ARRI Alexa Pocket Manual

SUP

8.0

Pocket Guide

2

ALEXA Pocket Guide

Table of Contents

Overview 4

Introduction 4

The new ALEXA camera range: ALEXA XT 6

The Home Screen

Home Screen Soft Buttons

Icons on Home Screen

MON OUT Icons

12

14

8

9

Recording Media

Output Overview

ARRIRAW uncompressed

ARRIRAW Converter 3.0

ARRIRAW capable software solutions 25

ProRes Recording 26

DNxHD

Exposure Index

28

30

16

20

22

24

Working with ND filters

Precision FSNDs in comparison

False Color Exposure Check

Working with ALEXA

Color Spaces

Video - Rec 709

Log C

Linear

ARRI LUT Generator

In-Camera Look Files

Legal and Extended Range p and psf

Metadata Overview

Licenses

47

48

50

39

39

40

46

36

36

36

38

32

34

35

ALEXA Preshoot Checklist

Recording with the XR or SxS Module

Additional notes

Shooting Highspeed

Recording ARRIRAW via T-Link

Shooting Stereo 3D

ALEXA M fiber maintenance

Creating Lens Tables

Required Equipment

Creating a Lens Table

ALEXA XT/XR Workflows

Compressed Recording Formats

Uncompressed ARRIRAW

Generating Deliverables

Scaling your Workflow

64

64

67

69

58

59

60

64

55

55

57

57

52

53

55

Specifications and Reference

Menu Settings & Button Functions

ARRI Lenses

70

86

100

ARRI/ZEISS Master Anamorphic Lenses 100

ARRI/ZEISS Master Prime Lenses 102

ARRI/ZEISS Ultra Prime Lenses

ARRI/ZEISS LDS Ultra Prime Lenses

104

106

ARRI/FUJINON Alura Zoom Lenses

ARRI/ZEISS Master Macro Lens

Annotations

Resources and Contacts

ARRI Sales Contacts

ARRI Service Contacts

ARRI Digital Workflow Solutions

Online Resources

108

112

114

116

116

118

120

121

3

4

Overview

Introduction

Welcome to the Pocket Guide for the ALEXA and

ALEXA XT family of cameras, which contains important preproduction and production information for an ALEXA shoot. The ALEXA platform has been designed with ease of use and user-friendliness in mind; the menu and controls are simple and intuitive, so the best way to learn ALEXA is to get your hands on the real thing. However, carrying this guide with you and combining it with other resources such as the ALEXA manual at www.arri.com/alexa/downloads or the interactive ALEXA/ALEXA XT Camera

Simulator at www.arri.com/alexa/tools will ensure your readiness to take full advantage of the camera’s unique and versatile features.

The ALEXA family

ALEXA ALEXA XT ALEXA XT M ALEXA XT Plus ALEXA XT Studio

5

6

The new ALEXA camera range: ALEXA XT

The ALEXA XT brings new features to the ALEXA product line, inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras replace all previous models except for the original ALEXA. Existing

ALEXAs can be upgraded to deliver most of the features of an ALEXA XT.

XR Module

• In-camera ARRIRAW up to 120 fps

• In-camera ProRes or DNxHD up to 120 fps

• Fast 512 GB XR Capture Drives

• Proven, efficient Codex workflows

In-camera Filter Module IFM-1

• Internal filtration to reduce reflections and weight

• Available in 8 densities from ND 0.3 to ND 2.4

• Neutral color balance at all densities

• High image sharpness and contrast

Plug and play anamorphic

• 4:3 sensor on all ALEXA XT models

• Anamorphic de-squeeze license included

High speed license included

LDS PL Mount

• On all ALEXA XT models for ubiquitous lens metadata

Viewfinder Mounting Bracket VMB-3

• Strong and rigid 15 mm rod construction

• Can take lens motors, matte boxes, etc.

• Stronger Viewfinder Extension Bracket VEB-3

Super silent ALEXA XT fan

7

8

The Home Screen Home Screen Soft Buttons

The soft buttons lead to screens where the respective settings can be changed. In the home screen, the following info is displayed:

WB: Set white balance, consisting of a Kelvin value for red-blue correction and a

CC shift for green-magenta correction

(shown as exponent).

FPS:

AUDIO:

Set sensor frame rate

When audio is active, audio levels are shown. Audio can also be switched

OFF, or DISABLED (when the sensor is not running at sync-sound speed)

SHUTTER: Set shutter angle (and turn mirror

EI: shutter on/off for ALEXA Studio)

Set exposure index (and insert internal

COLOR:

ND filter for ALEXA Studio)

Set gamma for REC OUT and SxS image paths. If REC and/or SxS icons have a blue background, a look is active on this image path.

ALEXA Studio Icons

Name

Mirror

Shutter

View

Position

Gate

Position

ND filter

Icon

M

S

V

G

ND

Description

Flashing Icon when the

Mirror Shutter is spinning.

Mirror Shutter in View position

Mirror Shutter in Gate position

ND filter active

9

10

Home Screen Center Bar

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

MASTER

SLAVE

BAT 1

Camera is set to Ext sync: MASTER

Camera is set to Ext sync: SLAVE

Settings sync is active.

Voltage level of power source present at BAT connector, or percentage of remaining capacity of attached battery if it transmits this information.

BAT 2

REEL

CLIP

DUR

16:9

Voltage level of battery attached to top and/or back onboard battery adapter, or percentage of remaining capacity of attached battery if it transmits this information.

Identifies current reel. Consists of camera index and reel counter.

Identifies current clip. Consists of clip index and clip counter.

Duration of current clip during recording or length of last recorded clip during standby. Shown as h:mm:ss.

Displays active sensor mode

(16:9 or 4:3).

ProRes 2K Displays active recording format

(ARRIRAW, ProRes (HD or 2K) or DNxHD).

SxS Pro

Drive SxS PRO adapter or XR Capture Drive inserted into slot.

00:19:28 Remaining capacity of loaded magazine.

FULL Loaded Magazine is full.

No Media No Magazine in slot.

Type Magazine does not support the currently selected Recording format.

SxS 1

24:26 1 Remaining capacity of card in SxS slot

1 in minutes. Calculated for the set frame rate and codec.

Note: these are only approximate values.

SxS 1

INHIB 1 Card 1 is write protected.

SxS 1

FULL 1 Card 1 is full.

Marks the active card.

<

• STBY The camera is in standby and ready to record.

• REC The camera is recording.

• ERROR An error occured. Recording is not possible. Press the INFO button for more details.

If nothing is shown (neither the red/green bar), the camera works properly, but no SxS PRO card is present for recording.

INT/SxS Look active

CDL Server active/connected

CDL Server active/not connected

1 not available on ALEXA XT

11

12

Icons on Home Screen

Name

General

Warning

General

Error

Temperature

Warning

Icon Description

Important information waiting on the info screen. Press the INFO button for more details.

An error occurred.

Press the INFO button for more details.

Slight sensor temperature offset. Image quality might be affected.

Temperature

Error

Lock

Great sensor temperature offset. Image quality might be affected seriously.

Camera is locked.

Name

SD Card

Grab

High

Humidity

Mode

WRS Radio

Icon Description

SD Card present.

Turns orange during card access.

Still frame is being captured to the SD card. A new still frame can only be captured when this is completed.

Sensor is in high humidity mode (= 40° C sensor temperature). Should only be used in very humid conditions

(e.g. indoor swimming pool).

WRS radio is active.

Only on ALEXA Plus and Studio.

ALEXA Studio left side. Additional buttons VIEW & GATE for mirror control.

13

14

MON OUT Icons

Name

General

Warning

General

Error

Temperature

Warning

Temperature

Error

Lock

Icon Description

Important information waiting on the info screen. Press the INFO button for more details.

An error occurred.

Press the INFO button for more details.

Slight sensor temperature offset. Image quality might be affected.

Great sensor temperature offset. Image quality might be affected seriously.

Home screen is locked.

Name

Peaking

Smooth mode

Recording resolution

Icon Description

Peaking enabled for EVF and/or MON OUT.

Smooth mode active on EVF.

Displays current SxS resolution (HD or 2K).

Gamma

Look active

Displays Gamma setting for

EVF or MON OUT.

A look is active/burned-in on EVF, MON OUT and/or

Internal recording.

Grab Stil frame is being captured to the SD card. A new still frame can only be captured when this is completed.

Return IN

CDL server connected/disconnected.

Return is active, image from

RET/SYNC IN input is shown.

15

16

Recording Media

An ALEXA camera can be equipped with an SxS

Module or the new XR Module for internal recording. The SxS Module can record QuickTime/ProRes or MXF/DNxHD files on Sony SxS PRO cards. SxS

PRO cards have an ExpressCard34 form factor and are available with a capacity of 32 and 64 GB. ALEXA cameras with an XR Module can also record to Sony

SxS PRO cards, or to Codex XR Capture Drives, which additionally enables uncompressed ARRIRAW recording. Using SxS PRO cards requires an SxS Adapter from ARRI and does not allow recording ARRIRAW data. Codex XR Capture Drives share the same mechanical interface as other Codex Capture and

Transfer Drives, but with SUP 8.0, only XR drives can be used for recording.

The table shows the data rates and storage requirements for the available recording formats 1 .

Recording Media

Recording Format

4:3 ARRIRAW 2.8K

16:9 ARRIRAW 2.8K

4:3 ProRes 4444 2K 3

16:9 ProRes 4444 2K 3

16:9 ProRes 4444 HD 3

4:3 ProRes 422 HQ 2K 3

16:9 ProRes 422 HQ 2K 3

16:9 ProRes 422 HQ HD 3

16:9 DNxHD 444 7

16:9 DNxHD 175x/185x/220x 6

16:9 DNxHD 115/120/145 6 fps Range 2

32 GB SxS PRO

Recording

Time

@24 fps

Recording

Time

@ max fps

– – –

– – –

0.75 – 30

0.75 – 40

0.75 – 40

0.75 – 40

0.75 – 60

0.75 – 60

0.75 – 30

0.75 – 60

0.75 – 60

9 min

12 min

14 min

14 min

19 min

21 min

12 min

24 min

36 min

7 min

7 min

8 min

8 min

7 min

8 min

5 min

9 min

14 min fps Range 2

64 GB SxS PRO

Recording

Time

@ 24 fps

Recording

Time

@ max fps

– – –

– – – fps Range 2

XR Capture Drive

Recording

Time

@ 24 fps

Recording

Time

@ max fps

0.75 – 96 4 35 min 9 min

0.75 – 120 47 min 9 min

0.75 – 48

0.75 – 60

0.75 – 60

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 60

0.75 – 120

0.75 – 120

19 min

25 min

29 min

28 min

38 min

43 min

24 min

48 min

72 min

9 min

10 min

11 min

14 min

15 min

8 min

9 min

9 min

14 min

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 60

0.75 – 120

0.75 – 120

5

70 min

93 min

107 min

105 min

140 min

160 min

85 min

170 min

255 min

35 min

37 min

21 min

52 min

56 min

32 min

34 min

34 min

51 min

1 ProRes 422, 422 (LT) and 422 (Proxy) are also available, but left out

2 for reasons of clarity.

All speeds adjustable with 1/1000 fps precision. To record above

60 fps in any format, the camera needs to be switched to high speed mode.

3 ProRes is a variable bit rate codec. Actual data rate and recording

4 time varies depending on image content.

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

5

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

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

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

DNxHD recording is temporarily unavailable in SUP 8.0. This feature

7 will be re-enabled as soon as possible.

DNxHD 444 recording is planned for a future software update.

17

18

ALEXA XT Recording Matrix

Recording Media

Internal recording onto XR Capture Drives

Recording

Format

Internal Recording with SxS PRO adapter

(onto SxS PRO card)

ARRIRAW uncompressed

HD

ProRes

& DNxHD

HD

Highspeed

ProRes

& DNxHD

2K

ProRes

HD

ProRes

& DNxHD

HD

Highspeed

ProRes

& DNxHD

2K

ProRes

External recording

HD uncompressed

Sensor

Mode

16:9

2880x1620

(0.75-120fps)

1920x1080

(0.75-60fps)

1920x1080

(60-120fps)

2048x1152

(0.75-60fps)

1920x1080

(0.75-60fps)

1920x1080

(60-120fps)

2048x1152

(0.75-60fps)

1920x1080

(0.75-60fps)

4:3

2880x2160

(0.75-96fps) 1

– –

2048x1536

(0.75-60fps)

– –

2048x1536

(0.75-60fps)

–

ALEXA Recording Matrix

Recording Media

Internal Recording onto SxS PRO cards

Recording

Format

HD

ProRes &

DNxHD

HD

Highspeed

ProRes &

DNxHD

2K

ProRes

External recording via T-Link

External recording via HD-SDI

ARRIRAW uncompressed

HD uncompressed

2880x1620

(0.75-60fps)

1920x1080

(0.75-60fps)

Sensor

Mode

16:9

1920x1080

(0.75-60fps)

1920x1080

(60-120fps)

2048x1152

(0.75-60fps)

4:3 – –

2048x1536

(0.75-48fps)

2880x2160

(0.75-48fps)

–

19

20

ALEXA XT Output Overview

1 or 2x MON OUT

2x REC OUT

1x XR Capture Drive

1x XR Capture Drive or 1x SxS card

HD-SDI 16:9

HD-SDI 16:9

ARRIRAW

(16:9 or 4:3)

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

MXF 16:9 HD 1

HD-SDI with information overlay

Clean image uncompressed

ProRes Proxy

ProRes 422 LT

ProRes 422

ProRes 422 HQ

ProRes 4444

DNxHD 145

DNxHD 175

DNxHD 444

1 feature available in a later SUP

1 feature available in a later SUP

ALEXA Output Overview

2x REC OUT

1 or 2x MON OUT

2x SxS Cards

T-Link

HD-SDI

HD-SDI 16:9

Quicktime HD,

2K 16:9 or 4:3

MXF 16:9 HD

ARRIRAW uncompressed

(16:9 or 4:3)

HD uncompressed 16:9

(4:4:4 or 4:2:2)

HD-SDI with information overlay

ProRes Proxy

ProRes 422 LT

ProRes 422

ProRes 422 HQ

ProRes 4444

DNxHD 145

DNxHD 175

DNxHD 444 1

1 feature available in a later SUP

1 feature available in a later SUP

21

22

ARRIRAW uncompressed

ARRIRAW data delivers uncompromised image quality from an ALEXA camera. It offers the highest achievable resolution, the camera's natural color response and great exposure latitude as uncompressed and unprocessed sensor data. With the introduction of the ALEXA XT series, ARRIRAW data can be recorded directly in the camera at up to 120 fps, which makes using ARRIRAW as your chosen format easier than ever before.

Like film negative, ARRIRAW data has to be processed to produce a color image. ARRIRAW images have only one channel. A color reconstruction algorithm calculates the missing components of each pixel based on the type and position of the array of colored filters (Bayer pattern) on the camera sensor. As a result, half of the reconstructed image's green values are interpolated from the surrounding photosites rather than captured, as are threequarters of the red and three-quarters of the blue.

The ALEXA sensor provides a horizontal resolution of about 3K pixels, from which downsampling routines produce optimized HD and 2K resolution images. For VFX, however, the images often are processed using the native sensor pixel count and then downscaled to 2K, for example, at a later stage. Using this approach takes advantage of the luminance resolution, which correlates to the sensor pixel count.

Format

4:3 ARRIRAW 2.8K

Resolution Color Coding

2880 x 2160 12 bit Bayer

File size

9.3 MB

Data Rate

@ 24 fps

1.79 Gbit/s

Data Volume

@ 24 fps

806 GB/h fps Range 2

0.75 - 96 1

16:9 ARRIRAW 2.8K

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

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

2 All speeds adjustable with 1/1000 fps precision.

0.75 - 120

23

24

ARRIRAW Converter 3.0

The ARRIRAW Converter (ARC) is a free software solution that reads, displays and renders ARRIRAW files since its first occurrence back in 2005. Right now the ARC is undergoing a complete overhaul.

A totally new user interface in combination with a feature rich tool palette will offer a more intuitive use and better when working with ARRIRAW footage.

ARRI will show a sneak preview at NAB 2013, followed by a beta-test in the later this year. ARRIRAW

Converter is and will be available for Mac OSX,

Windows operating systems.

ARRIRAW capable software solutions

A product which has been awarded the ALEXA ARRIRAW Processing

Certificate is capable of rendering

ALEXA ARRIRAW images in a quality that meets ARRI’s requirements. Please note that for all image processing parameters

(such as sharpness, color etc.) the

ARRI SDK, which is also part of the ARRIRAW Converter, is the reference.

CERTIFIED FOR

PROCESSING

ALEXA

You can find more information about working with

ARRIRAW at www.arri.com/alexa/workflow. Further documents, covering ARRIRAW and other topics, such as the "ALEXA VFX FAQ", is available for download at www.arri.com/alexa/downloads.

COMPANY PRODUCT CERTIFIED

Adobe

Adobe

Assimilate

Premiere Pro

Speedgrade

Scratch

Scratch Lab

Flame/Lustre

✔

✔

Autodesk

Autodesk

Black Magic Design

Codex Digital

Colorfront

DigitalFilmTechnology Flexxity

DVS Clipster

Éclair eyeon

ColorUsDailies

Fusion

FilmLight

Gluetools

Image Systems/

Digital Vision

Smoke

Resolve

Transfer Station

On-Set Dailies

Baselight

Toolkit for FCP

Nucoda FilmMaster

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

MTI Film

Pretend

Quantel

SGO

The Foundry

The Foundry

Tweak

Control Dailies

Stereoid

Pablo

Mistika

Hiero

Nuke

RV

✔

✔

25

26

ProRes Recording

The ALEXA has been the first camera offering internal, ready-to-edit, QuickTime/ProRes HD recording to SxS PRO cards. With SUP 7.0, all cameras received a free upgrade enabling QuickTime/ProRes 2K recording. Recording in ProRes 2K is a cost-efficient alternative to shooting ARRIRAW, as it requires less storage space and no processing, but at the same time delivers an image quality that is superior to that of up-scaled HD material. With the option to capture

ProRes 2K in the 4:3 aspect ratio 1 , the format offers true anamorphic capture with regular 2:1 anamorphic lenses and offers extra room for repositioning when using standard spherical lenses.

of an optimized in-camera downscaler and provides the best possible 2K image output. When capturing

ARRIRAW, it is common to use the full 2880 image width for processing a 2K deliverable. The ARRIRAW

SDK, however, allows to process 2K images from both 2880 and 2868 pixels width to deliver an exact match to ProRes 2K footage when ARRIRAW was recorded in parallel with ProRes 2K 2 .

1 4:3 ProRes 2K is available on all ALEXA and ALEXA

XT models, except for ALEXA and ALEXA Plus.

2 This only applies to ALEXA cameras with the SxS

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

ProRes 2K Image Aperture

When the ProRes recording resolution is switched from HD to 2K, the captured aperture changes from

2880 pixels / 23.76 mm / 0.935" width to 2868 pixels / 23.66 mm / 0.932" width. This allows the use

For more information on using ProRes 2K in different applications, please take a look at the “ProRes 2K in

Editorial“ white paper, available at www.arri.com/alexa/downloads.

Format

Sensor

Mode

Resolution Color Coding

ProRes 422 (Proxy)

ProRes 422 (LT)

ProRes 422

ProRes 422 (HQ)

ProRes 4444 2

16:9

4:3

16:9

16:9

4:3

16:9

16:9

16:9

16:9

4:3

16:9

4:3

16:9

16:9

4:3

2048 x 1536

2048 x 1152

1920 x 1080

2048 x 1536

2048 x 1152

1920 x 1080

2048 x 1536

2048 x 1152

1920 x 1080

2048 x 1536

2048 x 1152

1920 x 1080

2048 x 1536

2048 x 1152

1920 x 1080

1 ProRes is a variable bit rate codec. The actual data rate varies with the image content.

2 ProRes 4444 provides an alpha channel, which is not used by the ALEXA.

3 All speeds adjustable with 1/1000 fps precision.

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

10 bit YCbCr

12 bit RGB

12 bit RGB

12 bit RGB

Data Rate @

24 fps [Mbit/s] 1

Data Volume @

24 fps [GB/h] 1

60

45

40

130

100

90

190

140

125

280

210

185

425

320

280

57

130

98

85

195

146

128

45

40

87

65

27

20

18

63 fps Range 3

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 48

0.75 – 60

0.75 – 120

0.75 – 48

0.75 – 60

0.75 – 120

27

28

DNxHD

The ALEXA and ALEXA XT cameras allow in-camera recording of 1920 x 1080 (16:9) DNxHD encoded

MXF files onto SxS PRO cards1. With an installed

DNxHD license, ALEXA users can choose between

MXF/DNxHD or QuickTime/ProRes recording codecs.

ALEXA's MXF/DNxHD material can be edited in

Avid Media Composer Version 5.5 and later without transcoding.

The Material eXchange Format (MFX) is a core media container technology for nonlinear workflows.

An MXF container file can "wrap" different types of video and audio material along with associated metadata. The internal structure of MXF files is defined by the so-called Operational Patterns.

ALEXA cameras record DNxHD encoded images together with sound and embedded metadata in an

MXF container file using the Operational Pattern 1a

(OP1a) file structure. An Avid Media Composer does not need to transcode this material, as it already is available in a native DNxHD codec. The OP1a MXF format packages picture, sound and metadata in a single file. This is ideal for both camera acquisition and archiving since audio and video is always kept together and no data is lost if recording is interrupted for any reason.

Please note that DNxHD recording is temporarily unavailable in SUP 8.0. This feature will be re-enabled as soon as possible. To get more information about working with ALEXA DNxHD material, please take a look at the “MXF / DNxHD White Paper, which is available at www.arri.com/alexa/downloads.

Format

DNxHD 115/120/145

Sensor Mode Resolution Color Coding

Data Rate @

24 fps [Mbit/s] 1

Data Volume @

24 fps [GB/h] 1 fps Range 3

16:9 1920 x 1080 8 bit YCbCr 115 52 0.75 – 120

DNxHD 175x/185x/220x 16:9 1920 x 1080 10 bit YCbCr 175

DNxHD 444 2 16:9 1920 x 1080 10 bit RGB

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

2 DNxHD 444 recording is planned for a future software update.

3 All speeds adjustable with 1/1000 fps precision.

350

79

159

0.75 – 120

0.75 – 60

29

30

Exposure Index

While ALEXA’s 14 stops of exposure latitude and unique highlight handling approaches that of film, there is one major difference between the way film and digital cameras behave: with digital cameras, a change in EI will shift how many stops are available above and below 18% grey – each EI step shifts the location of 18% grey. What is special about ALEXA, however, is that its wide exposure latitude is available at all EI settings.

EI 3200

EI 1600

EI 800

EI 400

EI 160

EI 200

5.0 Stops

5.3 Stops

6.3 Stops

7.4 Stops

8.4 Stops

9.4 Stops

18% Gray 18% Gray 18% Gray 18% Gray 18% Gray 18% Gray

9.0 Stops

8.7 Stops

7.7 Stops

6.6 Stops

5.6 Stops

4.6 Stops

As a shortcut, we have come up with the following method of writing ALEXA’s exposure index:

Values next to the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 has 0.5 stops fewer in the low end at EI 160, 0.4 stops fewer in the low end at

EI 200 and 0.2 stops fewer in the low end at EI 400.

Otherwise they are the same.

31

32

Working with ND filters

While traditional ND filters work great for film, for digital cameras we recommend the use of ND filters that have a built-in far-red blocker. Traditional ND filters should only be used up to an ND 0.9. A single filter that combines a ND and a far-red cut off generally yields better results and fewer reflections than a traditional ND filter stacked on top of a separate IR-cut off filter.

