format.
The MON OUT should match the sensor frame rate. If the sensor frame rate exceeds
the available MON OUT frame rates, set the MON OUT to half the sensor frame rate if
possible to maximize the smoothness of the image when panning and tilting.
To correctly set frame rates for the MON OUT:
1. Press the MENU button.
2. Using the jogwheel, select the Monitoring menu.
3. Select MON OUT.
4. Set Frame rate to the same frame rate as the sensor frame rate. If the sensor
frame rate exceeds the range of the available MON OUT frame rates, set the MON
OUT frame rate to half the value of the sensor frame rate.
5. Press the HOME button to exit.
13.1.3.3 AUDIO
Press the AUDIO button on the HOME screen to open the AUDIO screen. This screen
shows the ALEXA’s two audio channel levels. The audio levels are displayed from -45
dBFS to 0 dBFS.
No audio meters are displayed on the HOME screen or AUDIO screen when audio
is set to Off or audio is disabled. Audio is disabled when the sensor frame rate does
not match the project frame rate. In this case, no audio is transmitted via HD-SDI.
Light blue markers show reference levels of -20, -18 and -9 dB FS.
Red markers at levels -1 and 0 dBFS warn of clipping. With proper audio signal levels,
the red markers should almost never be visible.
NOTICE
Camera Controls 75
Fig. 23: Audio screen
Gain can be applied to the audio channels by turning the jogwheel to set both
channels, or by pressing the CH 1+, CH 1-, CH 2+ and CH 2- buttons. The amount of
gain applied by the camera is indicated next to the levels as light gray numbers.
NOTICE
When adjusting audio input levels, a "clicking" noise can be heard on audio outputs.
Adjustment of audio levels therefore is disabled during recording.
Press the OPTIONS button to open the AUDIO IN>OPTIONS screen and set audio
parameters.
Fig. 24: AUDIO IN>OPTIONS screen
Option Description
Record Turns audio recording On or Off.
If audio recording is switched off, no audio is recorded
internally, HD-SDI contains no audio and Audio out is
muted.
Channel 1 level Manual allows the user to manually apply gain to the in-
put signal on channel 1 to reach a correct level.
Unity matches a 4 dBu input signal to -20 dBFS. This
setting leaves enough headroom for recording and
avoids audio clipping. When Unity is selected, audio levels cannot be adjusted by the user.
Channel 2 level Manual allows the user to manually apply gain to the in-
put signal on channel 2 to reach a correct level.
76 Camera Controls
Option Description
Unity matches a 4 dBu input signal to -20 dBFS. This
setting leaves enough headroom for recording and
avoids audio clipping. When Unity is selected, audio levels cannot be adjusted by the user.
Channel 1 source Select the left or right input signal as the source for
Channel 1.
Channel 2 source Select the left or right input signal as the source for
Channel 2.
Soundroll (=Tape) Enter a name for the sound roll (also known as Tape
in the menus of some recorders) of an external audio
recorder, for easier sound synching in post-production.
The name will be written to the FCP XML file and the
Avid Log Exchange (ALE) file on the recording media.
Fig. 25: Audio out screen
Press the AUDIO OUT button to open the AUDIO OUT>OPTIONS screen where the
global volume for both Audio out channels can be adjusted. The OPTIONS button
opens a list of AUDIO OUT options.
Fig. 26: AUDIO OUT>OPTIONS
Left out Sets which channel is routed to the left output.
Right out Sets which channel is routed to the right output.
Audio out
level
Set the level of the audio out channels manually, or set it to fix
the maximum output.
Camera Controls 77
NOTICE
These settings do not influence the audio signal embedded in the HD-SDI
•
connectors or recorded in QuickTime clips. They only affect the AUDIO OUT
connector.
ALEXA automatically determines the internal signal run time and matches
•
audio and images so they are always in sync. When changing sensor fps or
project fps, it may take up to 2 seconds for the camera to resync image and
audio signals.
13.1.3.4 SHUTTER
Press the SHUTTER button in the HOME screen to open the SHUTTER ANGLE
screen.
NOTICE
Access to this screen is disabled during record.
The list of default shutter angles includes 11.2°, 22.5°, 45.0°, 90.0°, 172.8°, 180.0°,
270.0° and 358.0°. User-defined shutter angles can be set by pressing the ADD
button. The exposure time for the current frame rate and shutter angle is indicated in
seconds at the bottom of the SHUTTER ANGLE screen.
The shutter angle range is 5.0° to 358.0° up to 60 fps and 5.0° to 356.0° above 60 fps.
Below the list, the actual exposure time at the currently set frame rate is shown.
Fig. 27: Shutter list
13.1.3.5 EI
The Exposure Index (EI) is the applied sensitivity of the camera.
The ALEXA has a base sensitivity of 800 ASA. This means that the dynamic range is
almost evenly distributed above and below neutral gray with low noise in the shadows
and clean, smooth clipping behavior in the highlights.
Due to its high dynamic range, the ALEXA’s sensitivity can be set from 160 to 3200
ASA in steps of 1/3 stops while maintaining high image quality.
NOTICE
Be aware that the combination of long exposure times (a low sensor frame rate and
large shutter angle) and high exposure indexes can lead to image artifacts! Try to
avoid exposure times longer than 1/25th of a second for maximum image quality.
78 Camera Controls
Fig. 28: Exposure Index screen
NOTICE
The Exposure Index list has fixed content, meaning that it cannot be changed
•
by the user.
When changing the EI setting during recording, one or more frames on the
•
recorded material may show artifacts resulting from the change.
An area that is overexposed more than eight stops above clipping can appear
•
darker than its surroundings.
Applying the exposure indexes at the extremes of the range will nonetheless have
an influence on the images. At low exposure indexes, such as 160 ASA, the dynamic
range below neutral gray increases, reducing noise even further. At the same time,
the dynamic range above neutral gray is slightly reduced. Highlight clipping itself is
not influenced by this, but the shoulder of the gamma curve will get slightly steeper,
reducing the smoothness of the change from almost overexposed to overexposed.
At high exposure indexes, such as 1600 ASA, the images behave in the opposite way.
Noise is increased, which makes it important to judge shadow detail, while there will
be even more headroom in the highlights.
Camera Controls 79
13.1.3.6 COLOR
The ALEXA SXT comes with very powerful color processing capabilities that can be
configured on the COLOR screen. As the possible combinations of color processing
parameters may become quite complex, ARRI provides a white paper titled "ARRI
Look Management in ALEXA SXT", available for download on the ARRI ALEXA
webpage.
Press the COLOR button to open the COLOR screen. The COLOR screen displays
an overview of the color management settings applied to the camera’s output paths,
including:
the current processing setting of internal recording
•
a link to the processing settings of EVF and MON OUT 1/2/3
•
the currently set ARRI Look File 2
•
a link to the MON OUT color space configuration
•
If the ARRI Look File 2 file has been modified via an external Camera Access Protocol
(CAP) enabled software, but is not yet saved, the look file name is appended by an
asterisk.
80 Camera Controls
Processing defines the type of processing that is applied to the image path. The
following list describes which image processing settings are available. Note that in
case of ARRIRAW recording, REC processing is always set to ARRIRAW and cannot
be changed.
Log C Log C is a logarithmic gamma based on the Cineon format for
output to film print or digital intermediate. Color-grading is a required post-production step in the Log C workflow. Standard
broadcast monitors cannot properly display Log C images so a
conversion look up table (LUT) is necessary for display, dailies
and editing proxies. Log C images will appear flat and desaturated when displayed on standard broadcast monitors. ALEXA preview LUTs can easily be generated using the ARRI LUT Generator, a web application available on www.arri.com.
Look file The ARRI Look File 2 file that has been selected is applied on
the respective image path.
ALEXA Classic 709
The ALEXA performs an image processing that is similar to the
behavior of an ALEXA XT or ALEXA Classic with SUP 11.
This setting is mainly useful if a standard REC 709 conform image should be output on the respective image path, but a more
creative ARRI Look File 2 file has been loaded, e.g. for recording.
This setting is not available for internal recording.
MON OUT color spaces
The MON OUT color spaces screen allows to configure the color space for MON
OUT 1/2/3. This setting must match the color rendering capabilities of the connected
monitors, otherwise color clipping may occur.
ARRI Look File 2 files
ARRI Look File 2 files are a way for the user to alter the parameters the ALEXA uses
when converting the sensor image data to a video color space. This can be described
as applying a custom "look" to the different image output paths. The ARRI Look File 2
file can be applied directly to the recorded image (destructive workflow), or just to the
monitoring paths and included in the clip as metadata only (non-destructive workflow).
The ALEXA comes with several pre-installed ARRI Look File 2 files, including LCC
709, where LCC stands for Low Contrast Curve and 709 denotes the target color
space. This ARRI Look File 2 file contains a custom tone map curve that creates a
video image with lower contrast compared to the standard REC 709 output. As a
Camera Controls 81
result, the image holds as much dynamic range information as possible, without using
Log C encoding. Highlight and shadow detail that would be lost in the typical REC 709
tone mapping can still be accessed.
ARRI Look Creator, a free application from ARRI, and some third-party applications
can be used to create ARRI Look File 2 files, which can be based on frame grabs
taken with the ALEXA.
To apply an ARRI Look File 2 file:
1. On the HOME screen, press the COLOR button.
2. Select Look file from the menu.
3. Using the jogwheel, select an ARRI Look File 2 file from the list on the LOOK
FILES screen. The default preloaded ARRI Look File 2 is ARRI 709.
