THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT

2

THE INDUSTRY’S

“I THINK ALEXA IS THE BEST SYSTEM OUT THERE, WITH DIFFERENT CAMERA MODELS AND RECORDING OPTIONS TO CHOOSE FROM, ALL OFFERING – TO MY EYE – THE HIGHEST IMAGE QUALITY.”

Cinematographer Roger Deakins CBE, ASC, BSC

GOLD STANDARD

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A camera system that changed everything

Since the moment it was launched, ALEXA has had a profound impact on the industry, redefining

the limits of digital motion picture capture with efficient workflows and incredible image quality.

All over the world it has been accepted as the gold standard for productions ranging from episodic

TV shows, documentaries and commercials to feature films and drama series. With its future-proof

system architecture, ALEXA continues to adapt to evolving needs such as high resolution and high

dynamic range distribution channels.

Every film Roger Deakins has shot digitally, he has captured with ALEXA.

In Time (2011)Director: Andrew Niccol

Skyfall (2012) Director: Sam Mendes

Prisoners (2013) Director: Denis Villeneuve

Unbroken (2014) Director: Angelina Jolie

Sicario (2015) Director: Denis Villeneuve

Untitled Blade Runner project (2016) Director: Denis Villeneuve

Photo courtesy of: David James

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“WE WERE THE FIRST TO USE THE ALEXA ON A FEATURE AND IT WAS CLEAR THAT THIS CAMERA REPRESENTED A REVOLUTION FOR FILMMAKING. ITS SENSITIVITY AND DYNAMIC RANGE DELIVER RESULTS THAT USED TO BE UNTHINKABLE.”Anna Foerster ASC Cinematographer ALEXA credits include: Anonymous and White House Down

“THE AVENGERS WAS MY FIRST FEATURE FILM WITH THE ALEXA. I WAS REALLY HAPPY WITH OUR IMAGES. WHAT WAS PARTICULARLY IMPRESSIVE WAS HOW WELL IT HELD UP IN IMAX THEATERS.... THIS WAS A REVELATION TO ME.”Seamus McGarvey ASC, BSCCinematographer ALEXA credits include: Marvel's The Avengers, Fifty Shades of Grey and Pan

“ALEXA HAS BEEN MY CHOICE FOR EVERY PROJECT SINCE I STARTED SHOOTING DIGITAL. IT SEES LIFE LIKE I DO AND I DON'T HAVE TO CORRECT ANY NOISE OR GRAIN.”Yves Bélanger CSCCinematographer ALEXA credits include: Brooklyn, Dallas Buyers Club and Wild

“ALEXA AND THE ARRIRAW FORMAT OFFER A MORE GENEROUS DIMENSION IN TERMS OF COLOUR SPACE THAN OTHER DIGITAL CAMERAS. I ALSO APPRECIATE HOW THE DYNAMIC RANGE CAN HOLD BRIGHT HIGHLIGHTS SO WELL.”Frankie DeMarco Cinematographer ALEXA credits include: All is Lost

“I LOVE WORKING WITH ALEXA — YOU GET GORGEOUS, REFINED IMAGES WITH THE IMMEDIACY OF SHOOTING DIGITAL. I'M A STAUNCH FILM LOVER AND IT'S THE ONE DIGITAL CAMERA THAT REPLICATES FILM'S COLOR SPACE, TEXTURE AND DYNAMIC RANGE BETTER THAN ANY OTHER.”Reed Morano ASCCinematographer ALEXA credits include: The Skeleton Twins, War Story and Meadowland

“I’VE BEEN A CAMERAMAN FOR MORE THAN 30 YEARS AND THIS IS THE FIRST QUANTUM LEAP IN FILMMAKING TECHNOLOGY I’VE SEEN SINCE I STARTED OUT - EVERY OTHER CHANGE HAS BEEN INCREMENTAL.”Robert McLachlan CSC, ASCCinematographer ALEXA credits include: Game of Thrones and Ray Donovan

“THE ALEXA CAMERA SYSTEM ALLOWED US TO SHOOT WITH VERY LOW LIGHT LEVELS AND MAKE THE MOVIE EVEN MORE IMMERSIVE.”Emmanuel Lubezki ASC, AMCCinematographer ALEXA credits include: The Revenant, Gravity, Birdman and Weightless

“THE INDIAN FILM INDUSTRY HAS BEEN IN LOVE WITH 35 MM FOR A LONG TIME; NOW WE ARE IN LOVE WITH ALEXA. THIS CAMERA PERFECTLY CAPTURES THE COLOR AND VITALITY OF INDIAN CINEMA, WITH IMAGES AS RICH AND ORGANIC AS FILM.”Ravi K. Chandran ISC Cinematographer/directorALEXA credits include: Yaan and Baar Baar Dekho

Photo: Dikayl Rimmasch

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“THE ARRIRAW IMAGES FROM THE ALEXA WERE CLEAN, RICH IN DETAIL AND HIGHLY PLIABLE IN THE VFX ENVIRONMENT; ESSENTIAL FOR WHAT WE NEEDED ON GRAVITY.”Tim Webber Visual effects supervisor ALEXA credits include: Gravity

“NO MATTER WHAT HAPPENS WITH DIGITAL CINEMA, ALEXA IS THE CAMERA I CAN RELY ON…I LIKE ARRIRAW AS IT GIVES ME THE GREATEST RANGE AND THE MOST POSSIBILITY TO ACHIEVE THE LOOK I WANT.”Phedon Papamichael ASC Cinematographer ALEXA credits include: Nebraska, Monuments Men and The Huntsman: Winter's War

“ALEXA IS BUILT LIKE A GERMAN TANK, VERY SUPERB AND RELIABLE. WE NEVER HAD A PROBLEM WHEN SHOOTING IN DUST, WIND, ICE AND FIRE. YOU CANNOT REALLY BREAK THE CAMERA.”Kramer Morgenthau ASCCinematographer ALEXA credits include: Thor: The Dark World, Chef and Terminator Genisys

“IN TESTS ARRIRAW WON OUT OVER 35 MM FILM. I FELT SO SAFE WITH IT THAT I BECAME A MORE INTUITIVE DP, FREE TO FOCUS ON ARTISTIC RATHER THAN TECHNICAL CONCERNS.”Benoît Delhomme AFCCinematographer ALEXA credits include: A Most Wanted Man, The Theory of Everything and Free State of Jones

“THE DYNAMIC RANGE AND GORGEOUS PALETTE OF THE ALEXA FAMILY MADE SHOOTING IN NATIVE 3D ON X-MEN: DAYS OF FUTURE PAST A JOY. I CANNOT IMAGINE HAVING SHOT THE FILM WITH ANY OTHER CAMERA.”Newton Thomas Sigel ASCCinematographer ALEXA credits include: X-Men: Days of Future Past and Drive

“THE ALEXA SYSTEM IS WITHOUT DOUBT THE FIRST DIGITAL IMAGE CAPTURE SYSTEM TO SATISFY THE MORE FEARFUL OR SKEPTICAL SECTORS OF THE FILMMAKING COMMUNITY!”Anthony Dod Mantle ASC, BSC, DFFCinematographer ALEXA credits include: Rush, In the Heart of the Sea,Trance and Snowden

“I'D RATHER HAVE BETTER PIXELS THAN MORE PIXELS.”Jake MorrisonVisual effects supervisor ALEXA credits include: Marvel's The Avengers, Ant-Man and Thor: The Dark World

“I THINK ARRI CAMERAS ARE THE BEST IN THE WORLD AT THE MOMENT TO CAPTURE SKIN TONES.”Friede Clausz BVKCinematographer ALEXA credits include: Los Ángeles and 24 weeks

Photo: Rainer Hosch

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AND THE WINNER IS:

20163 OSCARS®

20154 OSCARS®

20147 OSCARS®

BEST CINEMATOGRAPHY OSCAR®AWARDED 5 YEARS IN A ROW TO ALEXA PRODUCTIONS

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Filmmakers and motion pictures working with ALEXA have been among

the winners and nominees of the top Academy Awards, and numerous

other international awards, ever since the camera was released.

In 2012, the first year in which ALEXA-shot movies could be considered,

four films captured with ALEXA were Oscar® nominated. One of them was

Hugo (Dir. Martin Scorsese; DP Robert Richardson ASC), which was awarded

five statuettes, including those for cinematography and visual effects –

the two most relevant to image quality. In 2013 this feat was repeated when

Life of Pi (Dir. Ang Lee; DP Claudio Miranda ASC) took the cinematography

and visual effects awards, and once again a year later when Gravity

(Dir. Alfonso Cuaron; DP Emmanuel Lubezki ASC, AMC) did the same.

Lubezki claimed the cinematography Oscar® again for Birdman in 2015

and The Revenant in 2016, making it five years in a row that productions

captured with ALEXA had won the award.

20134 OSCARS®

20125 OSCARS®

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SXT, or Super Xtended Technology, is the new high-performance

platform for the ALEXA family of cameras, with

the ALEXA SXT EV (Entry Version), ALEXA SXT Plus and

ALEXA SXT Studio replacing ALEXA XT models.

Ever since its launch, the ALEXA system’s fundamental

advantage has been its unique combination of the highest

overall image quality with the most efficient workflows

on set and in post. Based on extensive market feedback, the

ALEXA SXT cameras further improve upon those qualities.

JUST GOT BETTERTHE BEST

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• 14 carefully fine-tuned recording options

• 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 Recording Formats

• Look management - preproduction to post · maintain and share DP's look on set,

in dailies and in editing· wide range of unique looks possible· new ARRI Look File contains CDL and 3D LUT

• Look file always stored in metadata for · live grading on set · automated dailies creation · editing with looks

New ARRI Look Management

• High Dynamic Range (HDR) monitoring · for on-set HDR quality control

• Four independent monitoring outputs · 1x viewfinder and 3x MON OUT

• Rec 709 or Rec 2020 outputs · for future-proof monitoring

Super Flexible On-Set Monitoring

• Optional mild ARRI Noise Reduction (ANR)

• Advanced defect pixel correction

• More range for baked-in looks with 3D LUTs

Improved Image Quality

NEW FEATURES

• Supports wide range of media · XR and SXR Capture Drives · SxS PRO and SxS PRO+ cards · CFast 2.0 cards

• ProRes RAID · Redundant recording to XR

and SXR Capture Drives

New Media Bay

• High reliability

• High speed

• High capacity

New SXR Capture Drives

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4K-HDR-WCG-HFRFUTURE-PROOF IMAGES FOR

© Bill Bennett ASC/ Dolby

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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 WCG (Wide Color Gamut) 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.

