ALEXA LF

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.

Phedon Papamichael, ASC, GSC using ALEXA LF on Ford vs. Ferrari (Working title)

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

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

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

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

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

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

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

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

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

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
 

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

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
 

LF is a revelation to DOPs.

Cinematographer Santosh Sivan ASC, ISC 

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
 

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

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

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

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

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!

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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.

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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.

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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".

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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.

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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.

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