4. Press the jogwheel to set the ARRI Look File 2.
5. On the COLOR screen, set the processing to Look file.
NOTICE
If REC gamma is set to Look file, the recorded image on the internal media will be
permanently altered by that ARRI Look File 2 file.
Additional ARRI Look File 2 files can be added to the ALEXA from the SD card. The
ARRI Look File 2 files must be copied into the lookfiles folder on the SD card. The
required folder structure on the SD card can be created via MENU>System>SD
card>Prepare SD card.
To add an ARRI Look File 2 files to the camera:
1. On the HOME screen, press the COLOR button.
2. Select Look file from the menu.
3. Press the ADD button.
4. Using the jogwheel, select an ARRI Look File 2 file from the list on the LOOK
FILES (SD CARD) screen.
5. Press the jogwheel to add the ARRI Look File 2 file. The ARRI Look File 2 file will
be added to the list on the LOOK FILES screen.
To delete an ARRI Look File 2 file from the camera:
1. On the LOOK FILES screen, select an ARRI Look File 2 from the list.
2. Press the DELETE button.
3. Press both new DELETE buttons simultaneously. The ARRI Look File 2 file will be
deleted from the camera but will remain on the SD card.
Playback and ARRI Look File 2 files
During playback, the camera makes a distinction between clips recorded in
ARRIRAW, Log C, or Look processing.
When a clip recorded in ARRIRAW or Log C is played back and an output is
configured for Look processing, the look will be applied to this output. Please note
that this is the currently enabled ARRI Look File 2, as the camera does not take into
account which ARRI Look File 2 was active when the clip was recorded. It is the
responsibility of the user to make sure the correct ARRI Look File 2 is applied during
playback.
When a clip recorded with Look processing is played back, no ARRI Look File 2 will be
applied by the camera during playback. For the duration of that clip, ARRI Look File 2
files will be disabled.
82 Camera Controls
13.1.3.7 WB
White Balance (WB) is the color balance of the camera that should be set to the value
appropriate for the light in use. There are three methods for setting the white balance:
white balance presets
•
user-defined white balance
•
automatic white balance
•
On the HOME screen, press the WB button to open the WHITE BALANCE screen.
The ALEXA has the following white balance presets:
Tungsten 3200K 0CC
Fluorescent 4300K 0CC
Daylight 5600K 0CC
Daylight Cool 7000K 0CC
White balance is a red-blue adjustment of the image. To adjust the green-magenta
balance, use the color compensating (CC) adjustment.
For example, a fluorescent source will have peaks in its spectrum that cannot be
corrected with the traditional white balance. The CC shift can correct these peaks up
to a full green or full magenta gel. One step of CC SHIFT is equal to 035 Kodak CC
values or 1/8 Rosco values.
NOTICE
When changing the WB setting during recording, one or more frames on the
recorded material may show artifacts resulting from the change.
Fig. 29: WHITE BALANCE screen
ARRI recommends adjusting white balance and color compensation using appropriate
measuring equipment such as a vectorscope with calibrated grey card or a color
meter.
If the desired white balance setting does not appear in the WHITE BALANCE list, a
user-defined white balance can be added.
To add a white balance:
1. On the HOME screen, press the WB button.
2. Press the ADD button.
3. Rotate the jogwheel to adjust the white balance value in steps of 100K or press
the + 1000K and – 1000K buttons.
4. Press the jogwheel or <> button to select the CC adjustment.
Camera Controls 83
5. Rotate the jogwheel to adjust the CC value.
6. Press the jogwheel to add the new white balance to the WHITE BALANCE list.
To perform an automatic white balance:
1. On the HOME screen, press the WB button.
2. Press the AUTO WB button.
3. Place a well-lit grey card in the center of the image and press the AUTO WB
button. The ALEXA will calculate the white balance and color compensation values
and set these values for the "Auto WB" entry in the list.
Note: The automatic white balance will be overwritten each time a new one is
calculated.
Note: If the grey card is significantly over- or underexposed, the ALEXA may not be
able to calculate a white balance value and will display an error message.
To rename a white balance:
1. On the HOME screen, press the WB button.
2. Using the jogwheel, select the name of the white balance you wish to rename.
3. Press the RENAME button.
4. Use the jogwheel to enter a new name.
5. Press the DONE button to save the new name.
Fig. 30: WB SET NAME screen
NOTICE
Default white balance values cannot be renamed.
13.1.4 Function Buttons
The main controls feature the following function buttons:
84 Camera Controls
ON/OFF Press once to switch the camera on. Press and hold for 5 sec-
onds to switch off the camera. A countdown will be displayed on
the HOME screen. If the button is released before the countdown
has elapsed, the camera does not switch off.
REC Press to start and stop internal recording. See section Prerecord-
ing for behavior in prerecording mode.
