Rentals

ARRI ALEXA

The first camera on the scene remains at the center of the family; it is the keystone of a modular and upgradeable system that offers not just an image capture solution, but an entire image pipeline. By combining proprietary ARRI technology with ubiquitous, best-of-class tools from industry-leading partners, ALEXA stands alone as the most complete and powerful digital production system ever built.

ALEXA Specifications

Camera Type	35 format film-style digital camera with integrated shoulder archand receptacles for 15 mm lightweight rods.
Sensor	35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
Photosites	2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video, ProRes and DNxHD
Operating Modes	Regular or High Speed mode. High Speed mode requires license purchase. Switching takes approximately 40 seconds.
Frame Rates	ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 – 60 fps ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ) with High Speed license: 0.75 – 120 fps Prores 4444 with 32 GB SxS PRO cards: 0.75 – 40 fps ProRes 4444 with 64 GB SxS PRO cards, SUP 5.0 or later: 0.75 – 60 fps DNxHD 145 and 220x: 0.75 – 60 fps DNxHD 145 and 220x with High Speed license: 0.75 – 120 fps HD-SDI: 0.75 – 60 fps ARRIRAW SUP 5.0 or later: 0.75 – 60 fps All speeds adjustable with 1/1000 fps precision
Shutter	Electronic rolling shutter, 0.75 – 60 fps: 5.0º – 358.0º, 60 – 120 fps: 356º. Shutter angle setting precision: 1/10 degree.
Exposure Latitude	14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)
Exposure Index	EI 160 (+5.0 / -9.0), EI 200 (+5.3 / -8.7), EI 400 (+6.3 / -7.7), EI 800 (+7.4 / -6.6), EI 1600 (+8.4 / -5.6), EI3200 (+9.4 / -4.6) Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 and DCI P3 are the same except for 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.
White Balance	Separate white balance (red/blue) and color correction (green/magenta) adjustment through Auto or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 20 db(A) @ 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 inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. 85 W power draw for camera and EVF-1 in typical use recording 24 fps to SxS PRO cards, without accessories.
Power Out	12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. Both RS and EXT connectors combined: up to 2.2A. ETHERNET: up to 1.2A. Maximum power draw is also limited by the power source.
Weight	ALEXA camera body + SxS Module: 6.3 Kg/13.8 lb ALEXA camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 7.7 Kg/16.9 lb
Dimensions	Length: 332 mm/12.95, width: 153 mm/6.02, height: 158 mm/6.22
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	ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount w/o LDS, 54 mm stainless steel PL mount, Super 35 centered
Flange Focal Depth	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.
Assistive Displays	For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. Anamorphic de-squeeze requires license purchase. MON OUT only: Reel & clip number.
Control	Camera right: main user interface with 3 transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: operator interface with illuminated buttons, button lock and card swap button.
In-camera Recording	Records Apple QuickTime/ProRes files or MFX/DNxHD files onto either one or two (Dual Recording) SxS PRO cards. All codecs legal range with embedded audio, timecode and metadata. Codec: QuickTime/ProRes 4444 Compression (1): 5:1 Bit Rate in Mb/s at 30 fps: 330 Bit Depth: 12 Color Coding: 4:4:4 RGB Recording time in hrs:min (2): 0:22 Application: High quality television or cinema applications requiring colorcorrection and/or compositing. Codec: QuickTime/ProRes 422 (HQ) Compression (1): 8:1 Bit Rate in Mb/s at 30 fps: 220 Bit Depth: 10 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2): 0:34 Application: High quality television applications requiring color correction. Codec: QuickTime/ProRes 422 Compression (1): 12:1 Bit Rate in Mb/s at 30 fps: 147 Bit Depth: 10 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2): 0:52 Application: Basic television applications if images do not require adjustments in postproduction. Codec: QuickTime/ProRes 422 (LT) Compression (1): 18:1 Bit Rate in Mb/s at 30 fps: 102 Bit Depth: 10 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2): 1:14 Application: On-set monitoring and proxy-editing when the master is captured with an external device. Codec: QuickTime/ProRes 422 (Proxy) Compression (1): 40:1 Bit Rate in Mb/s at 30 fps: 45Bit Bit-Depth: 10 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2): 2:42 Application: Same as above when a longer recording time is desired. Codec: MXF/DNxHD 175x/185x/220x Compression: 8:1 Bit Rate in Mb/s at 30 fps: 220 Bit Depth: 10 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2):0:39 Application:High quality television applications requiring color correction. Codec: MXF/DNxHD 115/120/145 Compression: 12:1 Bit Rate in Mb/s at 30 fps: 147 Bit Depth: 8 Color Coding: 4:2:2 YCbCr Recording time in hrs:min (2): 0:59 Application: Basic television applications if images do not require adjustments in postproduction. (1) Compression rate calculated based on 10bit full HD RGB with 1.8Gbit/s (2) Approximate time at 30 fps with SxS PRO 64 GB card
Recording Outputs	2x 1.5G or 3G REC OUT BNC connectors for ARRIRAW or HD-SDI video. Both with embedded audio, timecode, metadata and optional recording flag. ARRIRAW: 2880 x 1620, uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder. HD-SDI video: uncompressed 1920 x 1080 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.
Monitor Output	1x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080, 4:2:2 YCbCr; legal range.
Image Processing	16 bit linear internal image processing. Target color spaces for SxS, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied 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 SxS recording for 3D applications.
Playback	QuickTime/ProRes and MXF/DNxHD clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio	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. Uncompressed audio is recorded into the QuickTime/ProRes file or MXF/DNxHD file and embedded in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors	2x slots for SxS PRO cards (SxS) 2x BNC recording out HD-SDI, 1.5G/3G switchable (REC OUT 1 and REC OUT 2) 1x BNC monitoring out HD-SDI 1.5G (MON OUT) 1x XLR 5 pin audio in (AUDIO IN) 1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN) 1x BNC return signal/sync 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) 2x 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 out (AUDIO OUT) 1x LEMO custom 16 pin electronic viewfinder (EVF) 1x LEMO 10 pin Ethernet with 24 V power (ETHERNET)
SD Card	For importing ARRI Look Files, camera set up files, frame line files and feature licenses. 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. Also used for software updates.
Upgrades	The Storage Interface Module (currently available for SxS PRO cards) 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. Licenses available for purchase: Anamorphic De-squeeze, High Speed, DNxHD.