ALEXA LF
Large format, high speed, fully featured
ARRI's new large-format camera system consists of the ALEXA LF camera, ARRI Signature Prime and Zoom lenses, LPL lens mount and PL-to-LPL Adapter. Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Credits
Features
ALEXA best overall image quality in large format
- Large-format aesthetic
- ARRI color science for natural, pleasing skin tones
- Huge dynamic range for most flexibility in post and HDR
- True 800 ASA with reduced noise
Perfect for slow-motion cinematography
- 90 fps in LF Open Gate & LF 16:9 sensor modes
- 150 fps in LF 2.39:1 for sensuous slow motion
Comes with new LPL Lens Mount
- Large Positive Lock (LPL) lens mount is optimal for large-format lenses
- Wide diameter (62 mm) and short flange depth (44 mm)
- Based on robust, reliable and proven PL technology
- Also available for ALEXA 65, ALEXA Mini and third-party cameras
- PL-to-LPL Adapter allows compatibility with PL mount lenses
- Compatible with LDS-1, LDS-2 and /i
New Electronic Viewfinder EVF-2
- Improved image quality
- Better judging of focus, dynamic range and color
- High-end ARRICAM eyepiece for clearest picture
- Wide exit pupil for greater movement range of operator
- Stable color balance at all ambient temperatures and brightness levels
- EVF-1 compatibility mode
More flexibility due to wireless design
- Integrated wireless video, ARRI ECS and WiFi radios
- No interference between the integrated radios
- ARRI built-quality & reliability
- Smaller and lighter than with external transmitters
- Fewer cables, therefore fewer cable problems, faster setup (power on and go)
- Accompanied by ARRI wireless video receivers and accessories
Quotes
The LF was a great choice for us. We had the full size LFs for the main work and a Mini LF for Steadicam.
Cinematographer Ari Wegner ACS about shooting "The Power of the Dog" with ALEXA Mini LF and ALEXA LF
The ALEXA LF gave me the freedom to shoot at ISOs as high as 3200. Even though many of our shots were wide angle, including close-ups, we carried lenses ranging from 15 mm to 800 mm on this movie. The ARRI EVF-2 viewfinder, with its wider gamut, is ideal for HDR deliverables. Every day I captured raw frame grabs from the camera’s SD card and graded them myself, which helped me maintain contrast and look throughout the movie. I’m in love with the organic skin tones of the ALEXA LF.
Cinematographer Vijay Kartik Kannan from the sets of the Indian movie “DOCTOR” (in thamizh language)
I love the combination of ALEXA LF and Signature Primes. On “The Singapore Grip” I shot with ALEXA LF as our main camera and Mini LF mainly on a gimbal. We tested many lenses before the shoot and the Signatures were the best, hands down. With large format I am getting images that are halfway between spherical and anamorphic, which fits certain narratives beautifully.
Cinematographer John Lee BSC (Known for: "The Singapore Grip", "Barkskins", "Baptiste", "The Widow" and many more)
Using the ALEXA LF gives me a greater dimensionality, a combination of a bigger field of view and a shallower depth of field. I easily could push the ALEXA LF to 2000 ASA with no visible noise but a very pleasant texture.
Cinematographer Greig Fraser ACS, ASC (Known for: Vice, Foxcatcher, Star Wars: Rogue One and Zero Dark Thirty and many more)
The ALEXA LF creates a painterly and cinematic image that I really love. Also it has the same built quality that I trust for many years. Since we liked the vibrations, we just hard mounted the cameras to our cars for our race scenes, but the camera never failed us.
Cinematographer Phedon Papamichael, ASC, GSC using ALEXA LF on Ford v Ferrari (Known for: Nebraska, The Monuments Men, Downsizing and many more)
The ALEXA LF gives me the immersive beauty of large format with a rich image texture, I chose to match it with ARRI Signature Primes for their beautiful smooth skin tones and wide range of focal lengths.
Cinematographer Guillaume Schiffman AFC (Known for: The Artist, Populaire, OSS 117: Lost in Rio and many more)
After exhaustive tests with many cameras and lenses, my choice was clear: ALEXA Mini LF and Signature Prime lenses. I had found the perfect combination: the cameras with a large sensor, large pixels, intense blacks, skin tones in their natural color range, high latitude and versatility and the lenses with unmatched quality optics including a well-balanced relationship between definition, softness and contrast.
Cinematographer Javier Salmones AEC (Currently shooting "El Cid", a TV series for Amazon Prime; Known for: La Lengua de las Mariposas, The Retorned, Mallorca´s Songs and many more)
The ALEXA LF is making our life extremely easy in low light and I’m finding there is absolutely no noise in the blacks, even when we push them to the absolute extreme. The LF sensor is also working perfectly with the vintage Leica primes, narrow depth of field on the wide lenses is exactly the look we're after and the advantage of using longer lenses than I would with a 35mm sensor is huge for this film. In all seriousness, this sensor is amazing.
Cinematographer Kevin Scott (Known for: "The Hunter" (2nd Unit), "Rake", "The Telegram", "Midnight Oil", "David Stratton - A Cinematic Life"; Commercial: iiNet, Commonwealth Bank, Breville and many more)
There is something about having a field of view that is equivalent to 35mm stills format, somehow it feels more natural. LF is another great creative tool to have in the bag when selecting a format.
1st AC Jani Hakli (Known for: Furious 9, The Invisible Man, Pacific Rim: Uprising and many more)
It’s an absolute joy to shoot with Tolan Films’s new ALEXA LF, the first of its kind in Turkey. Not only is it well-balanced and easy to handle, it’s capable of capturing detail and texture I find absolutely unprecedented. Combining it with ARRI Signature Primes gives me images that are both intimate and cinematic in scope.
Cinematographer Fatih Türker, GYD (Known for: I`m not one of you, Bu Sayilmaz, Delete me and many more)
Shooting with ALEXA LF and Signature Primes changes your perspective; you bring the audience closer to the subject, while at the same time you have more peripheral vision. It is very immediate and very cinematic.
Cinematographer Milos Moore (Known for: Patrick Melrose, Stan Lee's Lucky Man and many more)
It was very exciting to use the LF. The DP Matt Gillan and I were very interested by the LF’s native form, Open Gate. We felt this aspect ratio added a sense of claustrophobia to our protagonist's story. The shoot for the ALEXA Challenge was tough, having to shoot 14 pages of script in 2 days during a storm. But we did it thanks to the tireless, hard work from our cast and crew. We are all very happy with the results, thanks ARRI!
Director Emma Swinton (Known for: Isabella, Unearthed and many more)
The ALEXA LF has fantastic clarity. There is so much more detail and roundness to the image, yet with the ability to keep the backgrounds soft, the image isn’t harsh or clinical. Skin tones are smooth and buttery.
Cinematographer Glen MacPherson ASC (Known for: Rambo, The Three Musketeers, Resident Evil: Afterlife, Resident Evil: Retribution, Resident Evil: The Final Chapter and many more)
The ALEXA LF is a technical insurance and a high quality creative tool for us DPs. Both in the ease of handling, and in its resistance to adverse weather, the camera has accompanied us with absolute fidelity. I appreciate its density in blacks and the great variety of possibilities when working with textures.
Cinematographer Xavi Gimenez AEC (Known for: The Machinist, Agora, Transsiberian and many more)
The ALEXA LF is a very flexible camera because the weight works in its favour with the inertia of the camera. I’ve done frames that I’ve never done before and I could get the camera really close to the actors, so I was much more intimate with them than I have ever been before. I’m a big believer in large format.
Cinematographer Marc Windon (Known for: Jazavads Pred Sudom: With the Badger on Trial, Infiltration, Command Performance and many more)
Large format isn’t just about resolution, it’s a different relationship between the audience and the image. With the ALEXA LF we're able to capture all the beauty of longer focal lengths but with a wider field of view. This in turn lends itself to capturing images of truly cinematic quality.
Cinematographer Remi Adefarasin OBE, BSC (Known for: Elizabeth, Band of Brothers, Me Before You and many more)
We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.
Cinematographer Dan Laustsen ASC, DFF (Known for: The Shape of Water, John Wick: Chapter 2 and 3, Crimson Peak and many more)
Obviously it’s nice to have the extra resolution and the increased depth-of-field fall-off, but it’s the large image perspective that is particularly interesting. The perspective is truer and seemingly the image has more dimensional depth, even in very wide shots. This aesthetic of the LF is great, especially alongside the usual familiar attributes and features that you get with ALEXA cameras.
Cinematographer Andrew Stroud (Known for: Ice (2nd Unit cinematographer), Spartacus (2nd Unit cinematographer), The Lord of the Rings (assistant camera) and many more)
It really makes a huge difference, the color balance and the resolution are real game changers for me. Especially at night, I am pushing the camera with higher ASAs, and we all love it.
Cinematographer Matias Boucard (Known for: Pixels, SK1, David Nolande and many more)
LF is a revelation to DOPs.
Cinematographer Santosh Sivan ASC, ISC (Known for: Ashoka the Great, The Terrorist, Halo and many more)
I intentionally shot mundane subjects I wouldn’t normally cover, and the results got me really excited. The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.
Cinematographer Wang Yu (Known for: Suzhou River, Fengshen Trilogy, The Golden Era and many more)
Large format felt like the natural choice and I know when shooting with any camera in the ALEXA family I’m guaranteed beautiful colour rendering, wide dynamic range, and all in a ultra-reliable camera system. The ALEXA LF brings a generous, three dimensional quality to the image while still maintaining that cinematic, shallow depth of field I’m often looking for to give my subjects a real presence in the frame.
Cinematographer Josh Flavell ASC (Known for: "Emily", "Pimped" and many more)
© Mike Bull
I don’t think of this camera as being sharper, rather it has increased clarity. The unique depth of field and visual compression were welcome additions to my tool box. Because I know this sensor so well already, I was able to immediately drop into the creative process rather than fussing with the camera.
Cinematographer Logan Schneider (Known for: Drunk History, Ave Maria Bamford and many more)
To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images - a smoothness to the way the camera and lenses work together.
Cinematographer Tom Fährmann BVK (Known for: The Miracle of Bern, Ulzhan, Campus and many more)
The ALEXA LF creates a luscious image with the large sensor in fascinating slow motion, yet remains the rugged and reliable camera we have come to know and love.
Cinematographer Bill Bennett ASC (Known for: Kiss or Kill, In einem wilden Land, Outback and many more)
Large format is super interesting for me because it comes much closer to medium format from photography. This smaller focus range is extremely attractive to me - simply more cinematic to work with.
Cinematographer Winnie Heun BVK (Known for: Nike, Siemens, Knorr, Ülker, Bosch, Mc Donald's, Nasha Ryaba, LVQR, Coppertone, HSBC, Vestel, Pernigotti, Kyivstar, Heinz, Algida, Play, Foxtrot, Megafon and many more)
When you shoot large format and get closer to people with short focal lengths, I still have a slightly anamorphic character. The anamorphic character is not only technical, but it also has a painterly quality and this is an element which I didn’t experience with other formats so far.
Cinematographer Christoph Krauss BVK (Known for: Manifesto , Dogs of Berlin, Steig. Nicht. Aus! and many more)
I have been a fan of ALEXA from the beginning and the LF continues that tradition. The camera is easy to use, all the buttons are exactly where I expect. The skin tones are natural and there is a remarkable clarity to the images. It's almost brighter than the classic ALEXA, as if the larger sensor captures more light. We were aiming to make a modern film with a nostalgic feeling. The ALEXA LF enabled me to light minimally while capturing the essence of what we were going for. The silky smooth images are a remarkable testament to the quality of the ALEXA sensor. The large format sensor allowed me to get in close to the actors, and let their emotions guide us. The LF is a remarkable camera, it records beautiful images with a familiar and convenient form factor.
Cinematographer Chris Chomyn ASC (Known for: Como Caido del Cielo and many more)
News & Updates
FAQ
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What are the recording formats and maximum frame rates for ALEXA LF?
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Is the ALEXA LF camera Netflix approved?
Yes. ALEXA LF is Netflix approved in all three sensor modes (LF Open Gate, LF 16:9 and LF 2.39:1) and in ARRIRAW and ProRes (4444 XQ, 4444 and 422 HQ) recording formats. The ALEXA LF is listed on the Netflix "Help Center Support Page".
Note 1: While full frame lenses cover the full ALEXA LF sensor in all three sensor modes, many Super 35 spherical lenses also cover the LF 16:9 sensor mode, including:- ARRI Ultra Primes ≥ 20 mm
- ARRI Master Primes ≥ 35 mm
- ARRI Master Macro 100
- ARRI Ultra Wide Zoom 9.5 – 18 ≥ 10 mm
- ARRI Alura LWZ 15.5 – 45 with Alura Extender 1.4x
- ARRI Alura LWZ 30 – 80 mm
- ARRI Alura Studio zoom 18 – 80 from 40 mm on without extender
- ARRI Alura Studio zoom 18 – 80 with Alura Extender 1.4x
- ARRI Alura Studio zoom 45 – 250 from 100 mm on
- ARRI Alura Studio zoom 45 – 250 with Alura Extender 1.4x
Note 2: While full frame anamorphic lenses are slowly entering the market, shooting with existing 35 format anamorphic lenses is also possible by using LF Open Gate and cropping the desired area from the image in post-production. A Netflix approved ARRI white paper with details can be downloaded directly here.
Amongst other topics, the white paper covers two methods for shooting with anamorphic lenses for a 4K mandate:- When shooting with 35 format 2x anamorphic lenses for a 2:1 aspect ratio result, Netflix accepts the use of a 2880 x 2880 area on the ALEXA LF sensor. All Master Anamorphic lenses cover this area.
- When shooting with 35 format 2x anamorphic lenses for a 2.39:1 aspect ratio result, Netflix accepts the use of a 3148 x 2636 area on the ALEXA LF sensor (if you have gotten Netflix approval for 2.39:1 to begin with). Master Anamorphic lenses from 40 mm on cover this area, and the ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36 covers this area from 21 mm on for wide angle shots.
Note 3: Netflix recommends that lenses not specifically designed for large format be thoroughly tested for adequate sensor coverage, and for satisfaction of the production’s creative intent. To check the illumination of different lenses on ARRI cameras, please try the Frame Line & Lens Illumination Tool.
Note 4: Please note that the UHD SDI output of this camera is also approved by Netflix and has already been used in a number of projects.
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What on-board batteries can I use with ALEXA LF?
The top end of the ALEXA LF power draw from a 12V on-board battery would generate currents that various components in the camera/battery-adapter/on-board-battery system are not rated for.
The power input of the ALEXA LF has been set to 18.5 - 34 V for the on-board battery interface (19.5 to 34 V for the BAT connector). The current ALEXA battery adapters for 12V Gold mount (BAB-G K2.72003.0 and BAT-G K2.72006.0) and 12V V Lock (BAB-V K2.72010.0 and BAT-V K2.72011.0) will not work with the ALEXA LF.
However, there are three alternative battery adapters offered by ARRI: the "Battery Adapter Back High Load Gold Mount" (BAB-HG), the "Battery Adapter Back High Load V Mount" (BAB-HV) and the "RP-CFA1" battery adapter. Additionally, there is a range of other options are available from third party on-board battery manufacturers. An overview of all on-board battery solutions for ALEXA LF can be found in the Technical Info "ALEXA LF & On-board Batteries".
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What are the advantages of the EVF-2 over the EVF-1?
Since the display used in the EVF-1 has been discontinued, a new viewfinder - the EVF-2, has been developed to accompany the ALEXA LF. While still maintaining its predecessor’s proven robustness, reliability and ergonomics, the EVF-2 is equipped with a new display with full HD resolution and higher contrast, improving the operator's ability to judge focus and dynamic range.
We have taken the opportunity to also include a new glass eyepiece based on the ARRICAM design for a cleaner image which is free of distortions, and which allows greater freedom of movement for the operator through a wider exit pupil.
And while we were at it we have implemented the latest color science, which gives more accurate color rendition, a better match to on-set monitors, and a stable color balance at all display brightness settings, image brightness levels and from -20ºC to +45ºC (-4º F to +113º F).
For those who use EVF-1 and EVF-2 on the same set, an "EVF-1 gamma" setting emulates the EVF-1 tonal behavior.
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How can I use 35 format anamorphic lenses with a 4K mandate on the ALEXA LF?
The use of existing 35 format anamorphic lenses for a native 4K mandate is also possible by using LF Open Gate and cropping the desired area from the image in post-production. A Netflix approved ARRI white paper with details can be downloaded directly here.
Amongst other topics, the white paper covers two methods for shooting with anamorphic lenses for a native 4K mandate:
- When shooting with 35 format 2x anamorphic lenses for a 2:1 aspect ratio result, Netflix accepts the use of a 2880 x 2880 area on the ALEXA LF sensor. All Master Anamorphic lenses cover this area (see left image).
- When shooting with 35 format 2x anamorphic lenses for a 2.39:1 aspect ratio result, Netflix accepts the use of a 3148 x 2636 area on the ALEXA LF sensor (if you have gotten Netflix approval for 2.39:1 to begin with). Master Anamorphic lenses from 40 mm on cover this area (see right image), and the ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36 covers this area from 21 mm on for wide angle shots.
Lens options for ARRI large-format cameras
Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.
Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.
Set components
40% savings of time and budget with High Density Encoding
Codex High Density Encoding (HDE) uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40% during the offload from the recording media. While exhibiting a smaller footprint, HDE is not compromising on quality. Once decoded, the output results in a bit-for-bit perfect match to the original ARRIRAW file! HDE lowers storage costs, shortens transfer times, and speeds up workflows, which translates to direct savings in time and money.
You can apply HDE to ARRIRAW data from any of our cameras with the free Device Manager software from Codex (Mac only). The file format is supported by major studios and many standard post production applications. Codex also created a SMTPE RDD, which describes the HDE file structure and how HDE can be decoded. HDE can be used at no charge with Codex Capture Drives, Codex Compact Drives, and any Codex Dock or Reader. Codex also offers paid HDE license options which allow productions using ALEXA Mini and AMIRA cameras with CFast 2.0 recording media to benefit from HDE.
![codex-hde-storage-data - 2020[3]](/resource/blob/201118/f8fea576ad783acb5f44065274cc4b9a/codex-hde-storage-data-2020-3--data.jpg)
More info about High Density Encoding
Video Room
Tech Talks
Technical Data
Model
ALEXA LF
Sensor Type
Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array
Sensor Maximum Number of Photosites and Size
4448 x 3096
36.70 x 25.54 mm / 1.444 x 1.005"
⌀ 44.71 mm / 1.760"
36.70 x 25.54 mm / 1.444 x 1.005"
⌀ 44.71 mm / 1.760"
Sensor Frame Rates
0.75 - 150 fps
Weight
∼7.8 kg / ∼17.2 lbs
(camera body with LPL lens mount)
(camera body with LPL lens mount)
Photosite Pitch
8.25 μm
Sensor Active Image Area (photosites)
LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 3840 x 2160
LF 16:9 ProRes 2K: 3840 x 2160
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 3840 x 2160
LF 16:9 ProRes 2K: 3840 x 2160
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Sensor Active Image Area (dimensions)
LF Open Gate ProRes 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
LF Open Gate ARRIRAW 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
LF 16:9 ProRes HD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes 2K: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ARRIRAW UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 2.39:1 ProRes 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
LF 2.39:1 ARRIRAW 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
LF Open Gate ARRIRAW 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
LF 16:9 ProRes HD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes 2K: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ARRIRAW UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 2.39:1 ProRes 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
LF 2.39:1 ARRIRAW 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
Recording File Container Size (pixel)
LF Open Gate ProRes 4.5K: 4480 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4480 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4480 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Recording File Image Content (pixel)
LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Exposure Latitude
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index
Adjustable from EI 160-3200 in 1/3 stops
EI 800 base sensitivity
EI 800 base sensitivity
Shutter
Electronic shutter, 5.0°- 358°
Recording Formats
ARRIRAW (.ari)
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Recording Media
SXR Capture Drives
SxS PRO+ Cards
SxS PRO+ Cards
Recording Frame Rates
LF Open Gate ProRes 4.5K: 0.75 - 60 fps
LF Open Gate ARRIRAW 4.5K: 0.75 - 90 fps
LF 16:9 ProRes HD: 0.75 - 60 fps
LF 16:9 ProRes 2K: 0.75 - 60 fps
LF 16:9 ProRes UHD: 0.75 - 60 fps
LF 16:9 ARRIRAW UHD: 0.75 - 90 fps
LF 2.39:1 ProRes 4.5K: 0.75 - 100 fps
LF 2.39:1 ARRIRAW 4.5K: 0.75 - 150 fps
LF Open Gate ARRIRAW 4.5K: 0.75 - 90 fps
LF 16:9 ProRes HD: 0.75 - 60 fps
LF 16:9 ProRes 2K: 0.75 - 60 fps
LF 16:9 ProRes UHD: 0.75 - 60 fps
LF 16:9 ARRIRAW UHD: 0.75 - 90 fps
LF 2.39:1 ProRes 4.5K: 0.75 - 100 fps
LF 2.39:1 ARRIRAW 4.5K: 0.75 - 150 fps
Recording Modes
Standard real-time recording
No Pre-recording
No Intervalometer
No Pre-recording
No Intervalometer
Viewfinder Type
Electronic Viewfinder EVF-1 with 235 eyepiece
Electronic Viewfinder EVF-2 with ARRICAM eyepiece
Electronic Viewfinder EVF-2 with ARRICAM eyepiece
Viewfinder Technology
EVF-1: F-LCOS viewfinder display
EVF-2: OLED viewfinder display
EVF-2: OLED viewfinder display
Viewfinder Resolution (pixel)
EVF-1: 1280 x 784
EVF-2: 1920 x 1080
EVF-2: 1920 x 1080
Viewfinder Diopter
Adjustable from -5 to +5 diopters
Color Output
Rec 709
Rec 2020
Log C
Custom Look (ARRI Look File ALF-2)
Rec 2020
Log C
Custom Look (ARRI Look File ALF-2)
Look Control
Import of custom 3D LUT
ASC CDL parameters (slope, offset, power, saturation)
ASC CDL parameters (slope, offset, power, saturation)
White Balance
Manual and auto white balance, adjustable from 2000K to 11000K in 100K steps
Color correction adjustable range from -12 to +12 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Color correction adjustable range from -12 to +12 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters
Manual behind the lens FSND filters: Optical Clear, 0.3, 0.6, 0.9, 1.2, 1.5, 1.8, 2.1, 2.4
Fixed optical low pass, UV, IR filter
Fixed optical low pass, UV, IR filter
Image Outputs
1x proprietary signal output for EVF-1/EVF-2 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1) and 6G (SMPTE ST2081-10)
uncompressed HD video with embedded audio and metadata,
4x MON OUT: 1,5G (SMPTE ST292-1) and 6G (SMPTE ST2081-10)
uncompressed HD video with embedded audio and metadata,
Lens Squeeze Factors
1.00
1.25
1.30
1.50
1.65
1.80
2.00
1.25
1.30
1.50
1.65
1.80
2.00
Exposure and Focus Tools
False Color
Peaking
Zoom
Peaking
Zoom
Audio Input
1x XLR 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)
(Line input max. level +24dBu correlating to 0dBFS)
Audio Output
3,5mm stereo headphone jack
SDI (embedded)
SDI (embedded)
Audio Recording
2 channel linear PCM, 24 bit 48 kHz
Remote Control Options
Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
Remote Control Unit RCU-4 via Ethernet
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
Remote Control Unit RCU-4 via Ethernet
Interfaces
1x LEMO 5pin LTC Timecode In/Out
1x BNC SDI Return In
1x LEMO 16pin EXT for accessories and sync
1x LEMO 10pin Ethernet for remote control and sync
1x SD Card (for user setups, look files etc)
3x Fischer 12pin connectors for CLM lens motors
2x Fischer 5pin LCS Lens Control System connectors for hand units
1x BNC SDI Return In
1x LEMO 16pin EXT for accessories and sync
1x LEMO 10pin Ethernet for remote control and sync
1x SD Card (for user setups, look files etc)
3x Fischer 12pin connectors for CLM lens motors
2x Fischer 5pin LCS Lens Control System connectors for hand units
Wireless Interfaces
Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Built-in Wireless Video System: 1920 x 1080, range 600m (2,000 ft) line of sight, OFDM (Orthogonal Frequency-Division Multiplexing) Bandwidth 40MHz, latency <1ms
Built-in White Radio for ARRI lens and camera remote control
Built-in Wireless Video System: 1920 x 1080, range 600m (2,000 ft) line of sight, OFDM (Orthogonal Frequency-Division Multiplexing) Bandwidth 40MHz, latency <1ms
Lens Mounts
LPL lens mount
PL lens mount
PL lens mount
Flange Focal Depth
LPL mount: 44 mm
PL mount: 52 mm
PL mount: 52 mm
Power Input
1x Fischer 2pin BAT connector (18.5-34 V DC)
1x On-board battery interface (19.5-34 V DC)
1x On-board battery interface (19.5-34 V DC)
Power Consumption
ca. 120 W
(recording ProRes 4444 at 24 fps in LF 16:9 sensor mode onto an SxS PRO+ 256 GB card with EVF-1 and wireless video on but without accessories)
ca. 160 W
(recording ARRIRAW at 90 fps in LF Open Gate sensor mode onto an SXR Capture Drive 2 TB with EVF-1 and wireless video on but without accessories)
(recording ProRes 4444 at 24 fps in LF 16:9 sensor mode onto an SxS PRO+ 256 GB card with EVF-1 and wireless video on but without accessories)
ca. 160 W
(recording ARRIRAW at 90 fps in LF Open Gate sensor mode onto an SXR Capture Drive 2 TB with EVF-1 and wireless video on but without accessories)
Power Outputs
4x Fischer 3pin 24V RS
1x LEMO 2pin 12V
1x LEMO 2pin 12V
Power Management
Active ORing between BAT connector
and on-board battery adapters
Measurements (HxWxL)
158 x 201 x 351 mm / 6.22 x 7.91 x 14.33"
(camera body with LPL lens mount)
(camera body with LPL lens mount)
Operating Temperature
-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing
Storage Temperature
-30° C to +70° C / -22° F to +158° F
Sound Level
< 20 dB(A) at 24fps
Software Licenses
-
Downloads
ARRI Technology
Lens Mounts
Great images derive from great lenses with their individual touch to the image. For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount.
Get to know all our lens mounts and find out what makes our new LPL mount unique!
Image Processing
A steady look-out for image quality is key to delivering the best possible image through a given pipeline. In this way new developments and ways to shape the DoP's vision on set can be integrated into our cameras via new software releases. ARIRAW footage recorded before such an update benefits as well as it can be re-processed through an updated pipeline.
ARRI Build Quality
Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate - all features that our digital cameras have inherited.
ALEV Sensors
Our very own ALEV III sensor plays its strengths in a film-like look and feel with HDR capability (since 2010). Originally developed for our ALEXA camera family, it had the same height and width as a 35mm film frame. Nowadays the ALEV III comes to live in different cameras and shapes: ALEXA 65 uses the A3X version - a 65mm sensor - whereas ALEXA LF and ALEXA Mini LF use A2X, the slightly smaller variant that covers a little bit more than "full frame".
Viewfinders
Our viewfinder are specifically designed to meet the needs of professional camera operators by offering an extremely fast image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including surround view.
Workflow
The concept behind the term "workflow" is the digital film lab. Hence being able to view, edit and "post" footage recorded with our digital cameras. We develop our own Software Development Kit (ARRIRAW SDK) for processing ARRIRAW data to RGB images and talk to 3rd party vendors to ensure support in their tools.