FSNDs & In-camera Filter Module (IFM-1)

With the launch of ALEXA XT a filter holder mechanism will be available (preinstalled on ALEXA XT cameras except ALEXA XT Studio), that allows to work with a set of eight FSND (Full Spectrum Neutral

Density) filters. In comparison to other IRNDs which have some bumps in their spectral behavior or the ordinary ND which opens up at about 675nm the

FSNDs offer a true even reduction over the whole spectrum (see next page).

The ALEXA Studio has a built-in ND filter with a density of ND 1.3 (4.3 stops), which can be moved in and out of the optical path. The advantage over classical

ND filters is that it is located behind the mirror shutter, so the optical viewfinder image stays bright.

ALEXA PL Lens Mount

IFM Empty Filter Frame

IFM Filter Holder

Optical Clear

IFM Shim

8x Full Spectrum Neutral

Density Filters (FSND)

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34

Working with ND filters cont.

FSNDs in comparison

500

Wavelength (in nm)

550 600 650

-4

-5

-6

-7

-8

-9

-10

-11

-12

-2

-3

0

350

-1

400 450 700

IRND Brand 1 IRND Brand 2 Precision FSND 1.2 Classic ND

750 800

IRND Brand 1

IRND Brand 2

FSND 1.2

Classic ND

Color red yellow pink green blue purple

False Color Exposure Check

The false color exposure check for the electronic viewfinder and/or MON OUT output measures the camera image, tints certain signal levels in a distinct color and shows the rest as a black-and-white image.

The false color exposure check is based on the color processing set for the respective output signal path.

So if you have the viewfinder set to Rec 709, the false color exposure check will be based on the Rec

709 image. If you have the MON OUT at the same time set to Log C, the false color exposure check for

MON OUT will be based on Log C.

Level

99 – 100%

97 – 99%

52 – 56%

38 – 42%

2.5 – 4.0%

0 – 2.5%

Description

White clipping

Just below white clipping/white shoulder

One stop over medium gray (Caucasian skin)

18% neutral gray

Just above black clipping/black slope

Black clipping

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Working with ALEXA

Color Spaces

The ALEXA can deliver the captured footage with

"Video Rec 709" or "Log C ALEXA wide gamut" encoding.

Video - Rec 709

‘Rec 709’ is short for the International Telecommunication Union’s ITU-R Recommendation BT.709 - the output format for a traditional television workflow.

Since the Video - Rec 709 encoding from an ALEXA follows this standard for displaying images on video monitors, ALEXA Rec 709 images can be directly displayed on monitors or used for editing and dailies review. Without the need for color space conversion, ALEXA Rec 709 images can be processed by most HD video postproduction gear in real time.

While providing somewhat reduced choices in color grading, Video - Rec 709 maintains ALEXA’s wide exposure latitude, cinematic look and natural color rendition and offers the fastest workflow for any HD video-based infrastructure. Color comparison: split image Video/Log C

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Color Spaces cont.

Log C

The “C” in Log C is derived from “Cineon”. Cineon was the digital film scanning, processing and recording system developed by Kodak in the 90s. It is also the name of a file format that contains density data from scanned negative film. Density is a logarithmic measure of the opacity of the film. The relation of the density to the film’s exposure is called the characteristic curve of the film. Each stock has its own characteristic curve, but the overall shape is always the same.

ARRI introduced a scene based encoding for their camera data, which, because of the similarity to the Cineon standard, was named ‘Log C’. With Log

C encoding, the signal level increases by a fixed amount with each increase of exposure measured in stops. This encoding gradually advanced with an initial implementation for the ARRIFLEX D-21 and then a few upgrades for the ALEXA. Log C images offer the original ALEXA-specific wide gamut color space and are ideal to carry image information.

Viewing and Monitoring Log C

Shooting images in Log C delivers the best basis for the colorist's work, as it provides the camera's full latitude in an unconfined color space. When viewed directly, Log C images look flat with desaturated colors. To correctly display Log C material on an HD monitor (Rec 709) or in a digital projection (P3), it needs to be tone-mapped and transformed into the target color space. This image conversion can be performed using a 3D Look Up Table (LUT).

When recording Log C or ARRIRAW, the MON

OUT is typically set to display Rec 709 video. This activates an internal Log C to video conversion LUT on the output. The same applies if the REC OUT is used, for example, to present a clean video feed to the director. When an on-set color correction system is used to apply live looks to the camera image, the

REC OUT is typically set to Log C output. The color corrector then applies the settings in Log C and converts the output to REC 709 video using a 3D LUT.

ARRI provides these LUTs through the online ARRI

LUT Generator at www.arri.com/alexa/tools.

Linear

Visual effects often work with linear light encoded material. The ARRI LUT Generator can produce LUTs that will convert Log C material to sensor linear encoding. The linearization will preserve all image information. It is therefore possible to do round-trip conversions from Log C to linear and back to Log C.

Recording Codecs

Log C material is best recorded using a 4:4:4 codec

(ProRes 4444 or DNxHD 444). The top quality 4:2:2 codecs (ProRes 422 (HQ) and DNxHD 220x) will also provide acceptable results in Log C, but due to the higher compression ratio, grading images recorded with these codecs may exhibit artifacts.

ARRI LUT Generator

The ARRI LUT Generator can output 1D and 3D LUTs for a wide range of common postproduction tools. It is available online at www.arri.com/alexa/tools.

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In-Camera Look Files

ARRI Look Files are editable XML files that can apply a customized look to all outputs (EVF-1, MON OUT,

REC OUT, ProRes and/or DNxHD recording) that are set to Rec 709.

A look file can be created based on a Log C DPX grab or a Log C QuickTime clip that was stored by the camera. It contains parameters for saturation, printer lights controls (RGB offsets) and for lift/ gamma/gain, similar to the CDL controls. Optionally, a look file may also include a freeform curve (grey scale tone map LUT) that will be applied instead of the standard Log C to Video tone mapping curve.

The free ARRI Look Creator (ALC) allows the creation of camera look files based on Log C DPX frame grabs. Looks can also be created with third party software Pomfort Silverstack SET and Colorfront

On-Set Dailies.

ARRI Look Files can be saved to an SD card and imported into the camera. One Look File can be activated at a time and applied to the different image paths individually. It is possible, for instance, to record a clean Log C image onto the SxS PRO card while outputting a Rec 709 image with a look applied on the MON OUT output. As soon as a Look

File gets applied to any output, the data of the Look

File is stored in metadata.

SxS PRO Card look embedded in file header and/or burnt-in

HD look embedded and/or burnt-in

ARRIRAW look embedded in file header

Apply Look File look embedded and/or burnt-in

2. Use Look

REC OUT

Image with Look applied save as cineon, dpx, jpeg or tiff

Look File copy *.xml file to SD card

1. Create Look

Grab

*.dpx frame grab to SD card

ARRI Look Creator load grab & create look

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Non-Destructive Look Files

The Look File does not only go back into ALEXA where it is embedded in the metadata/file header, but it is also used in the ARRI LUT Generator at http://www.arri.com/alexa/tools. The ARRI LUT

Generator incorporates the Look File into a LUT.

The LUT on the other hand is used e.g. in a color grading application where it serves as a reference point for the grading artist. In this way the director of photography’s vision is being transported directly to post, where the actual ‘development’ of the images takes place.

LogC Image

Look File transported in file header

SxS PRO Card

LogC clips

2. Use Look

Dalies or Conform

Color Grading have a preview Grading on your footage

ARRI LUT Generator combine Look with LUT

Look File copy *.xml file to SD card

1. Create Look

Grab

*.dpx frame grab to SD card

ARRI Look Creator load grab & create look

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ASC CDL Looks

The alternative to ARRIs in-camera look files is to send a clean Log C signal from the camera's REC

OUT to an on-set color correction tool, such as

FilmLight Truelight, Technicolor DP Lights or Pomfort

Live Grade, and apply an ASC CDL (American Society of Cinematographers Color Decision List) color correction to the live camera feed for monitoring.

The ASC CDL standard is supported by a wide range of devices. Color correction settings that were made during the shoot are logged with time code and can be output in an Avid Log Exchange (ALE) file.

The ALE file then can then be used in a color correction system to automatically apply the color corrections when deliverables will be created.

ALEXAs with an XR Module and Codex Onboard recorders can be connected to any color corrector offering the Truelight CDL Protocol via Ethernet and automatically capture the ASC CDL correction values with the camera footage. The Codex VFS can use the color correction settings and automatically apply them when generating files. On ALEXA

XT/XR cameras, the CDL values will be embedded within the header of each ARRIRAW frame.

1. Create Look

Live Color Correction apply ASC CDL color correction

On-Set Monitoring output color corrected live image

3. Use Look

Clean Feed

Log C live image from REC OUT

ALE

ASC CDL Values send to ALEXA via Ethernet

Dailies including Log C to Video & CDL correction

ALE

Color Grading

CDL values with time code in ALE file

2. Transport

Look

ARRIRAW Footage

CDL values embedded in file header

CODEX VFS generate deliverables for dailies and mastering

ARRIRAW Footage

CDL values embedded in file header

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Legal and Extended Range

A 10 bit legal range signal uses digital code values

64 to 940 to represent the camera's full contrast range from black to white. In an extended range signal, the same range is represented by code values 4 to 1019. Extended range encoding does not provide a higher dynamic range, nor does legal range encoding limit the dynamic range that can be captured.

It is only the quantization (the number of lightness steps between the darkest and brightest image parts) that is slightly increased (about 0.2 bits). The same applies for 8 bit (0-256 range) or 12 bit (0-4096 range) signals.

An ALEXA always records ProRes and DNxHD clips using legal range encoding, as required by the codec specifications. Most editing or post production tools automatically transform the legal range files to e.g. computer graphics RGB full range

(0-1024) for display.

Note: Some recorders will allow to record e.g.

ProRes clips in extended range. If this material is brought into FCP, for example, the application displays values outside the legal range as “superblack” and “superwhite”, but as soon as an RGB filter layer is applied, those values are clipped.

p and psf

The REC OUT and MON OUT on an ALEXA can be set progressive (p) or progressive segmented frames

(psf) output. An ALEXA always captures progressively (full frame at once). The psf mode splits each frame into two segments other than interlaced capture, which captures both segments in two separate exposures. The psf output enables compatibility to devices that only understand interlaced signals for certain frame rates. It has no influence on the internal recording or ARRIRAW T-Link output.

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Metadata Overview

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

A range of automatic and human-readable data is being delivered by the ALEXA camera; this data makes work in post much easier: exposure index, gamma and white balance information, for example, is essential for creating dailies or color grading. Reel number, project fps, date and time become important when combining images and sound from different sources.

Metadata in the ALEXA appears in several different ways: embedded in the ARRIRAW header, QuickTime metadata atom and ARRI Digital Meta Data (ADMD) atom, MXF metadata XML, Final Cut Pro 7 XML and

Avid Log Exchange (ALE) file. These atoms or text based files can be parsed by e.g. editing software and offer the accompanying information mentioned above to the application and its user.

For more information on the metadata have a look at our whitepaper at www.arri.com/alexa/downloads.

Lens Data System

By combining the ALEXA XT, ALEXA Plus, ALEXA M or ALEXA Studio camera with lenses equipped with a Lens Data System (LDS) PL-Mount additional frame by frame lens metadata for use in VFX work will be acquired. When using a non-LDS lens in combination with the ARRI Controlled Lens Motors a profile for the lens can be created within the Lens Data Archive

(LDA); by doing so the ALEXA camera can compensate for the missing sensors inside the lens by reading the motor’s position and calculating the current focus, iris or zoom value. A guide on how to create an entry for an unknown lens can be found on page 60.

Live update of Lens Data Display to keep the shot in focus

3. Using

Lens Data

VFX Department use Lens Data for effects work

WCU-4 controls camera via white radio

CLM-2, -3 or 4 drives focus, zoom or iris on lens

1. Lens Data creation

LDS capable lens & ALEXA camera lenses: Master Anamorphics, Master Primes, LDS Ultra Primes or ALURA zooms or Non-LDS lenses with LDA/Wireless System camera: any from the ALEXA XT series, ALEXA Studio, Plus/Plus 4:3 or M

010101

0001001

0101110

0101001

1000101

1010010

Lens Data generated by e.g. a focus pull

2. Storing

Lens Data

SxS PRO Card

Lens data embedded in file header of the Quicktime clip

ARRI META Extract extract Lens Data from files for use in VFX

XR Capture Drive

Lens data embedded in file header of each ARRIRAW frame

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Licenses

Licensed features expand the capabilities of an AL-

EXA camera. A license file is serial number sensitive and can only be used on the camera for which it has been purchased. Currently there are three licenses available: Anamorphic De-squeeze, High Speed and

DNxHD Recording.

• Anamorphic De-squeeze shows a properly de-squeezed image (with or without surround view) on EVF-1 and/or MON OUT when working with 1.3x or 2x anamorphic lenses.

• The High Speed license allows recording 60 to 120 fps in 16:9 HD with ProRes codecs up to ProRes 422 HQ or with DNxHD codec up to

DNxHD 220x onto SxS PRO 64 GB cards. This mode uses the same Super 35 sensor area as

Regular Speed mode (same depth of field, same angle of view). ARRIRAW, 2K SxS resolution,

ProRes 4444 and 4:3 sensor mode are not supported in High Speed mode; REC OUT will be rerouted to clone MON OUT.

• The DNxHD license allows in-camera recording onto SxS PRO cards of 16:9 HD Avid DNxHD

145 (8 bit 4:2:2 ), DNxHD 220x (10 bit 4:2:2) and DNxHD 444 1 (10bit 4:4:4) codecs, both within an MXF wrapper and embedded audio, timecode and metadata. ALEXA MXF/

DNxHD files use operational pattern OP1a, frame wrapped, per SMPTE 2019-4-2008 and a MXF (Media eXchange Format) container

(compared to the Quicktime “mov” container).

MXF/DNxHD files can be linked to Avid Media

Composer 5.5 or greater using the ALEXA

AMA plug-in (available from the ARRI website for Windows or Mac OS X). Of course DNxHD recording is available in Regular and in High

Speed mode (see High Speed license).

• On ALEXA XT the High Speed and Anamorphic

De-squeeze licenses are preinstalled.

1 coming in a later SUP

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ALEXA Preshoot Checklist

General considerations

This chapter offers checklists for typical use-cases of an ALEXA camera. During prep or pre-production, the following topics should be clear: fastest and most reliable way to identify problems in the digital workflow.

The basic camera parameters (e.g. timecode basis respectively project speed, choice of gamma and recording format) should always be discussed with postproduction. The choice of camera settings can be affected for different reasons. Sometimes the reasons are creative, sometimes the production pace may have an influence.

To avoid surprises, it is critical to give the planned setup a try and run a short test through the entire workflow before starting the shoot; This is the

We highly recommend that you make at least one verified backup immediately after the recording media is removed from the camera. We also recommend that a first quality control should ideally happen on location. With digitally captured footage being viewable immediately after recording, potential problems can be spotted right away and re-shooting a scene will be less of a problem. Also check the conditions of your completion bond; it is not unusual that LTO backups are a mandatory requirement for the footage to be covered.

Recording with the XR or SxS Module

Camera Setup

The following steps are necessary to prep the camera for recording.

1. Start your initial camera setup by pressing

[MENU], going to User Setups > Factory reset and press both soft buttons to confirm.

Note that ARRI Look Files and Custom Frame lines need to be uploaded again after a factory reset.

2. Enter the [PROJECT] screen using the shortcut on the bottom right.

1 Select a sensor mode to shoot in 16:9 or 4:3 aspect ratio.

1 Pick a recording resolution and codec or switch to ARRIRAW recording.

1 Set the project frame rate, which also acts as timecode base and playback frame rate.

1 Assign an individual camera index when shooting with more than one camera unit.

1 Next reel count usually starts with 001 and automatically increments when the camera starts recording to a new card or drive.

3. Press [TC] and enter the timecode [OPTIONS].

Assuming we'll get timecode from the Production

Sound Mixer:

1 Set Source to Ext LTC and verify that

1

Mode is set to Free Run and

1 Generator is set to Jam Sync.

4. Press [HOME] and go to the FPS screen.

1 Enter [SDI FPS] and adapt REC OUT and MON

OUT to the project frame rate.

1 Go [BACK], select the SENSOR FPS from the list and enter by clicking the menu wheel.

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Recording with the XR or SxS Module cont.

5. Back on the Home screen, enter [COLOR] >

[GAMMA], set INTERNAL to LOG C (not used for

ARRIRAW) and everything else to REC 709.

From the HOME screen, adjust [EI], [SHUTTER], and

[WB] as required.

Frequently used functions should be assigned to user buttons. Press USER button and enter the

EDIT screen.

1 Buttons 1 to 3 are available on the assistant and operator side, so it makes sense to assign functions that are useful on both sides, like EVF

Gamma, MON OUT false color, MON OUT

peaking or Check last clip.

1 Buttons 4 to 6 are only available on the assistant side through the user screen.

Additional notes for shooting in other modes than the standard setup

Shooting Highspeed

1 When shooting at 60 to 120 fps, the project

frame rate determines how many of the recorded frames will make up one second in playback (timecode base).

1 [TC] should be set to Int LTC and Rec Run

(Step 3).

1 Switch to [High Speed] from the FPS screen

(Step 4).

Recording ARRIRAW via T-Link (not available on

ALEXA XT cameras)

1 Unless you want to record ARRIRAW and e.g.

ProRes in parallel, the Codec setting can also be used to turn off the SxS Module (Step 2).

This will output a record flag (automatically start external recorders) even if no SxS card is present in the camera.

1 Go to [MENU] > Recording > REC OUT and set the HD-SDI format to ARRIRAW 1.5G DL or 3G SL for normal speed or 3G DL for high speed (up to 60fps) ARRIRAW output.

1 Optionally, turn on REC OUT fps sets sensor

fps.

1 Turn SDI remote on.

Please check the user manual of the recorder for setup instructions. Operating the recording hardware needs to be taken very seriously. Only trained personnel should be responsible for handling recording equipment.

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Additional notes for shooting in other modes than the standard setup cont.

XR Capture Drive/SxS PRO card Rotation

1. Take a fresh drive/card, make sure it is not locked

(SxS only) and insert it into the camera. Label facing to the outside.

2. If the drive/card has been used before and still contains footage:

1 First verify that the material has been

properly transferred.

1 Then use MENU > Recording > Internal >

Quick format media to format/empty the card for recording.

1 Ask the data wrangler to empty the drives/cards before returning them to you.

3. Don't wait for a drive/card to fill up completely.

4. Remove the mag and prepare it to be backed up.

1 Put the drive/card into its case.

1 Visually mark the "exposed negative" with colored tape.

5. The data wrangler should perform at least the following steps:

1 Transfer the drive's/card's contents including

checksum verification.

1 Depending on the recording mode, format the drive/card (ProRes/DNxHD) or clear the drive

(ARRIRAW) before it is returned to the camera.

This greatly reduces risk to accidently format a drive/card that has not been backed up and made it back to the camera by mistake.

1 Put the drive/card back into its case without color tape and hand over to the loader.

Shooting Stereo 3D ALEXA M fiber maintenance

1. Do not use different ALEXA models in a 3D setup.

If a licensed feature will be used, the license key must be installed on both cameras.

2. Connect both cameras using the EXT to EXT and

Ethernet to Ethernet cable.

3. Start the initial camera setup with a Factory reset on both cameras and skip the Project settings.

4. Enter [MENU] > SYSTEM > External Sync.

1 Set the Eye index for each camera depending on their position.

1 Set Sensor sync to EXT master on one camera and EXT slave on the other.

1 Set Settings sync to ETH master on one camera and EXR slave on the other. All settings made on one camera will now automatically be set on the other.

5. Now return to [MENU] > Project and proceed from Step 2 in the regular camera setup.

The cleanliness of the optical fiber connectors is mandatory for seamless functionality. Make sure not to touch the white fiber ends. Never leave the connectors open but cover them with their rubber covers when not in use. Plug the fiber end covers together while using the fiber cable, to prevent dirt from accumulating inside the cover. Regularly check the cleanliness of the fiber end, e.g. with a fiber microscope. If dirty, clean the fiber end with the appropriate tools, such as the SMPTE cleaning pen

(K2.72082.0).

Note: The camera that can be seen better in the 3D rig should be set to EXT/

ETH slave as only the slave camera indicates a missing sync between master and slave before recording.

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Creating Lens Tables

The ARRI Lens Data Archive (LDA) allows displaying and embedding of lens data information from non-LDS lenses with ALEXA Plus, ALEXA Plus 4:3,

ALEXA Studio and ALEXA XT series cameras.

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

Required Equipment

• An LDS capable ALEXA camera.

• At least one lens motor (CLM-2, CLM-3 or CLM-4).

We recommend using one motor per lens scale. If you have only one motor available but need to add more than one lens axis, you can create the lens scales sequentially, connecting the motor to the respective controller connector. Data points do not get lost unless the web browser’s session cookie is deleted.

• One lens control hand unit (e.g. WCU-3 + ZMU-

3A, WFU-3 + WZU-3 + WHA-3, …). Alternatively, lens rings can also be moved manually with the motor attached to the lens.

• A computer with installed web browser (e.g.

Firefox, Chrome, Safari). Cookies must be enabled.

Internet Explorer and Opera browsers are NOT supported!

• An Ethernet connection between ALEXA camera and computer using ALEXA Ethernet/RJ-45 Cable

(KC 153-S, K2.72021.0)

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Creating a Lens Table

Each ALEXA camera contains an inbuilt basic remote control web interface that can be accessed through an Ethernet connection using the Bonjour protocol.

Part of this web interface is the ‘LDA’ (Lens Data

Archive) tab that allows creation and storage of new lens tables to the ALEXA camera.

1. Connect the camera to a computer

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

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

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

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

6. Fill in the lens descriptive fields. Lens descriptions will be shown on LDS screens or embedded as metadata:

• Company: The lens manufacturer. Will not be embedded as metadata.

• Description: Lens description that will be displayed in the camera/WRS screen and embedded as metadata.

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

• Focal Length: Focal length of a prime lens.

Will be shown on LDS screens and embedded as metadata. Enter ‘0’ (Zero) for zoom lenses.

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

8. Click on the green ‘+’ in the LDA browser scale or hit the ‘Enter’ button on your keyboard to open the active edit field.

9. Enter the current lens value, do NOT hit ‘Enter’ on your keyboard afterwards.

10. Move the lens ring to the next position to enter the next data point.

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Creating a Lens Table cont.

Data Point Options:

Each data point can have up to three characteristics that have effects on display and interpolation of the lens table. Inactivated options are displayed in grey color and crossed out.

Data point will be indicated with a marking line.

Data point will be indicated with a number.

Data point will be used for interpolation.

Recommended Practice:

All three options are usually active with focus scales.

However, there are sometimes just the engraved marking lines without any number in the close focus area. If you are unsure about the numerical value of such a mark, you can switch off the usage for interpolation of this data point.

Zoom scales usually do not have marking lines, and they are displayed without marking lines on an

LDD-FP display as well. So you might want to switch off marking lines for zoom values.

Intermediate iris steps can be programmed with a marking line only, without a number and without being used for interpolation.

Special Lens Values:

Special lens values such as ‘infinity’ for focus and

‘close’ for iris are being entered by using their initial letters: ‘I’ for Infinity and ‘C’ for Close

Editing and Deleting Data Points

The value of a data point can be edited by clicking on the data field and entering a new value. It is not possible to move a data point on the scale. The data point has to be deleted and re-entered at the desired place.

A data point can be deleted by moving the point to the scale index. Once there, the symbol changes from the green ‘+’ symbol to a red ‘-’ symbol and can be deleted by clicking on the ‘-’ symbol or pressing ‘Enter’ on the keyboard.

Feet Scales:

You can enter feet values by using the prime symbol

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

21 inch: 1’9 or 21“

14.5 inch: 1’2.5 or 14.5“

20 feet: 20 or 20’

Saving and Downloading Lens Tables

You can save a newly created lens table into the camera’s internal Lens Data Archive (LDA) by hitting the ‘Send to Camera’ button in the LDS browser.

Click ‘Download from Camera’ to download existing lens tables from the camera’s Lens Data Archive

(LDA) to the computer. Save them onto SD card if you want to load them into another camera using the SD card.

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ALEXA XT/XR Workflows

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

DNxHD recording.

Compressed Recording Formats

When the XR Module is set to ProRes 2K/HD or

DNxHD recording, the drives are initialized like SxS

PRO cards, as a UDF volume. This provides 240 GB storage capacity which equals over 100 minutes of

16:9 ProRes 4444 in 2K at 24 fps. Using the UDF file system maintains an overall compatibility to the established ALEXA ProRes/DNxHD workflows.

Capture Drives or SxS PRO cards containing ProRes

2K/HD or DNxHD material can be accessed directly with the file names and directory structure in the known order.

The most affordable solution to access Capture

Drives is the Single Dock, a USB-3 Dock that will hold one drive.

Uncompressed ARRIRAW

When the camera records ARRIRAW, the Capture

Drives are initialized for use with the Codex Virtual

File System, which provides 480 GB of storage capacity, or about 45 minutes of 16:9 ARRIRAW

2.8K. These drives can be accessed using a Single

Dock, or preferably the more powerful Dual Dock

(2 drive bays and faster SAS connection) using a

Codex software running on a Mac. Codex also offers a standalone turnkey system called Vault for assisted location-based data management.

When a Capture Drive with footage is loaded, the contents are presented through the Codex Virtual

File System (VFS). The VFS can present various file formats, such as readily processed DPX files and

Avid DNxHD proxies next to the original ARI files on drive. Except for the recorded data, however, none of these additional files actually exist. It's only when these files are requested, that they are generated, on-demand and on the fly. Hence the term "virtual".

The file formats, file naming and directory structure that will be presented by the VFS are fully configurable through the Codex software. This makes the

VFS a highly flexible tool for providing exactly the material you require, when you want it, without redundant processing and storage overhead on your drives.

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ALEXA XT/XR Workflows cont.

Generating Deliverables

Functions:

• Clone Capture Drives to transfer drives, maintaining the VFS

• Checksum verification

• Generate files for review, edit and post

• Clear the data from the recording media

Optional Features:

• Codex Storage option, to keep footage in VFS for several days before clearing

• Codex Offloader option, for verified copies to external drives or LTFS tape

A "digital lab setup" as shown here can be used to handle all regular data management tasks during a production.

• *.ARI files are backed up to an internal or external

RAID (and collected for archiving to LTO tape).

Depending on the amount of footage per day, 5

TB of storage provides enough space for a few shoot days worth of ARRIRAW footage. This gives a production a few days buffer to confirm that the material is OK before the storage needs to be cleared.

• Deliverables for Dailies review and editorial can be provided via Network or shuttle disks.

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ALEXA XT/XR Workflows cont.

This setup also offers several options to optimize the performance in different production environments:

• The Dual Dock allows cloning Capture Drives to

Codex Transfer Drives. Cloning creates verified, identical copies and maintains the VFS.

• An optional Codex Storage option will transform up to 6TB of internal RAID storage into a Codex volume, which allows cloning Capture Drives to keep all data in the VFS.

• Setting up the Mac in a 10 Gig Ethernet network enables direct VFS access for postproduction tools through a network share.

• The optional Codex Offloader option expands the

Software with an option to create verified copies of the VFS to connected external disks or to LTO tapes for archiving.

Scaling your Workflow

To overcome a situation where you will be faced with more footage than a setup can handle, the obvious solution is to add a second setup. Sometimes, it may be more beneficial to combine setups including a Single Dock and a Dual Dock or a Dual Dock and a Vault, and to use the different feature-sets to distribute the workload.

Sometimes (not even related to the amount of footage) higher efficiency may be gained by splitting tasks between location and post production. One example would be creating multiple deliverables for editorial, dailies projection, streaming on the web, iPad, etc., which can be done more efficiently using a dedicated dailies tool. Archiving to LTO tape also does not necessarily need to happen on location, especially if postproduction is close by and possibly connected over e.g. 10 Gig Ethernet.

69

70

Specifications and Reference

Technical Specifications

Camera Types:

ALEXA

ALEXA XT

ALEXA Plus

ALEXA Plus 4:3

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

35 format film-style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods. The ALEXA XT Series features a 4:3 sensor as well as various improvements including a Lens Data Mount for all cameras.

Offers in addition built-in support for the ARRI Wireless Remote System, cmotion cvolution lens control system and ARRI Lens Data System (including Lens Data

Mount and Lens Data Archive for lenses without built-in LDS).

This version of ALEXA Plus offers a 4:3 capture mode in addition to the “Plus” feature set. It is bundled with Anamorphic Desqueeze, Highspeed and DNxHD license.

ALEXA XT Plus

ALEXA Studio

ALEXA XT Studio

ALEXA M

ALEXA XT M

Offers in addition built-in support for the ARRI Wireless Remote System and cmotion cvolution lens control system.

In addition features a rotating mirror shutter, an optical viewfinder that can be exchanged with the standard electronic viewfinder and 4:3 capture mode.

In addition features a rotating mirror shutter, an optical viewfinder that can be exchanged with the standard electronic viewfinder.

Based on the ALEXA, but with separate camera head and body. Also offers 4:3 capture mode.

Based on the ALEXA, but with separate camera head (equipped with LDS PL mount) and body.

71

72

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

Sensor

Frameline ARRI 2.39 Flat

Frameline 1.85 2K DCI

Frameline 2.39 2x Scope

Optical Viewfinder (ALEXA Studio)

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

Sensor Size – 3392 x 2200 Photosites

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

Sensor Mode 4:3

ARRIRAW – 2880 x 2160 Photosites

23.76 x 17.82 mm / 0.935 x 0.702", ø: 29.70 mm / 1.169"

ProRes 2K – 2868 x 2150 Photosites

23.66 x 17.74 mm / 0.931 x 0.698", ø: 29.57 mm / 1.164"

Sensor Mode 16:9

ARRIRAW / ProRes HD / DNxHD – 2880 x 1620 Photosites

23.76 x 13.37 mm / 0.935 x 0.526", ø: 27.26 mm / 1.073"

ProRes 2K – 2868 x 1612 Photosites

23.66 x 13.30 mm / 0.931 x 0.524", ø: 27.14 mm / 1.069"

EVF-1/MON OUT

4:3 Surround View – 3168 x 2160 Photosites

26.14 x 17,82 mm / 1.029 x 0.5702", ø: 31.64 mm / 1.246"

16:9 Surround View – 3168 x 1782 Photosites

26.14 x 14.70 mm / 1.029 x 0.579", ø: 29.99 mm / 1.181"

35 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer pattern color filter array.

Resolution

Operating Modes

Motorized Filter

(ALEXA Studio/

ALEXA XT Studio only)

16:9 sensor mode:

2880 x 1620 pixels for ARRIRAW and HD recording formats

2868 x 1612 pixels for ProRes 2K recording

4:3 sensor mode:

2880 x 2160 pixels for ARRIRAW recording

2868 x 2150 pixels for ProRes 2K recording

Sensor mode 16:9 or 4:3. Switching takes approx. 60 seconds. 4:3 output only available for ARRIRAW and ProRes 2K recording; Not available for DNxHD recording.

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

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

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

3 seconds through camera display.

Sealed behind-the-lens motorized filter mechanism provides optical flat or

ND 1.3 (4 1/3 stops).

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74

Frame Rates

Shutter

Exposure Latitude

Exposure Index

White Balance

Please refer to the tables given in the chapter “Recording Media” on page 16 ff.

Rotating mirror shutter (ALEXA Studio only) (11.2º - 180.0º) or electronic rolling shutter (0.75 - 60 fps: 5.0º - 358.0º; 60 - 120 fps: 356º). Shutter angle setting precision: 1/10 degree. Certain fps limits apply for maximum mirror shutter angle.

14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).

Values behind the exposure index are the number of available stops above and below 18% grey. These values apply to Log C output. Rec 709 output provides

0.5 stops less on the low end at EI 160, 0.4 stops less on the low end at EI 200 and 0.2 stops less on the low end at EI 400.

Separate red/blue and green/magenta balance available through Auto White

Balance or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100

K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight),

7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035

Kodak CC values or 1/8 Rosco values.

Sound Level

Power In

Power draw

ALEXA/Plus/Plus 4:3:

ALEXA XT/XT Plus:

ALEXA Studio:

ALEXA XT Studio:

ALEXA: Under 20 db(A) @ 24 fps (mirror shutter running on the Studio) and

≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to

'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to 'Rec low'.

ALEXA XT: Under 19 db(A) @ 24 fps (mirror shutter running on the Studio) and

≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to

'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to 'Rec low'.

BAT connector, optional V-Lock or Gold mount battery adapter back and top.

Camera accepts 10.5 to 34 V DC on all inputs.

Values stated here apply to typical use at 24 fps, without accessories.

85 W for camera and EVF-1, recording to SxS PRO cards.

100W for camera and EVF-1, recording to Capture Drives/SxS PRO cards.

90 W for camera with OVF-1, recording to SxS PRO cards, mirror shutter on.

105 W for camera with OVF-1, recording to Capture Drives/SxS PRO cards, mirror shutter on.

When running over 30 fps with mirror shutter on, a supply voltage of 18 V or more is recommended.

75

76

ALEXA M:

ALEXA XT M:

Power Out

40 W for camera head and 85 W for body, recording to SxS PRO cards.

40 W for camera head and 100 W for body, recording to Capture Drives/SxS

PRO cards.

A 24 V power input to the body is required to power the camera head from the body through a standard SMPTE hybrid cable up to 50 meters, without accessories. The camera head has one 10.5 to 34 V DC power input that can be used to power the head independently form the camera body.

12 V connector: limited to 12 V, up to 2.2 A.

RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V, above 24 V: input = output voltage. Both RS and EXT connectors combined: up to 2.2 A.

ETHERNET: up to 1.2 A. Maximum power draw is also limited by the power source.

The camera head on the ALEXA M offers two RS connectors and one

ETHERNET connector, with the same specifics as on the camera body.

Weight

Camera Model

ALEXA with SxS Module

ALEXA XT with XR Module

ALEXA Plus/Plus 4:3 with SxS Module

ALEXA XT Plus with XR Module

ALEXA Studio with SxS Module 2

ALEXA XT Studio with XR Module 2

ALEXA M XT/XT M Head

ALEXA M Backend

ALEXA XT M Backend

Camera Body

6.3 kg/13.8 lb

6.6 kg/14.5 lb

7.0 kg/15.4 lb

7.3 kg/16.1 lb

8.0 kg/17.6 lb

8.3 kg/18.3 lb

2.9 kg/6.39 lb

5.5 kg/12 lb

5.8 kg/12.8 lb

With Accessories 1

7.7 kg/16.9 lb

8.0 kg/17.6 lb

8.4 kg/18.5 lb

8.7 kg/19.2 lb

–

–

–

10.2 kg/22.5 lb

10.5 kg/23.1 lb

1 EVF-1 with Viewfinder Mounting Bracket VMB-1, viewfinder cable, and Center

Camera Handle (CCH-1)

2 Accessories for ALEXA Studio/XT Studio: OVF-1 and CCH-1

77

78

Dimensions

ALEXA:

ALEXA XT:

ALEXA Plus/Plus 4:3:

ALEXA XT Plus:

ALEXA Studio:

ALEXA XT Studio:

ALEXA M Head:

ALEXA M Backend:

ALEXA XT M Head:

ALEXA XT M Backend:

Lens Mount

Flange Focal Depth

Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22”

Length: 332 mm/12.95”, width: 161 mm/6.33”, height: 158 mm/6.22”

Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22”

Length: 332 mm/12.95”, width: 183 mm/7.20”, height: 158 mm/6.22”

With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”, height: 241 mm/9.49”

With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”, height: 241 mm/9.49”

Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”

Length: 323 mm/12.72”, width: 153 mm/6.02”, height: 158 mm/6.22"

Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”

Length: 323 mm/12.72”, width: 161 mm/6.33”, height: 158 mm/6.22"

Detailed drawings can be found in the ALEXA Dimensions PDF document on our website at: http://www.arri.com/alexa/downloads

ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. All models but Standard ALEXA are outfitted with a Lens Data Mount.

52.00 mm nominal

Viewfinder Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360-degree rotation and placement on camera left or right.

EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x pixel to pixel magnification), EXP button (false color exposure check) and jog wheel.

ALEXA Studio: Optical viewfinder OVF-1 shows a bright, high contrast image for through-the-lens viewing with low distortion, accurate color fidelity and no delay. Can be used camera left or right and the viewfinder arm telescopes closer/farther from the camera body. Automatically keeps an upright image in all positions with an optional override for manual image rotation. Includes a flip in ND 0.6 contrast filter and 2x de-squeeze module for 2x anamorphic lenses lenses (can also be retrofitted with a 1.3x de-squeeze module). Includes Basic

Insert Module BIM-1 for RGB frameglow. Accepts 8x and 10x 435 eyepieces,

435 eyepiece extensions and heated eyecups. With the optional ARRICAM

Eyepiece Adapter AEA-1, the OVF-1 can accept the 8x ARRICAM Studio eyepiece, ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio

Viewfinder Zoom Extension. Not compatible with Lite Universal Eyepiece. Can be replaced with the ALEXA Electronic Viewfinder EVF-1 by using the Electronic

Viewfinder Adapter EVA-1.

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80

Assistive Displays

For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, electronic level, compare stored image with live image, RETURN

For OVF-1:

IN video and anamorphic de-squeeze. MON OUT only: reel & clip number.

Warning LEDs for REC (recording), BAT (battery low), FULL (SxS PRO card full). ALEXA Studio ground glass holder and frameglow frames are compatible to ARRICAM. Exact alignment of framelines and captured frame, however, requires the use of ALEXA Studio ground glasses and glow masks. For custom aspect ratios not in the price list, please use the online ground glass composer at http://www.arri.com/camera/ground_glass_composer.html.

Control

Camera right:

Camera left:

main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel.

operator interface with illuminated buttons, button lock and card swap button.

Optional accessory RCU-4 for remote control via camera ETHERNET connector.

In-camera Recording ALEXA: Records Apple QuickTime files with ProRes encoding or MXF files with

DNxHD encoding onto either one or two (Dual Recording) SxS PRO cards. All codecs maintain legal range levels with embedded audio, timecode and metadata. MXF/DNxHD may require a license key.

Recording Outputs

ALEXA XT Series: Records ARRIRAW, ProRes or DNxHD onto XR Capture

Drives up to 120fps. With SxS Adapter: Apple QuickTime files with ProRes encoding or MXF files with DNxHD encoding onto SxS PRO cards. All codecs maintain legal range levels with embedded audio, timecode and metadata.

MXF/DNxHD may require a license key.

ALEXA: 2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9) or HD-SDI video (16:9). Both with embedded audio, timecode, metadata and recording flag. ARRIRAW: uncompressed 2880 x 1620 (16:9) or 2880 x 2160

(4:3; ALEXA Studio, Plus 4:3 and M only) 12 bit log. Requires an ARRIRAW

T-Link certified recorder. HD-SDI: uncompressed 1920 x 1080 (16:9) 4:4:4 RGB or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than

HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder with Variflag support.

ALEXA XT Series: 2x 1.5 G or 3G REC OUT BNC connectors HD-SDI video

(16:9) or MON-OUT clone. HD-SDI: uncompressed 1920 x 1080 (16:9) 4:4:4

RGB or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder with Variflag support.

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82

Monitor Output

Image Processing

Synchronization

2x MON OUT BNC connector on ALEXA Plus/Plus 4:3 and Studio for uncompressed 1.5G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; all legal range.

ALEXA and ALEXA M offer 1x MON OUT.

16 bit linear internal image processing. Target color spaces for ProRes, DNxHD

220x, REC OUT and MON OUT: Log C and Rec 709. Target color space for

DNxHD 145: Rec 709. For Rec 709, a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.

Master/Slave mode for precision sensor sync, synchronized settings, processing, HD-SDI outputs and QuickTime/ProRes or MXF/DNxHD recording for 3D applications. Automated sync of lens settings for 3D applications in Master/

Slave mode.

Playback

Audio

ALEXA: QuickTime/ProRes or MXF/DNxHD playback from SxS PRO cards to

EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON OUT and REC OUT signals and on the headphones jack.

ALEXA XT Series: ARRIRAW, QuickTime/ProRes or MXF/DNxHD playback from

XR Capture Drive or QuickTime/ProRes or MXF/DNxHD playback from SxS PRO card to EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON

OUT and REC OUT signals and on the headphones jack.

1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps.

Audio is recorded uncompressed into the QuickTime/ProRes or MXF/DNxHD files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW

T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.

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Connectors

Connector type Name

SxS Module/XR Module

BNC recording out HD-SDI, 1.5G/3G

BNC monitoring out HD-SDI, 1.5G

XLR 5 pin audio in

SxS/– 2/1

REC-OUT 1/2 2

MON OUT

AUDIO IN

1

1

BNC return signal HD-SDI, 1.5G

LEMO 16 pin external accessories

RET/SYNC IN 1

EXT 1

Fischer 2 pin 24 V power in BAT

Fischer 3 pin 24 V remote start and accessory power out RS

LEMO 2 pin 12 V accessory power out

LEMO 5 pin timecode in/out

12 V

TC

1

1

1

2

TRS 3.5 mm headphone mini stereo jack out

LEMO custom 16 pin electronic viewfinder

LEMO 10 pin Ethernet with 24 V power

Fischer 5 pin Lens Control System

Fischer 5 pin Lens Data Display

Fischer 12 pin for CLM-2, CLM-3 or later

Fischer 12 pin for CLM-2, CLM-3 or later

Fischer 12 pin for CLM-2, CLM-3 or later

LEMO SMPTE 304M hybrid fiber connector

AUDIO OUT

EVF

ETHERNET

LCS

LDD

IRIS

ZOOM

FOCUS

Optical Link

–

–

–

1

–

–

–

1

1

ALEXA (XT)

1

2

1

1

1

1

1

3

1

1

1

1

–

1

1

2

1

ALEXA (XT)

Plus/4:3/

Studio

2/1

2

ALEXA (XT) M

Backend

–

–

1

1

–

–

–

1

–

1

2

1

1

1

1

1

1

2/1

2

–

–

1

1

–

–

–

–

1

1

2

–

–

–

–

–

–

–

–

ALEXA (XT) M

Head

SD Card

Upgrades

For importing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA); also used for installing software update packets (SUPs). Stores captured stills from the

REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as logging files.

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

Capture Drives) can be exchanged for future storage modules. The Electronics

Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics. Exchangeable Lens Mount

(ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates via License keys. Currently available for purchase: Anamorphic De-squeeze, High Speed and DNxHD. ALEXA Studio/ALEXA XT Studio and ALEXA Plus 4:3/ ALEXA XT Plus come with all license keys pre-installed.

Note: All technical data based on Software Update Packet (SUP) 8.0.

All data is subject to change without notice.

85

86

Note: The only differences between ALEXA XT and the classic ALEXA can be found in the RECORDING menu.

This chart reflects the ALEXA XT‘s menu.

87

88

Scene Ta Load setup Factory r

89

90

AUDIO OUT OPTIONS GAMMA

91

92

+/- 10% CLIPLIST OPTIONS

93

94

LIVE INFO VERSION SxS C SYSTEM FPS INFO

95

96 97

98

C A M E V F

reset factory the represent values underlined 8.0

ALEXA SUP

99

100

ARRI Lenses

ARRI/ZEISS Master Anamorphic Lenses

Name

Lens

Mount 1

Aperture Close Focus 2

Magnification

Ratio 3

Length 4

Master Anamorphic 35mm/T1.9

Master Anamorphic 40mm/T1.9

Master Anamorphic 50mm/T1.9

Master Anamorphic 60mm/T1.9

Master Anamorphic 75mm/T1.9

Master Anamorphic 100mm/T1.9

Master Anamorphic 135mm/T1.9

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

Length 14

Front

Diameter 5

T1.9 - T22

T1.9 - T22

T1.9 - T22

T1.9 - T22

T1.9 - T22

T1.9 - T22

T1.9 - T22

0.75 m / 2'6"

0.70 m / 2'4"

0.75 m / 2'6"

0.90 m / 3'

0.90 m / 3'

0.95 m / 3'1"

1.50 m / 5'

H: 1:32.3

V: 1: 16.1

H: 1:25.6

V: 1: 12.8

H: 1:22.2

V: 1: 11.1

H: 1:24.3

V: 1: 12.2

H: 1:19.6

V: 1: 9.8

H: 1:14.7

V: 1: 7.4

tbd

183 mm / 7.2"

183 mm / 7.2"

183 mm / 7.2"

183 mm / 7.2"

183 mm / 7.2"

206 mm / 8.1" tbd

235 mm / 9.3"

235 mm / 9.3"

235 mm / 9.3"

235 mm / 9.3"

235 mm / 9.3"

258 mm / 10.2" tbd

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7" tbd

Maximum Housing

Diameter

Weight

(kg)

Weight

(lb)

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5" tbd

2,6

2,7

2,6

2,7

2,6

3,1 tbd

5,7

6

5,7

6

5,7

6,8 tbd

Angle of View

H - V

Super 35 Cinemascope 8

ID = 29.26 mm 7

65.47° - 29.91°

58.72° - 26.31°

48.46° - 21.18°

41.11° - 17.71°

33.40° - 14.21°

25.36° - 10.68°

18.92° - 7.92°

Entrance Pupil 6

178.8 mm / 7.040”

176.0 mm / 6.929”

171.5 mm / 6.75”

152.0 mm / 5.984”

136.7 mm / 5.380”

145.0 mm / 5.709” tbd For Annotations, see Page 114.

All data is subject to change without notice.

101

ARRI/ZEISS Master Prime Lenses

102

Name

Lens

Mount 1

Aperture Close Focus 2

Magnification

Ratio 3

Length 4

Front

Diameter 5

Maximum

Housing Diameter

Weight

Master Prime 12 mm/T1.3

Master Prime 14 mm/T1.3

Master Prime 16 mm/T1.3

Master Prime 18 mm/T1.3

Master Prime 21 mm/T1.3

Master Prime 25 mm/T1.3

Master Prime 27 mm/T1.3

Master Prime 32 mm/T1.3

Master Prime 35 mm/T1.3

Master Prime 40 mm/T1.3

Master Prime 50 mm/T1.3

Master Prime 65 mm/T1.3

Master Prime 75 mm/T1.3

Master Prime 100 mm/T1.3

Master Prime 135 mm/T1.3

Master Prime 150 mm/T1.3

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

T1.3 - T22

0.40 m / 16"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.35 m / 14"

0.40 m / 16"

0.50 m / 20"

0.65 m / 2'3"

0.80 m / 2'9"

1.00 m / 3'6"

0.95m / 3'3''

1.50 m / 4'11"

1:6.4

1:7.0

1:7.0

1:8.2

1:8.9

1:8.9

1:6.6

1:10.3

1:16.5

1:11.7

1:11.8

1:11.0

1:9.5

1:8.6

1:7.8

1:7.1

197 mm / 7.8"

172 mm / 6.8"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

153 mm / 6"

172 mm / 6.8"

210 mm / 8.3"

156 mm / 6.1"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

114 mm / 4.5"

134 mm / 5.3"

159 mm / 6.3"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

128 mm / 5"

137 mm / 5.4"

2.9 Kg / 6.4 lb

2.4 Kg / 5.3 lb

2.2 Kg / 4.8 lb

2.2 Kg / 4.8 lb

2.4 Kg / 5.3 lb

2.6 Kg / 5.1 lb

2.2 Kg / 4.8 lb

2.3 Kg / 5.1 lb

2.2 Kg / 4.8 lb

2.3 Kg / 5.1 lb

2.7 Kg / 5.9 lb

2.6 Kg / 5.7 lb

2.8 Kg / 6.2 lb

2.9 Kg / 6.4 lb

2.8 Kg / 6.2 lb

4.0 Kg / 8.8 lb

Normal 35 9

ID = 27.20 mm 7

83.87° -66.44° - 96.13°

76.42° - 59.41° - 88.52°

70.07° - 53.79° - 81.76°

63.98° - 48.60° - 75.29°

55.96° - 42.05° - 66.60°

48.12° - 35.79° - 57.97°

43.82° - 32.45° - 53.08°

38.84° - 28.74° - 47.10°

35.04° - 25.82° - 42.64°

30.91° - 22.75° - 37.68°

25.02° - 18.27° - 30.81°

19.27° - 14.06° - 23.72°

16.66° - 12.17° - 20.51°

12.60° - 9.17° - 15.56°

9.49° - 6.91° - 11.72°

8.53° - 6.22° - 10.53°

Angle of View H, V, D

DIN Super 35 10

ID = 30.00 mm 7

88.85° - 72.70° - 101.97°

81.24° - 65.39° - 94.07°

74.85° - 59.56° - 87.24°

68.56° - 53.97° - 80.52°

60.22° - 46.85° - 71.70°

52.01° - 40.00° - 62.89°

47.45° - 36.31° - 57.80°

42.07° - 32.16° - 51.31°

38.01° - 28.94° - 46.52°

33.55° - 25.51° - 41.15°

27.26° - 20.53° - 33.88°

20.99° - 15.80° - 26.08°

18.15° - 13.67° - 22.56°

13.74° - 10.32° - 17.14°

10.35° - 7.77° - 12.91°

9.30° - 6.99° - 11.59°

ANSI Super 35 11

ID = 31.14 mm 7

90.98° - 74.78° - 104.26°

83.44° - 67.49° - 96.33°

76.87° - 61.50° - 89.33°

70.53° - 55.80° - 82.48°

62.07° - 48.50° - 73.66°

53.72° - 41.45° - 64.81°

49.06° - 37.64° - 59.66°

43.51° - 33.35° - 52.98°

39.33° - 30.02° - 48.04°

34.73° - 26.46° - 42.52°

28.26° - 21.32° - 35.13°

21.59° - 16.58° - 27.00°

18.82° - 14.20° - 23.39°

14.25° - 10.72° - 17.79°

10.73° - 8.07° - 13.40°

9.65° - 7.26° - 12.03°

Entrance Pupil 6

208.3 mm / 8.2“

189.3 mm / 7.4“

158.8 mm / 6.2“

154.9 mm / 6.1“

149.3 mm / 5.8“

135.9 mm / 5.3“

136.7 mm / 5.4“

128.4 mm / 5.0“

126.9 mm / 4.9“

119.5 mm / 4.7“

136.1 mm / 5.3“

107.3 mm / 4.2“

102.5 mm / 4.0“

57.2 mm / 2.2“

29.9 mm / 0.098"

-89.0 mm / -3.5“

For Annotations, see Page 114.

All data is subject to change without notice.

103

ARRI/ZEISS Ultra Prime Lenses

104

Name

Ultra Prime 8R

Ultra Prime 12

Ultra Prime 14

Ultra Prime 16

Ultra Prime 20

Ultra Prime 24

Ultra Prime 28

Ultra Prime 32

Ultra Prime 40

Ultra Prime 50

Ultra Prime 65

Ultra Prime 85

Ultra Prime 100

Ultra Prime 135

Ultra Prime 180

Lens

Mount 1

Aperture Close Focus 2 Length 4

Front

Diameter 5

Weight

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

PL

T2.8 to T22

T2.0 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

0.35 m / 13.8"

0.30 m / 11.8"

0.22 m / 8.7"

0.25 m / 9.8"

0.28 m / 11"

0.30 m / 11.8"

0.28 m / 11"

0.35 m / 13.8"

0.38 m /15"

0.60 m / 23.6"

0.65 m / 25.6

0.90 m / 35.4"

1.00 m / 39.4"

1.50 m / 59.1"

2.60 m / 102.4"

130 mm / 5.1"

140 mm / 5.5"

112 mm / 4.4"

94 mm / 3.7"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

119 mm / 4.7"

166 mm / 6.5"

134 mm / 5.3"

156 mm / 6.1"

114 mm / 4.5"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

95 mm / 3.7"

114 mm / 4.5"

2.0 Kg / 4.4 lb

2.0 Kg / 4.4 lb

1.8 Kg / 4.0 lb

1.2 Kg / 2.6 lb

1.2 Kg / 2.6 lb

1.0 Kg / 2.2 lb

1.0 Kg / 2.2 lb

1.1 Kg / 2.4 lb

1.0 Kg / 2.2 lb

1.0 Kg / 2.2 lb

1.1 Kg / 2.4 lb

1.2 Kg / 2.6 lb

1.2 Kg / 2.6 lb

1.6 Kg / 3.5 lb

2.6 Kg / 5.7 lb

Normal 35 9

ID = 27.20 mm 7

30.6°

24.0°

19.2°

15.2°

12.6°

9.3°

7.0°

107.0°

85.2°

75.6°

70.8°

58.4°

50.2°

43.2°

38.2°

Horizontal Angle of View

DIN Super 35 10

ID = 30.00 mm 7

33.2°

26.2°

21.0°

16.5°

13.7°

10.2°

7.6°

112.0°

90.2°

80.6°

73.0°

62.8°

54.2°

46.8°

41.6°

ANSI Super 35 11

ID = 31.14 mm 7

34.7°

27.2°

21.8°

17.1°

13.9°

10.5°

7.9°

114.0°

92.6°

82.6°

75.2°

65.0°

55.8°

48.4°

43.0°

Entrance pupil 6

155,2 mm / 6.1"

113,4 mm / 4.4"

91,3 mm / 3.5"

85,1 mm / 3.3"

73,3 mm / 2.8"

67,4 mm / 2.6"

67,3 mm / 2.6"

61,1 mm / 2.4"

59,2 mm / 2.3"

13,4 mm / 0.5"

19,0 mm / 0.7"

3,5 mm / 0.1"

12,4 mm / 0.4"

-56,9 mm / -2.2"

-19,7 mm / -0.7"

For Annotations, see Page 114.

All data is subject to change without notice.

105

106

ARRI/ZEISS LDS Ultra Prime Lenses

Name

Lens

Mount 1

Aperture Close Focus 2 Length 4

Front

Diameter 5

Weight

LDS Ultra Prime 12

LDS Ultra Prime 14

LDS Ultra Prime 16

LDS Ultra Prime 20

LDS Ultra Prime 24

LDS Ultra Prime 28

LDS Ultra Prime 32

LDS Ultra Prime 40

LDS Ultra Prime 50

LDS Ultra Prime 65

LDS Ultra Prime 85

LDS Ultra Prime 100

LDS Ultra Prime 135

LDS Ultra Prime 180

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

PL LDS

T2.0 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

T1.9 to T22

0.30 m / 11.8"

0.22 m / 8.7"

0.25 m / 9.8"

0.28 m / 11"

0.30 m / 11.8"

0.28 m / 11"

0.35 m / 13.8"

0.38 m /15"

0.60 m / 23.6"

0.65 m / 25.6

0.90 m / 35.4"

1.00 m / 39.4"

1.50 m / 59.1"

2.60 m / 102.4"

140 mm / 5.5"

112 mm / 4.4"

94 mm / 3.7"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

91 mm / 3.6"

119 mm / 4.7"

166 mm / 6.5"

156 mm / 6.1"

114 mm / 4.5"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

104 mm / 4.1"

114 mm / 4.5"

2.2 Kg / 4.8 lb

1.8 Kg / 4.0 lb

1.5 Kg / 3.3 lb

1.5 Kg / 3.3 lb

1.3 Kg / 2.9 lb

1.5 Kg / 3.3 lb

1.4 Kg / 2.1 lb

1.4 Kg / 2.1 lb

1.2 Kg / 2.6 lb

1.4 Kg / 2.1 lb

1.5 Kg / 3.3 lb

1.5 Kg / 3.3 lb

2.0 Kg / 4.4 lb

2.8 Kg / 6.2 lb

Normal 35 9

ID = 27.20 mm 7

24.0°

19.2°

15.2°

12.6°

9.3°

7.0°

85.2°

75.6°

70.8°

58.4°

50.2°

43.2°

38.2°

30.6°

Horizontal Angle of View

DIN Super 35 10

ID = 30.00 mm 7

26.2°

21.0°

16.5°

13.7°

10.2°

7.6°

90.2°

80.6°

73.0°

62.8°

54.2°

46.8°

41.6°

33.2°

ANSI Super 35 11

ID = 31.14 mm 7

27.2°

21.8°

17.1°

13.9°

10.5°

7.9°

92.6°

82.6°

75.2°

65.0°

55.8°

48.4°

43.0°

34.7°

Entrance pupil 6

113,4 mm / 4.4”

91,3 mm / 3.5”

85,1 mm / 3.3”

73,3 mm / 2.8”

67,4 mm / 2.6”

67,3 mm / 2.6”

61,1 mm / 2.4”

59,2 mm / 2.3”

13,4 mm / 0.5”

19,0 mm / 0.7”

3,5 mm / 0.1”

12,4 mm / 0.4”

-56,9 mm / -2.2”

-19,7 mm / -0.7”

For Annotations, see Page 114.

All data is subject to change without notice.

107

ARRI/FUJINON Alura Zooms Lenses

108

Name

Alura Zoom 15.5-45

Alura Zoom 30-80

Alura Zoom 18-80

Lens

Mount 1

Focal Length

Wide

Focal Length

Long

Focal Length

Ratio

PL LDS

PL LDS

PL

15,5

Alura Zoom 45-250 PL 45

For Annotations, see Page 114.

All data is subject to change without notice.

30

18

45

80

80

250

Aperture

Close

Focus 2

Magnification

Ratio 3

Length 4

Front

Diameter 5

2.9

2.7

4.4

5.6

T2.8 - T22 0.6 m / 2'0"

T2.8 - T22 0.6 m / 2'0"

T2.6 - T22 0.7 m / 2'4"

T2.6 - T22 1.2 m / 3'11"

1:8.1

1:4

228 mm / 9.0"

370 mm / 14.6"

114 mm / 4.5"

1:4.9

1:5.5

228 mm / 9.0" 114 mm / 4.5"

285 mm / 11.2" 134 mm / 5.3"

134 mm / 5.3"

Maximum

Housing Diameter

114 mm / 4.5"

114 mm / 4.5"

134 mm / 5.3"

153 mm / 6"

Weight

2,2 Kg / 4,9 lb

2,2 Kg / 4,9 lb

4.7 Kg / 10.4 lb

7.5 Kg / 16.5 lb at 15.5 mm at 25 mm at 45 mm at 30 mm at 50 mm at 80 mm at 18 mm at 50 mm at 80 mm at 45 mm at 150 mm at 250 mm

Focal Length

Normal 35 9

ID = 27.20 mm 7

70.7° - 54.6° - 82.5°

47.5° - 35.5° - 57.1°

27.5° - 20.2° - 33.6°

40.3° - 29.9° - 48.8°

24.8° - 18.2° - 30.4°

15.7° - 11.4° - 19.3°

62.8° - 48.0° - 74.1°

24.8° - 18.2° - 30.4°

15.6° - 11.4° - 19.3°

27.5° - 20.2° - 33.6°

8.4° - 6.1° - 10.4°

5.0° - 3.7° - 6.2°

Angle of view H, V, D

DIN Super 35 10

ID = 30.00 mm 7

74.9° - 46.7° - 82.7°

50.8° - 29.9° - 57.2°

29.6° - 16.9° - 33.7°

43.2° - 25.1° - 48.9°

26.7° - 15.2° - 30.5°

16.9° - 9.6° - 19.3°

67.4° - 53.1° - 79.6°

27.0° - 20.4° - 33.4°

17.1° - 12.8° - 21.2°

29.9° - 22.6° - 36.9°

9.1° - 6.9° - 11.4°

5.5° - 4.1° - 6.9°

Alexa/D-21 HD 12

ID = 27.26 mm 7

78.5° - 49.4° - 86.3°

53.8° - 31.8° - 60.4°

31.4° - 18° - 35.8°

45.8° - 26.7° - 51.7°

28.4° - 16.2° - 32.4°

18° - 10.2° - 20.6°

66.8° - 40.7° - 74.3°

26.7° - 15.2° - 30.5°

16.9° - 9.5° - 19.3°

29.6° - 16.9° - 33.7°

9.1° - 5.1° - 10.4°

5.4° - 3.1° - 6.2°

Alexa 2K 13

ID = 29.08 mm 7

75.5° - 60.3° - 88.1°

51.3° - 39.6° - 61.9°

29.9° - 22.6° - 36.9°

43.6° - 33.4° - 53.1°

27° - 20.4° - 33.4°

17.1° - 12.8° - 21.2°

70.3° - 43.2° - 77.9°

28.4° - 16.2° - 32.4°

18.0° - 10.2° - 20.6°

31.4° - 18.0° - 35.8°

9.7° - 5.4° - 11.1°

5.8° - 3.3° - 6.7°

Entrance pupil 6

237.0 mm / 9.3"

230.9 mm / 9.1"

222.6 mm / 8.8"

219.3 mm / 8.6"

201.0 mm / 7.9"

187.4 mm / 7.4"

264.0 mm / 10.4"

231.6 mm / 9.1"

213.9 mm / 8.4"

234.4 mm / 9.6"

2.0 mm / 0.1"

-101.5 mm / -4.0"

109

110

ARRI/FUJINON Alura LDS Extender

Name

Alura LDS Extender 1.4x

Alura LDS Extender 2.0x

Weight

300 g / 0.66 lb

530 g / 1.17 lb

Diameter without knobs

77 mm / 3.03”

77 mm / 3.03”

Length (mm) without knobs

44 mm / 1.73”

60 mm / 2.36”

Combining the Alura Zomms with Alura Extenders

Alura Zoom

Alura 15.5-45 / T2.8

Alura 15.5-45 / T2.8

Alura 30-80 / T2.8

Alura 30-80 / T2.8

Alura 18-80 / T2.6

Alura 18-80 / T2.6

Alura 45-250 / T2.6

Alura 45-250 / T2.6

Alura Extender

Alura LDS Extender 1.4x

Alura LDS Extender 2.0x

Alura LDS Extender 1.4x

Alura LDS Extender 2.0x

Alura LDS Extender 1.4x

Alura LDS Extender 2.0x

Alura LDS Extender 1.4x

Alura LDS Extender 2.0x

Resulting Combination

Alura 22-63 / T4.0

Alura 31-90 / T5.6

Alura 42-112 / T4.0

Alura 60-160 / T5.6

Alura 25-112 / T3.7

Alura 36-160 / T5.2

Alura 63-350 / T3.7

Alura 90-500 / T5.2

111

112

ARRI/ZEISS Master Macro Lens

Name

Master Macro 100 mm/T2.0

Lens

Mount

PL LDS

1

Aperture

T2.0/T4.3 to T32

Close Focus 2

0.35 m / 13 3/4"

Magnification

Ratio 3

1:1

Length 4

210,0 mm / 8.27"

Front

Diameter 5

114 mm / 4.5"

Weight

2.6 kg / 5.7 lbs

Normal 35 9

ID = 27.20 mm 7

12.42°

Horizontal Angle of View

DIN Super 35 10

ID = 30.00 mm 7

13.52°

ANSI Super 35 11

ID = 31.14 mm 7

14.02°

For Annotations, see Page 114.

All data is subject to change without notice.

113

114

Annotations

Operation Temperature: -20°C to +40°C / -4°F to +104°F

Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F

1 Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System

(LDS) contacts

2 Close focus is measured from the film/sensor plane

3 Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)

4 Length is measured from the lens mount to the front of the lens housing

5 Diameter of the lens/matte box interface;

Maximum lens housing diameter for the Master

Macro 100 is 138 mm.

6 The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative numbers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors.

While largely irrelevant for live action, this measurement is important for special effects work.

7 The image diameter (ID) is the diameter of the image circle needed for the respective format.

These lenses are designed for the largest ID given here.

8 Horizontal (H) and vertical (V) angles of view for a

Super 35 Cinemascope camera aperture

(22,5mm x 18,7mm / 0.8858" x 0.7362")

9 Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture

(1.37:1, 22mm x 16mm / 0.8661" x 0.6299")

10 Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture

(1.33:1, 24mm x 18mm / 0.944" x 0.7087")

11 Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aperture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")

12 Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture

(1.78:1, 2880 x 1620 pixels,

23.76 mm x 13.37mm / 0.935" x 0.526")

13 Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa 2K 16:9 camera aperture

(1.78:1, 3072 x 1728 pixels,

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

14 Length is measured from the image to the front of the lens housing.

115

116

Resources and Contacts

ARRI Sales Contacts

Europe, Middle East, Africa, India

Arnold & Richter Cine Technik

GmbH & Co. Betriebs KG

(Headquarters, Sales & Service)

Türkenstraße 89, 80799 Munich, Germany [email protected]

Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245

ARRI Cine + Video Geräte Gesellschaft mbH

Pottendorfer Straße 25-27

1120 Vienna, Austria

Tel: +43 1 89 20107

Fax: +43 1 892 01 07 91

ARRI CT Limited (Sales & Service)

2 Highbridge

Oxford Road, Uxbridge

UB8 1LX Middlesex, United Kingdom

Tel: +44 1895 457 000

Fax: +44 1895 457 001

ARRI Italia S.r.l. (Sales & Service)

Viale Edison 318,

20099 Sesto San Giovanni (Milano), Italy [email protected]

Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692

Americas

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

600 North Victory Blvd., Burbank, CA 91502-1639, USA [email protected]

Tel: +1 (818)841 7070, Fax: 1 (818)848 4028

Asia

ARRI Asia Limited (Sales & Service)

2203B, The Centrium, 60 Wyndham Street,

Central, Hong Kong [email protected]

Tel : +852 2571 9066, Fax : +852 2875 9181

ARRI Inc. / East Coast (Sales & Service)

617 Route 303, Blauvelt, NY 10913-1109, USA [email protected]

Tel: +1 (845) 353 1400, Fax: +1 (845) 425 1250

ARRI China (Beijing) Co. Ltd. (Sales & Service)

Chaowai SOHO Tower C, 6/F, 0628/0656

Chaowai Dajie Yi 6, Beijing, China [email protected]

Tel : +86 10 59009680, Fax : +86 10 59009679

ARRI Inc. / Central & Southern America (Sales)

2385 Stirling Road, Ford Lauderdale, FL 33312, USA [email protected]

Tel: +1 954 322 4545, Fax: +1 954 322 4188

ARRI Canada Limited (Sales & Service)

1200 Aerowood Drive,

Unit 29 Mississauga, Ontario L4W 2S7 [email protected]

Tel: +1 416 255 3335, Fax: +1 416 255 3399

Australia / New Zealand

ARRI Australia Pty Ltd (Sales & Service)

Level 1, Unit 1, 706 Mowbray Road,

Lane Cove NSW 2066, Sydney, Australia [email protected]

Tel: +61 2 9855 4300, Fax: +61 2 9855 4301

117

118

1

2

3

ARRI Service Contacts

Zone Availability

Monday – Friday:

09:00 – 17:00 (CET)

Monday – Friday:

09:00 – 17:30 (CMT)

Monday – Friday:

09:00 – 18:00 (CET)

Monday – Saturday

09:00 - 18:00 (MSK)

Monday – Saturday:

10:00 – 18:00 (IST)

Monday – Friday:

08:15 – 17:00 (PST)

Monday – Friday:

08:00 – 17:30 (EST)

Monday – Friday:

08:30 – 17:00 (EDT)

Monday – Friday:

09:00 – 18:00 (HKT)

Monday – Friday:

09:00 – 18:00 (CST)

Monday – Friday:

08:00 – 18:00 (AEST)

Service Center

Munich, Germany

Arnold & Richter Cine Technik

London, Great Britain

ARRI CT Limited

Rome, Italy

ARRI Italia S.r.l.

Moscow, Russia

Bars-Pro Ltd.

Mumbai, India

CINEOM Broadcast India Pvt. Ltd.

Burbank, USA

ARRI Inc. West Coast

New York, USA

ARRI Inc. East Coast

Mississauga, Canada

ARRI Canada Limited

Hong Kong

ARRI Asia Limited

Beijing, China

ARRI China Co. Limited

Sydney, Australia

ARRI Australia Pty Limited

E-Mail [email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

[email protected]

Telephone Hotline

+49 89 3809 2121

+44 1895 457 051

+39 335 749 00 70

+7 (495) 415-98-13

+7 (495) 415-98-14

+7 (495) 415-98-15

+91 22 42 10 9000

+1 877 565 2774

+1 877 565 2774

+1 416 255 3335

+852 2537 4266

+86 10 5900 9680

+61 2 9855 4305

ZONE 2

Zone 2

ZONE 1

Zone 1

ZONE 3

Zone 3

Burbank

Mississauga

New York

London

Rome

Munich

Moscow

Mumbai

Beijing

Hong Kong

Sydney

ARRI Service is the first port of call for all questions concerning not only the ALEXA cameras, but all

ARRI cameras ever made, with worldwide service centers and 24h availability on Monday to Friday.

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

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ARRI Digital Workflow Solutions

The Digital Workflow Solutions (DWS) group deals with all workflow related issues including ARRI

Look File handling, data copying, backups, quality check, LUTs, metadata or working with Log C files.

In addition the DWS group provides support for such tools as the ARRIRAW Converter, ARRI Look

Creator, ARRI LUT Generator and ALEXA Frameline

Composer.

Feel free to contact DWS at [email protected].

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This ARRI ALEXA Pocket Guide (Ident.-Nr.: K5.40980.B) is published by Arnold & Richter Cine Technik, Mai 2013 © ARRI

Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 05/2013.

ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.

Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich

Tel +49 (0)89 3809 0 · Fax +49 (0)89 3809 1245 · www.arri.com

Online Resources

ALEXA Manual

ALEXA Data Sheets

ALEXA Dimensions

Frequently Asked Questions www.arri.com/alexa/downloads www.arri.com/alexa/downloads www.arri.com/alexa/downloads www.arri.com/alexa/learn

ALEXA Software Update Packets www.arri.com/alexa/downloads

Technical details on recording

ARRIRAW

ProRes

DNxHD

ALEXA Camera Simulator

ALEXA Frameline Composer

ALEXA LUT Generator

ALEXA Pocket Guide WebApp www.arri.com/alexa/arriraw www.arri.com/alexa/sxs www.arri.com/alexa/sxs www.arri.com/alexa/tools www.arri.com/alexa/tools www.arri.com/alexa/tools www.arri.com/alexa/apg

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ALEXA Pocket Guide WebApp www.arri.com/alexa/apg