LOCK Press and hold for 3 seconds to lock or unlock the main cam-
era controls and function buttons. The recessed function buttons
USER, REC and ON/OFF cannot be locked and remain available. A lock symbol on the HOME screen indicates that the lock
is engaged.
GRAB Press to take a still frame and write it to the SD card. The write
process is indicated by a flashing camera icon, followed by a
flashing SD card icon on the HOME screen. When writing is finished, a new still frame can be taken.
TC Press to open the TIMECODE screen.
WRS Press to open the Wireless Remote System screen. Available on
ALEXA SXT Plus and ALEXA SXT Studio.
PLAY Press to open the playback screen and activate playback on
MON OUT and EVF. When the playback screen is opened, the
last clip on the internal media that is on active standby will be
loaded automatically.
INFO Press to open the LIVE INFO screen. The LIVE INFO screen dis-
plays the camera’s current system state and any current error
messages. On the LIVE INFO screen, there are buttons to access the following additional information screens:
VERSION
•
MEDIA
•
SYSTEM
•
SAVE TO SD (press to save a log file)
•
FPS INFO
•
USER Press to open the USER BUTTONS screen. There are six user
buttons that can be assigned by the user. Buttons 1, 2 and 3 are
shared with User Buttons 1, 2, and 3 in the operator controls.
Press the jogwheel to see a complete list of user button options.
MENU Press to open the MENU screen, where most camera settings
can be adjusted.
BACK Press to go back to the previous menu or screen when navigat-
ing. Press to cancel settings adjustments and revert to the previous setting.
HOME Press to return to the HOME screen from any menu or screen.
Camera Controls 85
13.1.4.1 TC
Press the TC button to open the TIMECODE screen. The TIMECODE screen displays
the current timecode and timecode format settings.
Fig. 31: Timecode screen
NOTICE
Individual frame values are not shown but are still counted.
Press the SET TC button to set the TC counter (only when the timecode source is set
to Int TC). On the SET TIMECODE screen, press the SET 2 TIME button to match
the counter to the camera’s system clock. Press the RESET button to reset counter to
zero.
The PROJECT button is a quick link into the PROJECT menu screen, where project
fps can be adjusted. Project fps sets the time base of the time code.
TIMECODE OPTIONS
Press the OPTIONS button to open the TIME CODE OPTIONS screen.
Select Source to choose the timecode source. Available sources are:
Int TC Internal TC counter
Ext LTC TC is read from the LTC input. Only possible with Mode set to
Free Run, and the project frame rate must match the sensor
frame rate.
Select Mode to define how the timecode is counted. Available modes are:
Rec Run TC will only run while recording. The TC value increases with
every frame generated by the sensor while recording in the
project time base.
Free Run TC runs free. If the source is set to Int TC, and the sensor frame
rate does not match the time base of the TC, the value counts up
with every new frame generated by the sensor in the project time
base.
Select Generator to set the camera’s timecode generator. Available generators are:
86 Camera Controls
Regen Rec Run TC is regenerated from the last valid TC value. When
set to Ext LTC, the camera continuously reads the TC signal
at the LTC connector as long as it is present. Upon disconnection or loss of signal, the camera continues counting on its own.
When the external signal is reconnected, the camera uses the
values of the external signal again.
When set to Int TC, the value increases with each new frame
generated by the sensor.
Jam sync Only Ext LTC can be jam sync'd. To perform a jam sync, connect
the external TC source to the camera. The camera then reads
the external TC count and continues counting on its own; the external TC source can be removed again. The precise crystal oscillator in the ALEXA will count accurately for up to eight hours.
After eight hours, perform another jam sync to prevent timecode
offset.
The camera can be sync'd to TC signals whose time base differs from the camera's project time base, as long as both are integer (24, 25 and 30 fps) or non-integer (23.976 and 29.97 fps)
signals. It is not possible to mix integer and non-integer signals.
NOTICE
It is recommended to jam-sync after every shooting break to avoid the risk of
•
losing timecode sync during a shot.
The camera will keep its TC and TC tuning values for about 10 minutes after
•
disconnection from the power source. If a power source is connected, the
camera will remember its TC for as long as the power source is connected,
even if it is switched off.
Select User bit source to set the source of the user bits. Available user bit sources are:
Internal User bits are set manually in the User Bit screen.
UB in Ext TC When the timecode source is set to Ext LTC, the user bits are
sampled from the external signal.
NOTICE
The camera will force timecode to Int TC and Regen if the sensor frame rate
•
does not match the project frame rate.
Non-integer TC time base settings 23.976 and 29.97 are always counted as
•
non-dropframe time code.
USER BITS
Press the USER BITS screen button to access the USER BITS screen. For each user
bit, values from 0 to 9 and A to F can be set.