DP: Adi Geisegger

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GREAT CHOICE OF RECORDING FORMATS

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ALEXA SXT offers a total of 14 in-camera recording formats, six of which are completely new. All sensor modes can now be recorded in ARRIRAW or ProRes. Whatever the

budget, intended market, resolution requirements, aspect ratio, lens choices or postproduction plans, there is an ideal ALEXA SXT recording format to ensure easy operation

on set and a seamless image pipeline.

Sensor Mode Recording File Type

Recording Resolution

16:9

ProRes

HD

2K

3.2K

4K UHD

ARRIRAW2.8K

3.2K

6:5

ProRes2K

Anamorphic

4K CineAnamorphic

ARRIRAW 2.6K

4:3ProRes 2.8K

ARRIRAW 2.8K

Open GateProRes

3.4K

4K Cine

ARRIRAW 3.4K

Recording Formats (SXT SUP 1.0) 16:9 ProRes 4K UHD

The easiest and fastest path to the best 4K UHD

image, offering the immediacy and speed

of ProRes in the UHD distribution standard of

3840 x 2160 pixels.

Open Gate ProRes 4K Cine

A format unique to SXT cameras; it not only

provides the cine standard of 4096 pixels

across, but allows for up/down repositioning

in post through the height of 2636 pixels.

6:5 ProRes 2K Anamorphic

The most economical path to the best overall

2K image quality with anamorphic lenses.

The camera creates a ready-to-view ProRes file

in the 2K DCI delivery format (2048 x 858), so no

debayering, cropping, rescaling or de-squeezing

is needed in post.

6:5 ProRes 4K Cine Anamorphic

The most economical path to the best overall 4K image quality with

anamorphic lenses. The camera creates a ready-to-view ProRes

file in the 4K DCI delivery format (4096 x 1716), so no debayering,

cropping, rescaling or de-squeezing is needed in post.

Open Gate ProRes 3.4K

Designed for those who want the maximum image area and pixel count

from a Super 35 ALEXA (3424 x 2202) in combination with the immediacy

and speed of ProRes.

16:9 ARRIRAW 3.2K

The largest number of pixels that can be processed at 120 fps (3168 x 1782).

Use the full image area with ARRI Super 35 PL mount lenses, or gain

extra room for repositioning, stabilizing and tracking when using lenses

with an image circle covering a 2.8K image area.

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Graded Rec 709 or Rec 2020 image

ARRIRAWMetadata

CDL & 3D LUT Ethernet

ALEXA SXT

Deliverables creation

Color grading

On-set monitoring

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. 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.

KEEP YOUR LOOK FROM PREP TO POST

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KEEP YOUR LOOK Live grading on set

ALEXA SXT cameras can replace a LUT box on set.

Live grading to fine-tune the cinematographer's

look on set is already supported by Pomfort

LiveGrade, Codex Live, Colorfront On-Set Live,

Filmlight Prelight and Technicolor DP Lights, with

others in progress.

Automated dailies

The ALF-2 look file is always stored in metadata, so dailies

and editing proxies that show the same look as was seen

on set can be generated automatically and fast. This is

supported by DaVinci Resolve, Colorfront OSD, Codex

Production Suite, Pomfort Silverstack and Filmlight Daylight,

with others in progress.

Editing with looks

Non-linear editing programs such as Avid Media

Composer, Apple Final Cut Pro X and Adobe

Premiere Pro can apply looks from metadata

automatically, allowing the editor to see the

same look as was seen on set and in dailies.

Photo: Local 600 DIT Michael "Strawberry" Romano© Bret Suding

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FULL FLEXIBILITY FOR MONITORING ON SET

DP Matias Boucard with camera assistant FranÇois Vigon L'affaire SK1© Roger Do Minh

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On-set quality control for High Dynamic Range

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.

The right image for each crew member

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.

Rec 709 and Rec 2020 outputs

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.

Example of how the four independent monitoring outputs might be used on set

Operator: EVF-1 with custom look, frame lines, surround view and status info

Assistant: Rec 709 on-board monitor with frame lines, surround view, status info and LDS info

DIT: Rec 709 monitor with Log C, clean

Director: Rec 2020 monitor with custom look, frame lines and surround view

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TRUE ANAMORPHICUNIQUELY SUITED TO

MeadowlandDirector/DP: Reed Morano ASC© Meadowland Movie, LLC

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8:9 SENSOR MODEFor productions intended for 16:9 HD or UHD TV distribution, the 8:9 sensor

mode is the best option when shooting with anamorphic lenses (from

ALEXA SXT Software Update Package 2.0).original scene on set

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16

2 x horizontal squeeze through anamorphic lens

16/2 = 8

Anamorphic cinematography produces a widescreen look that has long been appreciated by filmmakers and

audiences worldwide. The unique tall sensor of ALEXA cameras maximizes resolution when using anamorphic

lenses and ensures that the distinct optical qualities of those lenses are rendered faithfully in the digital image.

