ARRI ALEXA

ARRI ALEXA
ARRI ALEXA ARRI ALEXA ARRI ALEXA

ARRI ALEXA is an extraordinary 35 format film-style digital camera system designed for the motion picture and broadcast markets, consisting of four cameras and an extensive range of primes, zooms, accessories and recording solutions.

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ABOUT

ARRI ALEXA is an extraordinary 35 format film-style digital camera system designed for the motion picture and broadcast markets, consisting of four cameras and an extensive range of primes, zooms, accessories and recording solutions. Currently available are the original ALEXA and the ALEXA Plus, which adds support for the ARRI Wireless Remote System, cmotion cvolution lens control system, ARRI Lens Data System and expanded metadata. These cameras will be joined by the ALEXA M, a modular system with a separate camera head for 3D applications and lightweight camera configurations and the ALEXA Studio, the only digital motion picture camera with an optical viewfinder and a 4:3 sensor. 

All ALEXA cameras offer exceptional image quality with the organic look and feel of film; their unequalled exposure latitude, high sensitivity and unique ARRI color processing provide sharp and natural images for 2K and HD with a cinematic look of breathtaking richness and detail. 

Making them the perfect tools for a wide range of workflow and budget requirements, ALEXA cameras can simultaneously output a number of formats, all with audio and metadata. Their ability to record Apple ProRes images to on-board SxS PRO cards offers file-based workflows of unparalleled efficiency for immediate time and cost savings. ARRIRAW delivers the pinnacle in image quality and postproduction flexibility, while the HD-SDI outputs integrate seamlessly into existing HD infrastructures. 

Based on over 90 years of experience in building equipment for the motion picture industry, ALEXAs are true ARRI cameras: simple to operate, ergonomic in design and reliable in even the most extreme environments. ALEXA cameras are designed around the way you work and, like all other ARRI products, are backed by the global ARRI service network. 

To provide more choices to the filmmaker, the ALEXA system is based on an open architecture with many industry-standard interfaces and compatibility with third party products. This, in combination with a number of components on the camera that can be upgraded, makes the system future-proof. 

More than just hardware, ALEXA cameras represent an entire image pipeline that stands alone as the most complete and powerful digital production system ever built. 

PACKAGE CONTENTS

  ARRI Alexa (1-60 fps)
  2 x SXS Pro 32 GB
  SXS Memory Card USB Reader/Writer (for Alexa)
  4 x Beillen batteries + charger
  2 x Big Pack batteries
  Bridge plate + Quick plate
  Right Hand Grip
  FF-3 Follow focus
  LMB-5 Light Mattebox
  Onboard Monitor

  O'Connor B / Sachtler Head
  Standard Tripod
  Short Tripod
  Hi-hat

TECHNICAL DESCRIPTION

 
   Camera  
   Type

 
  35 format film-style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods.
 
   Sensor


  35 format ALEV III CMOS with Dual Gain Architecture (DGA)
  and Bayer pattern color filter array. 1.5x oversampling for 1920 x 1080 output. 
  1.78:1 (16:9) sensor area used for image out.

   Frame
   Rates

  ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 - 60 fps;
  ProRes 4444: 0.75 - 40 fps; HD-SDI: 0.75 - 60 fps;
  ARRIRAW: 0.75 - 30 fps; all speeds adjustable with
  1/1000 fps precision
 
   Weight         
  ALEXA camera body + SxS Module: 6.3 Kg/13.8 lbs
  ALEXA camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2
  + viewfinder cable + Center Camera Handle CCH-1: 7.7 Kg/16.9 lbs
 
   In-camera
   Recording

  Apple QuickTime/ProRes 4444, 422 (HQ), 422, 422 (LT) or 422 (Proxy) 1080p .mov files
  with embedded audio, timecode and metadata, recording to SxS PRO cards.
  ProRes 4444 is RGB 12 bit, all others YCbCr 10 bit; all legal range.
  Minimum recording times on a 32 GB card at 24 fps: ProRes 4444 - 15 minutes,
  ProRes 422 (HQ) - 19 minutes.
 
   Color
   Processing

  For EVF-1, ProRes, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on),
  Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied with ARRI Look Files.
 
   Processing


  16 bit linear internal image processing