ALEXA Pocket Guide - SUP 11.0

Introduction

Welcome to the Pocket Guide for the ALEXA Classic and ALEXA XT family of cameras, which contains important preproduction and production information for an ALEXA shoot. The ALEXA platform has been designed with ease of use and user-friendliness in mind; the menu and controls are simple and intuitive, so the best way to learn ALEXA is to get your hands on the real thing. However, carrying this guide with you and combining it with other resources such as the ALEXA manual at www.arri.com/alexa/downloads or the interactive ALEXA/ALEXA XT Camera Simulator at www.arri.com/alexa/tools will ensure your readiness to take full advantage of the camera’s unique and versatile features.

Introduction

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The ALEXA and the ALEXA XT family

ALEXA

ALEXA


ALEXA XT

ALEXA XT


ALEXA XT M

ALEXA XT M


ALEXA XT Plus

ALEXA XT Plus


ALEXA XT Studio

ALEXA XT Studio




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SUP 10 & 11 - New Features

ALEXA is the first and only camera to support Apple’s new ProRes 4444 XQ codec. With its target data rate of 500 Mb/s (at 1920 x 1080, 30p) and low compression ratio of 1.45:1, ProRes 4444 XQ is the ideal choice for productions that are shooting for premium image quality, are looking for extreme color grading options or want to preserve the superior tonal range of ALEXA's Log C signal.
 
ProRes 3.2K recording format is suitable for productions requiring 4K UHD deliverables. The rescale to 4K UHD only demands a small upscale factor of 1.2x. Available to ALEXA XT and ALEXA Classic cameras with the XR Module upgrade, ProRes 3.2K is a new recording resolution that uses 3164x1778 photo sites from the sensor to record a 16:9 3.2K ProRes file. The 3.2K sensor area was chosen because it is the largest area that can still be covered by almost all Super 35 PL mount lenses.
 
In addition the new ADA-5 enhanced debayering algorithm further improves ALEXA's image quality in all already available ALEXA recording resolutions as well as 3.2K recording.
 
180° image rotation allows Steadicam operators to flip their rig upside down for low mode shooting and it rotates the image for the ARRI Ultra Wide Zoom UWZ 9.5-18/T2.9. The rotation applies to EVF, MON-OUT and REC-OUT. Internal recording is not affected.
 
For high end workflows that utilize color on the set, SUP 10 extends the number of recording modes that support two independent HD-SDI outputs. Previously only available in 16:9/HD/regular speed, other recording modes now also benefit from a clean Log C signal on REC OUT while a Rec 709 signal with overlays and an optional ARRI Look File can be output on MON OUT.

SUP 11 Feature Overview

  • New ARRI Debayer Algorithm ADA-5
  • ProRes 3.2K recording up to 30fps
  • ARRIRAW Checksum in the file header
  • Framelines saved in ARRIRAW Metadata
  • Support for Lens Data Encoder LDE-1
  • Support for Rev C SxS PRO+ Memory Cards (SBP-64C and SBP-128C)
  • Support for SanDisk CFast 2.0 128 GB Memory Cards
  • Advanced WCU-4 support
  • Updated Web Remote GUI (V2.0)
  • User Button „Check last clip end“ and „Check last clip start“

SUP 10 Feature Overview

  • ProRes 4444 XQ recording up to 75 fps (ALEXA XT and XR)
  • Support for SxS PRO+ 64GB and 128GB cards (ALEXA Classic, XT and XR)
  • 180° Image Rotation (ALEXA Classic, XT and XR)
  • Open Gate Support for ALEXA M (ALEXA XT M)
  • REC OUT = Clean MON OUT (ALEXA Classic, XT and XR)
  • ARRIRAW 4:3 Cropped recording for 96 fps with anamorphic lenses (ALEXA XT and XR)
  • Fast regular/high speed switching (ALEXA Classic, XT and XR)
  • Dimmable status information (ALEXA Classic, XT and XR)
  • Monochrome status icons (ALEXA Classic, XT and XR)
  • Colored camera index letter (ALEXA Classic, XT and XR)
  • “Lens Squeeze Factor” metadata filed (ALEXA Classic, XT and XR)
  • Independent Peaking setting for playback (ALEXA Classic, XT and XR)
ALEXA XT

 



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Home Screen

Home screen

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Home Screen Soft Buttons

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

  • FPS: Set sensor frame rate
  • AUDIO: Set audio preferences
    When on = audio levels are shown
    OFF = turned off
    DISABLED = sensor is not running at sync-sound speed
  • SHUTTER: Set shutter angle (and turn mirror shutter on/off for ALEXA Studio)
  • EI: Set exposure index (and insert internal ND filter for ALEXA Studio).
  • COLOR: Set gamma for REC OUT output (REC) and internal recording of ProRes or DNxHD (INT).
  • WB: Set white balance, consisting of a Kelvin value for red-blue correction and a CC shift value for green-magenta correction (shown as exponent).


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Home Screen Center Bar

Displays current timecode source
INT = internal TC source
EXT = external TC source
hh:mm:ss = timecode value without frames information.
@24 = time base, 24 fps in this case
Only visible when camera is in external synchronization mode (MASTER = this camera is the master, SLAVE = this camera is the slave)
Settings sync is active so multiple cameras in external synchronization mode share the same settings
Voltage level of power source present at BAT connector, or percentage of 16:9 remaining capacity of attached battery if it transmits this information.
Voltage level of battery attached to top and/or back onboard battery adapter, or percentage of remaining capacity if attached battery transmits this information.
Identifies current reel. Consists of camera index letter and reel counter.
Identifies current clip. Consists of clip index letter and clip counter.
Duration of current clip during recording or length of last recorded clip during standby. Shown as h:mm:ss.
Active sensor mode (16:9, 4:3 or OG (Open Gate))
Displays active recording format (ARRIRAW, ProRes (HD or 2K) or DNxHD).
SxS PRO adapter or XR Capture Drive inserted into slot.
Remaining capacity of loaded magazine.
Loaded Magazine is full.
No Magazine in slot.
Magazine does not support the currently selected Recording format.
* Remaining capacity of card in SxS slot 1 in minutes. Calculated for the set frame rate and codec.
Note: these are only approximate values.
* Card 1 is write protected.
* Card 1 is full.
Marks the active card.
The camera is in standby and ready to record.
The camera is recording frames into its ring buffer.
The camera is recording.
An error occured. Recording is not possible. Press the INFO button for more details. If nothing is shown (neither the red/green bar), the camera works properly, but no SxS PRO card is present for recording.
Look
CDL Server active/connected
CDL Server active/not connected

* not available on ALEXA XT



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Icons on Home Screen

Name Icon Description
General Warning Important information waiting on the info screen. Press the INFO button for more details.
General Error An error occurred. Press the INFO button for more details.
Temperature Warning Slight sensor temperature offset. Image quality might be affected.
Temperature Error Great sensor temperature offset. Image quality might be affected seriously.
Lock Camera is locked.
SD Card SD Card present. Turns orange during card access.
Grab Still frame is being captured to the SD card. A new still frame can only be captured when this is completed.
High Humidity Mode Sensor is in high humidity mode in very humid conditions (e.g. indoor swimming pool).
WRS radio WRS radio is active. Only on ALEXA Plus and Studio.


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ALEXA Studio Icons

Name Icon Description
Mirror Shutter Flashing Icon when the Mirror Shutter is spinning.
View Position Mirror Shutter in View position
Gate Position Mirror Shutter in Gate position
ND filter ND filter active
ALEXA Studio left side. Additional buttons VIEW and GATE for mirror control.

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



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MON OUT Icons

Name Icon Description
General Warning Important information waiting on the info screen. Press the INFO button for more details.
General Error An error occurred. Press the INFO button for more details.
Temperature Warning Slight sensor temperature offset. Image quality might be affected.
Temperature Error Great sensor temperature offset. Image quality might be affected seriously.
Lock Home screen is locked.
Grab Stil frame is being captured to the SD card. A new still frame can only be captured when this is completed.
Audio Audio recording Return IN enabled/disable.
Peaking Peaking enabled for EVF and/or MON OUT.
Smooth mode Smooth mode active/in-active on EVF.
Recording resolution
Displays current SxS resolution (HD or 2K).
Gamma
Displays Gamma setting for EVF or MON OUT.
Look active


A look is active/burned-in on EVF, MON OUT and/or Internal recording.
  CDL server connected/
disconnected.
Return IN Return is active, image from RET/SYNC IN input is shown.


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Recording Media

For internal recording, ALEXA Classic cameras have an SxS Module. They can record QuickTime/ProRes or MXF/DNxHD files to Sony SxS PRO/SxS PRO+ cards.
 
ALEXA Classic cameras with an XR Module upgrade or ALEXA XT cameras have the XR Module instead, which 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.
 
For detailed information on data- and frame-rates within the ALEXA Classic and ALEXA XT cameras have a look at our “ALEXA SUP 11 Data Rates” and ALEXA SUP 11 Max Frame Rates” documents within the “Technical Information” section at www.arri.com/camera/alexa/downloads.



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ALEXA XT Recording Matrix

ALEXA XT Recording Matrix

1 DNxHD 444 is not available in High Speed Mode.
2 ProRes 2K is limited to 30fps on 32GB SxS PRO cards.
3 ProRes 3.2K is available for ALEXA XT and ALEXA Classic cameras with the XR Module upgrade only.



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ALEXA XT Output Overview

ALEXA XT Output Overview

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ALEXA Classic Recording Matrix

ALEXA Recording Matrix

1 DNxHD 444 is not available in High Speed Mode.
2 ProRes 2K is limited to 30fps on 32GB SxS PRO cards.



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ALEXA Output Overview

Output Overview

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ARRIRAW

ARRIRAW is the highest image quality output possible with ALEXA, delivering uncompressed, unencrypted raw image data for the highest achievable resolution, the camera's natural color response and greatest exposure latitude. Nothing is "baked" into an ARRIRAW image; processing steps like debayering, white balance, sensitivity or scaling can be optimized in post based on image content. ARRIRAW can be easily up-sampled to 4K (as has been done with Skyfall, X-Men, Avengers and many others) and is a truly future-proof archiving format that has been made public in SMPTE Recommended Disclosure Document RDD 30:2014 and RDD 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 economical to shoot in the premium ALEXA capture format.

ARRIRAW 4:3 Cropped
Introduced in SUP 10, ARRIRAW 4:3 cropped records only the image area necessary for anamorphic lenses, thus achieving 96 fps. This not only reduces processing-time but also slims down the ARRIRAW 4:3 “full” from 9.3 MB to 8.4 MB “cropped”.

ARRIRAW 4:3 Cropped

Open Gate
With the release of SUP 9.0, ARRIRAW Open Gate sensor mode has become available. Using the full ALEXA sensor area, Open Gate mode is great for VFX shows, up-sampling to 4K, image repositioning, resizing, rotating or stabilizing.
The active frame size of this format is 28.25 x 18.17 mm (image circle: 33.5 mm), or 3414 by 2198 pixels with an aspect ratio of 1.55:1. Since the Open Gate aperture is wider than a Super 35 frame, make sure that the lenses you are using actually cover the whole area. Wide angle lenses are more critical in this respect than long focal lengths. A guide is given by the ARRI online Lens Illumination Guide www.arri.com/alexa/tools.

ARRIRAW

1 All speeds adjustable with 1/1000 fps precision.
2 Open Gate and 4:3 Cropped mode is only available on ALEXA XT cameras.



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ARRIRAW Converter 3.2

The ARRIRAW Converter (ARC) is a free software solution that reads, displays and renders ARRIRAW 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.
 
To allow a quick start with ARC 3.2 we’ve created a series of tutorial videos on all available features. Also including the new User Pixel Mask, a feature introduced to ALEXA cameras in SUP 9.0: www.arri.com/goto/arriraw-tutorials.
 
For ARC 3.2 we implemented the ADA-5 Debayer and made the ARRIRAW Converter “future proof” for ALEXA65. All additional ARRIRAW formats captured with ALEXA65 cameras can be processed by ARC.

ARRIRAW Converter 3.0

ARRIRAW Converter 3.2 is available for Mac OSX. A build for Windows operating systems is available as beta version.

ARRIRAW Converter 3.0
 
Download ARC 3.2 at:
www.arri.de/alexa/arriraw
 
 



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ARRIRAW capable software solutions

ALEXA ARRIRAW Processing CertificateA product which has been awarded the ALEXA ARRIRAW Processing Certificate is capable of rendering ALEXA ARRIRAW images in a quality that meets ARRI’s requirements. Please note that for all image processing parameters (such as sharpness, color etc.) the ARRI SDK, which is also part of the ARRIRAW Converter, is the reference.

You can find more information about working with ARRIRAW at www.arri.com/alexa/workflow. Further documents, covering ARRIRAW and other topics, such as the "ALEXA VFX FAQ", is available for download at www.arri.com/alexa/downloads.

ARRIRAW capable software solutions

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ProRes Recording

ALEXA is the first camera offering internal, ready-to-edit recording to QuickTime/ProRes files. With Software Update Packet (SUP) 7.0, all cameras received a free upgrade enabling ProRes 2K recording. Now SUP 11.0 adds 3.2K ProRes to the lineup of ALEXA XT cameras. Recording in ProRes 2K or 3.2K3 is a cost-efficient alternative to shooting ARRIRAW, as it requires less storage space and no processing, but at the same time delivers an astonishing image quality – 3.2K is an ideal base for up-scaling to UHD delivery by only a factor of 1.2.
 
With the option to capture ProRes 2K in the 4:3 aspect ratio1, the format offers true anamorphic capture with regular 2.0 anamorphic lenses and offers extra room for repositioning when using standard spherical lenses. SUP 9.0 enabled ProRes 4444 recording in High Speed Mode and SUP 10 added ProRes 4444 XQ.
 
ProRes 2K Image Aperture
When the ProRes recording resolution is switched from HD to 2K, the captured aperture changes from 2880 pixels / 23.76 mm / 0.935" width to 2868 pixels / 23.66 mm / 0.932" width. This allows the use of an optimized in-camera downscaler and provides the best possible 2K image output. When capturing ARRIRAW, it is common to use the full 2880 image width for processing a 2K deliverable. The ARRIRAW SDK, however, allows to process 2K images from both 2880 and 2868 pixels width to deliver an exact match to ProRes 2K footage when ARRIRAW was recorded in parallel with ProRes 2K2.

1 4:3 ProRes 2K is available on ALEXA Plus 4:3, ALEXA Studio, ALEXA M, ALEXA XT, ALEXA XT Plus, ALEXA XT Studio and ALEXA XT M.
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 cameras.
3 ProRes 3.2K available on ALEXA XT only

For more information on using ProRes 2K in different applications, please take a look at the “ProRes 2K in Editorial“ white paper, available at www.arri.com/alexa/downloads.

ProRes

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



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DNxHD Recording

ALEXA and ALEXA XT cameras allow in-camera recording of 1920 x 1080 (16:9) DNxHD encoded MXF files onto SxS PRO cards, CFast 2.0 cards2 or XR Capture Drives2. With an installed DNxHD license, ALEXA users can choose between MXF/DNxHD or QuickTime/ProRes recording codecs. ALEXA's MXF/DNxHD material can be edited in Avid Media Composer Version 5.5 and later without transcoding.
 
The Material eXchange Format (MFX) is a core media container technology for nonlinear workflows. An MXF container file can "wrap" different types of video and audio material along with associated metadata. The internal structure of MXF files is defined by the so-called Operational Patterns.
 
ALEXA cameras record DNxHD encoded images together with sound and embedded metadata in an MXF container file using the Operational Pattern 1a (OP1a) file structure. This is ideal for both camera acquisition and archiving since audio and video is always kept together and no data is lost if recording is interrupted for any reason. An Avid Media Composer does not need to transcode this material, as it already is available in a native DNxHD codec.
 
To get more information about working with ALEXA DNxHD material, please take a look at the "MXF / DNxHD White Paper" which is available at www.arri.com/alexa/downloads.

DNxHD

1 All speeds adjustable with 1/1000 fps precision
2 CFast 2.0 cards and XR Capture Drives can only be used on cameras with XR Module.



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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.

Pre-recording

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.

Phase-Button

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Exposure Index

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

Exposure Index

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

Exposure Index shortcut

Values next to the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 has 0.5 stops fewer in the low end at EI 160, 0.4 stops fewer in the low end at EI 200 and 0.2 stops fewer in the low end at EI 400. Otherwise they are the same.



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Working with ND filters

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

FSNDs & In-camera Filter Module (IFM-1)
With the launch of ALEXA XT a filter holder mechanism is available for a set of eight FSND (Full Spectrum Neutral Density) filters. In comparison to IRNDs which show a color shift at higher densities or ordinary NDs which show a significant color shift at higher densities, the FSNDs offer an even light attenuation across the whole spectrum (see next 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.

ND filters

FSNDs in comparison

FSNDs in comparison

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False Color Exposure Check

The false color exposure check for the electronic viewfinder and/or MON OUT output measures the camera image, tints certain signal levels in a distinct color and shows the rest as a black-and-white image. The false color exposure check is based on the color processing set for the respective output signal path.
 
So if you have the viewfinder set to Rec 709, the false color exposure check will be based on the Rec 709 image. If you have the MON OUT at the same time set to Log C, the false color exposure check for MON OUT will be based on Log C.

False Color Exposure Check

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Color Spaces

The ALEXA or ALEXA XT can deliver the captured footage with "Video Rec 709" or "Log C ALEXA wide gamut" encoding.

Understanding Gamma

Color comparison: split image Video/Log C



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Video - Rec 709

“Rec 709” is short for the International Telecom- 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.



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Log C

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

ARRI introduced a scene based encoding for their camera data, which, because of the similarity to the Cineon standard, was named “Log C”. With Log C encoding, the signal level increases by a fixed amount with each increase of exposure measured in stops. Log C images offer the original ALEXA-specific wide gamut color space and are ideal to carry image information.

Viewing and Monitoring Log C
Shooting images in Log C delivers the best basis for the colorist's work, as it provides the camera's full latitude in an unconfined color space.
However, when viewed directly, Log C images look flat with desaturated colors. To correctly display Log C material on an HD monitor (Rec 709) or in a digital projection (P3), it needs to be tone-mapped and transformed into the target color space. This image conversion can be performed using a 3D Look Up Table (LUT).
When recording Log C or ARRIRAW, the MON OUT is typically set to display Rec 709 video. This activates an internal Log C to video conversion LUT on the output. The same applies if the REC OUT is used, for example, to present a clean video feed to the director. When an on-set color correction system is used to apply live looks to the camera image, the REC OUT is typically set to Log C output. The color corrector then applies the settings in Log C and converts the output to REC 709 video using a 3D LUT. ARRI provides these LUTs through the online ARRI LUT Generator at www.arri.com/alexa/tools.

Recording Codecs
Log C material is best recorded using a 4:4:4 codec (ProRes 4444, ProRes 4444 XQ or DNxHD 444). The top quality 4:2:2 codecs (ProRes 422 HQ and DNxHD 220x) will also provide acceptable results in Log C, but due to the higher compression ratio, grading images recorded with these codecs may exhibit artifacts. We do not recommend the Log C gamma for codecs with an even higher compression ratio.

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

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



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In-Camera Look Files

ARRI Look Files are editable XML files that can apply a customized look to all outputs (EVF-1, MON OUT, REC OUT, ProRes and/or DNxHD recording) that are set to Rec 709.

A look file can be created based on a Log C DPX grab or a Log C QuickTime clip that was stored by the camera. It contains parameters for saturation, printer lights controls (RGB offsets) and for lift/ gamma/gain, similar to the CDL controls. Optionally, a look file may also include a freeform curve (grey scale tone map LUT) that will be applied instead of the standard Log C to Video tone mapping curve. The free ARRI Look Creator (ALC) allows the creation of camera look files based on Log C DPX frame grabs. Looks can also be created with third party software Pomfort Silverstack SET and Colorfront On-Set Dailies.

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

Look Files in the camera

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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 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.



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ASC CDL Looks

The alternative to ARRIs in-camera look files is to send a clean Log C signal from the camera's REC OUT to an on-set color correction tool, such as FilmLight Truelight, Technicolor DP Lights or Pomfort Live Grade, and apply an ASC CDL (American Society of Cinematographers Color Decision List) color correction to the live camera feed for monitoring. The ASC CDL standard is supported by a wide range of devices. Color correction settings that were made during the shoot are logged with time code and can be output in an Avid Log Exchange (ALE) file.

The ALE file then can then be used in a color correction system to automatically apply the color corrections when deliverables will be created. ALEXAs with an XR Module and Codex Onboard recorders can be connected to any color corrector offering the Truelight CDL Protocol via Ethernet and automatically capture the ASC CDL correction values with the camera footage. The Codex VFS can use the color correction settings and automatically apply them when generating files. On ALEXA XT/XR cameras, the CDL values will be embedded within the header of each ARRIRAW frame.



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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.



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Metadata Overview

Metadata is a set of data that describes and gives information about other data (sometimes called the 'essence'). ALEXA and ALEXA XT always records as much metadata as is available. This additional infor- mation makes documentation easier as the metadata is stored within the image files so it cannot get lost.
 
A range of automatic and human-readable data is being delivered by the ALEXA camera; this data makes work in post much easier: knowing exposure index, gamma and white balance information, for example, is essential for creating dailies or color grading. Reel number, project fps, date and time become important when combining images and sound from different sources.

Metadata in the ALEXA appears in several different ways: embedded in the ARRIRAW header, QuickTime metadata atom and ARRI Digital Meta Data (ADMD) atom, MXF metadata XML, Final Cut Pro 7 XML and Avid Log Exchange (ALE) file. These atoms or text based files can be parsed by e.g. editing software and offer the accompanying information mentioned above to the application and its user.
 
For more information on the metadata have a look at our whitepaper at www.arri.com/alexa/downloads.

Lens Data System
By combining the ALEXA XT Series, ALEXA Plus, ALEXA M or ALEXA Studio camera with lenses equipped with a Lens Data System (LDS) PL-Mount additional frame by frame lens metadata for use in VFX work will be acquired. When using a non-LDS lens in combination with the ARRI Controlled Lens Motors a profile for the lens can be created within the Lens Data Archive (LDA); by doing so the ALEXA camera can compensate for the missing sensors inside the lens by reading the motor’s position and calculating the current focus, iris or zoom value.
A guide on how to create an entry for an unknown lens can be found in the chapter "Creating a Lens Table".

Metadata Overview

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Licenses

Licensed features expand the capabilities of an ALEXA camera. A license file is serial number sensitive and can only be used on the camera for which it has been purchased. Currently there are three licenses available: Anamorphic De-squeeze, High Speed and DNxHD Recording.

  • Anamorphic De-squeeze shows a properly de-squeezed image (with or without surround view) on EVF-1 and/or MON OUT when working with 1.3x or 2x anamorphic lenses.
  • The High Speed license allows recording up to 120 fps in many recording formats. High Speed mode uses the same Super 35 sensor area as Regular Speed mode (same depth of field, same angle of view).
  • The DNxHD license allows in-camera recording onto SxS PRO cards of 16:9 HD Avid DNxHD 145 (8 bit 4:2:2 ), DNxHD 220x (10 bit 4:2:2) and DNxHD 444 (10bit 4:4:4) codecs, all within a MXF wrapper and embedded audio, timecode and metadata. ALEXA MXF/DNxHD files use operational pattern OP1a, frame wrapped, per SMPTE 2019-4-2008 and a MXF (Media eXchange Format) container (compared to the Quicktime “mov” container). MXF/DNxHD files can be linked to Avid Media Composer 5.5 or greater using the ALEXA AMA plug-in (available from the ARRI website for Windows or Mac OS X). Of course DNxHD recording is available in Regular and in High Speed mode (see High Speed license).

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

ALEXA License Shop: alshop.arri.de



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General considerations

This chapter offers checklists for typical use-cases of an ALEXA or ALEXA XT camera. During prep or pre-production, the following topics should be clear:

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

To avoid surprises, it is critical to give the planned setup a try and run a short test through the entire workflow before starting the shoot; This is the fastest and most reliable way to identify problems in the digital workflow.

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



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Recording with the XR or SxS Module

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

  1. Start your initial camera setup by pressing [MENU], going to User Setups > Factory reset and press both soft buttons to confirm.
    Note that ARRI Look Files and Custom Frame lines need to be uploaded again after a factory reset.
  2. Enter the [PROJECT] screen using the shortcut on the bottom right.
    • Select a sensor mode to shoot in 16:9, 4:3 Full/Cropped or Open Gate.
    • Pick your recording format, a recording resolution and codec or switch to ARRIRAW recording.
    • Set the project frame rate, which also acts as timecode base and playback frame rate.
    • Assign an individual camera index when shooting with more than one camera unit.
    • Next reel count usually starts with 001 and automatically increments when the camera starts recording to a new card or drive.
  3. Press [TC] and enter the timecode [OPTIONS]. Assuming we'll get timecode from the Production Sound Mixer:
    • Set Source to Ext LTC and verify that
    • Mode is set to Free Run and
    • Generator is set to Jam Sync.
  4. Press [HOME] and go to the FPS screen.
    • Enter [SDI FPS] and adapt REC OUT and MON OUT to the project frame rate.
    • Go [BACK], select the SENSOR FPS from the list and enter by clicking the menu wheel.
  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.

  • 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.
  • Buttons 4 to 6 are only available on the assistant side through the camera display.


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Shooting High Speed

  • When shooting at 60 to 120 fps, the project frame rate determines how many of the recorded frames will make up one second in playback (timecode base).
  • [TC] should be set to Int LTC and Rec Run (Step 3).
  • Switch to [High Speed] from the FPS screen (Step 4).


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Recording Media Rotation

  1. Take a fresh drive/card, make sure it is not locked (SxS only) and insert it into the camera.
  2. If the drive/card has been used before and still contains footage:
    • First verify that the material has been properly transferred.
    • Then use MENU > Recording > Internal > Quick format media to format/empty the card for recording.
    • Ask the data wrangler to empty the drives/cards before returning them to you.
  3. During recording, don't wait for a drive/card to fill up completely.
  4. Remove the mag and prepare it to be backed up.
    • Put the drive/card into its case.
    • Visually mark the "exposed negative" with colored tape.
  5. The data wrangler should perform at least the following steps:
    • Transfer the drive's/card's contents including checksum verification.
    • Depending on the recording mode, format the drive/card (ProRes/DNxHD) or clear the drive (ARRIRAW) before it is returned to the camera. This greatly reduces risk to accidently format a drive/card that has not been backed up and made it back to the camera by mistake.
    • Put the drive/card back into its case without color tape and hand over to the loader.


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Shooting Stereo 3D

  1. Do not use different ALEXA models in a 3D setup. If a licensed feature will be used, the license key must be installed on both cameras.
  2. Connect both cameras using the EXT to EXT and Ethernet to Ethernet cable.
  3. Start the initial camera setup with a Factory reset on both cameras and skip the Project settings.
  4. Enter [MENU] > SYSTEM > External Sync.
    • Set the Eye index for each camera depending on their position.
    • Set Sensor sync to EXT master on one camera and EXT slave on the other.
    • 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.



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ALEXA M/ALEXA XT M fiber maintenance

The cleanliness of the optical fiber connectors is mandatory for seamless functionality. Make sure not to touch the white fiber ends. Never leave the connectors open; immediately cover them with their rubber covers when not in use. Plug the fiber end covers together while using the fiber cable, to prevent dirt from accumulating inside the cover. Regularly check the cleanliness of the fiber end, e.g. with a fiber microscope. If dirty, clean the fiber end with the appropriate tools, such as the SMPTE cleaning pen (K2.72082.0).



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The ARRI Lens Data System (LDS)

The ARRI Lens Data System (LDS) provides frame- accurate information about the focus, iris, and zoom settings of a lens at the time of shooting. ALEXA cameras can embed this information with the images, or send it to peripheral camera equipment on set.
 
Embedded lens data is very helpful for VFX post- production, as it eliminates paper and guesswork. On set, the same data can be used with the WCU-4 hand unit’s integrated lens data display and pre- marked focus rings for more accurate focus pulls and faster lens setups.
 
ARRI LDS lenses such as Master Anamorphics, Master Primes, LDS Ultra Primes, Alura Lightweight Zooms and the Ultra Wide Zoom deliver lens data instantly, as they have integrated encoders that determine the current lens position, as well as a lens table that interprets those encoder values. The same applies to Cooke /i lenses.
 
All other lenses require an external encoder and a custom lens table for lens data generation. All ARRI CLM motors include an accurate encoder that can determine the lens position. Custom lens tables can 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.



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Required Equipment

  • An ALEXA Plus, ALEXA Plus 4:3, ALEXA Studio, ALEXA XT Plus or ALEXA XT Studio.
  • One or more lens motors (CLM-2, CLM-3 or CLM-4). We recommend using one motor per lens scale. If you have only one motor available but need to add more than one lens axis, you can create the lens scales sequentially, connecting the motor to the respective controller connector. Data points do not get lost unless the web browser’s session cookie is deleted.
  • One lens control hand unit (e.g. WCU-4). Alternatively, lens rings can also be moved manually with the motor attached to the lens. motor attached to the lens.
  • A computer with installed web browser (e.g. Firefox, Chrome, Safari). Cookies must be enabled. Internet Explorer and Opera browsers are NOT supported!
  • An ALEXA Ethernet/RJ-45 Cable KC 153-S (K2.72021.0)


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Creating a Lens Table

  1. A prerequisite for lens table programming is the correct setup of the lens motors. Please set up the correct motor direction. If you mount the motor on the camera right side (ALEXA’s display side), 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
  3. Open the web browser on the computer and enter the address alexa####.local, with #### being the serial number of the camera.
  4. Open the 'LDA' tab in the ALEXA web browser.
  5. Enter the LDA tab and click the button Start new session. A browser screen with lens scales comes up. If you did not yet calibrate the lens motors, you can do so by hitting the Calibrate button on screen. The same applies if you are using one motor sequentially for multiple lens axes.
    The lens scales are displayed on the LDA browser screen once the respective motors have been calibrated. The green + symbol indicates the current position of the motor attached to the lens.
  6. Fill in the lens descriptive fields. Lens descriptions will be shown on LDS screens or embedded as metadata:
    • Company: The lens manufacturer. Will not be embedded as metadata.
    • Description: Lens description that will be displayed in the camera and WCU-4 screen and embedded as metadata. Lens type, focal length and serial number.
    • Serial Number: Lens serial number will be embedded as metadata.
    • Focal Length: Focal length in mm. Will be shown on LDS screens and embedded as metadata. Enter ‘0’ (zero) for zoom lenses.
  7. First, select the unit of measurement (metric or imperial) by clicking on the ft/m icon in the upper right corner of the focus scale. If you want to pro- gram the lens for both metric and imperial units, you need to program both scales sequentially.
  8. Move lens ring to the physical engraving that you want to add as a new data point. Click on the green ‘+’ in the LDA browser scale or hit the ‘Enter’ button on your keyboard to open the active edit field.
  9. Enter the current lens value.
  10. Move the lens ring to the next position to enter the next data point.

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.

Imperial Scales:
Enter feet values by using the prime symbol (’) and enter inch values by using the double prime symbol (”). The prime symbol for feet values can be used to separate feet and inch values, e.g.

21 inches: 1’9 or 21“
14.5 inches: 1’2.5 or 14.5“
20 feet: 20’

Metric Scales:
Enter metric values as meters, e.g.

80 centimeters: 0.8
5.5 meters: 5.5
30 meters: 30

Infinity Point:
Enter ‘i’ to set the infinity point.

Recommended Practice:
All three options are usually active with focus scales. However, there are sometimes just the engraved marking lines without any number in the close focus area. If you are unsure about the numerical value of such a mark, you can switch off the usage for interpolation of this data point. You might want to switch off marking lines for zoom values, if the lens does not have those lines as well. Intermediate iris steps can be programmed with a marking line only, without a number and without being used for interpolation.

Editing and Deleting Data Points
Existing data points can be moved on the lens scale by using the ‘Snap’ function. Hitting the Snap button underneath each lens scale will move the nearest data point to the current motor position. This can be particularly useful if an existing lens scale has a slight offset and needs adjustment.
A data point can be deleted by moving the point to the screen scale index. Once there, the icon changes from the green + symbol to a red - symbol and can be deleted by clicking on the red - symbol or pressing ENTER on the keyboard.
Click the Clear Scale button to delete all data points on the respective scale.

Saving and Downloading Lens Tables
You can save a newly created lens table into the camera’s internal Lens Data Archive (LDA) by 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).

For more information on the LDS, LDA or lens table creation have a look at our Programming Quick-Guide at www.arri.com/camera/alexa/downloads.



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The XR Capture Drive

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

The XR Capture DriveCompressed Recording Formats
When the XR Capture Drive is being formatted for ProRes or DNxHD recording, it is initialized like SxS PRO cards, as a UDF volume. This provides 240 GB storage capacity which equals over 100 minutes of 16:9 ProRes 4444 in 2K at 24 fps. Using the UDF file system maintains an overall compatibility to the established ALEXA ProRes/DNxHD workflows. XR Capture Drives, SxS PRO, SxS PRO+ or CFast 2.0 cards containing ProRes or DNxHD material can be accessed directly with the file names and directory structure in the known order.
The most affordable solution to access Capture Drives is the Capture Drive Dock (USB-3 no VFS license) that will hold one drive.

Uncompressed ARRIRAW
When the camera records ARRIRAW, the Capture Drives are initialized for use with the Codex Virtual File System, which provides 480 GB of storage capacity, or about 45 minutes of 16:9 ARRIRAW 2.8K. These drives can be accessed using 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.
 
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.

codex

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Generating Deliverables

Functions:

  • Clone XR Capture Drives to transfer drives, maintaining the VFS
  • Checksum verification
  • Generate files for review, edit and post
  • Clear the data from the recording media

Optional Features:

  • Codex Storage option, to keep footage in VFS for several days before clearing
  • Codex Offloader option, for verified copies to external drives or LTFS tape

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

  • *.ARI files are backed up to an internal or external RAID (and collected for archiving to LTO tape). Depending on the amount of footage per day, 5 TB of storage provides enough space for a few shoot days worth of ARRIRAW footage. This gives a production a few days buffer to confirm that the material is OK before the storage needs to be cleared.
  • Deliverables for Dailies review and editorial can be provided via Network or shuttle disks.

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

  • The Capture Drive Dock (SAS) allows cloning XR Capture Drives to Codex Transfer Drives. Cloning creates verified, identical copies and maintains the VFS.
  • An optional Codex Storage option will transform up to 6TB of internal RAID storage into a Codex volume, which allows cloning Capture Drives to keep all data in the VFS.
  • Setting up the Mac in a 10 Gig Ethernet network enables direct VFS access for postproduction tools through a network share.
  • The optional Codex Offloader option expands the Software with an option to create verified copies of the VFS to connected external disks or to LTO tapes for archiving.
codex

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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.



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ALEXA 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.
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.

Sensor

Output Formats in 16:9, 4:3 and Open Gate Sensor Mode

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

35 format ALEV III CMOS sensor with Bayer pattern color filter array.

Photo Sites

16:9

  • 2880 x 1620 used for ARRIRAW 16:9
  • 2880 x 1620 down sampled to 1920 x 1080 for HD-SDI, ProRes HD 16:9 and DNxHD HD 16:9
  • 2868 x 1614 down sampled to 2048 x 1152 for ProRes 2K 16:9
  • 3164 x 1778 natively used for ProRes 3.2K

4:3 Full

  • 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.

Mirror shutter (ALEXA Studio only) on or off.
Switching takes approximately 3 seconds through camera display.

Motorized Filter (ALEXA Studio/ALEXA XT Studio only)

Sealed behind-the-lens motorized filter mechanism provides optical flat or ND 1.3 (4 1/3 stops).

Frame Rates

For detailed information on data- and frame-rates within the ALEXA Classic and ALEXA XT cameras have a look at our “ALEXA SUP 11 Data Rates” and ALEXA SUP 11 Max Frame Rates” documents within the “Technical Information” section at www.arri.com/camera/alexa/downloads.

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. See chapter Exposure Index as well.

White Balance

Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps.

Color Correction

While white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.

Sound Level

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.
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.

Weight

1EVF-1 with Viewfinder Mounting Bracket VMB-1, viewfinder cable, and Center Camera Handle (CCH-1)
2Accessories for ALEXA Studio/XT Studio: OVF-1 and CCH-1

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: 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.

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.

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.

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.

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).

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.

Connectors

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.



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ARRI/ZEISS Master Anamorphic Lenses

ARRI/ZEISS Master Anamorphic Lenses
Name
Lens Mount (1)
Aperture
Close focus (2)
Magnification ratio (3)
Length (4)
Length (14)
Front diameter (5)
Maximum housing diamenter
Weight (Kg)
Weight (lb)
Angle of view H, V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
Entrance pupil (6) (mm)
Entrance pupil (6) (inch)

 

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36

ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36
Name Anamorphic Ultra Wide Zoom - AUWZ 19-36/T4.216
Lens Mount (1) PL LDS
Focal Length Wide 19
Focal Length Long 36
Focal Length Ratio 1.9
Aperture T4.2 - T22
Close focus (2) 0.6 m / 2'
Magnification ratio (3) 1:10.2 (H)
1:5.2 (V)
at 36mm
Length (4) 397.1 mm / 15.634"
Front diameter (5) 114 mm / 4.488"
Maximum Housing Diameter 112 mm / 4.409"
Weight (Kg) 5.5
Weight (lb) 12.1
Angle of view H - V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
at 19 mm100.8° - 52.0°
at 24 mm87.4° - 42.2°
at 28 mm78.5° - 36.6°
at 32 mm71.1° - 32.3°
at 36 mm64.9° - 28.9°
Entrance pupil (6)
at 19 mm414.9 mm / 16.33"
at 24 mm414.4 mm / 16.31"
at 28 mm413.9 mm / 16.30"
at 32 mm413.2 mm / 16.27"
at 36 mm412.5 mm / 16.24"

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40°C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/ZEISS Master Prime Lenses

ARRI/ZEISS Master Primes
Name
Lens Mount (1)
Aperture
Close focus (2)
Magnification ratio (3)
Length (4)
Length (14)
Front diameter (5)
Maximum housing diamenter
Weight
Angle of view H - V - D
Normal 35 (9)
ID = 27.20 mm (7)
Angle of view H - V - D
DIN Super 35 (10)
ID = 30.00 mm (7)
Angle of view H - V - D
ANSI Super 35 (11)
ID = 31.14 mm (7)
Entrance pupil (6)

Normal 35 (9) ID = 27.20 mm (7)
DIN Super 35 (10) ID = 30.00 mm (7)
ANSI Super 35 (11) ID = 31.14 mm (7)

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/ZEISS Ultra Prime Lenses

ARRI/ZEISS Ultra Primes
Name
Lens Mount (1)
Aperture
Close focus (2)
Length (4)
Front diameter (5)
Maximum housing diamenter
Weight
Angle of view H - V - D
Normal 35 (9)
ID = 27.20 mm (7)
Angle of view H - V - D
DIN Super 35 (10)
ID = 30.00 mm (7)
Angle of view H - V - D
ANSI Super 35 (11)
ID = 31.14 mm (7)
Entrance pupil (6)

Normal 35 (9) ID = 27.20 mm (7)
DIN Super 35 (10) ID = 30.00 mm (7)
ANSI Super 35 (11) ID = 31.14 mm (7)

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40°C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/ZEISS LDS Ultra Prime Lenses

ARRI/ZEISS LDS Ultra Primes
Name
Lens Mount (1)
Aperture
Close focus (2)
Length (4)
Front diameter (5)
Maximum housing diamenter
Weight
Angle of view H - V - D
Normal 35 (9)
ID = 27.20 mm (7)
Angle of view H - V - D
DIN Super 35 (10)
ID = 30.00 mm (7)
Angle of view H - V - D
ANSI Super 35 (11)
ID = 31.14 mm (7)
Entrance pupil (6)

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/FUJINON Alura Zooms Lenses

ARRI/Fujinon Alura Zooms
Name
Lens Mount (1)
Focal Length Wide
Focal Length Long
Focal Length Ratio
Aperture
Close focus (2)
Magnification ratio (3)
Length (4)
Front diameter (5)
Maximum Housing Diameter
Weight (Kg)
Weight (lb)
Angle of view H - V - D
Normal 35 (9)
ID = 27.20 mm (7)
Angle of view H - V - D
DIN Super 35 (10)
ID = 30.00 mm (7)
Angle of view H - V - D
ALEXA/D-21 HD (12)
ID = 27.26 mm (7)
Entrance pupil (6)

Operation Temperature: -10°C to +50°C / 14°F to +122°F
Storage/transport Temperature: -20C to +60°C / -4°F to +140°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/FUJINON Alura LDS Extender

ARRI/FUJINON Alura LDS Extender

Combining the Alura Zomms with Alura Extenders



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ARRI Ultra Wide Zoom UWZ 9.5-18

ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36
Name Ultra Wide Zoom - UWZ 9.5-18/T2.9 (16)
Lens Mount (1) PL LDS
Focal Length Wide 9.5
Focal Length Long 18
Focal Length Ratio 1.9
Aperture T2.9 - T22
Close focus (2) 0.55 m / 1'9"
Magnification ratio (3) 1:10.7
Length (4) 335.5 mm / 13.2"
Front diameter (5) 156 mm / 6.1"
Maximum Housing Diameter 112 mm / 4.4"
Weight (Kg) 4.8
Weight (lb) 10.5
Angle of view H - V - D
Normal 35 (9)
ID = 27.20 mm (7)
at 9.5 mm98.6° - 80.3° - 110.5°
at 14 mm76.3° - 59.5° - 88.3°
at 18 mm62.8° - 47.9° - 74.1°
Angle of view H - V - D
DIN Super 35 (10)
ID = 30.00 mm (7)
at 9.5 mm103.5° - 87.0° - 115.7°
at 14 mm81.2° - 65.5° - 94.0°
at 18 mm67.3° - 53.1° - 79.5°
Angle of view H - V - D
ALEXA HD (12)
ID = 27.26 mm (7)
at 9.5 mm103.0° - 70.3° - 110.6°
at 14 mm80.6° - 51.1° - 88.5°
at 18 mm66.8° - 40.8° - 74.2°
Entrance pupil (6)
at 9.5 mm310.4 mm / 12.22"
at 14 mm309.4 mm / 12.18"
at 18 mm308.0 mm / 12.13"

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40°C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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ARRI/ZEISS Master Macro Lens

ARRI/ZEISS Master Macro 100
Name Master Macro 100/T2.0
Lens Mount (1) PL LDS
Aperture T2.0/T4.3 to T32
Close focus (2) 0.35 m / 13 3/4"
Magnification ratio (3) 1:1
Length (4) 210.0 mm / 8.27"
Front diameter (5) 114 mm / 4.5"
Maximum housing diamenter (15) 138 mm/5.4"
Weight 2.6 kg / 5.7 lbs
Horizontal Angle of view
Normal 35 (9)
ID = 27.20 mm (7)
12.42°
Horizontal Angle of view
DIN Super 35 (10)
ID = 30.00 mm (7)
13.52°
Horizontal Angle of view
ANSI Super 35 (11)
ID = 31.14 mm (7)
14.02°

Operation Temperature: -20°C to +40°C / -4°F to +104°F
Storage/Transport Temperature: -40°C to +70°C / -40°F to +158°F

(1) Positive locking (PL) 54mm stainless steel lens mount on some models with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting (on zoom lenses also at the telephoto zoom setting; for Master Anamorphic Lenses: horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface; Maximum lens housing diameter for the Master Macro 100 is 138 mm.
(6) The distance from the entrance pupil to the film/ sensor plane (at focus = infinity). Positive numbers indicate an entrance pupil in front, negative num- bers indicate an entrance pupil behind the film/ sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largely irrelevant for live action, this mea- surement is important for special effects work.
(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (22,5mm x 18,7mm / 0.8858" x 0.7362")
(9) Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (1.37:1, 22mm x 16mm / 0.8661" x 0.6299")
(10) Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (1.33:1, 24mm x 18mm / 0.944" x 0.7087")
(11) Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aper- ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362")
(12) Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (1.78:1, 2880 x 1620 pixels, 23.76 mm x 13.37mm / 0.935" x 0.526")
(14) Length is measured from the image to the front of the lens housing.
(15) Excluding front and gear.
(16) 180° optical image rotation.

All data subject to change without notice.



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Online Resources

 
Downloads

ALEXA Manual

ALEXA Dimensions

ALEXA Software Update Packets

 
Technical details

Frequently Asked Questions

ARRIRAW

ProRes / DNxHD

 
Software Tools (Apps):

ARRIRAW Converter (ARC)

ARRI Look Creator (ALC)

ARRI Meta Extract

 
Software Tools (Online):

ALEXA Camera Simulator

ALEXA Frame Line Composer

ALEXA LUT Generator

Lens Illumination Guide



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More in this section

ARRI Sales Contacts

Europe, Middle East, Africa, India

Arnold & Richter Cine Technik GmbH & Co. Betriebs KG
(Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
salessupport@arri.de
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

ARRI Italia S.r.l. (Sales & Service)
Viale Edison 318, 20099 Sesto San Giovanni
(Milano), Italy
info@arri.it
Tel: +39 02 262 271 75, Fax: +39 02 242 1692

Americas

ARRI Inc. / West Coast & Mexico (Sales & Service)
600 North Victory Blvd., Burbank,
CA 91502-1639, USA
info@arri.com
Tel: +1 818 841 7070, Fax: +1 818 848 4028

ARRI Inc. / East Coast (Sales & Service)
617 Route 303, Blauvelt, NY 10913-1109, USA
info@arri.com
Tel: +1 845 353 1400, Fax: +1 845 425 1250

ARRI Inc. / Central & Southern America (Sales)
2385 Stirling Road, Fort Lauderdale, FL 33312, USA
ventas@arri.com
Tel: +1 954 322 4545, Fax: +1 954 322 4188

ARRI Canada Limited (Sales & Service)
1200 Aerowood Drive,
Unit 29 Mississauga,
Ontario L4W 2S7
info@arri.com
Tel: +1 416 255 3335, Fax: +1 416 255 3399

Asia

ARRI Asia Limited (Sales & Service)
2203B, The Centrium, 60 Wyndham Street,
Central, Hong Kong
info@arriasia.hk
Tel : +852 2571 9066, Fax : +852 2875 9181

ARRI China (Beijing) Co. Ltd. (Sales & Service)
Chaowai SOHO Tower C, 6/F, 0628/0656
Chaowai Dajie Yi 6
Beijing, China
store@arrichina.com
Tel : +86 10 59009680, Fax : +86 10 59009679

Australia / New Zealand

ARRI Australia Pty Ltd (Sales & Service)
Level 1, Unit 1, 706 Mowbray Road,
Lane Cove NSW 2066, Sydney, Australia
info@arri.com.au
Tel: +61 2 9855 4300, Fax: +61 2 9855 4301



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ARRI Service Contacts

ARRI Service is the first port of call for all questions concerning the ALEXA cameras, with worldwide service centers and 24h availability on Monday to Friday. Well trained technicians cover all hardware- and software-related issues, upgrades or e.g. the recovery of cards that have been accidentally erased.

ALEXA
Zone Availability Service Center Email Telephone Hotline
1 Monday – Friday:
9:00 – 17:00 (CET)
Munich, Germany
Arnold & Richter Cine Technik
service@arri.de +49 89 3809 2121
Monday – Friday:
9:00 – 17:30 (CMT)
London, Great Britain
ARRI CT Limited
service@arri-ct.com +44 1895 457 051
Monday – Friday:
9:00 – 18:00 (CET)
Milan, Italy
ARRI Italia S.r.l.
service@arri.it +39 335 749 00 70
Monday – Saturday:
9:00 – 18:00 (MSK)
Moscow, Russia
Bars-Pro Ltd.
arri@bars-pro.ru +7 (495) 415-98-13
+7 (499) 586-02-99
Monday – Friday:
9:00 – 18:00 (EET)
Istanbul, Turkey
LINKA Ithalat Ihracat ve Dis Tic.
service@linkgroup.com.tr +90 (212) 358 4520
2 Monday – Friday:
8:15 – 17:00 (PST)
Burbank, USA
ARRI Inc. West Coast
service@arri.com +1 877 565 2774
Monday – Friday:
8:00 – 17:30 (EST)
New York, USA
ARRI Inc. East Coast
service@arri.com +1 877 565 2774
Monday – Friday:
8:30 – 17:00 (EDT)
Mississauga, Canada
ARRI Canada Limited
service@arri.com +1 416 255 3335
3 Monday – Friday:
9:00 – 18:00 (HKT)
Hong Kong
ARRI Asia Limited
service@arri.cn +852 2537 4266
Monday – Friday:
9:00 – 18:00 (CST)
Beijing, China
ARRI China Co. Limited
service@arrichina.com +86 10 5900 9680
Monday – Saturday:
10:00 – 18:00 (CST)
Mumbai, India
CINEOM Broadcast India Pvt. Ltd.
service@cineom.com +91 22 42 10 9000
Monday – Friday:
8:00 – 18:00 (AEST)
Sydney, Australia
ARRI Australia Pty Ltd
service@arri.com.au +61 2 9855 4305



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ARRI Digital Workflow Solutions

The Digital Workflow Solutions (DWS) group deals with all workflow related issues including ARRI Look File handling, data copying, backups, quality check, LUTs, metadata or working with Log C files. In addition the DWS group provides support for such tools as the ARRIRAW Converter, ARRI Look Creator, ARRI LUT Generator and ALEXA Frameline Composer.

Feel free to contact DWS at digitalworkflow@arri.de.



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