Since ALEXA's sensor has almost exactly the same dimensions as a 35 mm film image, anamorphic lenses

maintain their field of view.

With the new sensor modes (6:5 and 8:9) and the option

to record and monitor squeezed or de-squeezed images,

the ALEXA SXT system presents the perfect solution

for anamorphic productions.

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8

8:9 area on sensor

original scene on set

1

2.39

2 x horizontal squeeze through anamorphic lens

2.39/2 = 1.195

1

1.195

1.195:1 = 1.2:1 = 6:5 area on sensor

6:5 SENSOR MODEFor the most efficient recording and post-processing of anamorphic images,

the 6:5 sensor mode has been introduced. Dividing the CinemaScope aspect

ratio of 2.39:1 by the lens' horizontal squeeze factor of two results in a

1.195:1 image area, which can also be expressed as 6:5. The 6:5 sensor mode

captures only the image area needed by anamorphic lenses for a 2.39:1

deliverable. In contrast to the old 4:3, this allows higher frame rates, avoids

loss of resolution in ProRes recordings and results in fewer post-processing

steps for ProRes and ARRIRAW.

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FUTURE-PROOF PRODUCT DESIGN

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. To protect

customers’ investment in ALEXA, a plethora of

affordable hardware and software upgrades have

been promised and delivered, continually expanding

the feature set.

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SxS Modulesince 2010

XR Modulesince 2013

SXR Modulesince 2016

Standard Panelsince 2010

PL Mount

LDS PL Mount

Panavision Mount

XT Plus Panelsince 2013

SXT Plus Panelsince 2016

Four ALEXA components have been specially designed to

facilitate an easy upgrade path. First, the camera's left

side holds the Storage Interface Module; the original SxS

Module was replaced by the XR Module for ALEXA XT

cameras, which is now superseded by the SXR module for

ALEXA SXT cameras. Second, the Electronics Interface

Module on the right side can be replaced with an upgrade

such as the Plus Panel, for wireless camera and lens

remote control. Third, the Exchangeable Lens Mount

allows the use of PL, LDS PL or Panavision lenses,

further extending creative options. And finally, ALEXA’s

processors are Field Programmable Gate Arrays (FPGA),

a technology that permits the camera's feature set

to be completely reprogramed. This has allowed the

continuous development of many exciting new features

through free-of-charge software updates.

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VERSATILE AND EFFICIENT WORKFLOWS

Create great images efficiently

Through detailed case studies, ARRI engineers have

examined how images, sound and metadata are

created and moved through the entire digital workflow

chain. As a result, productions are free to select the

most appropriate and cost-efficient recording medium,

format and color space for their needs, making ALEXA

suitable for a wide range of workflow and budget

requirements.

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XR / SXR Capture Drives, SxS PRO / SxS PRO+ cards or CFast 2.0 cards

XR / SXR Capture Drives

Move smoothly into post

Great efforts have been taken to prepare captured material for efficient handling in all

near-set and post processes. Rich metadata is recorded into every format and the new

ARRI look management maintains, protects and shares the cinematographer's look on

set, in dailies creation and in editing. Through close collaboration with ARRI partners, all

relevant editing, grading and visual effects tools can read and process ALEXA files and

display the look, without any need for pre-processing. Additionally, ARRI enhances the

workflow at all stages through a wide range of powerful stand-alone applications and

useful online tools, and by sharing software code with third parties.

Choose your ideal recording options

ALEXA SXT cameras offer in-camera recording of ARRIRAW or ProRes to a wide

range of media. ProRes enables file-based workflows that save time and money,

while ARRIRAW delivers maximum image quality, the greatest flexibility in post

and the safest choice for archiving. Additional options are provided by different

recording color spaces, the most popular being ARRI Wide Gamut/Log C, which

captures the widest range of tonal values and colors for advanced color timing.

Rec 709 is perfect for immediate access to HD images, while Rec 2020 provides

immediate access to images utilizing this new color space standard.

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EASY IN-CAMERA PRORES RECORDING

Effortless and efficient

No other motion picture camera bridges the gap between

production and postproduction as simply and elegantly

as ALEXA. 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.

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Smaller files for faster workflows

ProRes provides high image quality while using

compression to reduce file size and thus costs.

Native support by Apple and an expansive

infrastructure, from the built-in ProRes viewer in

every Mac to specialized VFX software, provides

unrivaled immediacy and speed when working

with ProRes files.

For home or cinema screens

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.

