Alexa Pocket Guide Sup 11.0 01

Pocket Guide
SUP 11.0
Table of Contents
ALEXA Pocket Guide
Table of Contents
Overview 4 Working with ALEXA 32
New features in SUP 11.0 6 Exposure Index 32
The Home Screen 8 ND filters 34
Home Screen Soft Buttons 9 False Color Exposure Check 37
Icons on Home Screen 12 Color Spaces 38
MON OUT Icons 14 Video - Rec 709 38
Recording Media 16 Log C 40
ALEXA XT Output Overview 20 Linear 41
ALEXA Output Overview 21 ARRI LUT Generator 41
ARRIRAW uncompressed 22 In-Camera ARRI Look Files 42
ARRIRAW Converter 3.0 24 Legal and Extended Range 48
ARRIRAW capable software solutions 25 p and psf 49
ProRes 26 Metadata Overview 50
DNxHD 28 Licenses 52
New recording features in SUP 11.0 30
2
Table of Contents
ALEXA Pre-shoot Checklist 54 ARRI Lenses 104
Recording with the XR or SxS Module 55 ARRI/ZEISS Master Anamorphic Lenses 104
Camera Setup 55 ARRI Anamorphic UWZ 19-36 106
Shooting High Speed 57 ARRI/ZEISS Master Prime Lenses 108
Recording ARRIRAW via T-Link 57 ARRI/ZEISS Ultra Prime Lenses 110
Shooting Stereo 3D 59 ARRI/ZEISS LDS Ultra Prime Lenses 112
ALEXA M/ALEXA XT M fiber maintenance 59 ARRI/FUJINON Alura Zoom Lenses 114
Creating Lens Tables 60 ARRI/FUJINON Alura LDS Extender 116
ALEXA XT/XR Workflows 68 ARRI Ultra Wide Zoom UWZ 9.5-18 118
Compressed Recording Formats 68 ARRI/ZEISS Master Macro Lens 120
Uncompressed ARRIRAW 68 Resources and Contacts 124
Generating Deliverables 71 ARRI Sales Contacts 124
Scaling your Workflow 73 ARRI Service Contacts 126
Specifications and Reference 74 ARRI Digital Workflow Solutions 128
Technical Specifications 74 Online Resources 129
Menu Settings & Button Functions 90
3
Overview
Overview
Introduction
Welcome to the Pocket Guide for the ALEXA Classic on the real thing. However, carrying this guide with
and ALEXA XT family of cameras, which contains you and combining it with other resources such as
important preproduction and production information the ALEXA manual at www.arri.com/alexa/downloads
for an ALEXA shoot. The ALEXA platform has been or the interactive ALEXA/ALEXA XT Camera
designed with ease of use and user-friendliness in Simulator at www.arri.com/alexa/tools will ensure
mind; the menu and controls are simple and intuitive, your readiness to take full advantage of the camera’s
so the best way to learn ALEXA is to get your hands unique and versatile features.
ALEXA ALEXA XT
4
Overview
The ALEXA and the ALEXA XT family
ALEXA XT M ALEXA XT Plus ALEXA XT Studio
5
Overview
SUP 10 & 11 - New Features
ALEXA is the first and only camera to support In addition the new ADA-5 enhanced debayering
Apple’s new ProRes 4444 XQ codec. With its target algorithm further improves ALEXA's image quality in
data rate of 500 Mb/s (at 1920 x 1080, 30p) and low all already available ALEXA recording resolutions as
compression ratio of 1.45:1, ProRes 4444 XQ is the well as 3.2K recording.
ideal choice for productions that are shooting for
premium image quality, are looking for extreme color 180° image rotation allows Steadicam operators to
grading options or want to preserve the superior flip their rig upside down for low mode shooting
tonal range of ALEXA's Log C signal. and it rotates the image for the ARRI Ultra Wide
Zoom UWZ 9.5-18/T2.9. The rotation applies to EVF,
ProRes 3.2K recording format is suitable for MON-OUT and REC-OUT. Internal recording is not
productions requiring 4K UHD deliverables. The affected.
rescale to 4K UHD only demands a small upscale
factor of 1.2x. Available to ALEXA XT and ALEXA For high end workflows that utilize color on the set,
Classic cameras with the XR Module upgrade, SUP 10 extends the number of recording modes that
ProRes 3.2K is a new recording resolution that uses support two independent HD-SDI outputs.
3164x1778 photo sites from the sensor to record Previously only available in 16:9/HD/regular speed,
a 16:9 3.2K ProRes file. The 3.2K sensor area was other recording modes now also benefit from a clean
chosen because it is the largest area that can still be Log C signal on REC OUT while a Rec 709 signal
covered by almost all Super 35 PL mount lenses. with overlays and an optional ARRI Look File can be
output on MON OUT.
6
Overview
SUP 11 Feature Overview • 180° Image Rotation
• New ARRI Debayer Algorithm ADA-5 (ALEXA Classic, XT and XR)
• ProRes 3.2K recording up to 30fps • Open Gate Support for ALEXA M (ALEXA XT M)
• ARRIRAW Checksum in the file header • REC OUT = Clean MON OUT
• Framelines saved in ARRIRAW Metadata (ALEXA Classic, XT and XR)
• Support for Lens Data Encoder LDE-1 • ARRIRAW 4:3 Cropped recording for 96 fps
• Support for Rev C SxS PRO+ Memory Cards with anamorphic lenses (ALEXA XT and XR)
(SBP-64C and SBP-128C) • Fast regular/high speed switching
• Support for SanDisk CFast 2.0 128 GB (ALEXA Classic, XT and XR)
Memory Cards • Dimmable status information
• Advanced WCU-4 support (ALEXA Classic, XT and XR)
• Updated Web Remote GUI (V2.0) • Monochrome status icons
• User Button „Check last clip end“ and (ALEXA Classic, XT and XR)
„Check last clip start“ • Colored camera index letter
(ALEXA Classic, XT and XR)
SUP 10 Feature Overview • “Lens Squeeze Factor” metadata filed
• ProRes 4444 XQ recording up to 75 fps (ALEXA Classic, XT and XR)
(ALEXA XT and XR) • Independent Peaking setting for playback
• Support for SxS PRO+ 64GB and 128GB cards (ALEXA Classic, XT and XR)
(ALEXA Classic, XT and XR)
7
Overview
The Home Screen
8
Overview
Home Screen Soft Buttons { blue_REC_icon } = The selected
ARRI Look File is applied to REC OUT.
The soft buttons lead to screens where the respective { red_int_icon } = (blinking) The CDL
settings can be changed. In the home screen, the server connection has been enabled,
following info is displayed: but the CDL server cannot be reached.
WB: Set white balance, consisting of a Kelvin
FPS: Set sensor frame rate value for red-blue correction and a CC
AUDIO: Set audio preferences shift value for green-magenta correction
When on = audio levels are shown (shown as exponent).
OFF = turned off
DISABLED = sensor is not running at ALEXA Studio Icons
sync-sound speed
SHUTTER: Set shutter angle (and turn mirror Name Icon Description
shutter on/off for ALEXA Studio)

Mirror M Flashing Icon when the
EI: Set exposure index (and insert internal Shutter S Mirror Shutter is spinning.
ND filter for ALEXA Studio).
View
COLOR: Set gamma for REC OUT output (REC) Position V Mirror Shutter in View position
and internal recording of ProRes or
Gate
DNxHD (INT). Position
G Mirror Shutter in Gate position
{ blue_int_icon } = The selected
ARRI Look File is applied to internally ND filter ND ND filter active
recorded footage.
9
Overview
Home Screen Center Bar
TC Displays current timecode source BAT 2 Voltage level of battery attached to top
INT = internal TC source and/or back onboard battery adapter,
EXT = external TC source or percentage of remaining capacity if
hh:mm:ss = timecode value without attached battery transmits this
frames information.
@24 = time base, 24 fps in this case
REEL Identifies current reel. Consists of
MASTER Only visible when camera is in external camera index letter and reel counter.
synchronization mode (MASTER = this
camera is the master, SLAVE = this CLIP Identifies current clip. Consists of clip
camera is the slave) index letter and clip counter.
Settings sync is active so multiple DUR Duration of current clip during

cameras in external synchronization recording or length of last recorded
mode share the same settings clip during standby. Shown as
h:mm:ss.
BAT 1 Voltage level of power source present
at BAT connector, or percentage of 16:9 Active sensor mode (16:9, 4:3 or
remaining capacity of attached battery OG (Open Gate))
if it transmits this information.
10
Overview
ProRes 2K
Displays active recording format SxS 1 FULL 1 Card 1 is full.
(ARRIRAW, ProRes (HD or 2K) or DNxHD).
< Marks the active card.
SxS Pro Drive
SxS PRO adapter or XR Capture Drive
inserted into slot. • STBY The camera is in standby and
ready to record.
00:19:28 Remaining capacity of loaded magazine.
• PRE The camera is recording frames into
FULL Loaded Magazine is full. its ring buffer.
No Media No Magazine in slot. • REC The camera is recording.
Type Magazine does not support the • ERROR An error occured. Recording is not
currently selected Recording format. possible. Press the INFO button for
more details. If nothing is shown
SxS 1 24:26 1 Remaining capacity of card in SxS slot (neither the red/green bar), the
1 in minutes. Calculated for the set camera works properly, but no SxS
frame rate and codec. PRO card is present for recording.
Note: these are only approximate values.
INT/SxS
Look
SxS 1 INHIB 1 Card 1 is write protected. CDL Server active/connected
CDL Server active/not connected
1
not available on ALEXA XT 11
Overview
Icons on Home Screen
Name Icon Description Name Icon Description
General Important information SD Card SD Card present.
Warning waiting on the info Turns orange during
screen. Press the INFO card access.
button for more details. Grab Still frame is being captured
General An error occurred. to the SD card. A new still
Error Press the INFO frame can only be captured
button for more details. when this is completed.
Temperature Slight sensor temperature High Sensor is in high humidity
Warning offset. Image quality might Humidity mode in very humid conditions
be affected. Mode (e.g. indoor swimming pool).
Temperature Great sensor temperature WRS Radio WRS radio is active.
Error offset. Image quality might Only on ALEXA Plus
be affected seriously. and Studio.
Lock Camera is locked.
12
Overview
ALEXA Studio left side. Additional buttons VIEW & GATE for mirror control.
13
Overview
MON OUT Icons
14
Name Icon Description Name Icon Description
Overview
General Important information Peaking Peaking enabled for EVF
Warning waiting on the info and/or MON OUT.
screen. Press the INFO Smooth mode Smooth mode active/in-active
button for more details. on EVF
General An error occurred. Recording Displays current SxS
Error Press the INFO resolution resolution (HD or 2K).
button for more details.
Temperature Slight sensor temperature
Gamma Displays Gamma
Warning offset. Image quality might
setting for EVF
be affected.
or MON OUT.
Temperature Great sensor temperature
Error offset. Image quality might
Look active A look is active/burned-in
be affected seriously.
on EVF, MON OUT and/or
Lock Home screen is locked. Internal recording.
Grab Stil frame is being captured

to the SD card. A new still
frame can only be captured CDL server
when this is completed. connected/disconnected.
Audio Audio recording Return IN Return is active, image from
enabled/disable RET/SYNC IN input is shown.
15
Overview
Recording Media
For internal recording, ALEXA Classic cameras have For detailed information on data- and frame-rates
an SxS Module. They can record QuickTime/ProRes or within the ALEXA Classic and ALEXA XT cameras have
MXF/DNxHD files to Sony SxS PRO/SxS PRO+ cards. a look at our “ALEXA SUP 11 Data Rates” and
ALEXA SUP 11 Max Frame Rates” documents within
ALEXA Classic cameras with an XR Module upgrade or the “Technical Information” section at http://www.arri.
ALEXA XT cameras have the XR Module instead, which com/camera/alexa/downloads.
allows them to record to XR Capture Drives, Sony SxS
PRO/SxS PRO+ cards and CFast 2.0 cards.
Uncompressed ARRIRAW can only be recorded to
XR Capture Drives, but ProRes and DNxHD can be
recorded to all three media. SxS PRO/SxS PRO+ or
CFast 2.0 cards require a mechanical adapter from
ARRI. XR Capture Drives share the same mechanical
interface as other Codex Capture and Transfer Drives,
but only XR drives can be used for recording on
ALEXA cameras.
16
Overview
SxS Adapter CFast 2.0 Adapter
SxS PRO Card SxS PRO+ Card CFast 2.0 Card XR Capture Drive
17
Overview
ALEXA XT Recording Matrix
Internal Recording
Recording Internal recording External
with SxS or CFast 2.0 Adapter
Media onto XR Capture Drives recording
(onto SxS PRO/SxS PRO+/CFast 2.0 card)
HD HD
ARRIRAW HD High HD High HD
Recording 2K 3.2K 2K 3.2K
uncom- ProRes Speed ProRes Speed uncom-
Format ProRes ProRes3 ProRes2 ProRes3
pressed & DNxHD1 ProRes & DNxHD ProRes pressed
& DNxHD & DNxHD1
2880x1620 1920x1080 1920x1080 2048x1152 3164x1778 1920x1080 1920x1080 2048x1152 3164x1778 1920x1080
16:9
(0.75-120fps) (0.75-60fps) (60-120fps) (0.75-60fps) (0.75-30fps) (0.75-60fps) (60-120fps) (0.75-60fps) (0.75-30fps) (0.75-60fps)
4:3 2880x2160 2048x1536 2048x1536

– – – – – – –
Full (0.75-90fps) (0.75-48fps) (0.75-48fps)
Sensor Mode
4:3 2578x2160
– – – – – – – – –
Cropped (0.75-96fps)
Open 3414x2198
– – – – – – – – –
Gate (0.75-75fps)
DNxHD 444 is not available in High Speed Mode

1
ProRes 2K is limited to 30fps on 32GB SxS PRO cards

2
ProRes 3.2K is available for ALEXA XT and ALEXA Classic cameras with the XR Module upgrade only.
3
18
Overview
ALEXA XT Output Overview
1 or 2x MON OUT HD-SDI 16:9 HD-SDI with

information overlay
HD-SDI 16:9 Clean image
2x REC OUT ARRIRAW uncompressed

(16:9, 4:3, 4:3 cropped
1x XR Capture Drive or Open Gate)
1x XR Capture Drive QuickTime 16:9 HD, ProRes 422

or SxS PRO/PRO+ card 16:9/4:3 2K or 16:9 3.2K
or CFast 2.0 card
MXF 16:9 HD ProRes 422 HQ
ProRes 4444
ProRes 4444 XQ
DNxHD 145
DNxHD 220x
DNxHD 444
19
Overview
ALEXA Classic Recording Matrix
Internal Recording External recording External recording

Recording Media onto SxS PRO/SxS PRO+ cards via T-Link via HD-SDI
HD
HD
Recording High Speed 2K ARRIRAW HD
ProRes &
Format ProRes & ProRes2 uncompressed uncompressed
DNxHD
DNxHD1
2880x1620 1920x1080
1920x1080 1920x1080 2048x1152
16:9 (0.75-60fps) (0.75-60fps)
(0.75-60fps) (60-120fps) (0.75-60fps)
Sensor
Mode
2048x1536 2880x2160
4:3 – – –
(0.75-48fps) (0.75-48fps)
1
NxHD 444 is not available in High Speed Mode.
D
2
ProRes 2K is limited to 30fps on 32GB SxS PRO cards.
20
Overview
ALEXA Output Overview
T-Link ARRIRAW uncompressed

(16:9 or 4:3)
2x REC OUT HD-SDI HD uncompressed 16:9

(4:4:4 or 4:2:2)
1 or 2x MON OUT HD-SDI 16:9 HD-SDI with
information overlay
2x SxS Quicktime HD, ProRes 422
PRO/PRO+ cards 2K 16:9 or 4:3
MXF 16:9 HD ProRes 422 HQ
ProRes 4444
DNxHD 145
DNxHD 220x
DNxHD 444
21
Overview
ARRIRAW
ARRIRAW is the highest image quality output ARRIRAW 4:3 Cropped
possible with ALEXA, delivering uncompressed, Introduced in SUP 10, ARRIRAW 4:3 cropped records
unencrypted raw image data for the highest only the image area necessary for anamorphic
achievable resolution, the camera's natural color lenses, thus achieving 96 fps. This not only reduces
response and greatest exposure latitude. Nothing is processing-time but also slims down the ARRIRAW
"baked" into an ARRIRAW image; processing steps 4:3 “full” from 9.3 MB to 8.4 MB “cropped”.
like debayering, white balance, sensitivity or scaling
can be optimized in post based on image content.
Recording ARRIRAW 4:3 Full
ARRIRAW can be easily up-sampled to 4K (as has with anamorphic lens ARRIRAW 4:3 Cropped
been done with Skyfall, X-Men, Avengers and many squeezed by 2:1
others) and is a truly future-proof archiving format

that has been made public in SMPTE Recommended Postproduction
Disclosure Document RDD 30:2014 and RDD desqueezing & cropping
31:2014. With the introduction of the ALEXA XT

cameras, ARRIRAW can be recorded directly in
the camera at up to 120 fps, making it easy and Final image
„2.39 anamorphic“
economical to shoot in the premium ALEXA
capture format.
22
Open Gate with an aspect ratio of 1.55:1. Since the Open Gate
Overview
With the release of SUP 9.0, ARRIRAW Open Gate aperture is wider than a Super 35 frame, make sure
sensor mode has become available. Using the full that the lenses you are using actually cover the whole
ALEXA sensor area, Open Gate mode is great for area. Wide angle lenses are more critical in this
VFX shows, up-sampling to 4K, image repositioning, respect than long focal lengths. A guide is given by
resizing, rotating or stabilizing. the ARRI online Lens Illumination Guide www.arri.
The active frame size of this format is 28.25 x 18.17 com/alexa/tools.
mm (image circle: 33.5 mm), or 3414 by 2198 pixels
Data Rate Data Volume

Format Resolution Color Coding File size fps Range1
@ 24 fps @ 24 fps
16:9 ARRIRAW 2.8K 2880 x 1620 12 bit Bayer 7 MB 1.34 Gbit/s 605 GB/h 0.75 - 120
4:3 ARRIRAW
2578 x 2160 12 bit Bayer 8.4 MB 1.61 Gbit/s 726 GB/h 0.75 - 96
Cropped/2.6K2
4:3 ARRIRAW
Full/2.8K
Open Gate
ARRIRAW2 3.4K
1
ll speeds adjustable with 1/1000 fps precision.
A
2
Open Gate and 4:3 Cropped mode is only available on ALEXA XT cameras.
23
Overview
ARRIRAW Converter 3.2 For ARC 3.2 we implemented the ADA-5 Debayer
and made the ARRIRAW Converter “future proof” for
The ARRIRAW Converter (ARC) is a free software ALEXA65. All additional ARRIRAW formats captured
solution that reads, displays and renders ARRIRAW with ALEXA65 cameras can be processed by ARC.
files. Since in 2005 the first ARRIRAW files from
the D20 camera have been shot, the ARC has been
greatly improved. In 2012 we decided to develop a
completely new version of the ARRIRAW Converter
which has been released at IBC 2013.
Since Version 3.0 the ARRIRAW Converter features a

new user interface in combination with a feature rich
tool palette. Working with ARRIRAW has become
more intuitive and straight forward from browsing
through the images to reviewing and finally render-
ing to other file formats. ARRIRAW Converter 3.2 is available for Mac OSX. A
build for Windows operating systems is available as
To allow a quick start with ARC 3.2 we’ve created beta version.
a series of tutorial videos on all available features.
Also including the new User Pixel Mask, a feature Download ARC 3.2 at:
introduced to ALEXA cameras in SUP 9.0: http://www.arri.de/alexa/arriraw
www.arri.com/goto/arriraw-tutorials
24
Overview
ARRIRAW capable software solutions
A product which has been awarded COMPANY PRODUCT CERTIFIED
the ALEXA ARRIRAW Processing Adobe Premiere Pro ✔
Adobe Speedgrade
Certificate is capable of rendering
CERTIFIED FOR Scratch
ALEXA ARRIRAW images in Assimilate ✔
Scratch Lab
a quality that meets ARRI’s PROCESSING Autodesk Flame/Lustre ✔
ALEXA Autodesk Smoke ✔
requirements. Please note that for Blackmagic Design Resolve ✔
all image processing parameters Codex Digital Transfer Station ✔
(such as sharpness, color etc.) the Colorfront On-Set Dailies ✔
DigitalFilmTechnology Flexxity ✔
ARRI SDK, which is also part of DVS Clipster ✔
the ARRIRAW Converter, is the Éclair ColorUsDailies ✔
reference. eyeon Fusion ✔
FilmLight Baselight ✔
ARRIRAW Toolkit
Glue Tools
for Mac OS X
Image Systems/
Nucoda FilmMaster ✔
Digital Vision
You can find more information about working with Control Dailies Enterprise
MTI Film Cortex: Control Dailies ✔
ARRIRAW at www.arri.com/alexa/workflow. Further Cortex: Convey ✔
documents, covering ARRIRAW and other topics, Pretend Stereoid ✔
such as the "ALEXA VFX FAQ", are available for Quantel Pablo ✔
SGO Mistika
download at www.arri.com/alexa/downloads. The Foundry Hiero
The Foundry Nuke
Tweak RV
25
Overview
ProRes Recording ProRes 2K Image Aperture
When the ProRes recording resolution is switched
ALEXA is the first camera offering internal, from HD to 2K, the captured aperture changes from
ready-to-edit recording to QuickTime/ProRes files. 2880 pixels / 23.76 mm / 0.935" width to 2868 pixels
With Software Update Packet (SUP) 7.0, all cameras / 23.66 mm / 0.932" width. This allows the use of
received a free upgrade enabling ProRes 2K an optimized in-camera downscaler and provides
recording. Now SUP 11.0 adds 3.2K ProRes to the the best possible 2K image output. When capturing
lineup of ALEXA XT cameras. Recording in ProRes ARRIRAW, it is common to use the full 2880 image
2K or 3.2K3 is a cost-efficient alternative to width for processing a 2K deliverable. The ARRIRAW
shooting ARRIRAW, as it requires less storage space SDK, however, allows to process 2K images from
and no processing, but at the same time delivers an both 2880 and 2868 pixels width to deliver an exact
astonishing image quality – 3.2K is an ideal base for match to ProRes 2K footage when ARRIRAW was
up-scaling to UHD delivery by only a factor of 1.2. recorded in parallel with ProRes 2K2.
1
:3 ProRes 2K is available on ALEXA Plus 4:3, ALEXA Studio, ALEXA M,
4
ALEXA XT, ALEXA XT Plus, ALEXA XT Studio and ALEXA XT M.
With the option to capture ProRes 2K in the 4:3 2
This only applies to ALEXA cameras with the SxS Module. ARRIRAW T-Link
output is not available in conjunction with the XR Module or on ALEXA XT
aspect ratio1, the format offers true anamorphic cameras.
3
ProRes 3.2K available on ALEXA XT only
capture with regular 2.0 anamorphic lenses and
offers extra room for repositioning when using For more information on using ProRes 2K in different
standard spherical lenses. SUP 9.0 enabled ProRes applications, please take a look at the “ProRes 2K in
4444 recording in High Speed Mode and SUP 10 Editorial“ white paper, available at www.arri.com/
added ProRes 4444 XQ. alexa/downloads.
26
Overview
Sensor Data Rate @ Data Volume @
Format Resolution Bit Depth fps Range3 4
Mode 24 fps [Mbit/s]1 24 fps [GB/h]1
16:9 1920 x 1080 10 bit 126 57 0.75 – 120

16:9 2048 x 1152 10 bit 143 64 0.75 – 60
ProRes 422
4:3 2048 x 1536 10 bit 190 86 0.75 – 48
16:95 3164 x 1778 10 bit 345 155 0.75 – 30
16:9 1920 x 1080 10 bit 188 85 0.75 – 120
16:9 2048 x 1152 10 bit 214 97 0.75 – 60
ProRes 422 (HQ)
4:3 2048 x 1536 10 bit 286 129 0.75 – 48
16:95 3164 x 1778 10 bit 518 233 0.75 – 30
16:9 1920 x 1080 12 bit 283 127 0.75 – 120
16:9 2048 x 1152 12 bit 322 145 0.75 – 60
ProRes 44442
4:3 2048 x 1536 12 bit 429 193 0.75 – 48
16:95 3164 x 1778 12 bit 777 350 0.75 – 30
16:9 1920 x 1080 12 bit 423 191 0.75 – 75
16:9 2048 x 1152 12 bit 482 217 0.75 – 60
ProRes 4444 XQ2
4:3 2048 x 1536 12 bit 643 290 0.75 – 48
16:95 3164 x 1778 12 bit 1165 524 0.75 – 30
1
roRes is a variable bit rate codec. The actual data rate varies with the image content.
P
2
ProRes 4444/4444 XQ provides an alpha channel, which is not used by the ALEXA.
3
All speeds adjustable with 1/1000 fps precision.
4
ProRes recording speed is limited on 32GB SxS PRO cards.
5
ProRes 3.2K is available for ALEXA XT cameras and ALEXA Classic cameras with the XR Module upgrade only.
ProRes 444 XQ 3.2K is not available on SxS Pro/Pro+ cards. 27
Overview
DNxHD Recording
ALEXA and ALEXA XT cameras allow in-camera ALEXA cameras record DNxHD encoded images
recording of 1920 x 1080 (16:9) DNxHD encoded together with sound and embedded metadata in an
MXF files onto SxS PRO cards, CFast 2.0 cards2 MXF container file using the Operational Pattern 1a
or XR Capture Drives2. With an installed DNxHD (OP1a) file structure. This is ideal for both camera
license, ALEXA users can choose between acquisition and archiving since audio and video is
MXF/DNxHD or QuickTime/ProRes recording always kept together and no data is lost if recording
codecs. ALEXA's MXF/DNxHD material can be is interrupted for any reason. An Avid Media
edited in Avid Media Composer Version 5.5 and Composer does not need to transcode this material,
later without transcoding. as it already is available in a native DNxHD codec.
The Material eXchange Format (MFX) is a core To get more information about working with
media container technology for nonlinear workflows. ALEXA DNxHD material, please take a look at the
An MXF container file can "wrap" different types "MXF / DNxHD White Paper" which is available at
of video and audio material along with associated www.arri.com/alexa/downloads.
metadata. The internal structure of MXF files is
defined by the so-called Operational Patterns.
28
Overview
Data Rate @ Data Volume @
Format Sensor Mode Resolution Bit Depth fps Range1
24 fps [Mbit/s] 24 fps [GB/h]
DNxHD 115 16:9 1920 x 1080 8 bit 116 52 0.75 – 120
DNxHD 220x 16:9 1920 x 1080 10 bit 176 79 0.75 – 120
DNxHD 444 16:9 1920 x 1080 10 bit 352 159 0.75 – 96
1
ll speeds adjustable with 1/1000 fps precision
A
2
CFast 2.0 cards and XR Capture Drives can only be used on cameras with XR Module.
29
Overview
Features added in prior SUP versions
Pre-recording
This feature allows you to roll the camera before you
press the REC button, so you won't miss the shot.
With pre-recording enabled and active, the camera
will continuously write frames into a ring buffer. As
the actual take is started with a second press of the
REC button, the camera keeps the content of the
ring buffer and appends frames into a single clip,
until the recording is stopped. Pre-recording is only
available for ProRes codecs.
30
Overview
Phase-Button
The new USER button function called "Phase
sensor" increases the sensor frame rate by 0.2 fps
for as long as the assigned user button is being
pressed. When shooting e.g. a CRT monitor, you
may see a horizontal black bar (video blanking
interval) across the CRT screen in the EVF or the
MON OUT image. The Phase sensor function allows
you to move that black bar out of the frame. The
phase-function is only available in standby and with
time code set to REC RUN.
31
Working with ALEXA
Working with ALEXA
Exposure Index EI 1600

EI 3200
EI 800
While ALEXA’s 14+ stops of exposure latitude and
EI 400
unique highlight handling approaches that of film,
EI 200
EI 160
there is one major difference between the way film
9.7 Stops
and digital cameras behave: with digital cameras, a 7.8 Stops
8.6 Stops
change in EI will shift how many stops are available 5.6 Stops
6.6 Stops
5.2 Stops
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 avail- 18% Gray 18% Gray 18% Gray 18% Gray 18% Gray 18% Gray
able at all EI settings.

4.8 Stops
5.9 Stops
6.7 Stops
7.9 Stops
9.3 Stops 8.9 Stops
32
Working with ALEXA
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 low end at EI 160, 0.4 stops fewer in the low end at
of stops above and below 18% grey. These values EI 200 and 0.2 stops fewer in the low end at EI 400.
are for Log C. Rec 709 has 0.5 stops fewer in the Otherwise they are the same.
33
Working with ALEXA
Working with ND filters
While traditional ND filters work great for film, for FSNDs & In-camera Filter Module (IFM-1)
digital cameras we recommend the use of the ARRI With the launch of ALEXA XT a filter holder
Full Spectrum Neutral Density (FSND) filters. mechanism is available for a set of eight FSND
Alternatively, use ND filters that have a built-in far-red (Full Spectrum Neutral Density) filters. In comparison
blocker. Traditional ND filters should only be used up to IRNDs which show a color shift at higher densities
to an ND 0.9. A single filter that combines a ND and a or ordinary NDs which show a significant color shift
far-red cut off generally yields better results and fewer at higher densities, the FSNDs offer an even light
reflections than a traditional ND filter stacked on top attenuation across the whole spectrum (see next
of a separate IR-cut off filter. page). The filter holder is pre-installed on ALEXA XT
cameras (except ALEXA XT Studio) and can be easily
retrofitted to ALEXA Classic cameras.
The ALEXA Studio and ALEXA XT Studio have a

built-in motorized ND 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.
34
ALEXA PL Lens Mount
Working with ALEXA

IFM Empty Filter Frame
IFM Filter Holder
IFM Shim
8x Full Spectrum Neutral

Density Filters (FSND)
Optical Clear
35
Working with ALEXA
Working with ND filters cont.
FSNDs in comparison
Wavelength (in nm)
350 400 450 500 550 600 650 700 750 800
0
-1
-2
-3
Attenuation (in stops)
-4
-5
-6
-7
-8
-9
-10
-11 IRND Brand 1

IRND Brand 2
-12
FSND 1.2
IRND Brand 1 IRND Brand 2 Precision FSND 1.2 Classic ND
Classic ND
36
Working with ALEXA
False Color Exposure Check
The false color exposure check for the electronic So if you have the viewfinder set to Rec 709, the
viewfinder and/or MON OUT output measures the false color exposure check will be based on the Rec
camera image, tints certain signal levels in a distinct 709 image. If you have the MON OUT at the same
color and shows the rest as a black-and-white image. time set to Log C, the false color exposure check for
The false color exposure check is based on the color MON OUT will be based on Log C.
processing set for the respective output signal path.
Color Level Description
red 99 – 100% White clipping
yellow 97 – 99% Just below white clipping/white shoulder
pink 52 – 56% One stop over medium gray (Caucasian skin)
green 38 – 42% 18% neutral gray
blue 2.5 – 4.0% Just above black clipping/black slope
purple 0 – 2.5% Black clipping
37
Working with ALEXA
Color Spaces
The ALEXA or ALEXA XT can deliver the captured Video - Rec 709
footage with "Video Rec 709" or "Log C ALEXA wide “Rec 709” is short for the International Telecom-
gamut" encoding. munication Union’s ITU-R Recommendation
BT.709 - the output format for a traditional televi-
sion 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 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.
38
Working with ALEXA
Color comparison: split image Video/Log C
39
Working with ALEXA
Color Spaces cont.
Log C cific wide gamut color space and are ideal to carry
The “C” in Log C is derived from “Cineon”. Cineon image information.
was the digital film scanning, processing and
yrecording system developed by Kodak in the 90s. Viewing and Monitoring Log C
It is also the name of a file format that contains Shooting images in Log C delivers the best basis for
density data from scanned negative film. Density is the colorist's work, as it provides the camera's full
a logarithmic measure of the opacity of the film. The latitude in an unconfined color space.
relation of the density to the film’s exposure is called However, when viewed directly, Log C images look
the characteristic curve of the film. Each stock has flat with desaturated colors. To correctly display Log C
its own characteristic curve, but the overall shape is material on an HD monitor (Rec 709) or in a digital
always the same. projection (P3), it needs to be tone-mapped and
transformed into the target color space. This image
ARRI introduced a scene based encoding for their conversion can be performed using a 3D Look Up
camera data, which, because of the similarity to the Table (LUT).
Cineon standard, was named “Log C”. With Log When recording Log C or ARRIRAW, the MON
C encoding, the signal level increases by a fixed OUT is typically set to display Rec 709 video. This
amount with each increase of exposure measured in activates an internal Log C to video conversion LUT
stops. Log C images offer the original ALEXA-spe- on the output. The same applies if the REC OUT is
40
Working with ALEXA
used, for example, to present a clean video feed to Linear
the director. When an on-set color correction system Visual effects often work with linear light encoded
is used to apply live looks to the camera image, the material. The ARRI LUT Generator can produce LUTs
REC OUT is typically set to Log C output. The color that will convert Log C material to sensor linear
corrector then applies the settings in Log C and encoding. The linearization will preserve all image
converts the output to REC 709 video using a 3D information. It is therefore possible to do round-trip
LUT. ARRI provides these LUTs through the online conversions from Log C to linear and back to Log C.
ARRI LUT Generator at www.arri.com/alexa/tools.
ARRI LUT Generator
Recording Codecs The ARRI LUT Generator can output 1D and 3D LUTs
Log C material is best recorded using a 4:4:4 codec for a wide range of common postproduction tools. It
(ProRes 4444, ProRes 4444 XQ or DNxHD 444). The is available online at www.arri.com/alexa/tools.
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. We do not recommend the Log C gamma
for codecs with an even higher compression ratio.
41
Working with ALEXA
In-Camera Look Files
ARRI Look Files are editable XML files that can apply of camera look files based on Log C DPX frame
a customized look to all outputs (EVF-1, MON OUT, grabs. Looks can also be created with third party
REC OUT, ProRes and/or DNxHD recording) that are software Pomfort Silverstack SET and Colorfront
set to Rec 709. On-Set Dailies.
A look file can be created based on a Log C DPX ARRI Look Files can be saved to an SD card and
grab or a Log C QuickTime clip that was stored by imported into the camera. One Look File can be
the camera. It contains parameters for saturation, activated at a time and applied to the different
printer lights controls (RGB offsets) and for lift/ image paths individually. It is possible, for instance,
gamma/gain, similar to the CDL controls. Optionally, to record a clean Log C image onto the SxS PRO
a look file may also include a freeform curve (grey card while outputting a Rec 709 image with a look
scale tone map LUT) that will be applied instead of applied on the MON OUT output. As soon as a Look
the standard Log C to Video tone mapping curve. File gets applied to any output, the data of the Look
The free ARRI Look Creator (ALC) allows the creation File is stored in metadata.
42
Working with ALEXA
SxS PRO Card HD ARRIRAW
look embedded in file header look embedded and/or burnt-in look embedded in file header
and/or burnt-in
Apply Look File

look embedded and/or burnt-in REC OUT
Image with Look applied
save as cineon, dpx, jpeg or tiff
2. Use Look
Look File
copy *.xml file to SD card
1. Create Look
Grab ARRI Look Creator
*.dpx frame grab to SD card load grab & create look
43
Working with ALEXA
Non-Destructive Look Files
The Look File does not only go 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.
44
2. Use Look
Working with ALEXA

Dalies or Conform
SxS PRO Card Color Grading
LogC clips have a preview Grading on your footage
LogC Image ARRI LUT Generator

Look File transported in file header combine Look with LUT
Look File
copy *.xml file to SD card
1. Create Look
Grab ARRI Look Creator
*.dpx frame grab to SD card load grab & create look
45
Working with ALEXA
ASC CDL Looks
The alternative to ARRIs in-camera look files is to The ALE file then can then be used in a color
send a clean Log C signal from the camera's REC correction system to automatically apply the
OUT to an on-set color correction tool, such as color corrections when deliverables will be created.
FilmLight Truelight, Technicolor DP Lights or Pomfort ALEXAs with an XR Module and Codex Onboard
Live Grade, and apply an ASC CDL (American recorders can be connected to any color corrector
Society of Cinematographers Color Decision List) offering the Truelight CDL Protocol via Ethernet
color correction to the live camera feed for and automatically capture the ASC CDL correction
monitoring. The ASC CDL standard is supported by a values with the camera footage. The Codex VFS
wide range of devices. Color correction settings that can use the color correction settings and
were made during the shoot are logged with time automatically apply them when generating files.
code and can be output in an Avid Log Exchange On ALEXA XT/XR cameras, the CDL values will
(ALE) file. be embedded within the header of each
ARRIRAW frame.
46
1. Create Look
Working with ALEXA

Live Color Correction On-Set Monitoring
apply ASC CDL color correction output color corrected live image
3. Use Look
Clean Feed
Log C live image from REC OUT
ALE Dailies
ASC CDL Values including Log C to Video & CDL correction
send to ALEXA via Ethernet
ALE
ARRIRAW Footage Color Grading
CDL values embedded in file header CDL values with time code in ALE file
2. Transport
Look CODEX VFS
generate deliverables for dailies and mastering ARRIRAW Footage
CDL values embedded in file header
47
Working with ALEXA
Legal and Extended Range
A 10 bit legal range signal uses digital code values An ALEXA always records ProRes and DNxHD clips
64 to 940 to represent the camera's full contrast using legal range encoding, as required by the
range from black to white. In an extended range codec specifications. Most editing or post
signal, the same range is represented by code production tools automatically transform the legal
values 4 to 1019. Extended range encoding does range files to e.g. computer graphics RGB full
not provide a higher dynamic range, nor does legal range (0-1024) for display.
range encoding limit the dynamic range that can be
captured. It is only the quantization (the number of Note: Some recorders will allow to record e.g.
lightness steps between the darkest and brightest ProRes clips in extended range. If this material
image parts) that is slightly increased (about 0.2 is brought into FCP, for example, the application
bits). The same applies for 8 bit (0-256 range) or displays values outside the legal range as
12 bit (0-4096 range) signals. “superblack” and “superwhite”, but as soon as an
RGB filter layer is applied, those values are clipped.
48
Working with ALEXA
p and psf on REC OUT and MON OUT
The ALEXA REC OUT and MON OUT scan format
can be set progressive (p) or progressive segmented
frames (psf). Progressive outputs a whole frame,
while psf splits the frame into two segments,
mimicking the output format of interlaced images.
Progressive mode looks better and has less delay
than psf. Psf enables compatibility to devices that
only understand interlaced signals for certain frame
rates; some monitors or video transmitters work
better with psf, which is why that option exists.
You will have to test your monitors and video
transmitters to see what works best.
Note that this scan format setting is only for REC

OUT and MON OUT and has no influence on the
ALEXA internal recording or ARRIRAW T-link, which
are always progressive.
49
Working with ALEXA
Metadata Overview Avid Log Exchange (ALE) file. These atoms or text
based files can be parsed by e.g. editing software
Metadata is a set of data that describes and gives and offer the accompanying information mentioned
information about other data (sometimes called the above to the application and its user.
'essence'). ALEXA and ALEXA XT always records as
much metadata as is available. This additional infor- For more information on the metadata have a look at
mation makes documentation easier as the metadata our whitepaper at www.arri.com/alexa/downloads.
is stored within the image files so it cannot get lost.
Lens Data System
A range of automatic and human-readable data is By combining the ALEXA XT Series, ALEXA Plus,
being delivered by the ALEXA camera; this data ALEXA M or ALEXA Studio camera with lenses
makes work in post much easier: knowing exposure equipped with a Lens Data System (LDS) PL-Mount
index, gamma and white balance information, for additional frame by frame lens metadata for use in
example, is essential for creating dailies or color VFX work will be acquired. When using a non-LDS
grading. Reel number, project fps, date and time lens in combination with the ARRI Controlled Lens
become important when combining images and Motors a profile for the lens can be created within
sound from different sources. the Lens Data Archive (LDA); by doing so the ALEXA
camera can compensate for the missing sensors
Metadata in the ALEXA appears in several different inside the lens by reading the motor’s position and
ways: embedded in the ARRIRAW header, QuickTime calculating the current focus, iris or zoom value.
metadata atom and ARRI Digital Meta Data (ADMD) A guide on how to create an entry for an unknown
atom, MXF metadata XML, Final Cut Pro 7 XML and lens can be found on page 62.
50
VFX Department
use Lens Data for effects work
3. Using
Working with ALEXA

Live update
of Lens Data Display
to keep the shot in focus Lens Data
WCU-4
controls camera via white radio
ARRI META Extract

CLM-2, -3 or 4 extract Lens Data from files
drives focus, zoom or iris on lens for use in VFX
1. Lens Data 2. Storing

creation Lens Data
SxS PRO Card

Lens data embedded in file
header of the Quicktime clip
LDS capable lens & ALEXA camera Lens Data

lenses: Master Anamorphics, Master Primes, LDS Ultra Primes or ALURA zooms generated by e.g. a focus pull
XR Capture Drive
Lens data embedded in file
or Non-LDS lenses with LDA/Wireless System
header of each ARRIRAW frame
camera: any from the ALEXA XT series, ALEXA Studio, Plus/Plus 4:3 or M
51
Working with ALEXA
Licenses
Licensed features expand the capabilities of an • The DNxHD license allows in-camera recording
ALEXA camera. A license file is serial number onto SxS PRO cards of 16:9 HD Avid DNxHD
sensitive and can only be used on the camera for 145 (8 bit 4:2:2 ), DNxHD 220x (10 bit 4:2:2)
which it has been purchased. Currently there are and DNxHD 444 (10bit 4:4:4) codecs, all within
three licenses available: Anamorphic De-squeeze, a MXF wrapper and embedded audio, timecode
High Speed and DNxHD Recording. and metadata. ALEXA MXF/DNxHD files use
operational pattern OP1a, frame wrapped,
• Anamorphic De-squeeze shows a properly per SMPTE 2019-4-2008 and a MXF (Media
de-squeezed image (with or without surround eXchange Format) container (compared to the
view) on EVF-1 and/or MON OUT when working Quicktime “mov” container). MXF/DNxHD files
with 1.3x or 2x anamorphic lenses. can be linked to Avid Media Composer 5.5 or
greater using the ALEXA AMA plug-in (available
• The High Speed license allows recording up to from the ARRI website for Windows or Mac
120 fps in many recording formats. High Speed OS X). Of course DNxHD recording is available
mode uses the same Super 35 sensor area as in Regular and in High Speed mode (see High
Regular Speed mode (same depth of field, same Speed license).
angle of view).
52
Working with ALEXA
Pre-installed licenses
• ALEXA: None
• ALEXA Plus: None
• ALEXA M: Anamorphic de-squeeze, high speed
• ALEXA Plus 4:3: Anamorphic de-squeeze, high speed, DNxHD
• ALEXA Studio: Anamorphic de-squeeze, high speed, DNxHD
• ALEXA XT: Anamorphic de-squeeze, high speed

• ALEXA XT M: Anamorphic de-squeeze, high speed
• ALEXA XT Plus: Anamorphic de-squeeze, high speed, DNxHD
• ALEXA XT Studio: Anamorphic de-squeeze, high speed, DNxHD

53
ALEXA Preshoot Checklist
ALEXA Pre-shoot Checklist
General considerations
This chapter offers checklists for typical use-cases of fastest and most reliable way to identify problems in
an ALEXA or ALEXA XT camera. During prep or the digital workflow.
pre-production, the following topics should be clear:
During production, we strongly recommend that you
The basic camera parameters (e.g. timecode basis make at least one verified backup immediately after
respectively project speed, choice of gamma and the recording media is removed from the camera.
recording format) should always be discussed with We also recommend that a first quality control check
postproduction. The choice of camera settings can should happen on location. With digitally captured
be affected for different reasons. Sometimes the footage being viewable immediately after recording,
reasons are creative, sometimes the production pace potential problems can be spotted right away and
may have an influence. re-shooting a scene will be less of a problem. Also
check the conditions of your completion bond; it
To avoid surprises, it is critical to give the planned is not unusual that LTO backups are a mandatory
setup a try and run a short test through the entire requirement for the footage to be covered.
workflow before starting the shoot; This is the
54
Recording with the XR or SxS Module
Camera Setup 1 Assign an individual camera index when
The following steps are necessary to prep the shooting with more than one camera unit.
camera for recording. 1 Next reel count usually starts with 001 and
1. Start your initial camera setup by pressing automatically increments when the camera
[MENU], going to User Setups > Factory reset starts recording to a new card or drive.
and press both soft buttons to confirm. 3. Press [TC] and enter the timecode [OPTIONS].
Note that ARRI Look Files and Custom Frame lines Assuming we'll get timecode from the Production
need to be uploaded again after a factory reset. Sound Mixer:
2. Enter the [PROJECT] screen using the shortcut on 1 Set Source to Ext LTC and verify that
the bottom right. 1 Mode is set to Free Run and
1 Select a sensor mode to shoot in 16:9, 4:3 Full/ 1 Generator is set to Jam Sync.
Cropped or Open Gate. 4. Press [HOME] and go to the FPS screen.
1 Pick your recording format, a recording 1 Enter [SDI FPS] and adapt REC OUT and MON
resolution and codec or switch to ARRIRAW OUT to the project frame rate.
recording. 1 Go [BACK], select the SENSOR FPS from the
1 Set the project frame rate, which also acts as list and enter by clicking the menu wheel.
timecode base and playback frame rate.
55
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 by pressing the menu wheel.
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 camera display.
56
Additional notes for shooting in other modes than the standard setup
Shooting High Speed This will output a record flag (to start external
1 When shooting at 60 to 120 fps, the project recorders automatically) even if no SxS card is
frame rate determines how many of the present in the camera.
recorded frames will make up one second in 1 Go to [MENU] > Recording > REC OUT and
playback (timecode base). set the HD-SDI format to ARRIRAW 1.5G DL
1 [TC] should be set to Int LTC and Rec Run or 3G SL for normal speed or 3G DL for high
(Step 3). speed (up to 60fps) ARRIRAW output.
1 Switch to [High Speed] from the FPS screen 1 Optionally, turn on REC OUT fps sets sensor fps.
(Step 4). Please check the user manual of the recorder for
setup instructions. Operating the recording hardware
Recording ARRIRAW via T-Link (not available on needs to be taken very seriously. Only trained per-
ALEXA XT cameras) sonnel should be responsible for handling recording
1 Unless you want to record ARRIRAW and e.g. equipment.
ProRes in parallel, the Codec setting can also
be used to turn off the SxS Module (Step 2).
57
Additional notes for shooting in other modes than the standard setup cont.
Recording Media Rotation 4. Remove the mag and prepare it to be backed up.
1. Take a fresh drive/card, make sure it is not locked 1 Put the drive/card into its case.
(SxS only) and insert it into the camera. 1 Visually mark the "exposed negative" with
2. If the drive/card has been used before and still colored tape.
contains footage: 5. The data wrangler should perform at least the
1 First verify that the material has been following steps:
properly transferred. 1 Transfer the drive's/card's contents including
1 Then use MENU > Recording > Internal > checksum verification.
Quick format media to format/empty the card 1 Depending on the recording mode, format the
for recording. drive/card (ProRes/DNxHD) or clear the drive
1 Ask the data wrangler to empty the drives/cards (ARRIRAW) before it is returned to the camera.
before returning them to you. This greatly reduces risk to accidently format
3. During recording, don't wait for a drive/card to fill a drive/card that has not been backed up and
up completely. 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.
58
Shooting Stereo 3D ALEXA M/ALEXA XT M fiber maintenance
1. Do not use different ALEXA models in a 3D setup. The cleanliness of the optical fiber connectors is
If a licensed feature will be used, the license key mandatory for seamless functionality. Make sure
must be installed on both cameras. not to touch the white fiber ends. Never leave the
2. Connect both cameras using the EXT to EXT and connectors open; immediately cover them with
Ethernet to Ethernet cable. their rubber covers when not in use. Plug the fiber
3. Start the initial camera setup with a Factory reset end covers together while using the fiber cable, to
on both cameras and skip the Project settings. prevent dirt from accumulating inside the cover.
4. Enter [MENU] > SYSTEM > External Sync. Regularly check the cleanliness of the fiber end, e.g.
1 Set the Eye index for each camera depending with a fiber microscope. If dirty, clean the fiber end
on their position. with the appropriate tools, such as the SMPTE
1 Set Sensor sync to EXT master on one camera cleaning pen (K2.72082.0).
and EXT slave on the other.
1 Set Settings sync to ETH master on one
camera and ETH 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.
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.
59
Creating Lens Tables
The ARRI Lens Data System (LDS) provides frame- ARRI LDS lenses such as Master Anamorphics,
accurate information about the focus, iris, and zoom Master Primes, LDS Ultra Primes, Alura Lightweight
settings of a lens at the time of shooting. ALEXA Zooms and the Ultra Wide Zoom deliver lens data
cameras can embed this information with the instantly, as they have integrated encoders that
images, or send it to peripheral camera equipment determine the current lens position, as well as a lens
on set. table that interprets those encoder values. The same
Embedded lens data is very helpful for VFX post- applies to Cooke /i lenses.
production, as it eliminates paper and guesswork. All other lenses require an external encoder and a
On set, the same data can be used with the WCU-4 custom lens table for lens data generation. All ARRI
hand unit’s integrated lens data display and pre- CLM motors include an accurate encoder that can
marked focus rings for more accurate focus pulls determine the lens position. Custom lens tables can
and faster lens setups. be generated with the ALEXA Webremote interface.
This document explains how to create and manage
custom lens files with an ALEXA Plus or Studio
type camera.
60
Required Equipment
• An ALEXA Plus, ALEXA Plus 4:3, ALEXA Studio, • One lens control hand unit (e.g. WCU-4).
ALEXA XT Plus or ALEXA XT Studio. Alternatively, lens rings can also be moved
• One or more lens motors (CLM-2, CLM-3 or manually with the motor attached to the lens.
CLM-4). We recommend using one motor per lens motor attached to the lens.
scale. If you have only one motor available but • A computer with installed web browser (e.g.
need to add more than one lens axis, you can Firefox, Chrome, Safari). Cookies must be enabled.
create the lens scales sequentially, connecting the Internet Explorer and Opera browsers are NOT
motor to the respective controller connector. Data supported!
points do not get lost unless the web browser’s • An ALEXA Ethernet/RJ-45 Cable KC 153-S
session cookie is deleted. (K2.72021.0)
61
Creating a Lens Table
1. A prerequisite for lens table programming is the 3. Open the web browser on the computer and enter
correct setup of the lens motors. Please set up the the address alexa####.local, with #### being the
correct motor direction. If you mount the motor serial number of the camera.
on the camera right side (ALEXA’s display side), 4. Open the ‘LDA’ tab in the ALEXA web browser.
set DIRECTION to RIGHT. If you mount a motor
on the left side, set DIRECTION to LEFT. Then
calibrate the lens motors by pressing the
CAL. ALL button.
Each ALEXA camera comes with an built-in 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.
2. Connect the camera to a computer
62
5. Enter the LDA tab and click the button Start new • Serial Number: Lens serial number will be
session. A browser screen with lens scales comes embedded as metadata.
up. If you did not yet calibrate the lens motors, • Focal Length: Focal length in mm. Will be
you can do so by hitting the Calibrate button on shown on LDS screens and embedded as
screen. The same applies if you are using one metadata. Enter ‘0’ (zero) for zoom lenses.
motor sequentially for multiple lens axes.
The lens scales are displayed on the LDA browser 7. First, select the unit of measurement (metric or
screen once the respective motors have been imperial) by clicking on the ft/m icon in the upper
calibrated. The green + symbol indicates the right corner of the focus scale. If you want to pro-
current position of the motor attached to the lens. gram the lens for both metric and imperial units,
6. Fill in the lens descriptive fields. Lens descriptions you need to program both scales sequentially.
will be shown on LDS screens or embedded 8. Move lens ring to the physical engraving that
as metadata: you want to add as a new data point. Click on
• Company: The lens manufacturer. Will not be the green ‘+’ in the LDA browser scale or hit the
embedded as metadata. ‘Enter’ button on your keyboard to open the active
• Description: Lens description that will be edit field.
displayed in the camera and WCU-4 screen and 9. Enter the current lens value.
embedded as metadata. Lens type, focal length 10. Move the lens ring to the next position to enter
and serial number. the next data point.
63
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.
64
Imperial Scales: Metric Scales:
Enter feet values by using the prime symbol (’) and Enter metric values as meters, e.g.
enter inch values by using the double prime symbol
(”). The prime symbol for feet values can be used to 80 centimeters: 0.8
separate feet and inch values, e.g. 5.5 meters: 5.5
30 meters: 30
21 inches: 1’9 or 21“
14.5 inches: 1’2.5 or 14.5“ Infinity Point:
20 feet: 20’ Enter ‘i’ to set the infinity point.
65
Creating a Lens Table cont.
Recommended Practice: Editing and Deleting Data Points
All three options are usually active with focus scales. Existing data points can be moved on the lens scale
However, there are sometimes just the engraved by using the ‘Snap’ function. Hitting the Snap button
marking lines without any number in the close underneath each lens scale will move the nearest
focus area. If you are unsure about the numerical data point to the current motor position. This can
value of such a mark, you can switch off the usage be particularly useful if an existing lens scale has a
for interpolation of this data point. You might want slight offset and needs adjustment.
to switch off marking lines for zoom values, if the A data point can be deleted by moving the point to
lens does not have those lines as well. Intermediate the screen scale index. Once there, the icon changes
iris steps can be programmed with a marking line from the green + symbol to a red - symbol and can
only, without a number and without being used for be deleted by clicking on the red - symbol or
interpolation. pressing ENTER on the keyboard.
Click the Clear Scale button to delete all data points
on the respective scale.
66
Saving and Downloading Lens Tables For more information on the LDS, LDA or lens table
You can save a newly created lens table into the creation have a look at our Programming Quick-Guide at
camera’s internal Lens Data Archive (LDA) by www.arri.com/camera/digital_cameras/downloads/.
clicking the Send to Camera button. The lens file
will then be processed and stored inside the
ALEXA LDA User Archive section.
The Webremote will prompt an error message in
case of any logical data errors within the lens file.
In such a case, please check the data consistency of
the lens values in the LDA browser and correct them.
Click Download from Camera to download any exist-

ing lens table from the ALEXA LDA User Archive
to the computer. Save them onto an SD card if you
want to load them into another camera from the SD
card (SD card folder: ARRI/ALEXA/LDA).
67
ALEXA XT/XR Workflows
The XR Capture Drive is formatted differently for file system maintains an overall compatibility to the
uncompressed ARRIRAW and compressed established ALEXA ProRes/DNxHD workflows. XR
ProRes/DNxHD recording. Capture Drives, SxS PRO, SxS PRO+ or CFast 2.0
cards containing ProRes or DNxHD material can be
Compressed Recording Formats accessed directly with the file names and directory
When the XR Capture Drive is being formatted for structure in the known order.
ProRes or DNxHD recording, it is initialized like The most affordable solution to access Capture
SxS PRO cards, as a UDF volume. This provides 240 Drives is the Capture Drive Dock (USB-3 no VFS
GB storage capacity which equals over 100 minutes license) that will hold one drive.
of 16:9 ProRes 4444 in 2K at 24 fps. Using the UDF
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 Codex
software running on a Mac that is connected to a
Capture Drive Dock (USB3.0 or Thunderbolt), or
preferably the more powerful Capture Drive Dock
(SAS), which has 2 drive bays and a fast SAS interface.
68
Codex also offers a standalone turnkey system called
Vault for assisted location-based data management.
When an XR 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 configu-
rable 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.
69
ALEXA XT/XR Workflows cont.
70
Generating Deliverables A "digital lab setup" as shown here can be used to
handle all regular data management tasks during a
Functions: production.
• Clone XR Capture Drives to transfer drives,
maintaining the VFS • *.ARI files are backed up to an internal or external
• Checksum verification RAID (and collected for archiving to LTO tape).
• Generate files for review, edit and post Depending on the amount of footage per day,
• Clear the data from the recording media 5 TB of storage provides enough space for a few
shoot days worth of ARRIRAW footage. This gives
Optional Features: a production a few days buffer to confirm that
• Codex Storage option, to keep footage in VFS the material is OK before the storage needs to be
for several days before clearing cleared.
• Codex Offloader option, for verified copies to • Deliverables for Dailies review and editorial can be
external drives or LTFS tape provided via Network or shuttle disks.
71
ALEXA XT/XR Workflows cont.
This setup also offers several options to optimize the
performance in different production environments:
• The Capture Drive Dock (SAS) allows cloning • Setting up the Mac in a 10 Gig Ethernet network
XR Capture Drives to Codex Transfer Drives. enables direct VFS access for postproduction tools
Cloning creates verified, identical copies and through a network share.
maintains the VFS. • The optional Codex Offloader option expands the
• An optional Codex Storage option will transform Software with an option to create verified copies
up to 6TB of internal RAID storage into a Codex of the VFS to connected external disks or to
volume, which allows cloning Capture Drives to LTO tapes for archiving.
keep all data in the VFS.
72
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 Capture Drive Dock (USB or
Thunderbolt) and a Capture Drive Dock (SAS) or a
Capture Drive Dock (SAS) 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.
73
Specifications and Reference
Technical Specifications
Camera Types:
ALEXA 35 format film-style digital camera with integrated shoulder arch and receptacles
for 15 mm lightweight rods.
ALEXA XT 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 in-camera ARRIRAW recording, Open Gate a
Lens Data Mount for all cameras
ALEXA Plus 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).
ALEXA Plus 4:3 This version of ALEXA Plus offers a 4:3 capture mode in addition to the “Plus”
feature set. It is bundled with an Anamorphic De-squeeze, High Speed and
DNxHD license.
74
ALEXA XT Plus Offers in addition built-in support for the ARRI Wireless Remote System and
cmotion cvolution lens control system.
ALEXA Studio In addition features a rotating mirror shutter, an optical viewfinder that can be
exchanged with the standard electronic viewfinder and 4:3 capture mode.
ALEXA XT Studio In addition features a rotating mirror shutter, an optical viewfinder that can be
exchanged with the standard electronic viewfinder.
ALEXA M Based on the ALEXA, but with separate camera head and body. Also offers 4:3
capture mode.
ALEXA XT M Based on the ALEXA, but with separate camera head (equipped with LDS PL
mount) and body.
75
Sensor 35 format ALEV III CMOS sensor with Bayer pattern color filter array.
76
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 1614 down sampled to 2048 x 1152 for ProRes 2K 16:9
3164 x 1778 natively used for ProRes 3.2K
:3 Full
4 2880 x 2160 used for ARRIRAW 4:3 Full
2868 x 2152 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
Operating Modes Sensor mode 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 approximately 20 seconds.
irror shutter (ALEXA Studio only) on or off. Switching takes approximately

M
3 seconds through camera display.
77
Motorized Filter Sealed behind-the-lens motorized filter mechanism provides optical flat or
(ALEXA Studio/ ND 1.3 (4 1/3 stops).
ALEXA XT Studio only)

Frame Rates lease refer to the tables given in the chapter “Recording Media” on page 16 ff.
P
Shutter 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.
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
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. Also see Page 32 and 33.
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
78
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 ALEXA: Under 20 db(A) while recording ProRes 4444 16:9 HD @ 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) while recording ProRes 4444 16:9 HD @ 24 fps
(mirror shutter running on ALEXA XT 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'.
Power In BAT connector, optional V-Lock or Gold mount battery adapter back and top.
Camera accepts 10.5 to 34 V DC on all inputs.
Power draw Values stated here apply to typical use at 24 fps, without accessories.
ALEXA/Plus/Plus 4:3: 85 W for camera and EVF-1, recording to SxS PRO cards.
ALEXA XT/XT Plus: 100W for camera and EVF-1, recording to Capture Drives/SxS PRO cards.
79
ALEXA Studio: 90 W for camera with OVF-1, recording to SxS PRO cards, mirror shutter on.
ALEXA XT Studio: 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.
ALEXA M: 40 W for camera head and 85 W for body, recording to SxS PRO cards.
ALEXA XT M: 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.
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 = 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.
80
Weight

Camera Model Camera Body With Accessories1
ALEXA with SxS Module 6.3 kg/13.8 lb 7.7 kg/16.9 lb

ALEXA XT with XR Module 6.6 kg/14.5 lb 8.0 kg/17.6 lb
ALEXA Plus/Plus 4:3 with SxS Module 7.0 kg/15.4 lb 8.4 kg/18.5 lb
ALEXA XT Plus with XR Module 7.3 kg/16.1 lb 8.7 kg/19.2 lb
ALEXA Studio with SxS Module2 8.0 kg/17.6 lb 10.2 kg/22.5 lb
ALEXA XT Studio with XR Module2 8.3 kg/18.3 lb 10.5 kg/23.1 lb
ALEXA M XT/XT M Head 2.9 kg/6.39 lb –
ALEXA M Backend 5.5 kg/12 lb –
ALEXA XT M Backend 5.8 kg/12.8 lb –
1
VF-1 with Viewfinder Mounting Bracket VMB-1, viewfinder cable, and Center Camera Handle (CCH-1)
E
2
Accessories for ALEXA Studio/XT Studio: OVF-1 and CCH-1
81
Dimensions
ALEXA: Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22”
ALEXA XT: Length: 332 mm/12.95”, width: 161 mm/6.33”, height: 158 mm/6.22”
ALEXA Plus/Plus 4:3: Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22”
ALEXA XT Plus: Length: 332 mm/12.95”, width: 183 mm/7.20”, height: 158 mm/6.22”
ALEXA Studio: With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”,
height: 241 mm/9.49”
ALEXA XT Studio: With OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”,
height: 241 mm/9.49”
ALEXA M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”
ALEXA M Backend: Length: 323 mm/12.72”, width: 153 mm/6.02”, height: 158 mm/6.22"
ALEXA XT M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87”
ALEXA XT M Backend: 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
Lens Mount 54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal
flange focal depth. All models but Standard ALEXA are outfitted with a Lens
Data Mount.
82
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.
83
Assistive Displays
For EVF-1 and MON OUT: preset and custom frame lines, user rectangles, surround view, 180º image
rotation, camera status, false color exposure check, peaking focus check, com
pare stored image with live image, RETURN IN video and anamorphic
de-squeeze. For MON OUT additionally: Reel & clip number.
For OVF-1: Warning LEDs for REC (recording), BAT (battery low), FULL (XR Capture Drive
or SxS PRO card full).
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 left (ALEXA Studio and ALEXA XT Studio): MIRROR PARK buttons:
VIEW/GATE. 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 ALEXA: QuickTime/ProRes or MXF/DNxHD recording onto one or two (Dual
Recording) SxS PRO or SxS PRO+ cards. All formats include embedded audio,
timecode and metadata.
84
ALEXA XT Series: 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.
Recording Outputs ALEXA: 2x 1.5G or 3G REC OUT BNC connectors for ARRIRAW T-Link or
HD-SDI video. Both with embedded audio, timecode, metadata and recording
flag. ARRIRAW: 2880 x 1620 (16:9), uncompressed, unencrypted 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
(16:9) 4:4:4 RGB or 4:2:2 YCbCr 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.
ALEXA XT Series: 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.
85
Monitor Output 2x MON OUT BNC connector on ALEXA Plus/Plus 4:3/Studio/XT Plus/XT Studio
for uncompressed 1.5G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; all legal
range. ALEXA, ALEXA M, ALEXA XT and ALEXA XT M offer 1x MON OUT.
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).
86
Playback ALEXA: 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.
ALEXA XT Series: 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 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.
87
Connectors
ALEXA (XT) ALEXA (XT) M ALEXA (XT) M

Connector type Name ALEXA (XT) Plus/4:3/ Backend Head
Studio
SxS Module/XR Module SxS/– 2/1 2/1 2/1 -/-
BNC recording out HD-SDI, 1.5G/3G REC-OUT 1/2 2 2 2 –
BNC monitoring out HD-SDI, 1.5G MON OUT 1 2 1 –
XLR 5 pin audio in AUDIO IN 1 1 1 –
BNC return signal HD-SDI, 1.5G RET/SYNC IN 1 1 1 –
LEMO 16 pin external accessories EXT 1 1 1 –
Fischer 2 pin 24 V power in BAT 1 1 1 1
Fischer 3 pin 24 V remote start and accessory power out RS 2 3 2 2
LEMO 2 pin 12 V accessory power out 12 V 1 1 1 –
LEMO 5 pin timecode in/out TC 1 1 1 –
TRS 3.5 mm headphone mini stereo jack out AUDIO OUT 1 1 1 –
LEMO custom 16 pin electronic viewfinder EVF 1 1 – 1
LEMO 10 pin Ethernet with 24 V power ETHERNET 1 1 1 1
Fischer 5 pin Lens Control System LCS – 2 – –
Fischer 5 pin Lens Data Display LDD – 1 – –
Fischer 12 pin for CLM-2, CLM-3 or later IRIS – 1 – –
Fischer 12 pin for CLM-2, CLM-3 or later ZOOM – 1 – –
Fischer 12 pin for CLM-2, CLM-3 or later FOCUS – 1 – –
LEMO SMPTE 304M hybrid fiber connector Optical Link – – 1 1
88
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).
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, High Speed and DNxHD.
Note: All technical data based on Software Update Packet (SUP) 11.0.
All data is subject to change without notice.
89
90
Menu Settings & Button Functions
MENU
RECORDING menu
Internal >>
Format (Off/ProRes/ARRIRAW)
Setting/HS Setting (ARRIRAW, DNxHD 145/220x/444,
ProRes 422/422 HQ/4444/4444 XQ)
Resolution (HD (1920x1080)/2K (2048x1152/1536)*XT/PLUS 4:3
3.2K (3164x1778)*XT and Full /Cropped*ARRIRAW 4:3 on XT)
Dual Recording (On/Off)*NON XT
Prerecord >>
Prerecord (On/Off)*PRORES
Buffer size (220MB/660MB/1100MB)
Quick format SxS Card 1/2*NON XT /Capture Drive*XT
Erase SxS Card 1/2*NON XT
REC OUT >>
Framerate 23.976/24/25/29.97/30/48/50/59.94/60fps)
HD-SDI format (422 1.5G SL/1.5G DL/3G SL, 444 1.5 DL
444 3G SL/3G DL/RAW*NON XT 1.5G DL/3G SL/3G DL,
MON OUT clone or Clean MON OUT)
Surround mask (25%, 50%, 100%)*Clean MON OUT
Scan format (psf/p)
This chart reflects the ALEXA XT menu, Software Update Packet version 11.0. Output range (Legal/Extended/Raw)
REC OUT fps sets sensor fps (On/Off)
MONITORING menu
Electronic viewfinder >>
Brightness (0-5)
Rotate image (On/Off)
Smooth mode (On/Off)
Note: The only differences between ALEXA XT and the classic ALEXA can be found in the RECORDING menu.
Surround view (On/Off)

Frame lines + status info >>
Frame lines (On/Off)
Surround mask (Black line/Color line/Mask 25%/50%/75%)
Center mark (Off/Dot/Cross)
Status info (On/Off)
Electronic horizon (On/Off)
LDS info (On/Off)
Peaking (Off/On) >>
Peaking (On/Off)
Peaking level (Low/Medium/High)
Anamorphic desqueeze*XT/ANAMORPH (Off/1.3x/2.0x/2.0xmag)
Zoom position (Centered/Eye level)
MON OUT >>
Framerate (23.976/24/25/29.97/30fps)
Scanformat (psf/p)
Surround view (On/Off)
Frame lines + status info >>
Frame lines (On/Off)
Surround mask (Black line/Color line/Mask 25%/50%/75%)
Center mark (Off/Dot/Cross)
Status info (On/Off)
Electronic horizon (On/Off)
LDS info (On/Off)
Camera index letter (On/Off)
Peaking (Off/On) >>
Peaking (On/Off)
Peaking level (Low/Medium/High)
False Color (On/Off)
Anamorphic desqueeze*ALEXA XT/ANAMORPH (Off/1.3x/2.0x/2.0xmag)
Frame lines >>
Frame line 1 (choose/add/delete; Off)
Frame line 2 (choose/add/delete; Off)
User rectangles >>
User rectangles (Off/Rect 1/Rect 2/Rect 1+2)
Set rect 1/2 >>
Top, Bottom, Left, Right (0 - 1000), Reset
Color (Red/Green/Blue/Yellow/Black/White)
Intensity (1-4)
RET IN path (EVF, MON OUT, EVF+MON)
Electronic horizonsensitivity (1x, 2x, 4x, 8x, 16x)
False color index >>
ALEXA SUP 11.0 underlined values represent the factory reset

91

92
MENU
PROJECT menu
Sensor Mode*XT/STUDIO/M/PLUS 4:3 (16:9/4:3/OPEN GATE)*OG
Rec. resolution (Menu > Recording > INTERNAL)
Codec (Menu > Recording > INTERNAL)
Project frame rate (23.976/24/25/29.97/30fps)
Camera index (A-Z)
Camera index color (Red, Green, Blue, Yellow, Black, White)
Next reel count (001-999)
Lens squeeze factor (1.0, 1.3, 2.0)
Production info >>
Production
Prod. Company
Director
Cinematographer
Camera Operator
Location
Scene
Take
User Info 1/2
SYSTEM menu
Imaging >>
Sensor mode*ALEXA XT/STUDIO/M/PLUS 4:3 (16:9/4:3/OpenGate)
Sensor temperature (Standard/High humidity)
Image transform (None, Mirror horizontally, Rotate 180°)
Power >>
BAT1 (Plug) warning (10.0-30.0V; 21.0V)
BAT2 (Onboard) warning (10.0-30.0V; 12.0V)
External sync >>
Eye index (L/R)
Sensor sync (Off/EXT master/EXT slave)
HD out phase (+/-30 clocks; 0 clocks)
Send HD sync trigger >
Settings sync (Off/ETH master/ETH slave)
Test signal >>
Color bar (On/Off)
Enable test tone (On/Off)
Test tone level (0 dBFS/-9 dBFS/-18 dBFS)
Display + beeper >>
Display button brightness (0-8)
Button brightness (Off/Low/Medium/High)
Run beeper mode (Off/Start/Stop/Start+Stop)
System time + date >>
set date, time, timezone and daylight saving time
Fan mode (Regular/Rec low)
Network access read-only (On/Off)
SD card >>
Format + prepare SD card
Prepare SD card
Firmware >>
Select update file >>
Licensed features >>
install/delete licenses; save hardware info
FRAME GRABS menu

File format (Jpeg/Tiff/Dpx/Ari)
Compare grab to live image >>
load grab
Options Compare Options >>
Compare mode (Toggle/Interleave)
Active on EVF (On/Off)
Active on MON OUT (On/Off)
Grabbed images inherit REC OUT settings!
Ari only possible, when REC OUT = ARRI RAW
USER SETUPS menu

Save current setup
Load setup
Factory reset
LDS *ALEXA XT M/M

see Lens Data for PLUS/STUDIO

93

94
HOME
FPS
set sensor speed (0.75 fps-60fps /120fps*ALEXA XT/HS; 24fps)
add/delete value
HIGHSPEED/EXIT HS*ALEXA XT/HS (boot ALEXA to HS mode; 60-120fps)
MODE (MENU > RECORDING > INTERNAL)
MEDIA INFO (INFO > MEDIA INFO)
SDI FPS >>
REC OUT (23.976, 24, 25, 29.97, 30fps)
MON OUT (23.976, 24, 25, 29.97, 30fps)
AUDIO
adjust CH1+/- (level +20/-10; unity)
adjust CH2+/- (level +20/-10; unity)
AUDIO OUT
set AUDIO OUT
Phones Level (+/-)
OPTIONS
AUDIO OUT > OPTIONS >>
Left out (CH1, CH2, CH1+2, None)
Right out (CH1, CH2, CH1+2, None)
Audio OUT level (Manual, Unity max.)
OPTIONS
AUDIO IN > OPTIONS >>
Record (On/Off)
Channel 1/2 level (Manual/Unity)
Channel 1/2 source (L/R in)
Soundroll (=Tape) (edit name)
SHUTTER
set shutter angle (5.0° - 358.0°; 172,8°)
in highspeed mode (5.0°-356.0°)*ALEXA XT/HS
add/delete value
see calculated exposure time
MIRROR*ALEXA XT STUDIO/STUDIO (On/Off)
EI
set exposure index (160ASA - 3200ASA; 800ASA)
ND FILTER*ALEXA XT STUDIO/STUDIO (On/Off)
COLOR
SET LOOK
choose/delete/load look from SD
ARRI LCC look loaded by default
CDL CONF*ALEXA XT > set ip adress
CDL (On/Off)*ALEXA XT
set COLORPATH
EVF (Look ON/OFF for REC 709)
MON OUT (Look ON/OFF for REC 709)
INTERNAL
(Look ON/OFF for REC 709)
REC OUT }
GAMMA
COLOR > GAMMA >>
INTERNAL (REC 709, LOG C, RAW*ALEXA XT)
REC OUT (REC 709, LOG C)
MON OUT (REC 709, LOG C)
EVF (REC 709, LOG C)
WB
set WHITEBALANCE (2000K - 11000K, Auto WB; 5600K;
and CC SHIFT)
add/rename/delete value

95

96
USER
USER BUTTON ASSIGNMENT

set Button 1, 2, 3 set Button 4, 5, 6
None None
MON OUT surround MON OUT surround
MON OUT gamma MON OUT gamma
MON OUT look MON OUT look
MON OUT frame lines MON OUT frame lines
MON OUT status info MON OUT status info
MON OUT false color MON OUT false color
MON OUT peaking MON OUT peaking
MON anam. desqu.*XT/ANAMORPH MON anam. desqu.*XT/ANM.
Frame lines color Return in active
EVF surround Frame lines color
EVF gamma Toggle SxS*NON XT/XR
EVF look Phase sensor
EVF frame lines Color bars
EVF status info Format Card1*NON XT/XR
EVF zoom Format Card2*NON XT/XR
EVF false color False color index
EVF peaking Format media*XT
EVF anam. desqu.*XT/ANAMORPH Mirror shutter*STUDIO
Grab still frame
Return in active
Toggle SxS*NON XT/XR
Check last clip end/start
Circle clip
Auto WB
Phase sensor
Color bars
Grab GUI
PLAY
PLAYBACK screen
start Playback of last clip (press wheel or PLAY 2x on operator’s side)
+/- 10%, CLIPLIST, STEPSIZE (1 frame/1 second),
CIRCLE CLIP
OPTIONS
PLAY Options >>
Clip end action (Pause/Loop)
Show frame lines (On/Off)
Status info on MON OUT (On/Off)
Peaking on MON OUT (On/Off)
Peaking on EVF (On/Off)
GRAB
FRAMEGRAB screen
save Framegrab to SD Card

97

98
INFO
SYSTEM INFORMATION screen

LIVE INFO
SAVE TO SD
VERSION
MEDIA INFO
SYSTEM
FPS INFO
TC
TIMECODE screen
SET TC (SET TO TIME/RESET/MANUAL)
Options
Timecode Options >>
Source (Int TC/Ext LTC)
Mode (Rec run/Free Run)
Generator (Regen/Jam Sync)
User bit source (Internal/UB in Ext TC)
Userbits (set Userbits)
Project (Menu > Project)
LOCK
BUTTON LOCK
locks HOMESCREEN,MENU, PLAY, TC and INFO;
also locks the buttons on EVF and WRS*ALEXA XT/PLUS & STUDIO!

LEGEND SUP 11.0
possible values item A (value 1, value 2, value 3)
factory reset item B (underlined values represent the 16:9 defaults)
menu hierarchy 1st level menu heading
2nd level menu heading
leads to new screen >>
SD card access
*ALEXA XT = function available on ALEXA XT/XR only

*ANAMORPH = requires Anamorphic Desqueeze License
*DNxHD = requires DNxHD License
*HS = requires High Speed License
*PLUS = ALEXA PLUS only
*PLUS 4:3 = ALEXA PLUS 4:3 only
*STUDIO = ALEXA STUDIO only
*M = ALEXA M only
99

100

ALEXA (XT) Studio, ALEXA (XT) Plus and ALEXA (XT) M*
WRS
RADIO
STATUS
Channel: 0
Units: 0
Ready/Off
WRS > RADIO >>

WRS radio power (On/Off)
WRS radio channel (0-7)
CAM LEVEL
STATUS READOUT FROM SENSORS
Tilt: 0.0°
Roll: 0.0°
CAM LEVEL > RESET

use to reset your null balance
LENS DATA
LDS READOUT
Status
LENS DATA
displays FOCAL LENGTH, IRIS,
FOCUS and DoF close/far
LDS OPTIONS
Lens distance unit (Metric, Imperial, Default Unit)
Circle of confusion (0.013/0.025/0.035/0.050mm)
LDS mount (On/Off)
LDA available when non-LDS lens in use
manage lens data for non-LDS lenses
IRIS/ZOOM/FOCUS CLM
CLM STATUS
displays TYPE, DIRECTION and TORQUE (1-4; CLM-3 & 4)
IRIS/ZOOM/FOCUS CLM
set DIRECTION
set TORQUE (only CLM-3 & 4)
CALIBRATE/CALIBRATE ALL motors
*on ALEXA XT M and ALEXA M via SYSTEM > LDS

101

102

Electronic Viewfinder EVF-1
C
A
M
FPS
set sensor speed (0.75 fps-60fps /120fps*XT/HS; 24fps)
SHUTTER
set shutter angle (5.0° - 358°; 172,8°) in High Speed Mode 5.0°-356.0°)*XT/HS
EI
set exposure index (160ASA - 3200ASA; 800ASA)
WB
set white balance (2000K - 11000K, Auto WB; 5600K; and CC SHIFT)
EXP
false color exposure check (toggle mode)
ZOOM
get 2.25x image magnification (toggle mode)

E
V
F
EVF menu
Brightness (0-5)
Rotate Image (On/Off)
Smooth Mode (On/Off)
Surround View (On/Off)
Surround Mask (Black line/Color Line/Mask 25%/50%/75%)
Status Info (On/Off)
Frame Lines (On/Off)
Select Frame Lines 1 (choose from list)
Select Frame Lines 2 (choose from list)
Center Mark (Off/Dot/Cross)
User Rectangles (Off/Rect 1/Rect 2/Rect 1&2)
Edit User Rectangles (only when User Rectangles active)
Frame Lines Color (Red/Green/Blue/Yellow/Black/White)
Frame Lines Intensity (1-4)
Mirror Control on ALEXA (XT) Studio
VIEW
switch to VIEW-mode (Operator sees an image)

press 2x for spinning mirror
GATE
switch to GATE-mode (sensor & all video outs “see” an image)

press 2x for spinning mirror
103

ARRI Lenses
ARRI Lenses
ARRI/ZEISS Master Anamorphic Lenses

Lens Magnification Front
Name Aperture Close Focus2 Length4 Length14
Mount1 Ratio3 Diameter5
H: 1:32.3
Master Anamorphic 35/T1.9 PL LDS T1.9 - T22 0.75 m / 2'6" 183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7"
V: 1: 16.1
H: 1:25.6
V: 1: 12.8
H: 1:22.2
V: 1: 11.1
H: 1:24.3
Master Anamorphic 60/T1.9 PL LDS T1.9 - T22 0.90 m / 3' 183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7"
V: 1: 12.2
H: 1:19.6
Master Anamorphic 75/T1.9 PL LDS T1.9 - T22 0.90 m / 3' 183 mm / 7.2" 235 mm / 9.3" 95 mm / 3.7"
V: 1: 9.8
H: 1:14.7
V: 1: 7.4
H: 1:15.6
Master Anamorphic 135/T1.9 PL LDS T1.9 - T22 1.20 m / 3’11” 226 mm / 9.1” 278 mm / 10.7” 95 mm / 3.7"
V: 1:7.8
For Annotations, see Page 120.

104
ARRI Lenses
Maximum Housing Weight Weight Angle of View
Entrance Pupil6
Diameter (kg) (lb) H-V
Super 35 Cinemascope 8
ID = 29.26 mm7
114 mm / 4.5" 2,6 5.7 65.5° - 29.9° 178.8 mm / 7.0”
114 mm / 4.5" 2,7 6.0 58.7° - 26.3° 176.0 mm / 6.9”
114 mm / 4.5" 2,6 5.7 48.5° - 21.2° 171.5 mm / 6.8”
114 mm / 4.5" 2,7 6.0 41.1° - 17.7° 152.0 mm / 6.0”
114 mm / 4.5" 2,6 5.7 33.4° - 14.2° 136.7 mm / 5.4”
114 mm / 4.5" 3,1 6.8 25.4° - 10.7° 145.9 mm / 5.7”
114 mm / 4.5" 3,8 8.4 18.9° - 7.9° 129.3 mm / 5.1”
105
ARRI Lenses
ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36
Lens Focal Length Focal Length Focal Length Close Magnification Front
Name Aperture Length4
Mount1 Wide Long Ratio Focus2 Ratio3 Diameter5
Anamorphic 1:10.2 (H) 114 mm /

397.1 mm /
Ultra Wide Zoom - PL LDS 19 36 1.9 T4.2 - T22 0.6 m / 2' 1:5.2 (V) 4.488"
15.634"
AUWZ 19-36/T4.216 at 36mm

106
ARRI Lenses
Maximum
Weight Focal Length Angle of view H – V Entrance pupil6
Housing Diameter15
Super 35 Cinemascope8
ID = 29.26 mm7
at 19 mm 100.8° - 52.0° 414.9 mm / 16.33“

at 24 mm 87.4° - 42.2° 414.4 mm / 16.31“
112 mm / 4.409“ 5.5 Kg / 12.1 lb at 28 mm 78.5° - 36.6° 413.9 mm / 16.30“
at 32 mm 71.1° - 32.3° 413.2 mm / 16.27“
at 36 mm 64.9° - 28.9° 412.5 mm / 16.24“
107
ARRI Lenses
ARRI/ZEISS Master Prime Lenses
Lens Magnification Front Maximum

Name Aperture Close Focus2 Length4 Length14
Mount1 Ratio3 Diameter5 Housing Diameter
Master Prime 12/T1.3 PL LDS T1.3 - T22 0.40 m / 16" 1:16.5 197 mm / 7.8" 249 mm / 9.80" 156 mm / 6.1" 159 mm / 6.3"
Master Prime 14/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.7 172 mm / 6.8" 224 mm / 8.82" 114 mm / 4.5" 128 mm / 5"
Master Prime 16/T1.3 PL LDS T1.3 - T22 0.35 m / 14" 1:11.8 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5"
Master Prime 65/T1.3 PL LDS T1.3 - T22 0.65 m / 2'3" 1:8.2 153 mm / 6" 205 mm / 8.07" 114 mm / 4.5" 128 mm / 5"
Master Prime 135/T1.3 PL LDS T1.3 - T22 0.95m / 3'3'' 1:6.6 172 mm / 6.8" 224 mm / 8.82" 114 mm / 4.5" 128 mm / 5"
Master Prime 150/T1.3 PL LDS T1.3 - T22 1.50 m / 4'11" 1:10.3 210 mm / 8.3" 262 mm / 10.31" 134 mm / 5.3" 137 mm / 5.4"

108
ARRI Lenses
Weight Angle of view H – V – D Entrance pupil6
Normal 35 9
DIN Super 35 10
ANSI Super 35 11
ID = 27.20 mm7 ID = 30.00 mm7 ID = 31.14 mm7

2.9 Kg / 6.4 lb 83.87° -66.44° - 96.13° 88.85° - 72.70° - 101.97° 90.98° - 74.78° - 104.26° 208,3 mm / 8.2“
2.4 Kg / 5.3 lb 76.42° - 59.41° - 88.52° 81.24° - 65.39° - 94.07° 83.44° - 67.49° - 96.33° 189,3 mm / 7.5“
2.2 Kg / 4.8 lb 70.07° - 53.79° - 81.76° 74.85° - 59.56° - 87.24° 76.87° - 61.50° - 89.33° 158,8 mm / 6.3“
2.2 Kg / 4.8 lb 63.98° - 48.60° - 75.29° 68.56° - 53.97° - 80.52° 70.53° - 55.80° - 82.48° 154,9 mm / 6.1“
2.4 Kg / 5.3 lb 55.96° - 42.05° - 66.60° 60.22° - 46.85° - 71.70° 62.07° - 48.50° - 73.66° 149,3 mm / 5.9“
2.6 Kg / 5.1 lb 48.12° - 35.79° - 57.97° 52.01° - 40.00° - 62.89° 53.72° - 41.45° - 64.81° 135,9 mm / 5.4“
2.2 Kg / 4.8 lb 43.82° - 32.45° - 53.08° 47.45° - 36.31° - 57.80° 49.06° - 37.64° - 59.66° 136,7 mm / 5.4“
2.3 Kg / 5.1 lb 38.84° - 28.74° - 47.10° 42.07° - 32.16° - 51.31° 43.51° - 33.35° - 52.98° 128,4 mm / 5.1“
2.2 Kg / 4.8 lb 35.04° - 25.82° - 42.64° 38.01° - 28.94° - 46.52° 39.33° - 30.02° - 48.04° 126,9 mm / 4.9“
2.3 Kg / 5.1 lb 30.91° - 22.75° - 37.68° 33.55° - 25.51° - 41.15° 34.73° - 26.46° - 42.52° 119,6 mm / 4.7“
2.7 Kg / 5.9 lb 25.02° - 18.27° - 30.81° 27.26° - 20.53° - 33.88° 28.26° - 21.32° - 35.13° 136,1 mm / 5.4“
2.6 Kg / 5.7 lb 19.27° - 14.06° - 23.72° 20.99° - 15.80° - 26.08° 21.59° - 16.58° - 27.00° 107,3 mm / 4.2“
2.8 Kg / 6.2 lb 16.66° - 12.17° - 20.51° 18.15° - 13.67° - 22.56° 18.82° - 14.20° - 23.39° 102,5 mm / 4.0“
2.9 Kg / 6.4 lb 12.60° - 9.17° - 15.56° 13.74° - 10.32° - 17.14° 14.25° - 10.72° - 17.79° 57,2 mm / 2.3“
2.8 Kg / 6.2 lb 9.49° - 6.91° - 11.72° 10.35° - 7.77° - 12.91° 10.73° - 8.07° - 13.40° 30.1 mm / 1.2"
4.0 Kg / 8.8 lb 8.53° - 6.22° - 10.53° 9.30° - 6.99° - 11.59° 9.65° - 7.26° - 12.03° -89,0 mm / -3.5“
109
ARRI Lenses
ARRI/ZEISS Ultra Prime Lenses
Lens Front Maximum housing

Name Aperture Close Focus2 Length4 Weight
Mount1 Diameter5 diameter
Ultra Prime 8R/T2.8 PL T2.8 to T22 0.35 m / 13.8" 130 mm / 5.1" 134 mm / 5.3" 137 mm / 5.4” 2.0 Kg / 4.4 lb
Ultra Prime 12/T2.0 PL T2.0 to T22 0.30 m / 11.8" 140 mm / 5.5" 156 mm / 6.1" 159 mm / 6.3” 2.0 Kg / 4.4 lb
Ultra Prime 20/T1.9 PL T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb
Ultra Prime 28/T1.9 PL T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb
Ultra Prime 40/T1.9 PL T1.9 to T22 0.38 m /15" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb
Ultra Prime 65/T1.9 PL T1.9 to T22 0.65 m / 25.6 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb

110
ARRI Lenses
Angle of view H – V – D Entrance pupil6
Normal 35 9
DIN Super 35 10
ANSI Super 35 11
ID = 27.20 mm7 ID = 30.00 mm7 ID = 31.14 mm7

107.1° - 89.1° - 118.3° 111.8° - 95.8° - 123.1° 113.7° - 98.0° - 124.8° 155,2 mm / 6.1"
85.5° - 67.8° - 97.6° 90.5° - 74.2° - 103.2° 92.6° - 76.3° - 105.2° 113,4 mm / 4.4"
75.6° - 58.9° - 87.6° 80.5° - 64.8° - 93.2° 82.6° - 66.8° - 95.4° 91,3 mm / 3.5"
68.6° - 52.8° - 80.3° 73.3° - 58.4° - 85.8° 75.4° - 60.2° - 88.1° 85,1 mm / 3.3"
58.9° - 44.6° - 69.8° 63.2° - 49.6° - 75.1° 65.1° - 51.3° - 77.2° 73,3 mm / 2.8"
50.5° - 37.8° - 60.5° 54.4° - 42.2° - 65.4° 56.2° - 43.7° - 67.5° 67,4 mm / 2.6"
43.6° - 32.4° - 52.6° 47.1° - 36.2° - 57.2° 48.7° - 37.5° - 59.0° 67,3 mm / 2.6"
38.6° - 28.5° - 46.8° 41.8° - 31.9° - 51.0° 43.2° - 33.1° - 52.7° 61,1 mm / 2.4"
31.0° - 22.8° - 37.9° 33.7° - 26.6° - 41.5° 34.9° - 26.6° - 42.9° 59,2 mm / 2.3"
24.3° - 17.8° - 29.8° 26.5° - 20.0° - 32.8° - 27.4° - 20.8° - 33.9° 13,4 mm / 0.5"
19.4° - 14.2° - 23.9° 21.9° - 16.5° - 27.2° 21.9° - 16.5° - 27.2° 19,0 mm / 0.7"
15.2° - 11.1° - 18.7° 16.5° - 12.4° - 20.5° 17.1° - 12.9° - 21.3° 3,5 mm / 0.1"
12.3° - 8.9° - 15.2° 13.4° - 10.0° - 16.7° 13.9° - 10.4° - 17.3° 12,4 mm / 0.4"
9.3° - 6.7° - 11.5° 10.1° - 7.6° - 12.6° 10.5° - 7.9° - 13.1° -56,9 mm / -2.2"
6.9° - 5.1° - 8.5° 7.6° - 5.7° - 9.5° 7.9° - 5.9° - 9.9° -19,7 mm / -0.7"
111
ARRI Lenses
ARRI/ZEISS LDS Ultra Prime Lenses
Lens Front Maximum housing

Name Aperture Close Focus2 Length4 Weight
Mount1 Diameter5 diameter
LDS Ultra Prime 12/T2.0 PL LDS T2.0 to T22 0.30 m / 11.8" 140 mm / 5.5" 156 mm / 6.1" 159 mm / 6.3” 2.0 Kg / 4.4 lb
LDS Ultra Prime 20/T1.9 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.2 Kg / 2.6 lb
LDS Ultra Prime 28/T1.9 PL LDS T1.9 to T22 0.28 m / 11" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb
LDS Ultra Prime 40/T1.9 PL LDS T1.9 to T22 0.38 m /15" 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.0 Kg / 2.2 lb
LDS Ultra Prime 65/T1.9 PL LDS T1.9 to T22 0.65 m / 25.6 91 mm / 3.6" 95 mm / 3.7" 104 mm / 4.1” 1.1 Kg / 2.4 lb

112
ARRI Lenses
Angle of view H – V – D Entrance pupil6
Normal 35 9
DIN Super 35 10
ANSI Super 35 11
ID = 27.20 mm7 ID = 30.00 mm7 ID = 31.14 mm7

85.5° - 67.8° - 97.6° 90.5° - 74.2° - 103.2° 92.6° - 76.3° - 105.2° 113,4 mm / 4.4”
75.6° - 58.9° - 87.6° 80.5° - 64.8° - 93.2° 82.6° - 66.8° - 95.4° 91,3 mm / 3.5”
68.6° - 52.8° - 80.3° 73.3° - 58.4° - 85.8° 75.4° - 60.2° - 88.1° 85,1 mm / 3.3”
58.9° - 44.6° - 69.8° 63.2° - 49.6° - 75.1° 65.1° - 51.3° - 77.2° 73,3 mm / 2.8”
50.5° - 37.8° - 60.5° 54.4° - 42.2° - 65.4° 56.2° - 43.7° - 67.5° 67,4 mm / 2.6”
43.6° - 32.4° - 52.6° 47.1° - 36.2° - 57.2° 48.7° - 37.5° - 59.0° 67,3 mm / 2.6”
38.6° - 28.5° - 46.8° 41.8° - 31.9° - 51.0° 43.2° - 33.1° - 52.7° 61,1 mm / 2.4”
31.0° - 22.8° - 37.9° 33.7° - 26.6° - 41.5° 34.9° - 26.6° - 42.9° 59,2 mm / 2.3”
24.3° - 17.8° - 29.8° 26.5° - 20.0° - 32.8° - 27.4° - 20.8° - 33.9° 13,4 mm / 0.5”
19.4° - 14.2° - 23.9° 21.9° - 16.5° - 27.2° 21.9° - 16.5° - 27.2° 19,0 mm / 0.7”
15.2° - 11.1° - 18.7° 16.5° - 12.4° - 20.5° 17.1° - 12.9° - 21.3° 3,5 mm / 0.1”
12.3° - 8.9° - 15.2° 13.4° - 10.0° - 16.7° 13.9° - 10.4° - 17.3° 12,4 mm / 0.4”
9.3° - 6.7° - 11.5° 10.1° - 7.6° - 12.6° 10.5° - 7.9° - 13.1° -56,9 mm / -2.2”
6.9° - 5.1° - 8.5° 7.6° - 5.7° - 9.5° 7.9° - 5.9° - 9.9° -19,7 mm / -0.7”
113
ARRI Lenses
ARRI/FUJINON Alura Zooms Lenses
Alura Lightweight
PL LDS 15.5 45 2.9 T2.8 - T22 0.6 m / 2'0" 1:8.1 228 mm / 9.0" 114 mm / 4.5"
Zoom 15.5-45/T2.8
Alura Lightweight
PL LDS 30 80 2.7 T2.8 - T22 0.6 m / 2'0" 1:4.9 228 mm / 9.0" 114 mm / 4.5"
Zoom 30-80/T2.8
Alura Zoom
PL 18 80 4.4 T2.6 - T22 0.7 m / 2'4" 1:5.5 285 mm / 11.2" 134 mm / 5.3"
18-80/T2.6
Alura Zoom
PL 45 250 5.6 T2.6 - T22 1.2 m / 3'11" 1:4 370 mm / 14.6" 134 mm / 5.3"
45-250/T2.6

114
ARRI Lenses
Maximum
Weight Focal Length Angle of view H – V – D Entrance pupil6
Housing Diameter
Normal 359 DIN Super 3510 Alexa/D-21 HD12

ID = 27.20 mm7 ID = 30.00 mm7 ID = 27.26 mm7
at 15.5 mm 70.7° - 54.6° - 82.5° 74.9° - 46.7° - 82.7° 78.5° - 49.4° - 86.3° 237.0 mm / 9.3"
114 mm / 4.5" 2.2 Kg / 4.9 lb at 25 mm 47.5° - 35.5° - 57.1° 50.8° - 29.9° - 57.2° 53.8° - 31.8° - 60.4° 230.9 mm / 9.1"
at 45 mm 27.5° - 20.2° - 33.6° 29.6° - 16.9° - 33.7° 31.4° - 18° - 35.8° 222.6 mm / 8.8"
at 30 mm 40.3° - 29.9° - 48.8° 43.2° - 25.1° - 48.9° 45.8° - 26.7° - 51.7° 219.3 mm / 8.6"
114 mm / 4.5" 2.2 Kg / 4.9 lb at 50 mm 24.8° - 18.2° - 30.4° 26.7° - 15.2° - 30.5° 28.4° - 16.2° - 32.4° 201.0 mm / 7.9"
at 80 mm 15.7° - 11.4° - 19.3° 16.9° - 9.6° - 19.3° 18° - 10.2° - 20.6° 187.4 mm / 7.4"
at 18 mm 62.8° - 48.0° - 74.1° 67.4° - 53.1° - 79.6° 66.8° - 40.7° - 74.3° 264.0 mm / 10.4"
134 mm / 5.3" 4.7 Kg / 10.4 lb at 50 mm 24.8° - 18.2° - 30.4° 27.0° - 20.4° - 33.4° 26.7° - 15.2° - 30.5° 231.6 mm / 9.1"
at 80 mm 15.6° - 11.4° - 19.3° 17.1° - 12.8° - 21.2° 16.9° - 9.5° - 19.3° 213.9 mm / 8.4"
at 45 mm 27.5° - 20.2° - 33.6° 29.9° - 22.6° - 36.9° 29.6° - 16.9° - 33.7° 234.4 mm / 9.6"
153 mm / 6" 7.5 Kg / 16.5 lb at 150 mm 8.4° - 6.1° - 10.4° 9.1° - 6.9° - 11.4° 9.1° - 5.1° - 10.4° 2.0 mm / 0.1"
at 250 mm 5.0° - 3.7° - 6.2° 5.5° - 4.1° - 6.9° 5.4° - 3.1° - 6.2° -101.5 mm / -4.0"
115
ARRI Lenses
ARRI/FUJINON Alura LDS Extender
Combining the Alura Zooms with Alura Extenders
Alura Zoom Alura Extender Resulting Combination
Alura LDS Extender 1.4x Alura 22-63/T4.0

Alura Lightweight
Zoom 15.5-45/T2.8

Alura Lightweight
Zoom 30-80/T2.8

Alura Zoom
18-80/T2.6

Alura Zoom
45-250/T2.6
116
ARRI Lenses
Name Weight Diameter without knobs Length without knobs
Alura LDS Extender 1.4x 300 g / 0.66 lb 77 mm / 3.03” 44 mm / 1.73”
Alura LDS Extender 2.0x 530 g / 1.17 lb 77 mm / 3.03” 60 mm / 2.36”
117
ARRI Lenses
ARRI Ultra Wide Zoom UWZ 9.5-18
Ultra Wide Zoom - 335.5 mm /

PL LDS 9.5 18 1.9 T2.9 - T22 0.55 m / 1'9" 1:10.7 156 mm / 6.1"
UWZ 9.5-18/T2.916 13.2"

118
ARRI Lenses
Maximum
Weight Focal Length Angle of view H – V – D Entrance pupil6
Housing Diameter15
Normal 359 DIN Super 3510 Alexa HD12

ID = 27.20 mm7 ID = 30.00 mm7 ID = 27.26 mm7
at 9.5 mm 98.6° - 80.3° - 110.5° 103.5° - 87.0° - 115.7° 103.0° - 70.3° - 110.6° 310.4 mm / 12.22”
112 mm / 4.4" 4.8 Kg / 10.5 lb at 14 mm 76.3° - 59.5° - 88.3° 81.2° - 65.5° - 94.0° 80.6° - 51.1° - 88.5° 309.4 mm / 12.18”
at 18 mm 62.8° - 47.9° - 74.1° 67.3° - 53.1° - 79.5° 66.8° - 40.8° - 74.2° 308.0 mm / 12.13”
119
ARRI Lenses
ARRI/ZEISS Master Macro Lens
Lens Magnification Front

Name Aperture Close Focus2 Length4
Mount1 Ratio3 Diameter5
Master Macro 100/T2.0 PL LDS T2.0/T4.3 to T32 0.35 m / 13 3/4" 1:1 210.0 mm / 8.27" 114 mm / 4.5"

120
ARRI Lenses
Maximum Housing Diameter15 Weight Horizontal Angle of View
Normal 359 DIN Super 3510 ANSI Super 3511

ID = 27.20 mm7 ID = 30.00 mm7 ID = 31.14 mm7
138 mm/5.4" 2.6 kg / 5.7 lbs 12.42° 13.52° 14.02°
121
ARRI Lenses
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 5 Diameter of the lens/matte box interface;
mount on some models with Lens Data System Maximum lens housing diameter for the Master
(LDS) contacts Macro 100 is 138 mm.
2 Close focus is measured from the film/sensor 6 The distance from the entrance pupil to the film/
plane sensor plane (at focus = infinity). Positive numbers
3 Magnification ratio is the relationship of the size of indicate an entrance pupil in front, negative num-
an object on the film/sensor plane (first number) to bers indicate an entrance pupil behind the film/
the size of that object in real life (second number) sensor plane. The entrance pupil (often mistakenly
at the close focus setting (on zoom lenses also at called "nodal point") is the center of perspective;
the telephoto zoom setting; for Master Anamorphic moving the camera/lens system around the center
Lenses: horizontal (H) and vertical (V) of the entrance pupil prevents parallax errors.
4 Length is measured from the lens mount to the While largely irrelevant for live action, this mea-
front of the lens housing surement is important for special effects work.
122
ARRI Lenses
7 The image diameter (ID) is the diameter of the 11 Horizontal (H), vertical (V) and diagonal (D) angles
image circle needed for the respective format. of view for an ANSI Super 35 Silent camera aper-
These lenses are designed for the largest ID given ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
here. 12 Horizontal (H), vertical (V) and diagonal (D) angles
8 Horizontal (H) and vertical (V) angles of view for a of view for the Alexa/D-21 HD camera aperture
Super 35 Cinemascope camera aperture (1.78:1, 2880 x 1620 pixels,
(22,5mm x 18,7mm / 0.8858" x 0.7362") 23.76 mm x 13.37mm / 0.935" x 0.526")
9 Horizontal (H), vertical (V) and diagonal (D) angles 14 Length is measured from the sensor plane to the
of view for a Normal 35 Academy camera aperture front of the lens housing.
(1.37:1, 22mm x 16mm / 0.8661" x 0.6299") 15 Excluding front and gear.
10 Horizontal (H), vertical (V) and diagonal (D) angles 16 180° optical image rotation
of view for a DIN Super 35 Silent camera aperture
(1.33:1, 24mm x 18mm / 0.944" x 0.7087")
123
Resources and Contacts
ARRI Sales Contacts

Europe, Middle East, Africa, India
Arnold & Richter Cine Technik ARRI Italia S.r.l. (Sales & Service)
GmbH & Co. Betriebs KG Viale Edison 318,
(Headquarters, Sales & Service) 20099 Sesto San Giovanni (Milano), Italy
Türkenstraße 89, 80799 Munich, Germany info@arri.it
salessupport@arri.de Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245
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
124
Americas Asia

ARRI Inc./West Coast & Mexico (Sales & Service) ARRI Asia Limited (Sales & Service)
600 North Victory Blvd., Burbank, CA 91502-1639, USA 2203B, The Centrium, 60 Wyndham Street,
info@arri.com Central, Hong Kong
Tel: +1 (818)841 7070, Fax: 1 (818)848 4028 info@arriasia.hk
Tel : +852 2571 9066, Fax : +852 2875 9181
ARRI Inc. / East Coast (Sales & Service)
617 Route 303, Blauvelt, NY 10913-1109, USA ARRI China (Beijing) Co. Ltd. (Sales & Service)
info@arri.com Chaowai SOHO Tower C, 6/F, 0628/0656
Tel: +1 (845) 353 1400, Fax: +1 (845) 425 1250 Chaowai Dajie Yi 6, Beijing, China
store@arrichina.com
ARRI Inc. / Central & Southern America (Sales) Tel : +86 10 59009680, Fax : +86 10 59009679
2385 Stirling Road, Ford Lauderdale, FL 33312, USA
Australia / New Zealand
ventas@arri.com
Tel: +1 954 322 4545, Fax: +1 954 322 4188 ARRI Australia Pty Ltd (Sales & Service)
Level 1, Unit 1, 706 Mowbray Road,
ARRI Canada Limited (Sales & Service) Lane Cove NSW 2066, Sydney, Australia
1200 Aerowood Drive, info@arri.com.au
Unit 29 Mississauga, Ontario L4W 2S7 Tel: +61 2 9855 4300, Fax: +61 2 9855 4301
info@arri.com
Tel: +1 416 255 3335, Fax: +1 416 255 3399
125
ARRI Service Contacts
Zone Availability Service Center E-Mail Telephone Hotline
Monday – Friday: Munich, Germany

service@arri.de +49 (89) 3809 2121
09:00 – 17:00 (CET) Arnold & Richter Cine Technik
Monday – Friday: London, Great Britain

service@arri-ct.com +44 1895 457 051
09:00 – 17:30 (CMT) ARRI CT Limited
Monday – Friday: Milan, Italy

1 service@arri.it +39 335 749 00 70
09:00 – 18:00 (CET) ARRI Italia S.r.l.
Monday – Saturday Moscow, Russia +7 (495) 415 98 13

arri@bars-pro.ru
09:00 - 18:00 (MSK) Bars-Pro Ltd. +7 (499) 586 02 99
Monday – Friday: Istanbul, Turkey

service@linkgroup.com.tr +90 (212) 358 4520
9:00 – 18:00 (EET) LINKA Ithalat Ihracat ve Dis Tic.
Monday – Friday: Burbank, USA

service@arri.com +1 877 565 2774
08:30 – 17:00 (PST) ARRI Inc. West Coast
Monday – Friday: New York, USA

2 service@arri.com +1 877 565 2774
08:30 – 17:30 (EST) ARRI Inc. East Coast
Monday – Friday: Mississauga, Canada

service@arri.com +1 416 255 3335
08:30 – 17:00 (EDT) ARRI Canada Limited
Monday – Friday: Hong Kong

service@arri.cn +852 2537 4266
09:00 – 18:00 (HKT) ARRI Asia Limited
Monday – Friday: Beijing, China

service@arrichina.com +86 10 5900 9680
09:00 – 18:00 (CST) ARRI China Co. Limited
3
Monday – Saturday: Mumbai, India
service@cineom.com +91 22 42 10 9000
10:00 – 18:00 (CST) CINEOM Broadcast India Pvt. Ltd.
Monday – Friday: Sydney, Australia

service@arri.com.au +61 2 9855 4305
08:00 – 17:00 (AEST) ARRI Australia Pty Limited
126
ZONE 2 ZONE 1 ZONE 3

Zone 2 - Americas Zone 1 - EMEA Zone 3 - Asia Pacific
London Moscow
Mississauga Munich
New York Milan Istanbul Beijing
Burbank
Hong Kong
Mumbai
Sydney
ARRI Service is the first port of call for all questions and software-related issues, upgrades or e.g. the
concerning the ALEXA cameras, with worldwide recovery of cards that have been accidentally erased.
service centers and 24h availability on Monday to
Friday. Well trained technicians cover all hardware-
127
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 digitalworkflow@arri.de
This ARRI ALEXA Pocket Guide (Ident.-Nr.: 80.0003607) is published by Arnold & Richter Cine Technik, April 01, 2014 © ARRI/2014
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2014.
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
128
Online Resources
Downloads
ALEXA Manual www.arri.com/alexa/downloads
ALEXA Dimensions www.arri.com/alexa/downloads
ALEXA Software Update Packets www.arri.com/alexa/downloads
Technical Details
Frequently Asked Questions www.arri.com/alexa/learn
ARRIRAW www.arri.com/alexa/arriraw
ProRes / DNxHD www.arri.com/alexa/sxs
Software Tools (apps):

ARRIRAW Converter (ARC) www.arri.com/alexa/tools
ARRI Look Creator (ALC) www.arri.com/alexa/tools
ARRI Meta Extract www.arri.com/alexa/tools
Software Tools (online):

ALEXA Camera Simulator www.arri.com/alexa/tools
ALEXA Frameline Composer www.arri.com/alexa/tools
LUT Generator www.arri.com/alexa/tools
Lens Illumination Guide www.arri.com/alexa/tools
129
ALEXA Pocket Guide WebApp
www.arri.com/alexa/apg

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ALEXA XT M ALEXA XT Plus ALEXA XT Studio

shutter on/off for ALEXA Studio)

Settings sync is active so multiple DUR Duration of current clip during

No Media No Magazine in slot. • REC The camera is recording.

Grab Stil frame is being captured

4:3 2880x2160 2048x1536 2048x1536

DNxHD 444 is not available in High Speed Mode

ProRes 2K is limited to 30fps on 32GB SxS PRO cards

1 or 2x MON OUT HD-SDI 16:9 HD-SDI with

HD-SDI 16:9 Clean image

2x REC OUT ARRIRAW uncompressed

1x XR Capture Drive QuickTime 16:9 HD, ProRes 422

Internal Recording External recording External recording

T-Link ARRIRAW uncompressed

2x REC OUT HD-SDI HD uncompressed 16:9

others) and is a truly future-proof archiving format

31:2014. With the introduction of the ALEXA XT

Data Rate Data Volume

Since Version 3.0 the ARRIRAW Converter features a

16:9 1920 x 1080 10 bit 126 57 0.75 – 120

DNxHD 115 16:9 1920 x 1080 8 bit 116 52 0.75 – 120

DNxHD 220x 16:9 1920 x 1080 10 bit 176 79 0.75 – 120

DNxHD 444 16:9 1920 x 1080 10 bit 352 159 0.75 – 96

Exposure Index EI 1600

able at all EI settings.

The ALEXA Studio and ALEXA XT Studio have a

Working with ALEXA

IFM Filter Holder

8x Full Spectrum Neutral

Wavelength (in nm)

-11 IRND Brand 1

Color Level Description

red 99 – 100% White clipping

yellow 97 – 99% Just below white clipping/white shoulder

pink 52 – 56% One stop over medium gray (Caucasian skin)

green 38 – 42% 18% neutral gray

blue 2.5 – 4.0% Just above black clipping/black slope

purple 0 – 2.5% Black clipping

Apply Look File

Working with ALEXA

LogC Image ARRI LUT Generator

Working with ALEXA

Note that this scan format setting is only for REC

Working with ALEXA

ARRI META Extract

1. Lens Data 2. Storing

SxS PRO Card

LDS capable lens & ALEXA camera Lens Data

• ALEXA XT: Anamorphic de-squeeze, high speed

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

Frequently used functions should be assigned to

Data point will be indicated with a marking line.

Click Download from Camera to download any exist-

When an XR Capture Drive with footage is loaded,

The file formats, file naming and directory structure

Sometimes (not even related to the amount of

Specifications and Reference

Open Gate 3414 x 2198 used for ARRIRAW Open Gate

Regular or High Speed mode. Switching takes approximately 20 seconds.

Settings sync is active so multiple DUR Duration of current clip during

No Media No Magazine in slot. • REC The camera is recording.

DNxHD 444 is not available in High Speed Mode

ProRes 2K is limited to 30fps on 32GB SxS PRO cards

• ALEXA XT: Anamorphic de-squeeze, high speed

Regular or High Speed mode. Switching takes approximately 20 seconds.

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

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

Detailed drawings can be found in the ALEXA Dimensions PDF document on