ALEXA LF

ARRI's new large-format camera system consists of the ALEXA LF camera, ARRI Signature Prime 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.

ALEXA LF 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

Total lens and accessory compatibility

Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set. Cinematographers are therefore offered an unlimited lens choice, with complete lens metadata accessible from LDS-2, LDS-1 or /i lenses.

For even further cross-system compatibility, an LPL lens mount can be fitted to existing ALEXA, ALEXA Mini and AMIRA cameras. ARRI Signature Primes and other future LPL mount lenses can therefore be used for both Super 35 and large format on productions combining the two.

ALEXA LF is based on the proven, robust ALEXA camera design, so most existing accessories will work right out of the box. Since all other features and the user interface are the same as in the ALEXA SXT W—including the integrated wireless video transmitter and the user interface—crews will adapt quickly.

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ALEXA LF Quotes

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

©Gerald Wiblin

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

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

Technical Data

Model

ALEXA LF

Sensor Type

Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array

Sensor Size

36.70 x 25.54 mm / 1.444 x 1.005"
⌀ 44.71 mm / 1.760"

Photosite Pitch

8.25 μm

Sensor Frame Rates

0.75 - 150fps

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

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"

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

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

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

Shutter

Electronic shutter, 5.0°- 358°

Recording Formats

ARRIRAW (.ari)
ProRes 4444 XQ
ProRes 4444
ProRes 422 (HQ)
ProRes 422

Recording Media

SXR Capture Drives
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

Recording Modes

Standard real-time recording
No Pre-recording
No Intervalometer

Viewfinder Type

Electronic Viewfinder EVF-1 with 235 eyepiece
Electronic Viewfinder EVF-2 with ARRICAM eyepiece

Viewfinder Technology

EVF-1: F-LCOS viewfinder display
EVF-2: OLED viewfinder display

Viewfinder Resolution (pixel)

EVF-1: 1280 x 784
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)

Look Control

Import of custom 3D LUT
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.

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

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,

Lens Squeeze Factors

1.00
1.25
1.30
1.50
1.65
1.80
2.00

Exposure and Focus Tools

False Color
Peaking
Zoom

Audio Input

1x XLR 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)

Audio Output

3,5mm stereo headphone jack
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

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

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

Lens Mounts

LPL mount
PL mount

Flange Focal Depth

LPL mount: 44 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)

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)

Power Outputs

4x Fischer 3pin 24V RS
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)

Weight

~ 7.8 kg / ~ 17.2 lbs
(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

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ALEXA LF FAQ

What are the recording formats and maximum frame rates for ALEXA LF?

See table above
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 support this, ARRI has updated the ARRI Lens Illumination Guide to cover the ALEXA LF.
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".
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.
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.