“I DID A TEST WITH LOTS OF DIFFERENT CAMERAS…WE FINALLY SETTLED ON ALEXA AND PRORES, AS THIS IS THE BEST COMBINATION OF IMAGE QUALITY AND SMALLER FILE SIZE.” Cinematographer Chun-Seok Kim

That Winter, the Wind Blows© SBS

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ULTIMATEARRIRAW FOR

QUALITY AND FLEXIBILITY

Maximum image quality

For productions requiring uncompromised image quality, ARRIRAW

is the best digital recording option. Unlike other camera formats,

ARRIRAW delivers raw, uncompressed, unencrypted image data and

does not ‘bake in’ any camera settings. This, in addition to the lack of

compression, provides artefact-free images and maximum flexibility

in post, as has been proven on numerous blockbuster movies, lower

budget features and commercials.

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Safe archiving

Since ARRIRAW image processing is openly published in SMPTE RDD 30 and 31, and a number of 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.

ALEXA SXT sensor modes

Sensor Size= Open Gate

Open Gate - For all projects wanting

the maximum image area and pixel

count from a Super 35 format ALEXA.

Best for resizing, repositioning,

rotating, stabilizing, tracking and 4K

up-sampling in post.

Sensor Size

16:9

16:9 - The ideal format for TV series or

commercials using spherical lenses.

Sensor Size

4:3

4:3 - Often chosen for projects using

spherical lenses that require extra room

above and below the image for VFX

markers or repositioning.

Sensor Size

8:9

8:9 - For TV series or commercials using

anamorphic lenses with a 16:9 deliverable.

Available from ALEXA SXT Software Update

Package SUP 2.0.

Sensor Size

6:5

6:5 - Plug-and-play for any project using

anamorphic lenses with a 2.39:1 CinemaScope

deliverable. The 6:5 sensor mode, in contrast to

4:3, allows higher frame rates and reduces the

number of processing steps needed in post.

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SMALLER BUDGETSARRIRAW FOR

NirvanaFeature film, ChinaDP: Shan He© CCTV movie channel

Cuéntame como pasóTV drama, SpainDP: Tote Trenas AEC© Grupo Ganga producciones

LavenderFeature film, CanadaDP: Brendan Steacy CSC© Lavender FIlms

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While ARRIRAW used to be employed mainly for high-end feature films, recent years have seen it become

a popular choice for smaller budget features, commercials and even some TV series. Increases in computer

processing power, compatibility with common postproduction tools and ARRI's continued dialogue with the

industry through its partner program have all improved workflow speeds and made ARRIRAW a compelling,

widely affordable option.

RamsFeature film, Iceland

DP: Sturla Brandth Grøvlen DFF© Netop Films

Scarlet HeartTV drama, South Korea

DP: Chun-Seok Kim© SBS

The LandFeature film, USA

DP: Steve Holleran© IFC Films

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Metadata is information about the images and sound recorded,

such as lens information, camera type, tilt/roll data, look files

and much more. Metadata is becoming increasingly important

on set and in post, as it allows filmmakers to concentrate on their

creative work without having to manually track tedious details

already known to the camera. The ARRI metadata system is

unique in its wide scope and assures an automatic and seamless

flow of information from the set into post.

SAVE TIME WITH RICH METADATA

Photo: Helen Sloan Photo: Macall B. Polay

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Faster on set

A rich set of metadata is always recorded into the ARRIRAW and ProRes files. At the

same time ALEXA provides live streams of this information for many different uses on

set. The ARRI WCU-4 wireless hand unit graphically displays critical lens information like

depth of field, allows lens mapping and performs precise focus tracking. Monitors show

camera and lens status, and specialized software provides real-time pre-visualization of

complex VFX shots. Looks can be fine-tuned and the results are automatically recorded, so

they can be used for dailies and in final grading. Custom frame lines can be created in prep

and transported as metadata for automatic image cropping in dailies creation.

Faster in post

Metadata greatly helps lubricate the flow of images through post, especially

on projects handling massive amounts of data. Having instant access

to reliable information such as clip name, date of recording, recording format

and frame rate simplifies media asset management and is a valuable

timesaver. Frame-accurate lens information about focus, zoom and iris

settings is critically important for VFX compositing, as it allows a closer

match between computer generated images and live footage, especially for

tricky shots involving simultaneous zooms and camera moves.

“ON GAME OF THRONES THE ACCURACY OF OUR LENS DATA IS MISSION CRITICAL. ARRI HAS BENT OVER BACKWARDS TO ENSURE THAT OUR LENSES AND CAMERAS ARE TALKING, AND THAT METADATA INFORMS EVERY MOVE WE MAKE.” Steve Kullback, visual effects producer

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PRODUCTION VALUEHIGHEST

Bajrangi BhaijaanDP: Aseem Mishra© Salman Khan Films

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Best overall image quality

All ALEXA cameras offer unrivalled image quality by focusing not just on

spatial resolution, but also on other crucial elements such as color rendition,

skin tones and dynamic range. It is ALEXA’s careful balancing of all the

different image quality parameters that make it the most popular choice

for top-level filmmakers who judge cameras not by numbers, but by their

own tests and their own eyes. ALEXA delivers the best overall image quality

whether the chosen output is HD, 2K, 4K or one of the native resolution

outputs like ProRes 3.2K or uncompressed ARRIRAW Open Gate.

Best overall production costs

The overall production costs of choosing a particular camera go far beyond the rental fee.

They include on-set factors such as reliability and downtime, speed of changing setup, ease

of operation and flexibility of configuration. They also include postproduction factors such

as how quickly images can be moved from set to post, how easy they are to grade, how

much metadata is available and how simply VFX elements can be incorporated. ALEXA SXT

aces all of these factors; with its robust build quality, seamlessly integrated camera and lens

control functions, rich metadata and huge variety of recording options, it delivers the best

overall production value available.

Cuéntame como pasóDP: Tote Trenas AEC

© Grupo Ganga producciones

The RevenantDP: Emmanuel Lubezki ASC, AMC

© Twentieth Century Fox

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A tall sensor for anamorphic shooting, in-camera ARRIRAW recording up to 120 fps,

14 recording formats, ARRI look management, super flexible on-set monitoring,

ARRI Lens Data System, improved image quality, single speed mode, a new media

bay and new, high-performance drives - what's not to love?

ALEXA SXT EV – SUPER XTENDED

Where it all began: the classic ALEXA with its

16:9 sensor is compact and affordable, with

ultra-fast workflows and image quality akin

to 35 mm film.

ALEXA Classic EV – THE ORIGINAL

CAMERA SYSTEMTHE MOST POWERFUL

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What makes ALEXA the most powerful digital camera system ever built? It is the range of camera models, each tailored to

specific industry requirements. It is the best overall image quality, efficient and versatile workflows, simple and safe operation,

and the open and future-proof architecture. It is the tight integration with ARRI and third-party accessories. And it is the

existence of a whole biosphere of ARRI and third-party software tools, all supporting ALEXA.

Compact, lightweight and self-contained, yet

capturing the same image quality as other

ALEXA models, the Mini is ideal for gimbal

mounts, drones and helicopters, as well as

underwater, car, action and 3D shoots.

ALEXA Mini – THE COMPANION

The Swiss Army knife of cameras: all the features of

the ALEXA SXT EV, plus built-in wireless remote control

of camera and lens motors, tilt/roll sensors, electronic

horizon and additional connectors for remote control,

video output and accessory power.

ALEXA SXT Plus – THE ALL-ROUNDER

All the features of the ALEXA SXT Plus, but with

a film-style optical viewfinder, rotating mirror

shutter and motorized ND filter slider.

ALEXA SXT Studio – THE FLAGSHIP

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THE ORIGINALThe first camera on the scene remains at

the center of the family; it is the keystone

of a modular and upgradeable system that

offers not just an image-capture solution,

but an entire image pipeline. Working

successfully on TV shows worldwide and

updated with the latest software, the

ALEXA Classic EV is proof of ARRI's long

product cycles and the secure investment

ALEXA cameras represent.

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HDR since 2010

Recognizing the importance of high dynamic range early on, ARRI has designed

ALEXA cameras with the widest exposure latitude of any camera in the industry.

This provides not only the most creative flexibility in color grading, but also is

the ideal basis for a spectacular display in HDR. Even footage captured with the

first ALEXA in 2010 contains a wealth of information from the brightest to the

darkest parts of the image, which is why ALEXA footage outperforms all others

on HDR displays and projectors.

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SUPER XTENDEDWhile 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.

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Various recording media

The new media bay can accommodate a

wide range of media for unrivaled flexibility:

XR and SXR Capture Drives, SxS PRO

and SxS PRO+ cards, and CFast 2.0 cards.

CFast 2.0 Adapter 2 and CFast 2.0 card

SxS Adapter 2 and SxS PRO/SxS PRO+ card

XR Adapter and XR Capture Drive

SXR Adapter and SXR Capture Drive

New SXR Capture Drives

The new SXR Capture Drives represent the next generation of professional solid-state media for ALEXA SXT and ALEXA 65

cameras. Sophisticated selection of memory, careful manufacturing processes and a modern, robust housing design make

these the most reliable media on the market. Their lightning-fast maximum write speed of 20 Gb/s allows for higher maximum

frame rates with some recording formats, while the 1 TB or 2 TB capacity permits longer recording times.

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THE ALL-ROUNDERThe ALEXA SXT Plus is the most

versatile and flexible of the ALEXA SXT

cameras, a true all-rounder. With an

integrated wireless radio for camera and

lens remote control, tilt/roll sensors,

electronic horizon and additional

connectors for camera and lens control,

signal output and accessory power,

the ALEXA SXT Plus offers the best

value and widest range of uses.

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ARRI LDS LENSES

Controlled Lens Motor CLM-4

Single Axis Unit SXU-1

Wireless Compact Unit WCU-4

ARRI ELECTRONIC CONTROL SYSTEM

Lens metadata for a smooth workflow

Lens metadata is invaluable for efficient working on set and speedy VFX in post,

which is why ALEXA SXT cameras are equipped with a Lens Data System (LDS) lens

mount, allowing them to insert lens metadata into all recording and output formats.

Easing tasks on set

On the set, streaming lens metadata is used for an overlay in the ALEXA display,

viewfinder or MON OUT image. In addition, it is utilized by the Wireless Compact

Unit WCU-4 for an easy-to-use graphical lens display. The HD-SDI image carries

streaming lens metadata that can be displayed by a range of modern monitors or

used for real-time virtual set applications.

Simplifying VFX

For a full, end-to-end metadata workflow into VFX post, ARRIRAW and ProRes metadata

can be carried over to DPX or OpenEXR files through the ARRI Metadata Bridge (AMB).

Lens metadata allows faster compositing by matching VFX elements to real images, which

is particularly helpful for shots incorporating dynamic camera movements, when tracking

software is often out of its depth.

Metadata from any lens

In addition to more than 42 ARRI lens models with built-in LDS, it is possible to gather lens

metadata from any lens by using the ARRI Lens Data Archive (LDA) function of the camera, in

combination with either an ARRI Controlled Lens Motor (CLM) or ARRI Lens Data Encoder (LDE).

ARRI/ZEISSLDS Ultra Prime lenses

ARRI/ZEISSMaster Primelenses

ARRI/ZEISSMaster Anamorphic lenses

ARRI/ZEISSMaster Macro 100

ARRI/FUJINON1.4x Extender2.0x Extender

ARRI/FUJINONLightweight Zoom LWZ 15.5-45/ LWZ 30-80

ARRIAnamorphic UWZ 19-36 Ultra Wide Zoom UWZ 9.5-18

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THE FLAGSHIPAt the pinnacle of the Super 35 format

ALEXA range is the ALEXA SXT Studio,

featuring a quiet, rotating mirror

shutter with adjustable shutter angle

and an optical viewfinder that provides

real-time, high-contrast images. The

ALEXA SXT Studio is a direct response to

cinematographers’ requests for a camera

that perfectly combines cutting-edge

digital image acquisition with traditional

elements of the film cameras they have

known and trusted for generations.

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ALEXA Studio viewfinder

Mirror shutter

The optical viewfinder and mirror shutter truly distinguish the ALEXA SXT Studio

from all other digital cameras on the market and have made it an immediate

favorite with cinematographers. While the viewfinder provides the best possible

operating experience, the film-style spinning mirror shutter captures images in

the time-honored way and in doing so eliminates any rolling shutter artefacts.

A motorized ND filter slider adds to the high-end options, allowing the level of neutral

density filtration to be adjusted rapidly and thereby making daylight exteriors

easier and faster to shoot. Many of the world’s top filmmakers have appreciated the

Studio’s connection with its celluloid heritage and have relied upon it when making

the transition from film to digital.

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THE COMPANION

ALEXA Mini is a versatile additional tool in the ARRI ALEXA

camera range, combining a compact and lightweight form

factor with the same unparalleled image quality that has

made ALEXA a gold standard for the industry. Designed for

specialized shots and for working with gimbals and drones, the

ALEXA Mini perfectly complements a full ALEXA shooting kit

and allows crews to keep everything within a single system.

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To maintain ARRI's famously rugged build quality in such a small camera body, unique design

solutions such as environmentally sealed electronics, a lightweight carbon housing and a solid

titanium PL mount have been incorporated. Nimble in use and hardy on set, ALEXA Mini can be

operated by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder

attached, or with an on-board monitor and controlled via the camera’s user button interface.

© Skynamic GmbH

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AT A GLANCE

Camera model ALEXA Classic EV ALEXA XT EV ALEXA SXT EV ALEXA XT Plus ALEXA SXT PlusBase sensitivity EI 800 EI 800 EI 800 EI 800 EI 800Exposure latitude 14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1) In-camera processing 16 bit 16 bit 16 bit 16 bit 16 bitSensor format 35 mm 35 mm 35 mm 35 mm 35 mmSensor/recording modes 16:9 16:9, 4:3, Open Gate 16:9, 6:5, 4:3,

Open Gate16:9, 4:3, Open Gate

16:9, 6:5, 4:3, Open Gate

Maximum number of recorded sensor photo sites 2880 x 1620 3414 x 2198 3424 x 2202 3414 x 2198 3424 x 2202Frame rate 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fpsWeight (body and PL lens mount) 6.3 kg/13.9 lbs 6.4 kg/14.1 lbs 6.5 kg/14.3 lbs 6.9 kg/15.2 lbs 6.9 kg/15.2 lbsViewfinder electronic electronic electronic electronic electronicIn-camera recording ProRes, DNxHD ARRIRAW, ProRes,

DNxHDARRIRAW, ProRes ARRIRAW, ProRes,

DNxHDARRIRAW, ProRes

Maximum frame rate ARRIRAW 60 fps (1) 120 fps 120 fps 120 fps 120 fpsARRI Look File 2 (3D LUTs & CDL) - - ● - ●

In-camera recording to 4K UHD - - ● - ●

In-camera recording to 4K Cine - - ● - ●

In-camera recording to SxS PRO/SxS PRO+ cards ● ● ● ● ●

In-camera recording to SXR Capture Drives - - ● - ●

In-camera recording to XR Capture Drives - ● ● ● ●

In-camera recording to CFast 2.0 cards - ● ● ● ●

Independent monitoring outputs (MON OUT/SDI and viewfinder)

3 2/3 (2) 4 2/3 (2) 4

Accessory power outputs (12 V/24 V) 1/2 1/2 1/2 1/3 1/3Audio line in line in line in line in line inLens Data System - ● ● ● ●

Integrated radio for wireless remote control - - - ● ●

Multicam interface - - - - -Behind the lens ND filter - manual manual manual manual

ARRI CAMERAS

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Camera model ALEXA XT Studio ALEXA SXT Studio ALEXA Mini AMIRA ALEXA 65Base sensitivity EI 800 EI 800 EI 800 EI 800 EI 800Exposure latitude 14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1) In-camera processing 16 bit 16 bit 16 bit 16 bit 16 bitSensor format 35 mm 35 mm 35 mm 35 mm 65 mmSensor/recording modes 16:9, 4:3,

Open Gate16:9, 6:5, 4:3, Open Gate

16:9, Open Gate

16:9 1.50 Crop, 1.78 Crop, Open Gate

Maximum number of recorded sensor photo sites 3414 x 2198 3424 x 2202 3424 x 2202 3200 x 1800 6560 x 3100Frame rate 0.75 - 120 fps 0.75 - 120 fps 0.75 - 200 fps 0.75 - 200 fps 20 - 60 fpsWeight (body and PL lens mount) 8.2k g/18.1 lbs 8.2 kg/18.1 lbs 2.3 kg/5 lbs 4.1 kg/9.0 lbs 9.5 kg/21.0 lbsViewfinder optical or electronic optical or electronic electronic electronic electronicIn-camera recording ARRIRAW, ProRes,

DNxHDARRIRAW, ProRes ARRIRAW, ProRes ProRes, MPEG-2 ARRIRAW

Maximum frame rate ARRIRAW 120 fps 120 fps 48 fps - 60 fpsARRI Look File 2 (3D LUTs & CDL) - ● ● ● -In-camera recording to 4K UHD - ● ● ● -In-camera recording to 4K Cine - ● - - -In-camera recording to SxS PRO/SxS PRO+ cards ● ● - - -In-camera recording to SXR Capture Drives - ● - - ●

In-camera recording to XR Capture Drives ● ● - - ●

In-camera recording to CFast 2.0 cards ● ● ● ● -Independent monitoring outputs (MON OUT/SDI and viewfinder)

2/3 (2) 4 2/3 (3) 2/3 (3) 3

Accessory power outputs (12V/24V) 1/3 1/3 - 3/1 1/5Audio line in line in line in  4ch line & mic in, 48V line inLens Data System ● ● ● ● ●

Integrated radio for wireless remote control ● ● ● - ●

Multicam interface - - ● ● -Behind the lens ND filter motorized motorized motorized motorized manual

All information as of SUP 11.1 (ALEXA Classic), SUP 11.1 (ALEXA XT/XR), SUP 1.0 (ALEXA SXT), SUP 4.1 (ALEXA Mini), SUP 4.1 (AMIRA) and SUP 1.0 (ALEXA 65).

(1) ARRIRAW recording on an external recorder via T-Link.(2) 3 independent outputs in 16:9, 2 independent outputs in all other sensor modes (3) some parameters can be set independently for SDI OUT 1 and SDI OUT 2

48

ARRI products are renowned all over the world for their precision and durability. Nevertheless, ARRI values the trust of its

customers in service and support as highly as their trust in the equipment itself. With service centers and support partners

covering the entire globe, we are never too far away to provide the support you need, wherever you might be.

GLOBAL SERVICEAND SUPPORT FOR AN INTERNATIONAL INDUSTRY

49

ARRI subsidiaries

Over 50 service and support partners worldwide; contact details at www.arri.com

TORONTO

NEW YORK

LONDON

VIENNA

BERLIN

LOS ANGELES MUNICH

MILAN

BEIJING

HONG KONG

SYDNEY

SAO PAULO

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ARRI openly supports innovation in a rapidly changing market, working with the world’s best

hardware and software manufacturers to deliver high-quality, reliable products and file-based workflow

solutions in support of the widespread adoption of the ALEXA camera system.

PARTNERSRELYING ON

F i r e fC I N E M A

l y

POMFORT fn

ARRIRAW certification:

This label indicates that a device can

reliably record ARRIRAW, including all

metadata, and output *.ari files.RECORDING

CERTIFIED FOR

ALEXA

This ALEXA brochure (80.0012377) is published by Arnold & Richter Cine Technik, August, 2016 © ARRI/2016Technical data and offering are subject to change without notice. All rights reserved. Without any warranty. Not binding 08/2016. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.

Cover photo: Yves Krier

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Certified training courses, bespoke one-on-one tuition, masterclasses and close-up events

Offering a wide range of multi-day training courses, individual sessions and educational events in different

countries and languages worldwide, ARRI Academy is the best route for users of all abilities to gain hands-on

knowledge of ARRI products and workflows, and build their on-set confidence.

ARRI ACADEMYSTRENGTHEN YOUR KNOWLEDGE

Visit the website to learn more and book a training course:

www.arri.com/academy

w w w . a r r i . c o m / a l e x a