More than just a camera
More than just a camera
Lightweight body with sturdy design
Huge variety of lens options
ARRI Look Library support
Find more information here
As soon as I talked to the director about the look and the technical side of the TVC, it was clear that we had to use the ALEXA Mini. We had to switch through multiple setups along the shooting days from handheld to quick and subtle tracks on the Movi PRO and Movi XL on the tracking vehicle. Since the Mini is so versatile and easy to rig it was the perfect fit allowing us to shoot more and wait less.
DP Žiga Zupačič
We used ALEXA Mini for aerial shots and gimbal work and the rest of film was shot on ALEXA SXT. Since the ALEXA cameras have the same type of sensor and we used the same lenses, the style was uniform, even though we used two different camera types. We shot the film in the remote city of Haikou which meant it would have been very hard to get another camera body if anything went wrong. The reliability of ARRI cameras was outstanding and indeed a relief.
DP Max Wang
The ALEXA Mini was very nice in regard to size and weight, very comfortable. The feeling that we wanted to get for the film was documentary style, kind of run-and-gun, and for that we needed a very light camera. The size of the ALEXA Mini gave us the freedom to move around easier. With handheld you can move around with the actor and let him be free. It changes the entire attitude of filmmaking, and it gives the actors more of a natural feeling of being in the scene.
DP César Charlone ABC
The size of ALEXA Mini is a big bonus, it allowed us to shoot lighter and faster. We had a lot of shoulder-mounted shots and there were caves that only allowed two people to squat in; this would have been very hard for a big camera. We used two ALEXA Minis also for the scenes where we were climbing mountains and also for the multicam shots of the action scenes. The camera really shined when we shot the exterior scenes. There were a lot of narrow places, including the shots in the forest, and ALEXA Mini was perfect for the job. I also think the overall stability of ARRI is superb, there’s no problem using an ALEXA mini as an A cam.
DP He Shan
There are a number of simple steps you can take in the cozy comfort of your home:
Of course, the best way is to talk to your local rental house and play with an ALEXA Mini when it is available, or, even better, shoot a test.
Yes. You can use both traditional anamorphic lenses with a 2x squeeze factor (like the ARRI Master Anamorphic lenses) as well as anamorphic lenses with a 1.3x squeeze factor with the ALEXA Mini.
No, it does not. Most digital cameras have the greatest exposure latitude at a specific EI setting (often called the 'sweet spot'). Choosing an EI setting that is higher or lower than the optimal setting will result in a sometimes surprisingly large loss of exposure latitude. The ARRI ALEV III sensor is unique since it has the highest dynamic range of any professional digital cinema cameras for sale; this dynamic range stays constant from EI 160 to EI 3200.
In jam-sync mode the camera samples the timecode value and simultaneously tunes its internal timecode clock to match the clock of the timecode source, which prevents potential drift between camera timecode and timecode source. During this procedure, the timecode display on the home screen, on the timecode menu screen as well as on the status overlays is flashing. Jamming has finished when the timecode display stops flashing, then the timecode source can be disconnected. The camera now continues counting based on its own high-precision crystal clock. This mode ensures stable timecode with a drift of less than one frame over eight hours, after which the camera has to be re-jammed.
There are different ways to remotely control the ALEXA Mini: