Alexa XT Plus

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Alexa XT Plus

WRONG DATA. CHECK YOUR WOOCS OPTIONS!0.00

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Product Description

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The Allrounder

alexa-xt-plus-components_01The ALEXA XT Plus (XT = Xtended Technology) is the most versatile and flexible of the ALEXA XT camera range, and thus a true allrounder. With an integrated wireless receiver for camera and lens remote control, built-in tilt and roll sensors, a DNxHD license and additional connectors for camera and lens control, signal output and accessory power supply, the ALEXA XT Plus offers the best value for anyone who can live without an optical viewfinder.

Like all ALEXA XT cameras it has a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan.

The ALEXA XT Plus is available either as a complete camera package or as an upgrade to the basic ALEXA XT.

ALEXA Classic & ALEXA XT Family Features

  • Film-like, organic look
  • High Dynamic Range
    • 14+ stops exposure latitude over the entire EI range as measured with the ARRI Dynamic Range Test Chart
    • extended, clean highlights
    • extremely low noise floor
    • holds up extremely well when over or underexposed
    • future proof for High Dynamic Range (HDR) displays
  • Sharp, natural images for HD, 2K, 4K UHD or 4K Cine deliverables
  • High sensitivity
    • true base sensitivity of EI 800
    • adjustable from EI 160 to EI 3200
  • ARRI color science
    • natural color reproduction, especially for skin tones
    • excellent color separation
    • great at resolving mixed color temperature sources
  • Multiple in-camera recording options
    • ARRIRAW (1, 2), ProRes or DNxHD
    • Log C or Rec 709 gamma
    • ARRI Look Files for custom looks
    • embedded rich metadata in all file formats
  • ARRIRAW (1)
    • uncompressed, unencrypted raw sensor data
    • 16:9 or 4:3 sensor modes (3)
    • greatest image quality from ALEXA
    • greatest flexibility in post
    • best option for future-proof archiving
  • Apple ProRes
    • ProRes 422, 422 HQ, 4444 and 4444 XQ (2)
    • HD or 2K recording resolutions, 16:9 or 4:3 sensor modes (1, 3)
    • pre-recording (1)
    • native Final Cut Pro X support
  • DNxHD
    • DNxHD 145, DNxHD 220x and DNxHD 444 (1)
    • MXF wrapped files (SMPTE standard compliant)
    • native Avid Media Composer support
  • Two independent HD-SDI outputs
    • optional ARRI Look Files for custom looks
    • streaming metadata
    • 180° image rotation for Steadicam low mode
  • Online tools and downloadable apps

 

(1) ALEXA HD and HD Plus do not include and cannot be upgraded to ARRIRAW, ProRes 2K, ProRes 3.2K, ProRes 4444 XQ, DNxHD 444, 4:3 sensor mode, 3D sync, pre-recording, SxS PRO+ support or the XR Module.
(2) Only ALEXA XT cameras and ALEXA Classic cameras with the XR Module upgrade.
(3) 4:3 sensor modes only for ALEXA Plus 4:3, ALEXA M, ALEXA Studio and all ALEXA XT models.

  • ARRI Product Quality
  • Rugged and reliable
    • sealed electronics compartment
    • unique cooling system
    • stable lens mount/sensor holder
    • continuous file closing protects footage
    • self-healing metadata
  • Intuitive, easy to use controls
    • same interface on all ALEXA models
  • High quality electronic viewfinder
  • Powerful assistive displays, including
    • surround view
    • false color exposure check
    • smooth mode for better motion portrayal
    • peaking focus check
    • compare stored image with live image
    • RETURN IN video
  • Well balanced, ergonomic body design
  • Global ARRI service network
  • Compatibility with industry standards
    • PL mount lenses
    • Apple ProRes, Avid DNxHD, HD-SDI, SxS PRO, SxS PRO+ cards
    • Gold mount or V-lock on-board batteries
    • 12 or 24 V power inputs and outputs
    • support for ARRI and cmotion cvolution wireless lens control systems
    • ARRIRAW support through ARRI Partner Program and ARRIRAW SDK
  • Numerous upgrade options
    • upgradable in-camera recording module (XR Module)
    • upgradable electronics interface module (Plus side panel)
    • Exchangeable Lens Mount (ELM)
    • easy and powerful free Software Update Packets (SUPs)
    • new features through purchase of license
  • Long and reliable product cycles

 

ALEXA XT Family Features

  • Open Gate Super 35 sensor
    • Open Gate mode: for VFX, upscale to 4K, reposition, resize, rotate or stabilize
    • 4:3 mode: unique tall sensor is ideal for anamorphic lenses
    • 4:3 mode: increased post flexibility for spherical lenses
  • In-camera ARRIRAW
    • highest ALEXA image quality, uncompressed and unencrypted
    • up to 120 fps in full image quality
    • stores ASC Color Decision List (CDL) in metadata
    • ARRIRAW checksum for safer and faster downloading
  • Powerful and unique ProRes & DNxHD options
    • ProRes 4444 XQ: high data rate (500 Mbit/s) = high quality images
    • ProRes 3.2K: ideal for 4K UHD up-sample
    • High speed ProRes or DNxHD onto XR Capture Drives or CFast 2.0 cards
  • High quality internal full-spectrum ND filters (4)
    • neutral color balance at all densities
    • internal filter holder reduces weight, reflections and hassle
    • 8 full-spectrum neutral density (FSND) filters available from ND 0.3 to ND 2.4
  • Flexibility of recording media
    • XR Capture Drive 512 GB
    • SxS PRO or SxS PRO+ memory cards
    • CFast 2.0 memory cards
  • Built-in Lens Data System (LDS)
    • more efficient workflow on-set and in post
    • Lens Data Archive (LDA) for use with non-LDS lenses
  • Included anamorphic de-squeeze and high speed licenses
  • Viewfinder Mounting Bracket VMB-3
    • improved operating comfort and flexibility
    • strong and rigid construction
    • special hard, low friction anodizing on all moving parts
    • 15 mm lightweight rods hold viewfinder mount
    • built-in bubble level
  • Super silent ALEXA XT fan

(4) only for alexa xt, alexa xt m and alexa xt plus. Alexa xt studio has its own motorized nd filter solution.

  • Built-in remote control features
    • real-time wired or wireless remote control of lens and camera
    • plug and play with ARRI Electronic Control System (ECS)
    • compatible with cmotion cvolution lens control systems
  • Additional outputs
    • a second MON OUT (1.5G HD-SDI)
    • a third RS accessory power out
  • Included DNxHD license
  • Electronic horizon in viewfinder and metadata
  • Lens synchronization for 3D
  • Built-in tilt and roll sensors

ALEXA XT Plus Features

Built-in Remote Control Features
With its built-in radio and lens motor electronics, the ALEXA XT Plus makes working on the set faster and more efficient. Plug the ARRI lens motors directly into the camera, turn on the wireless hand unit (like the WCU-4) and off you go. Integrating the wireless and lens control infrastructure into the camera not only saves time, but also weight, as a setup with an ALEXA XT and an external motor control box would be more cumbersome to cable and heavier in sum. Compatibility with the ARRI hand units, like the WCU-4, as well as with the cmotion hand units makes this a supremely flexible tool.

alexa-xt-plus-right-with-wcu-4

ALEXA XT Family Features

Record it all: Open Gate sensor mode
Using the full ALEXA sensor area, Open Gate mode is great for VFX shows, up-sampling to 4K, image repositioning, resizing, rotating or stabilizing. While some use it as their main recording format, others shoot in 16:9 or 4:3 and only certain scenes in Open Gate.

sensor-modes-with-open-gate

True anamorphic with 4:3 sensor mode
For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with an Open Gate sensor of the same size and shape as a Super 35 mm film frame, a feature only found on ALEXA digital cameras. The 4:3 sensor mode is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by cinematographers, directors and the viewing public. For convenient viewing of anamorphic images an anamorphic de-squeeze license is included with all ALEXA XT cameras.

In the images below, the sensor area used for shooting with anamorphic lenses is shown. Since an anamorphic lens squeezes the CinemaScope 2.39:1 image by a factor of 2, it needs a sensor area with a 1.195:1 aspect ratio. Film (orange) and the ALEXA sensor (blue) are tall enough to easily accommodate this, as can be seen in the left image. Since film and the ALEXA sensor have almost exactly the same dimensions, they exhibit the same angle of view for anamorphic lenses, which will be welcome news for cinematographers. Cutting the required 1.195:1 aspect ratio out of a 16:9 sensor (right image) results in a significantly smaller sensor area (grey area), which means fewer photosites and a different angle of view than what cinematographers are used to.

sensor-area

Space for VFX markers in 4:3 sensor mode
The 4:3 sensor is also useful for productions shooting with spherical lenses, as it permits the placement of tracking markers above and below the image, a shooting method popular with VFX heavy feature films. Alternatively, the extra room can be used for reframing in post, similar to shooting 4-perforation 35 mm.

1.85_in_4_by_4

Faster, lighter and more affordable ARRIRAW
All ALEXA XT cameras come with the new XR Module (Xtended Recording), a side panel that was co-developed with Codex to replace the previous SxS Module. The XR Module allows in-camera recording of uncompressed and unencrypted ARRIRAW, ALEXA’s highest quality image output, all the way up to 120 fps in full image quality. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation while avoiding unnecessary cabling.

ALEXA XT cameras record ARRIRAW onto exceptionally fast and rugged 512 GB XR Capture Drives, including advanced and time-saving features such as capturing the ASC Color Decision Lists (CDL) and a checksum for each frame into metadata. Once removed from the camera, the XR Capture Drive offers a number of different paths into post for every budget and time schedule demand, using the proven Codex workflow.

xr-module-open-and-drive

Powerful and Unique ProRes & DNxHD Options
As an alternative to ARRIRAW it is also possible to capture ProRes or DNxHD in-camera. ALEXA XT cameras provide two unique ProRes recording features: ProRes 4444 XQ, the highest quality ProRes codec, and ProRes 3.2K, the ideal recording resolution for an up-sample to 4K UHD or for extra room to resize, reframe, rotate or stabilize a 2K or HD image. Additionally, the XR Capture Drives allow for significantly longer recording times and faster speeds: ProRes 4444 can be recorded for a total time of 107 minutes (at 24 fps) and can be recorded as fast as 120 fps.
Recording onto SxS PRO or SxS PRO+ cards is also possible: with the SxS Adapter ProRes or DNxHD can be recorded to a single SxS PRO or SxS PRO+ card, thus protecting the inventory of existing cards. And with the CFast 2.0 Adapter it is possible to record onto CFast 2.0 cards, the same medium used by AMIRA, the new documentary style camera.

A high speed license for filming at up to 120 fps in 16:9 and 96 fps in 4:3 is included with all ALEXA XT cameras.

As an extra feature, the black protective top cover of the XR Module can be replaced with red, green, blue, yellow or white top covers to identify A, B, C, D, E and F camera units.

xr-module-open-red-top-covers-sxs-cfast_s02_01

High quality internal full-spectrum ND filters 
The In-camera Filter Module IFM-1 for the first time offers neutral density (ND) filters that maintain a neutral color balance at all densities.

fsnd-spectral-response-graph

Click here to see the FSND spectral response graphs 

fsnd-sample-test-image

Click here to see the FSND sample test images

Using internal ND filters allows a rating at the base sensitivity of EI 800 without the need for external ND filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and complexity. In addition it decreases narcissism, which is an unwanted reflection between the last lens element and the sensor and protects the sensor from dirt contamination during lens changes.

IFM-filter-graphic_01

The FSND (Full Spectrum Neutral Density) filters used with the IFM-1 are based on a number of high-tech manufacturing methods that are very different from common external filters. A spectacularly neutral color balance at all densities is achieved through a broadband absorptive coating that attenuates the full spectrum. To maintain a high contrast, an anti-reflective multi-coating reduces internal reflections. A sharp image is assured through a base of water-white optical glass that is precision polished to create perfectly parallel surfaces. While all ALEXA XT cameras come with the IFM filter holder installed, the FSND filters themselves are available separately in 8 densities from ND 0.3 to ND 2.4 plus an optical clear. Out of the box the ALEXA XT cameras can be used without a filter, and when FSND filters should be used, a IFM shim has to be installed in the lens mount.

IFM-filter-components-with-captions

More efficient VFX through lens metadata
Lens metadata is invaluable for efficient working on the set and for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount and why all ALEXA XT models insert a plethora of metadata into all recording and output formats.

On the set, streaming lens metadata is used for an overlay in the ALEXA display, viewfinder or MON OUT image. In addition, it is used by the Wireless Compact Unit WCU-4 for an easy to use graphical lens display. At the same time, the HD-SDI image carries streaming lens metadata (as raw encoder pulses and as interpreted lens data) which can be displayed on some monitors or used for real-time virtual set applications.

transvideo-and-wcu-4

Compositing in post is greatly sped up through the use of lens metadata carried inside the ARRIRAW, ProRes or DNxHD files. The lens metadata allows to automatically match the computer graphic images to the images taken with the real lens, a process that used to take a long time of manual tweaking. In the example below, a new car was inserted through computer graphics (right image) into an image that originally contained a stunt car (left image). The lens metadata was used to exactly duplicate focus, depth of field, perspective and minor distortions introduced by the real lens.

lincoln_original_CG

Over 42 ARRI lens models have LDS built-in, including the ARR/Zeiss Master Anamorphics, ARRI/Zeiss Master Primes, ARRI/Zeiss Master Macro 100, ARRI/Zeiss LDS Ultra Primes, ARRI Ultra Wide Zoom UWZ 9.5 – 18, ARRI/Zeiss Master Zoom 16.5-110, ARRI/Fujinon Alura Lightweight Zoom 15.5-45 and ARRI/Fujinon Alura Lightweight Zoom 30-80. The ARRI LDS also includes support for the Cooke /i system. For all other lenses it is possible to gather lens metadata by using an ARRI lens motor and a lens table stored in the camera (Lens Data Archive).

arri_lenses_group

Safely carry CDL color correction metadata into post
An increasing number of productions are setting up on-set color correction systems so the cinematographer can create and monitor a pre-grade of the footage. When shooting ARRIRAW, the resulting ASC CDL (American Society of Cinematographers Color Decision List) can be automatically transferred to ALEXA XT cameras and stored as metadata for fast and convenient retrieval in post.

XR-ARRIRAW-CDL_s

vmb-3_02Viewfinder Mounting Bracket VMB-3
To provide maximum comfort for the operator, the Viewfinder Mounting Bracket VMB-3 is strong and rigid, which has been achieved through a complete re-design of the previous model and the use of two 15 mm lightweight rods. These rods also facilitate rapid changes in camera support, i.e. from a tripod to a crane or Steadicam, since accessories such as lens motors or follow focus units can be hung from them rather than cluttering up the base plate. A special anodizing process is used on all moving parts for a very hard yet low-friction surface and a bubble level allows for speedy leveling of the camera.

Available as a separate accessory is the Viewfinder Extension Bracket VEB-3, with a sturdy design and a fold-out arm that holds the viewfinder securely in place when moving the camera.

veb-3

silent-fan

Super Silent ALEXA XT Fan
ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or hot environments. The new fan can be identified by an orange dot on top.

ALEXA Classic and ALEXA XT Family Features

Best Overall Image Quality
A great looking image consists of many parts: the absence of artifacts, high dynamic range, sharp and natural rendering, high sensitivity, low noise and natural color reproduction. All ALEXA cameras provide the best overall image quality with the least amount of fuss.

To render images with a film-like, organic look, all components of the ALEXA imaging chain are proprietary high performance custom designs: the optical low pass filter, the CMOS sensor, the electronics hardware imaging engine and the image processing software.

exceptional-image-performance-components_sup10

The ALEXA sensor provides high dynamic range images through an unequalled exposure latitude of more than 14 stops (as measured with the ARRI Dynamic Range Test Chart) with special consideration given to highlight treatment. Creating a good looking roll-off in the highlights is probably one of the most difficult tasks for any sensor designer and we have spent enormous resources at insuring exceptional highlight handling. ALEXA’s wide exposure latitude translates into a ‘thick’ digital negative; there is more detail information in the highlights and in the dark areas than any of the current display technologies can disclose. This means tremendous flexibility when color grading and makes ALEXA images future-proof for high dynamic range (HDR) display technologies.

exposure-latitude-alexa

Click here to see an illustration of ALEXA’s exposure latitude

Because of ALEXA’s great overall image quality, its images can be easily up or down-sampled for spectacular HD, 2K, 4k UHD or 4K Cine deliverables.

ALEXA’s high sensitivity and its ability to retain definition even when extremely under or overexposed make it very easy to work with. ALEXA’s unique color processing was developed by the same ARRI color scientists that have been working on the ARRILASER and ARRISCAN; thus they are intimately familiar with both film and digital color science. ALEXA renders natural colors, great looking skin tones and shows great color separation while also showing a fantastic ability to resolve mixed color temperature sources.
Efficient and Versatile Workflows
ALEXA represents the most efficient and versatile method to capture and then transport images, audio and metadata through the production process. This is achieved with a multitude of in-camera recording options, support for the native codecs of the most popular non-linear editors, complete rich metadata, integrated color management and a pre-recording option. So, disregarding if you want to shoot a low budget TV series or Martin Scorsese’s next big Hollywood feature, you can configure an ALEXA for the task at hand. This is also great for rentals, who can use the same product for many different customer demands.

ALEXA-Classic_Outputs-Simple_01

Simple and Safe Operation
alexa-classic-display-2013We know what it is like to try to change frame rate and shutter angle 12.11.14 in the morning in the rain after a long night shoot. We know that a camera needs to be very simple to operate, and everything about its design must ensure that you get a good image, no matter what. The ALEXA user interface has been specifically developed to be easy to learn and quick to operate. The same interface is used on all ALEXAs, with the same menu, buttons, etc., so there is no learning curve when using another model ALEXA. The hardware of the camera is designed for the best and most ergonomic use on the set, including the built-in shoulder cut-out, large number of accessories like the Low Mode Support LMS-3, the Remote Control Unit RCU-4 or the Wireless Compact Unit WCU-4, down to little details like differently shaped extrusions (eyebrows) above some buttons so the operator can feel the button’s position even from the other side of the camera or when shooting in low light.

ALEXA cameras are part of a long heritage of cameras from ARRI, and we are very familiar with the sometimes horrid conditions our cameras have to endure in the field. So ALEXAs are built rugged and reliable with a sealed electronics compartment, a unique cooling system and the most stable lens/sensor mount that German engineering could devise.

The camera’s electronics are housed in a sealed compartment in the center of the body. The heat generated by the sensor and the electronics is transported via heat pipes to a radiator located in a ventilation shaft at the back of the camera. A single, slow running silent fan cools the radiator. If need be, the fan can be easily exchanged. This system ensures effective, active cooling of the sensor and processing boards even in the hottest climates. At the same time it protects the electronics, thereby rendering the camera splash and dust proof.

alexas-unique-cooling-system_2014

To further improve the legendary stability of the ARRI lens mount, ALEXA is equipped with a novel lens and sensor mount design. The stainless steel lens mount is attached to a stainless steel distance barrel, which itself is attached to the sensor mount, which also holds the sensor board. The whole unit is then attached to the camera body. By creating a fixed link between lens and sensor (all the orange parts in the second drawing), a super stable flange focal depth is ensured – even if strong mechanical influences are applied to the lens mount, such as when a heavy zoom lens is not properly supported. Using stainless steel ensures minimum material expansion or contraction during temperature changes.

alexas-novel-lens-sensor-mount_01

In order to protect against the vagaries of production, ALEXA will continuously close the file it is recording. In case of a power failure, your data is protected and the media will contain a readable, uncorrupted file. If a metadata file is damaged, on the next reboot ALEXA will look at the actually recorded frames and reconstruct the metadata accordingly so you can continue to record on that media; we call that ‘self-healing metadata’.
Open, future-proof architecture
The ALEXA system is based on an open architecture, with many industry-standard interfaces and compatibility with third party products. This provides more choice to the filmmaker and ensures that best-of-class components can be used. To protect customers’ investment in ALEXA, a plethora of affordable hardware and software upgrades have been promised and delivered, continually expanding the feature set.

Four major components are specifically designed to allow an easy upgrade and to add new features in order to extend its useful life.

  • First, taking into account the rapid rate of change in storage technologies, the in-camera recording module on the left side of the camera is removable, featuring an SxS Module for ALEXA Classic cameras (which can be upgraded to an XR Module) or an XR Module for ALEXA XT cameras.
  • Second, the camera control electronics on the right side can be replaced with an upgrade such as the Plus panel, for wireless camera and lens remote control.
  • Third, the Exchangeable Lens Mount (ELM) allows the use of PL, PL LDS or Panavision lenses, further extending creative options.
  • And finally, ALEXA’s processors are based on FPGAs (Field Programmable Gate Arrays), a technology that permits the camera’s feature set to be completely re-programmed. Thus ALEXAs can be quickly and easily upgraded with our free-of-charge Software Upgrade Packets (SUPs) and licenses available for purchase. Past SUPs have added exciting features like ProRes 2K, ProRes 4:3, pre-recording, self-healing metadata, compatibility with new gear (like the WCU-4, the Ultra Wide Zoom UWZ 9.5 – 18 or SxS PRO+ cards) and advances in image quality like greatly improved debayering algorithms. Licenses are available to upgrade ALEXAs with high speed, anamorphic de-squeeze or the Avid DNxHD codecs.

This great compatibility coupled with ALEXA’s hardware and software modularity allowed us to keep ALEXA cameras relevant, which translates into a long and reliable product cycle.

future-proof_exploded-view

evf-1_backALEXA Electronic Viewfinder EVF-1
This viewfinder was specifically designed to meet the needs of professional camera operators by offering an extremely low latency image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including a peripheral viewing area we call ‘Surround View’.

It is critical to the camera operator that the action in the viewfinder can be seen at almost at the same time as the action in front of the camera. The extremely fast image display of the EVF-1 has been made possible through the creation of a proprietary high speed connection between the viewfinder and the camera, as well as a shared image processing architecture that maximizes the processing power of both camera and viewfinder.
The ALEXA EVF-1 is unique and uniquely suited for work on the set with its image delay of under one frame.

A stable, accurate and high quality image is important for the camera operator. The EVF-1 image exhibits high resolution, high contrast, low distortion and an evenly illuminated viewing area. All this has been made possible through a state-of-the-art F-LCOS (Ferroelectric Liquid Crystal On Silicon) micro display with 1280 x 768 pixel resolution, a high screen refresh rate and an ARRI optical design that employs the highest quality coated glass elements. Reliable contrast and color reproduction at all temperatures are assured through careful thermal stabilization of both the F-LCOS display and the ARRI custom LED light engine.

evf-1-2014

The EVF-1 has not only been developed to provide the best possible image, but is also specifically designed to fit the ergonomic needs of the operator. Even when using a matte box on a short prime lens, the compact dimensions of the finder guarantee that the eyepiece can be adjusted to a comfortable position for shoulder operation. The small, self-contained unit is easily mounted in different positions: on the left side for handheld, on the right side when the set is tight or further back through a telescoping extension for use with a geared head.

Straightforward operation is assured through a plethora of assistive displays in the viewfinder (and on the MON OUT as well), including: preset and custom frame lines, user rectangles, surround view, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and an optional anamorphic de-squeeze (license key required on some ALEXA Classic cameras). A number of ergonomically placed buttons allow convenient access to frequently used functions such as zoom and false color exposure check. The viewfinder’s settings, as well as the basic camera settings, can be changed by the operator directly on the EVF-1.

Showing their heritage, ALEXA and the EVF-1 have been designed to provide some features that previously have only been available through optical viewfinders. Most important for the operator is the fact that the camera’s sensor is slightly oversized to provide an extra area around the primary image in the viewfinder (Surround View). This allows lighting stands, microphones, etc. to be spotted before ruining the shot. Additionally, the size of the image in the EVF-1 has been chosen to equal that of the image in the optical viewfinders of ARRI’s film cameras.

Output Options

ALEXA represents the most efficient and versatile method to capture and then transport images, audio and metadata through the production process. This is achieved with a multitude of output options, support for the native codecs of the most popular non-linear editors, complete metadata and integrated color management. ALEXAs can easily integrate into any digital workflow, be that a high-end Hollywood feature film that shoots ARRIRAW, a TV series that shoots ProRes 4444 Log C or a Telenovella that needs to optimize throughput by shooting ProRes 422 Rec 709.

The ALEXA XT family of cameras expands on the many options of the ALEXA Classic cameras with new in-camera recording choices. Below is a overview of the ALEXA XT family of cameras outputs.

ALEXA-Classic_Outputs-Simple_01

For a more detailed map of all the ALEXA output options click here

arrirawproreshdsdi

ALEXA XT Plus Technical Data

Camera Type 35 format film-style digital camera with an electronic viewfinder, an Open Gate/4:3/16:9 switchable active sensor area, built-in support for the ARRI Wireless Remote System and the cmotion cvolution lens control system, built-in filter holder, Lens Data System, integrated shoulder arch and receptacles for 15 mm lightweight rods
Sensor 35 format ALEV III CMOS sensor with Bayer pattern color filter array.
Photo Sites 16:9
2880 x 1620 used for ARRIRAW 16:9
2880 x 1620 down sampled to 1920 x 1080 for HD-SDI, ProRes HD 16:9 and DNxHD HD 16:9
2868 x 1612 down sampled to 2048 x 1152 for ProRes 2K 16:9
3168 x 1778 used for ProRes 3.2K 16:94:3 Full
2880 x 2160 used for ARRIRAW 4:3 Full
2868 x 2150 down sampled to 2048 x 1536 for ProRes 2K 4:3

4:3 Cropped
2578 x 2160 used for ARRIRAW 4:3 Cropped

Open Gate
3414 x 2198 used for ARRIRAW Open Gate

For a drawing with details about the recording areas, surround views and framelines,
page 1 of 2 click here

For a drawing with details about the recording areas, surround views and framelines,
page 2 of 2 click here

Operating Modes 16:9, 4:3 Full, 4:3 Cropped or Open Gate sensor modes. Switching takes approx. 60 seconds. 16:9 available for ARRIRAW, ProRes and DNxHD recording. 4:3 Full available for ARRIRAW and ProRes 2K recording. 4:3 Cropped and Open Gate available for ARRIRAW recording.
Regular or High Speed mode. Switching takes approx. 20 seconds.
Frame Rates 16:9
ProRes HD 0.75 – 120 fps
ProRes 2K 0.75 – 60 fps
ProRes 3.2K 0.75 – 30 fps
DNxHD HD 0.75 – 120 fps
ARRIRAW 0.75 – 120 fps4:3 Full
ProRes 2K 0.75 – 48 fps
ARRIRAW 0.75 – 90 fps

4:3 Cropped
ARRIRAW 0.75 – 96 fps

Open Gate
ARRIRAW 0.75 – 75 fps

All speeds adjustable with 1/1000 fps precision. To record above 60 fps, the camera needs to be switched to high speed mode.

Note: some limitations based on recording media or recording file settings apply.

For a detailed table of frame rates for ALEXA XT cameras click here

Shutter Electronic rolling shutter, 5.0º – 358.0º up to 60 fps; 5.0° to 356° above 60 fps. Shutter angle adjustable with 1/10 degree precision.
Filters Permanent filters in front of the sensor: optical low pass, UV, IR. Includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters (manual insertion/removal)
Exposure Latitude 14+ stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
For a graphic of how the exposure latitude shifts at different EIs, click here
Exposure Index
Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 is the same except for 0.3 stops fewer in the low end at EI 160, 200 and 400.
White Balance Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Color Correction While white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.
Sound Level Under 19 db(A) while recording ProRes 4444 16:9 HD @ 24 fps 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’.
Power In Three possible inputs: BAT connector, optional battery adapter back or optional battery adapter top. All inputs accept 10.5 to 34 V DC. Approx. 90 W power draw for camera and EVF-1 in typical use recording ProRes at 24 fps to an SxS PRO card at room temperature, without accessories. Initial power draw during power up is higher.
Power Out 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 voltage = output voltage. RS and EXT connectors combined are limited to 2.2 A. ETHERNET is limited to 1.2 A. Maximum power draw is also limited by the power source.
Weight ALEXA XT Plus body with XR Module: 7.3 kg/16.1 lbs.
ALEXA XT Plus body with XR Module, electronic viewfinder and handle: 8.7 kg/19.2 lbs.
Dimensions Length: 332 mm/12.95”, width: 183 mm/7.20”, height: 158 mm/6.22”
Dimensional drawings available at www.arri.com/alexa/downloads
Environmental -20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Lens Mount 54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
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 magnification ‘pixel to pixel’), EXP button (false color exposure check) and jog wheel.
Assistive Displays For EVF-1 and MON OUT: preset and custom frame lines, user rectangles, surround view, 180° image rotation, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. For MON OUT additionally: Reel & clip number.For a graphic of which false color indicates which exposure level click here
Control Camera right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: Operator interface with illuminated buttons and button lock. Camera acts as a web server, displaying the ALEXA Web Remote on web browsers of computers connected to ETHERNET connector. Optional accessory Remote Control Unit RCU-4 for cabled remote control via camera ETHERNET connector. Optional accessory Wireless Compact Unit WCU-4 for wireless remote control.
In-camera Recording Uncompressed and unencrypted ARRIRAW, compressed and unencrypted QuickTime/ProRes or compressed and unencrypted MXF/DNxHD recording onto XR Capture Drives. With SxS Adapter: QuickTime/ProRes or MXF/DNxHD onto SxS PRO or SxS PRO+ cards. With CFast 2.0 Adapter: QuickTime/ProRes or MXF/DNxHD onto CFast 2.0 cards. All formats include embedded audio, timecode and metadata. ARRIRAW can additionally store an ASC Color Decision List (CDL) from an on-set network connection and a checksum per frame.For more details, click here
Recording Outputs 2x 1.5G or 3G REC OUT BNC connectors for uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr HD video at 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60 fps. Recording other speeds requires a recorder with Variflag support. Legal or extended range signal mapping. Embedded audio, time code, metadata and recording flag. ALEXA XT models do not offer ARRIRAW T-Link output.For a detailed table of REC OUT options click here
For a detailed table of ‘REC OUT = Clean MON OUT’ behavior click here
Monitor Output 2x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; legal range HD video at 23.976, 24, 25, 29.97, or 30 fps. Embedded audio, time code, metadata and recording flag.
Image Processing 16 bit linear internal image processing in full ALEXA native color space. Target output color spaces for ProRes, DNxHD, REC OUT and MON OUT: Log C or Rec 709. For Rec 709, a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.
Synchronization Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and QuickTime/ProRes or MXF/DNxHD recording for 3D applications. PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Playback Playback of ARRIRAW, ProRes or DNxHD from XR Capture Drive or playback of ProRes or DNxHD from SxS PRO or SxS PRO+ cards visible on EVF-1, MON OUT and REC OUT. Playback audio available over headphone jack and embedded in the MON OUT and REC OUT signal.
Audio 1x XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion. Uncompressed PCM audio recording to ARRIRAW, ProRes, DNxHD (1) and embedded in all HD-SDI outputs. Only available with same project/sensor speed at 23.976, 24, 25, 29.97 and 30 fps. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors 1x media slot for XR Capture Dive or SxS adapter
2x BNC recording out HD-SDI, 1.5G/3G (REC OUT 1 and REC OUT 2)
2x BNC monitoring out HD-SDI, 1.5G (MON OUT 1 and MON OUT 2)
1x XLR 5-pin analog audio in (AUDIO IN)
1x BNC return video in HD-SDI, 1.5G (RET/SYNC IN)
1x LEMO 16-pin external accessory interface (EXT)
1x Fischer 2-pin 24 V power in (BAT)
3x Fischer 3-pin 24 V remote start and accessory power out (RS)
1x LEMO 2-pin 12 V accessory power out (12 V)
1x LEMO 5-pin timecode in/out (TC)
1x TRS 3.5 mm headphone mini stereo jack (AUDIO OUT)
1x custom LEMO 16-pin electronic viewfinder (EVF)
1x custom LEMO 10-pin Ethernet with 24 V power (ETHERNET)
1x Fischer 5-pin Lens Data Display (LDD)
2x Fischer 5-pin Lens Control System (LCS)
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (IRIS)
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (FOCUS)
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (ZOOM)
BNC connectors designed for fast exchange without camera disassembly. These connectors require a special tool.
SD Card For importing and storing ARRI Look Files, camera set up files, frame line files, feature license keys, user pixel masks and custom lens tables for the Lens Data Archive (LDA). Stores captured stills from the REC OUT image path in TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format (1). Stores log files. Also used for installing Software Update Packets (SUPs).
Software Tools (apps) ARRIRAW Converter (ARC)
ARRI Look Creator (ALC)
ARRI Meta Extract
Software Tools (online) ALEXA Camera Simulator
ALEXA Frame Line Composer (AFC)
LUT Generator
ALEXA Pocket Guide WebApp
Upgrades The Storage Interface Module 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. An easily exchangeable lens mount allows other lenses beyond PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs) and payable license keys – Anamorphic De-squeeze (included), High Speed (included) and DNxHD (included).
(1) Frame grabs are not possible during High Speed, 16:9 2K, 16:9 3.2K, 4:3 2K, Open Gate or when the option ‘REC OUT = MON OUT Clone’ is chosen.
Note: Technical data based on Software Update Packet SUP 11.0 (ALEXA XT/XR).
All data subject to change without notice.

Upgrades and Accessories

This is a selection of the most important upgrades and accessories. For spare parts, extended warranties and service certificates please contact your local ARRI service center

To learn more about ARRI camera products and compatibilities between components, please visit our
configuration overview page

ALEXA XT Software Update Packet 11.0.1 (ALEXA XT & XR Module Upgrades)

Title Download
ALEXA Pocket Guide SUP 11.0
  1 files      62 downloads
Download
ALEXA Menu Settings Chart SUP 11.0
  1 files      65 downloads
Download
ALEXA User-Manual SUP 11.0
  1 files      68 downloads
Download
ALEXA SUP 11.0.1 Release Notes
  1 files      60 downloads
Download

ALEXA Software Update Packet 11.0.1 (ALEXA Classic ONLY!)

Title Download
ALEXA Menu Settings Chart SUP 11.0
  1 files      55 downloads
Download
ALEXA Pocket Guide SUP 11.0
  1 files      47 downloads
Download
ALEXA SUP 11.0.1 Release Notes
  1 files      48 downloads
Download
ALEXA SUP 11.0.1 29455
  1 files      0 download

ALEXA Software Archive

Title Download
ALEXA SUP 7.0 User Manual
  1 files      46 downloads
Download
ALEXA SUP 7.0 Menu Settings Chart
  1 files      44 downloads
Download
ALEXA XT SUP 9.1 Release Notes
  1 files      46 downloads
Download
ALEXA SUP 9.1 Release Notes
  1 files      40 downloads
Download
ALEXA SUP 9.2 Release Notes
  1 files      40 downloads
Download
ALEXA XT SUP 9.2 Release Notes
  1 files      48 downloads
Download
ALEXA Menu Settings Chart SUP 10.0
  1 files      35 downloads
Download
ARRI ALEXA User – Manual SUP 10.0
  1 files      40 downloads
Download
ALEXA XT SUP 10.0.1 Release Notes
  1 files      42 downloads
Download
ALEXA SUP 11.0 Release Notes
  1 files      47 downloads
Download
ALEXA SUP 10.0.1 Release Notes
  1 files      45 downloads
Download
ALEXA SUP 11.0 Release Notes
  1 files      43 downloads
Download

Avid DNxHD AMA Plug-in

Title Download
AVID DNxHD Technology White Paper
  1 files      49 downloads
Download
MXF / DNxHD White Paper
  1 files      46 downloads
Download

ARRIRAW Converter (ARC)

Title Download
ARRIRAW ARC GUI Version 3.2 Release Notes (for Mac and Windows)
  1 files      44 downloads
Download
ALEXA Framelines and ARC SDK Settings
  1 files      38 downloads
Download
ARRIRAW Converter – End user license agreement
  1 files      37 downloads
Download

ARRIRAW Converter (Command Line Tool)

ARRI Look Creator (ALEXA and ALEXA XT cameras)

ARRI Meta Extract

Title Download
ARRIRAW AME GUI Version 3.3.1 beta – Release Notes
  1 files      53 downloads
Download
ARRIRAW AME GUI Version 3.3 Release Notes
  1 files      44 downloads
Download
ARRI DPX Multichunk White Paper
  1 files      41 downloads
Download

ARRI Meta Extract (Command Line Tool)

ALEXA Pocket Guide

Title Download
ALEXA Pocket Guide SUP 11.0
  1 files      34 downloads
Download
ALEXA SUP 9.1 Pocket Guide
  1 files      35 downloads
Download
ALEXA SUP 8.0 Pocket Guide
  1 files      33 downloads
Download
ALEXA SUP 7.0 Pocket Guide
  1 files      35 downloads
Download
ALEXA SUP 6.1 Pocket Guide
  1 files      33 downloads
Download

Software

Title Download
LDD-FP Software für ALEXA Plus / ALEXA Studio (supports SUP6.1)
  1 files      36 downloads
Download

Technical Information

Title Download
AlexaColorProcessing 23Feb2011
  1 files      41 downloads
Download
ALEXA SUP 11 Max Frame Rates
  1 files      45 downloads
Download
ALEXA LOG C Curve-Usage in VFX
  1 files      33 downloads
Download
ALEXA Sample Footage Technical Information
  1 files      41 downloads
Download
REC OUT Options SUP 10 or later
  1 files      36 downloads
Download
ALEXA Classic and XT Recording Areas Surround Views Framelines SUP 11
  1 files      38 downloads
Download
ALEXA SUP 11 Data Rates
  1 files      34 downloads
Download
ARRIRAW FAQ
  1 files      39 downloads
Download
ALEXA XT Open Gate White Paper
  1 files      38 downloads
Download
ALEXA VFX FAQ
  1 files      42 downloads
Download
Apple ProRes White Paper – June 2014
  1 files      39 downloads
Download
ALEXA in Baselight
  1 files      36 downloads
Download
ALEXA Dailies using Resolve 10
  1 files      34 downloads
Download
ALEXA XR Module Workflows White Paper
  1 files      33 downloads
Download
LDD-FP Quick Guide for ALEXA
  1 files      37 downloads
Download
ALEXA Color Pipeline for Nuke
  1 files      37 downloads
Download
Custom Ground Glasses for the ALEXA Studio Quick Guide
  1 files      35 downloads
Download
CODEX ARRIRAW On-Board Recorder – Data Sheet
  1 files      38 downloads
Download
Remote Control Unit RCU-4 Data Sheet
  1 files      32 downloads
Download
Usage of CDM Test Charts with the ALEXA Camera
  1 files      38 downloads
Download
Real-time Color correction in Avid MC5
  1 files      38 downloads
Download
Anamorphic De-squeeze White Paper
  1 files      39 downloads
Download
ALEXA Color Processing White Paper HTML Demonstrations
  1 files      36 downloads
Download
ALEXA Color Processing White Paper
  1 files      35 downloads
Download
ALEXA Battery Mount Adapter Instruction Manual
  1 files      39 downloads
Download

Brochures

Title Download
ALEXA SXT Product Overview presentation
  1 files      16 downloads
Download
ALEXA Brochure 2014
  1 files      53 downloads
Download
AMIRA Brochure 2014 (Portuguese)
  1 files      35 downloads
Download

Data Sheets

Title Download
ALEXA Fiber Remote Option – Data Sheet
  1 files      49 downloads
Download
ALEXA Fiber Remote Option – Data Sheet – Portuguese
  1 files      43 downloads
Download
ALEXA Fiber Remote Option – Data Sheet – Spanish
  1 files      46 downloads
Download
ALEXA M Data Sheet
  1 files      49 downloads
Download
ALEXA DNxHD Data Sheet
  1 files      44 downloads
Download
ALEXA ALEXA Plus Data Sheet
  1 files      40 downloads
Download
ALEXA Product Overview Portuguese
  1 files      36 downloads
Download

ProRes 2K/ProRes 3.2k

Title Download
ARRI ProRes 3.2k White Paper
  1 files      48 downloads
Download
ALEXA Framing Chart 178 185 239
  1 files      44 downloads
Download
ProRes 2K in Editorial White Pape
  1 files      42 downloads
Download
ProRes 2K Frame Leaders
  1 files      39 downloads
Download

Leaflet

Title Download
ARRI Pro Camera Accessories for ALEXA M – Kit Leaflet
  1 files      49 downloads
Download
ARRI Pro Camera Accessories for ALEXA ALEXA Plus ALEXA Plus 4by3- Kit Leaflet
  1 files      43 downloads
Download
ARRI-ALEXA Camera Range Overview
  1 files      43 downloads
Download
ARRI Pro Camera Accessories for ALEXA Studio – Kit Leaflet
  1 files      45 downloads
Download

Dimensional Drawings

Title Download
ALEXA and ALEXA XT Dimensions
  1 files      37 downloads
Download

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