Press the SET UB button to start editing the user bits values.
Camera Controls 87
Fig. 32: USER BITS screen
NOTICE
On HD-SDI out, the last two digits of the user bits contain the Variflag,
•
therefore the last two user bits cannot be set by the user.
User bits are not stored in user setup files. When loading a user setup file,
•
they are reset to 00:00:00:00.
Check user bits after changing the sensor mode.
•
13.1.4.2 INFO
STATUS Info
The STATUS INFO screen displays information about the current state of the camera
system. System state: Good means that all components in the ALEXA are functioning
normally. Other messages can contain error messages prefixed with E:, or warnings
prefixed with W:. For more information about error messages and warnings, see
"Warning and Error Messages" in the Appendix.
Press the SAVE TO SD button to save a system log to the SD card. This may take up
to one minute.
It is only necessary to save a system log if the camera experiences multiple error
messages or other abnormal behavior. The system log is not a human-readable file
and should be sent to an ARRI Camera Service center for analysis.
NOTICE
VERSION Info
Cam serial
no.
The serial number of the camera.
88 Camera Controls
Cam ID Translation of the camera serial number to Base36, with an addi-
tional prefix for 3D applications. This encoding of the serial number has been chosen so it can be part of each filename while using the fewest number of characters.
Firmware Version number of the currently installed camera Software Up-
date Packet (SUP).
EVF serial
no.
EVF
The serial number of the Electronic Viewfinder EVF-1 attached to
the camera.
Version number of the Electronic Viewfinder EVF-1 firmware.
firmware
Fig. 33: VERSION info screen
MEDIA Info
Int. Rec. Mode Current mode for internal recording.
Adapter type Type of the inserted storage adapter
Status Current status of internal media.
Free capacity Free storage space displayed as a percentage.
Max. fps current Maximum frame rate with current codec.
Size Total available storage space on media
Firmware version Firmware version of the media
Camera Controls 89
SYSTEM Info
Time/Date Current date and time. To set the date and time, press the MENU
button, select SYSTEM and select DATE/TIME.
Fan speed Speed of the camera’s cooling fan in rotations per minute.
Sensor
mode
Sensor temperature
IP address IP address of the camera's Ethernet port.
Operating
time
Fig. 34: SYSTEM info screen
Shows the active sensor mode: 16:9, 4:3, 6:5, or Open Gate.
Current temperature of image sensor. Target is 35°C in standard
mode, 40°C in high humidity mode.
Shows the total operating time of the camera in hours (since first
installation of SUP 4.0 or higher)
FPS Info
The FPS Info screen displays an overview of the current frame rates set in the camera
and the maximum frame rate possible on the media loaded in the camera at the
current settings.
Sensor fps Frames per second generated by the sensor
Project fps Time base the camera will use for counting timecode and the
frame rate used for on-camera playback of internally recorded
clips
MON OUT 1
frame rate
MON OUT
2/3 frame
rate
Media max.
fps current
Frame rate output over the MON OUT 1 HD-SDI
Frame rate output over the MON OUT 2/3 HD-SDI
Maximum frame rate the loaded media can record at the current
codec.
90 Camera Controls
Fig. 35: FPS INFO screen
13.1.4.3 USER
Press the USER button to open the USER BUTTONS screen. There are six
assignable user buttons. Buttons 1, 2 and 3 are shared with User Buttons 1, 2, and
3 in the operator controls. Press the jogwheel to see a complete list of user button
options.
Fig. 36: USER BUTTONS screen
Assign functions to the buttons by using the jogwheel.
Fig. 37: Edit User Button assignment
The following table lists all available functions and if they can be assigned to user
buttons 1-3 (identical for on-screen and buttons on camera-left side), 4-6, or both:
Name Description 1-3 4-6
None button has no function X X
MON OUT 1 surround
toggles surround view of the MON
OUT 1 on or off
X X
Camera Controls 91
Name Description 1-3 4-6
MON OUT 1 processing
toggles processing of MON OUT 1 between Log C, Look, and ALEXA Classic 709
MON OUT 1 frame
lines
MON OUT 1 status
info
MON OUT 1 false
color
toggles frame lines on the MON OUT 1
on or off
toggles status info on the MON OUT 1
on or off
toggles false color display on MON
OUT 1 on or off
MON OUT 1 peaking toggles peaking on MON OUT 1 on or
off
MON 1 desqueeze toggles anamorphic desqueeze op-
tions on MON OUT 1
MON OUT 2 surround
MON OUT 2 processing
toggles surround view of the MON
OUT 2 on or off
toggles processing of MON OUT 2 between Log C, Look, and ALEXA Classic 709
X X
X X
X X
X X
X X
X X
X X
X X
MON OUT 2 frame
lines
MON OUT 2 status
info
MON OUT 2 false
color
toggles frame lines on the MON OUT 2
on or off
toggles status info on the MON OUT 2
on or off
toggles false color display on MON
OUT 2 on or off
MON OUT 2 peaking toggles peaking on MON OUT 2 on or
off
MON 2 desqueeze toggles anamorphic desqueeze op-
tions on MON OUT 2
MON OUT 3 surround
MON OUT 3 processing
toggles surround view of the MON
OUT 3 on or off
toggles processing of MON OUT 3 between Log C, Look, and ALEXA Classic 709
MON OUT 3 frame
lines
toggles frame lines on the MON OUT 3
on or off
X X
X X
X X
X X
X X
X X
X X
X X
MON OUT 3 status
info
toggles status info on the MON OUT 3
on or off
X X
92 Camera Controls
Name Description 1-3 4-6
MON OUT 3 false
color
toggles false color display on MON
OUT 3 on or off
MON OUT 3 peaking toggles peaking on MON OUT 3 on or
off
MON 3 desqueeze toggles anamorphic desqueeze op-
tions on MON OUT 3
EVF surround
1
toggles surround view on the EVF image on or off
EVF processing
1
toggles processing of the EVF between Log C, Look, and ALEXA Classic 709
EVF frame lines
1
toggles frame lines on the EVF image
on or off
EVF status info
1
toggles status info on the EVF image
on or off
EVF zoom
1
toggles the zoom function on the EVF X
X X
X X
X X
X
X
X
X
EVF false color
1
toggles false color display on the EVF
on or off
EVF peaking
EVF desqueeze
1
1
toggles peaking on the EVF on or off X
toggles anamorphic desqueeze options on EVF
Frame lines color toggles the color of frame lines be-
tween White, Red, Green, Blue, Yellow
and Black
Return in active toggles the RET IN signal on or off on
the EVF and MON OUT as set
Scaling of RET IN signal may differ
slightly depending on sensor mode
and sensor frame rate
Phase sensor temporarily shifts the sensor frame rate
for 0.2 fps as long as the user button
is pressed in order to adjust the phase
of the ALEXA frame rate to an external device, i.e. a CRT monitor or a rear
screen projector.
Only available in standby and with
timecode in rec run
X
X
X X
X X
X X
Color bars activates color bars on MON OUT
1/2/3
X X
Camera Controls 93
Name Description 1-3 4-6
Grab still frame takes a still frame and saves it to the
X
SD card
Check last clip start plays the first 5 seconds of the last
X
clip, then returns to a live image
Check last clip end plays the last 5 seconds of the last clip,
X
then returns to a live image
Circle clip marks the clip as a good take
X
Only available during recording
Auto WB Press once to open the AUTO WB
X
sceen. Press again to perform an automatic white balance.
Grab GUI takes a still image of the current main
X
camera control screen on the LCD and
saves it to the SD card as a .png file in
the ScreenCaptures folder
Format media quick link to the Format media screen X
False color index displays the FALSE COLOR INDEX
Mirror shutter toggles the mirror shutter between
1
only available with EVF attached
13.1.4.4 PLAY
X
screen
X
View position, Gate position, and running
Only on ALEXA SXT Studio
Fig. 38: PLAY screen
Clips that have been recorded internally can be played back by the camera on the
EVF and all MON OUTs.
To play clips that have been recorded internally:
94 Camera Controls
1. Press the PLAY button.
2. On the PLAY screen, the last recorded clip loads. Press the jogwheel to play the
clip.
3. Press the jogwheel to pause the clip.
4. Rotate the jogwheel to advance the clip frame by frame, or in one second steps.
Press the STEPSIZE button to toggle between seconds and frames.
5. Press the +10% and –10% buttons to advance or rewind the clip by ten percent of
its duration.
6. Press the HOME button or BACK button to exit and output a live image over the
output paths.
NOTICE
Do not eject media during playback.
•
Using frame grab during playback with no SD card or write-protected SD card
•
inserted will exit playback.
Recorded clips do not contain the surround view portion of the EVF-1 or MON
•
OUT 1/2/3 image. When playing back clips, the surround view portion will not
be visible.
Playback of ARRIRAW footage may show a thin black border around the
•
image that is not part of the recorded material.
PLAY screen buttons
STEPSIZE Toggle the scrub step size between one frame and one second.
+10% Advance the current clip by ten percent of the clip duration.
Does not work when close to the end of a clip.
-10% Rewind the current clip by ten percent of the clip duration.
Does not work when close to the beginning of a clip.
The jogwheel can be used to scrub through the paused clip. The scrub stepsize is
shown in the lower middle section of the screen.
Additional PLAY screen information:
clip name
•
playback progress bar with current playback position in time and total clip
•
duration
playback timecode
•
information whether the clip was marked as circle clip during recording
•
OPTIONS
The OPTIONS screen button opens a list of general playback options.
Clip end action Determines what happens when the end of a clip is
reached. Options are Pause and Loop.
Show frame lines Sets frame lines to On or Off during playback. Center
mark is always switched off during playback.
Camera Controls 95
Status info on MON
OUT 1/2/3
Peaking on MON
OUT 1/2/3
Peaking on EVF Determines whether peaking is applied to played back
Sets status info overlays on MON OUT during playback
to On or Off.
Determines whether peaking is applied to played back
clips on MON OUT. Unless needed to check focus, we
recommend to leave this option off as it can confuse
others into thinking the peaking indication is a recorded
image artifact.
clips on EVF. Unless needed to check focus, we recommend to leave this option off as it can confuse others into thinking the peaking indication is a recorded image
artifact.
CLIPLIST
Press the CLIPLIST button to open the CLIPLIST screen and access all the clips
recorded internally.
To play a clip from the cliplist:
1. Press the CLIPLIST button.
2. Use the jogwheel to select a clip.
3. Press the jogwheel to load the selected clip.
4. Press the jogwheel to play the selected clip.
Additional CLIPLIST screen information:
number of selected and total number of clips on the media
•
codec of selected clip
•
duration of selected clip
•
circled or not
•
Fig. 39: CLIPLIST screen
NOTICE
Not all clip formats can be played back in all camera modes. If a clip cannot be
played back in the current camera mode, it appears grayed out. Switch the camera
to the mode that was used for shooting to play back those clips.
When a clip with audio tracks is selected for playback, the audio tracks will be played
back as well. In-camera playback may render a short audio distortion at the beginning
or end of the clip, which is not part of the recorded audio tracks.
96 Camera Controls
Playback and ARRI Look File 2 files
During playback, the camera makes a distinction between clips recorded in
ARRIRAW, Log C, or Look processing.
When a clip recorded in ARRIRAW or Log C is played back and an output is
configured for Look processing, the look will be applied to this output. Please note
that this is the currently enabled ARRI Look File 2, as the camera does not take into
account which ARRI Look File 2 was active when the clip was recorded. It is the
responsibility of the user to make sure the correct ARRI Look File 2 is applied during
playback.
When a clip recorded with Look processing is played back, no ARRI Look File 2 will be
applied by the camera during playback. For the duration of that clip, ARRI Look File 2
files will be disabled.
13.1.5 Menu
The menu contains parameters for basic camera setup. It has a tree structure and the
current path in the menu is displayed across the top of every screen.
Press the MENU button to open the MENU screen. There are six submenus in the
main menu for setting up the ALEXA:
Recording
•
Monitoring
•
Project
•
System
•
Frame grabs
•
User setups
•
Links to submenus can be identified by an arrow bracket character on the right side.
To access a submenu, select the submenu link and press the jogwheel to open the
submenu. Press the BACK button to step back one menu.
Menus also contain parameters with a user choice of values. The parameter name is
displayed on the left side of the menu, and the current value is displayed on the right
side of the menu. To choose a different parameter value, select it with the jogwheel
and press the jogwheel to choose a different value. Press the BACK button to cancel
a choice. When a parameter is displayed in gray, it cannot be chosen with current
camera settings.
Press the HOME button from any menu or submenu to return to the HOME screen.
Fig. 40: MENU screen
13.1.5.1 Recording
Select the RECORDING submenu to adjust parameters for internal recording.
Camera Controls 97
NOTICE
Whenever SxS PRO is mentioned, this applies to SxS PRO+ likewise, unless SxS
PRO+ is mentioned explicitely.
Format Select for recording options:
ProRes
•
ARRIRAW
•
Switching between recording modes takes approximately 20 seconds.
Setting Select to set the codec:
ProRes 422, ProRes 422 HQ, ProRes 4444, ProRes
4444 XQ
Resolution Select to set the resolution.
See the tables below for available resolutions.
Prerecord Select to set prerecording options.
Note: Only available in ProRes mode.
Quick format Capture
Drive/SxS CARD
For Capture Drives
only available in ARRIRAW recording
Select to format a SXR/XR Capture Drive or SxS PRO
card. To complete the action, press both FORMAT buttons on the confirmation prompt. A quick format erases
only the file allocation table.
TM
Erase Capture Drive/SxS CARD/CFast
2.0 CARD
For Capture Drives only available in
ProRes recording
Select to erase a SXR/XR Capture Drive, CFast 2.0
card, or SxS PRO card. To complete the action, press
both ERASE buttons on the confirmation prompt. This
action takes longer than the quick format, but ensures
that all data on the card is erased. Erasing an SxS PRO
card can increase its write speed.
98 Camera Controls
NOTICE
Power loss during formatting of media, especially CFast 2.0 cards, may lead
•
to irreversible damage to the media! Please ensure steady power supply
before starting formatting.
Before formatting or erasing an SxS PRO card, make sure the write-protect
•
tab on the back edge of the SxS PRO card is disengaged. Do not engage or
disengage the write-protect tab while the card is loaded in the SxS slot.
Formatting or erasing media removes all data irreversibly. Follow data
•
management best practices to prevent loss of data.
In a production with ALEXA XT and SXT cameras, to ensure that all data is
•
removed securely, always format or erase XR Capture Drives with an ALEXA
SXT.
If media without a valid file system is loaded in the camera, you will be prompted to
format the media. ARRI recommends immediate formatting of media that trigger this
warning.
Apple ProResTM codecs and resolutions
Apple ProResTM codecs supported by the ALEXA:
ProRes 422
•
ProRes 422 HQ
•
ProRes 4444
•
ProRes 4444 XQ
•
1 Without alpha channel (444 only)
ProRes 422 and ProRes 422 HQ have a bit depth of 10, ProRes 4444 and ProRes
4444 XQ have a bit depth of 12.
The following recording resolutions are supported with Apple ProResTM recording:
Sensor Mode Resolution
16:9
1
1
HD (1920 x 1080)
2K (2048 x 1152)
3.2K (3200 x 1800)
4K UHD (3840 x 2160)
2K Anamorphic (2048 x 858)6:5
4K Cine Anamorphic (4096 x 1716)
4:3 2.8K (2880 x 2160)
3.4K (3424 x 2202)Open Gate
4K Cine (4096 x 2636)
ARRIRAW
ARRIRAW recording is possible with SXR Capture Drives and XR Capture Drives.
Note that Codex Transfer Drives cannot be used for recording.
Camera Controls 99
The following recording resolutions are supported with ARRIRAW recording:
Sensor Mode Resolution
2.8K (2880 x 1620)16:9
3.2K (3168 x 1782)
6:5 2.6K (2578 x 2160)
4:3 2.8K (2880 x 2160)
Open Gate 3.4K (3424 x 2202)
Prerecording
Prerecording is available when the camera is configured for ProResTM recording.
Select PRERECORDING to adjust prerecording parameters.
Prerecord Select to toggle prerecording mode On or Off
Buffer size Select to set the buffer size. Following buffer sizes are avail-
able:
220 MB
•
660 MB
•
1100 MB
•
Calculated duration
When prerecording is enabled, press the record button once to start prerecording.
Active prerecording is indicated by a yellow PRE in the status overlays on EVF and
MON OUT (if enabled) and on the HOME screen. As long as prerecording is running,
the ALEXA writes images, audio and metadata into a ring buffer of the duration shown
under Calculated duration. During this time, the clip duration increments. When the
buffer has filled up, the clip duration stops incrementing and the oldest data in the
buffer gets overwritten. This process continues as long as prerecording is running.
Note that the remaining time will continue to decrease for some seconds after the clip
duration has stopped incrementing (i.e. the buffer has filled up). This additional space
on the media is reused once recording is started.
Press the record button a second time to start regular recording. All data that has
been gathered during prerecording is prepended to the clip.
Press the record button again to bring the ALEXA back into standby.
Shows the prerecording duration that is derived from buffer
size, codec and current fps.
100 Camera Controls
NOTICE
The calculated duration depends on buffer size, codec and currently set
•
framerate. Changing either of them will change the prerecording duration.
If the beeper mode has been set to Start or Start+Stop, the ALEXA beeps
•
only on prerecording start, but not when going from prerecording to recording,
otherwise the beep would be recorded when audio is enabled.
13.1.5.2 Monitoring
Select the Monitoring submenu to adjust parameters for monitoring on the EVF-1
and the MON OUT 1/2/3 output. These outputs are meant for monitoring and not
recording.
Frame lines set in the Frame lines submenu apply to both MON OUT 1/2/3 and EVF-1.
Select the Electronic viewfinder and MON OUT 1/2/3 submenus to switch the set
frame lines on or off individually.
Electronic
viewfinder
MON OUT 1/2/3 Select to adjust MON OUT 1/2/3 settings.
Frame lines Select to set up frame lines.
RET IN path Select to set which of the monitoring output paths carries the
Electronic horizon sensitivity
False color index Select to open the FALSE COLOR INDEX screen which has
Note: When activating RET IN with status info on, status info will stay active and
partially overlay the RET IN image. Left, right, top and bottom edges of the RET IN
image are cropped on MON OUT 1/2/3. On EVF, only left and right edges are cropped.
Set status info off to view the full RET IN image.
Select to adjust EVF-1 settings.
signal at the RET IN connector as Return in active is toggled
via a USER button.
Select to adjust the sensitivity of the electronic horizon.
Note: Available on ALEXA SXT Plus and ALEXA SXT Studio
only
a reference chart explaining the false color coding.
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