Welcome to the frequently asked questions (FAQ) about the ALEXA XT family of cameras. This FAQ pertains to ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio with Software Update Packet 8.0 (ALEXA XT/XR) or later. Directions given are always from the operator’s point of view. This FAQ supersedes any earlier versions. To avoid redundancy, information contained in the ALEXA manuals will not be duplicated here.
Look at the ALEXA Cameras Overview
From version 8.0 on, Software Update Packets (SUPs) for ALEXA Classic cameras with the SxS Module are different from SUPs for ALEXA XT cameras and ALEXA Classic cameras with an XR Module upgrade.
SUPs for ALEXA Classic cameras with the SxS Module will be called 'SUP X.Y (ALEXA Classic)'.
Example: 'SUP 8.0 (ALEXA Classic)'. Their file names will be 'SUP_ALEXA_[version-number]'.
SUPs for ALEXA XT cameras and ALEXA Classic cameras with an XR Module upgrade will be called 'SUP X.Y (ALEXA XT/XR)'. Example: 'SUP 8.0 (ALEXA XT/XR). Their file names will be 'SUP_ALEXAX_[version-number]'.
Example: ' SUP_ALEXAX_8.0:23789'.
No. While you can get a lot of the ALEXA XT features as individual upgrades for classic cameras, a full ALEXA XT upgrade option would be unfair towards all those who buy new ALEXA XT cameras, the LDS PL mount is not available as an individual upgrade and there are some additional electronic changes we made to the ALEXA XT cameras for possible future software upgrades that you cannot get when upgrading a classic cameras.
The only features that ALEXA Classic cameras have that ALEXA XT cameras do not have are:
Frame grabs of ARRIRAW images in-camera are not possible with ALEXA XT or ALEXA Classic cameras that have the XR Module upgrade installed. However, most software that is used to debayer the ARRIRAW images can also create frame grabs easily.
No. Anyone who wants faster data rates or higher capacity can use the XR Module with XR Capture Drives, and we will continue to provide SxS PRO 64 GB cards for those who continue to use ALEXA Classic cameras with the SxS Module.
No. The ALEXA XT is a new camera with some new electronics inside that do not support the SxS Module. This is no problem, however, since the ALEXA XT has a new left side (the XR Module) that can accept either XR Capture Drives for recording ARRIRAW or ProRes/DNxHD, or an SxS Adapter that can accept SxS PRO cards for recording ProRes or DNxHD.
The XR Capture Drives (identified by the golden ring) have a tested data rate of over 860 Megabytes per second. That is 6,880 Megabit per second or 6.7 Gigabit per second! We believe these to be the fastest drives on the market, and this is what makes uncompressed ARRIRAW at 120 fps possible.
The XR Capture Drives can be formatted in the camera or through the Single Dock, Dual Dock or Vault.
Depending on the recording mode of the XR Module – uncompressed ARRIRAW or compressed ProRes/DNxHD – a XR Capture Drive is formatted with one of two file systems:
When a Capture Drive with ARRIRAW footage is loaded on a computer, it shows up like a regular external drive. Operating underneath, however, is the Codex Virtual File System (VFS). The VFS can present, for example, readily processed DPX files, MXF/DNxHD and/or QuickTime/ProRes proxies next to the original ARI files on the Codex volume. Except for the recorded data on the drive, none of these additional files actually exist. It's only when these files are requested, that they are generated, on-demand, and on the fly. Hence the term "virtual". The file formats, file naming and directory structure that will be presented by the VFS are fully configurable through the Codex Platform 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.
Please note that, in order to reduce the purchase price, the Single Dock USB does not come with the full VFS features, but those can be added with a license from Codex. The Dual Dock and the Vault have full VFS capabilities included.
Yes, the XR Capture Drives are compatible with the
ARRI has not validated the OBS Capture Drives for use in ALEXA XT cameras or ALEXA Classic cameras with an XR Module upgrade but the OBS Capture Drives have been tested by Codex. Please note that OBS Capture Drives will not support the high speeds (like ARRIRAW at 120 fps, for instance) that the XR Capture Drives are capable off.
No. The SxS Adapter is designed to work only in the camera. Making it compatible with the docks would have made it more expensive, and there are other, more affordable SxS download solutions available. Also, the Vault can accept SxS cards.
The XR Module makes the ALEXA camera only 8 mm wider. In the image below the camera on the left has an XR Module installed, and the camera on the right an SxS Module.
An ALEXA with an XR Module installed will use about 6W more power when running at 24 fps in comparison to the same camera with the SxS Module.
No. While the Single Dock USB allows the use of the Codex Virtual File System (VFS) to download an .ari file, it does not allow any other deliverables to be created. Codex sells extra software that provides full VFS support. The Dual Dock and the Vault have full VFS capabilities included.
When you open the XR Module door while recording, nothing happens; the camera will continue to record. Just as with ProRes on SxS PRO cards, we have made sure that the recorded file will not get corrupted when the drive it removed during recording. The last 5 seconds of footage may not be recorded, however.
Don't laugh. Since we know how it is on a set, we have tried to consider every possibility. When the door mechanism malfunctions or you inadvertently destroy the XR Module door (let's say you dolly backwards through a door when the XR Module door is open), you can still continue to record. In order to mount an XR Capture Drive, push it into the XR Module and then push and hold the drive's round button for 3 seconds. This will mount the drive, an action that would normally have been triggered by closing the door. To un-mount the drive, push the round button on the drive again. To un-mount, a short button push will suffice.
No. The ALEXA XT cameras (except the ALEXA XT Studio) come with the Internal Filter Module (IFM) filter holder pre-installed, but without the necessary shim and the Full Spectrum Neutral Density (FSND) filters. The filters have to be purchased separately. They are available individually or in a basic or full set. The sets also include the shim. If you are purchasing the filters individually, you also have to purchase one shim.
All except the ALEXA Studio and ALEXA XT Studio. They have their own, motorized ND filter system that makes them incompatible with the IFM-1 system.
This is something we are currently investigating.
No, on the contrary. Lenses get changed much more often than ND filters. As soon as a FSND filter is installed in the camera, it protects the sensor during each lens change. The FSND filters are also relatively far away from the sensor, so if there are small specs of dirt on the filter, they will not show up in the image at most common T-stops.
No. This is currently not planned since the trend seems to be for ND filters to be included inside cameras.
No. The Clairmont system has the magnets in the filter holder in the lens mount, and the ARRI system has the magnets in each filter frame.
No. Currently there are only the eight FSND filters and one optical clear available.
We actually tried this, and the resulting mechanism looked like a big old wart on the front of the ALEXA camera, would have made the camera significantly bigger, heavier and more expensive. We showed the drawings to some rental houses and they all agreed that it would not be worth the extra weight, size and price.
We looked at a sliding mechanism, but there were some mechanical problems and this would have created a serious dirt contamination issue. Not only would the slot be an open invitation for all kinds of debris to come into the camera and settle on the sensor, but the filter would also be very close to the sensor, and that makes any dirt on the filter very visible.
The ALEXA 4:3 sensor is much taller than most other sensors in digital cameras, and this has great advantages for shooting with anamorphic lenses as well as for shooting with spherical lenses.
When shooting with anamorphic lenses, the tall 4:3 sensor area used on the ALEXA sensor is almost the same physical size as the area used on 35 mm film for shooting anamorphic. As a result, the angle of view of anamorphic lenses is the same on ALEXA as it used to be on film cameras. Anyone who has shot anamorphic films will be immediately familiar with shooting anamorphic on ALEXA. In addition, the area used is much larger than if you cut it out of a 16:9 sensor, and this means that ALEXA can collect more light, which means less noise and a better image.
But even when shooting with spherical lenses there is a great advantage to 4:3 because it gives you extra room on top and below your main image. This is great for placing VFX tracking markers in the top and bottom of the image. It is also great to fix a number of common problems in post: a microphone in the top of the image, a dolly track in the bottom or a shot where an actor sat up/down too fast and the camera tilted up/down too late.
With the first release of the ALEXA XT cameras and ALEXA XR Module (SUP 8.0 ALEXA XT/XR), ARRIRAW recording in 4:3 format will be possible at 48 fps. In the next following Software Update Packet (SUP 9.0 ALEXA XT/XR) ARRIRAW 4:3 is planned at a faster frame rate. ProRes 4444 however will be limited to 48 fps, since the ProRes data path requires more processing power than the ARRIRAW path and thus a high speed ProRes 4444 4:3 mode is not possible.
The ARRI Lens Data System (LDS) collects lens information, distributes this information immediately and the ALEXA can record it as metadata.
Lens information can be collected in three ways: first, an ARRI LDS lens will send lens info and the position of the lens rings automatically to the camera or UMC-3A. There are 41 different ARRI lenses that have LDS encoders built-in, including the Master Anamorphics, Master Primes, Master Macro 100, LDS Ultra Primes, Master Zoom 16.5 – 110 and Alura Lightweight Zooms. Second, we are working on ALEXA support for the Cooke /i lens data system, which should be available sometimes in 2013. And third, as long as an ARRI lens motor is attached to the lens, you can call up the lens' profile in the camera and get all the LDS functions, including metadata. This third option is called the Lens Data Archive (LDA).
Once the lens information is collected, the camera (or UMC-3A) will make this information immediately available to ARRI cameras and accessories. Thus the ALEXA can display lens info on its display and insert numerical lens information into the electronic viewfinder or MON OUT video output. Thus the WCU-3 can display lens info as numbers, and the WCU-4 and LDD-FP can show an easy to use graphical display that mimics the lens rings.
But the ALEXA does even more: it outputs the information as a real-time data stream on HD-SDI (both as raw encoder values and as interpreted data). This has already been used by Transvideo on-board monitors, which can display the lens data, and Lightcraft, who use this real-time lens info for virtual set work.
Additionally, all that lens metadata gets recorded by ALEXA in ARRIRAW, ProRes and DNxHD at all frame rates.
There are two big benefits to LDS: on the set and in post.
On the set the ARRI Lens Data System allows faster and smoother working, since everyone can see what lens is up and what the settings on the lens are. Focus pulling is easier for the camera assistant by looking at the LDS display of the WCU-4, and by using some help like a graphical display of the available depth of field, info on hyperfocal distance and focus markers, which can not only be set easily but will vibrate when hit, so the assistant does not even have to look at the screen to know the focus mark is reached. Recording the LDS data burn-in from the MON OUT signal helps with continuity.
In post, this data can be extracted using our MetaExtract software for ProRes or the ARRIRAW Converter software for ARRIRAW. Having this data makes compositing a lot faster. We had recently a number of US car commercials that have used this feature to speed up the post process. A number of visual effects heavy feature films and TV series have also used the LDS data.
There are 41 models of lenses from ARRI that support the Lens Data System (LDS), and support for the Cooke /i system is in the works.
None-LDS lenses can be accommodated by storing the lens profile in the camera and using an ARRI lens motor. This is called the "Lens Data Archive" and provides all the features of the LDS.
Yes, the VMB-3 is backwards compatible with the ALEXA Classic cameras.
Yes, the VEB-3 can be used on all generations of viewfinder mounting brackets. However, the safety catch feature, that prevents the VEB from sliding out of the VMB, only works when using a VEB-3 with a VMB-3.
No, but we found a new, even more silent fan and thought that a camera can never be silent enough. Just ask your sound person.
The new fan has an orange dot in the center of the foam distance pad. When you see the orange dot, you have the new super silent fan.