Enlarge your vision
Enlarge your vision
Comes with new LPL Lens Mount
More flexibility due to wireless design
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
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
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
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:
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:
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.
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".
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.
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: