More than just a camera

Compact, lightweight, and self-contained - ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.

The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses, or with the even ARRI Signature Primes with the LPL mount for ALEXA Mini.




The Irishman


Jumanji: The next Level

Knives Out



Fast & Furios: Hobbs & Shaw

Les Miserables



Lightweight body with sturdy design

  • Stable in harsh environments from -20° to +45°C / -4° to +113°F
  • Sealed electronics
  • Non-condensing splash and dust-proof
  • Built-in motorized FSND filters 0.6, 1.2, 2.1

Breathtaking image quality

  • 35 mm format film-style digital camera
  • Natural skin tones 
  • Recording up to 200fps
  • High Dynamic Range with 14+ stops of exposure latitude
  • Optional ARRIRAW and 4:3 licenses

More than just a camera

  • Accompanied by a wide range of mechanical and electronic accessories for every use case
  • Wireless connectivities via built-in white coded radio and WiFi interfaces 
  • Easy, rapid, and tool-less transitions between configurations
  • Every setup can be adapted individually 

Huge variety of lens options

  • Rapidly interchangeable lens mounts
  • PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System
  • B4 lens mount permits the use of 2/3” video-style B4 lenses
  • EF lens mount provides compatibility with a wide range of stills photography lenses


  • For 360° VR, 3D, and VFX applications 
  • Synchronizing up to 15 ALEXA Minis with one master ALEXA Mini
  • Permitting the entire multicamera setup to be operated as if it was one camera

ARRI Look Library support

  • 87 predefined creative color gradings, each in three intensities
  • Makes on-set look management available to productions of all budgets
  • Helps to save time on set
  • Additionally, all looks can be used as a basic to create new color gradings
  • Available in the ARRI License Shop

Find more information here

alexa_mini_master grips_application_shot_dp Marvin Hastert

Small and Excellent

An ALEXA Mini can be operated in number of ways: by wireless remote control, as an A-camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body.

Designed with new-generation brushless gimbals, multicopters and other specialized rigs in mind, ALEXA Mini is light enough to be comfortably held at arm’s length in a hand rig, while its compact size also makes it ideal for tight shooting conditions, as well as underwater, aerial, car, action, and 3D shoots.

With an ALEXA Mini you can literally shoot everywhere with the best image quality.

ALEXA Mini Studio Set

The compact and lightweight ALEXA Mini is a highly versatile tool on set. In some productions it is used as a second or third camera, while in others it is the main camera throughout a shoot. As a result, it is frequently moved from one configuration to another. Any time savings that can be made during these transitions will have a big impact on the daily shooting schedule. 

Therefore, ARRI has developed a studio set for ALEXA Mini. It's core is the ARRI Compact Bridge Plate CBP-1, a base plate with integrated sliding bridge plate and shoulder pad. This allows for rapid, tool-less transitions between configurations - for example from TRINITY, MAXIMA, or Steadicam stabilizers to tripod heads or an operator’s shoulder. 

The Rear Accessory Bracket RAB-1 offers flexible attachment options for the Power Splitting Box Mk II, a power distribution unit available in Gold Mount and V-Mount versions, while the Side Accessory Bracket SAB-1 provides a simple interface for mounting accessories towards the rear of the camera. Many previously released ARRI camera accessories for the ALEXA Mini are fully compatible with the studio set.


Ultimately, for me owning an ALEXA Mini wasn't a money-making decision but it was about investing in myself and my career. It was definitely a big investment for me but it is worth it as it gives me access to, in my opinion, the best image out there.

DP Michael Latham (Known for: Strange Colours, Ukraine is not a Brothel, Island of the Hungry Ghosts and many more)

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 (Known for: Biological Clock, What About the Baby, In the French Style and many more)

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 (Known for: The Girl from the Naked Eye, Animal World, Fist of the Warrior and many more)

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 (Known for: Cidade de Deus, Die Stadt der Blinden, The Constant Gardener and many more)

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 (Known for: Nirvana, Wrath of Silence, Deep in the Heart and many more)

Related products

Leverage the Full Power

Three ALEXA Mini license upgrades are available, allowing users to get the most out of the camera’s 4:3 ALEV III sensor.

  • The 4:3 License Key enables ALEXA Mini to record ProRes in 4:3, 4:3 cropped or 16:9 anamorphic and to de-squeeze both the viewfinder image and HD-SDI signal.
  • The ARRIRAW License Key allows for 2.8K 16:9 ARRIRAW recording. Open Gate ARRIRAW recording is possible with cameras that have both license keys installed.
  • The ARRI Look Library License Key offers 87 predefined creative color gradings, each in three intensities.

Technical Data
Sensor Type
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Maximum Resolution and Size
3424 x 2202
28.25 x 18.17 mm / 1.112 x 0.715"
⌀ 33.59 mm / 1.322"
Sensor Frame Rates
0.75 - 200 fps
∼2.3 kg / ∼5 lbs
(camera body with titanium PL lens mount)
Photosite Pitch
8.25 μm
Sensor Active Image Area (photosites)
S16 HD: 1600 x 900
HD: 2880 x 1620
2K: 2868 x 1612
3.2K: 3200 x 1800
4K UHD: 3200 x 1800
4:3 2.8K: 2880 x 2160
2.39:1 2K Ana.: 2560 x 2145
HD Ana.: 1920 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Sensor Active Image Area (dimensions)
S16 HD: 13.20 x 7.43 mm / 0.520 x 0.292"
HD: 23.76 x 13.37 mm / 0.935 x 0.526"
2K: 23.66 x 13.30 mm / 0.932 x 0.524"
3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"
4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585"
4:3 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"
2.39:1 2K Ana.: 21.12 x 17.70 mm / 0.831 x 0.697"
HD Ana.: 15.84 x 17.82 mm / 0.624 x 0.702"
ARRIRAW 16:9 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526"
Open Gate 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715"
Recording File Container Size (pixel)
S16 HD: 1920 x 1080
HD: 1920 x 1080
2K: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160
4:3 2.8K: 2944 x 2160
2.39:1 2K Ana.: 2048 x 858
HD Ana.: 1920 x 1080
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Recording File Image Content (pixel)
ProRes S16 HD: 1920 x 1080
ProRes HD: 1920 x 1080
ProRes 2K: 2048 x 1152
ProRes 3.2K: 3200 x 1800
ProRes 4K UHD: 3840 x 2160
ProRes 4:3 2.8K: 2880 x 2160
ProRes HD Anamorphic: 1920 x 1080
ProRes 2.39:1 2K Anamorphic: 2048 x 858
ARRIRAW 16:9 2.8K: 2880 x 1620
ARRIRAW Open Gate 3.4K: 3424 x 2202
ARRIRAW 4:3 2.8K (OG 3.4K): 3424 x 2202
ARRIRAW 2.39:1 2K Ana. (OG 3.4K): 3424 x 2202
ARRIRAW 16:9 HD Ana. (OG 3.4K): 3424 x 2202
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
Electronic shutter, 5.0°- 356° or 1s - 1/8000s
Recording Formats
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
Recording Media
CFast 2.0 Cards
Recording Frame Rates
ProRes HD: 0.75 - 200 fps
ProRes S16 HD: 0.75 - 200 fps
ProRes 2K: 0.75 - 200 fps
ProRes 3.2K: 0.75 - 60 fps
ProRes UHD: 0.75 - 60 fps
ProRes 4:3 2.8K: 0.75 - 50 fps
ProRes 2:39:1 2K Ana.: 0.75 - 120 fps
ProRes HD Ana.: 0.75 - 120 fps
MFX/ARRIRAW 16:9 2.8K: 0.75 - 48 fps
MFX/ARRIRAW 3.4K Open Gate: 0.75 - 30 fps
Recording Modes
Standard real-time recording
Stop Motion
Viewfinder Type
Multi Viewfinder MVF-1 with 3,2" flip-out monitor
Camera Control Panel (CCP-1) with option to daisy-chain MVF-1
Viewfinder Technology
OLED viewfinder display
LCD fold out monitor
Viewfinder Resolution (pixel)
1280 x 720
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)
Knee, gamma, saturation, black gamma, saturation by hue
Support of ARRI Look Library
White Balance
Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Built-in motorized ND filters 0.6, 1.2, 2.1
Fixed optical low pass, UV, IR filter
Image Outputs
1x proprietary signal output for MVF-1 viewfinder
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G & DL 6G (SMPTE ST2081-10, ST2081-11)
uncompressed video with embedded audio and metadata
Lens Squeeze Factors
Exposure and Focus Tools
False Color
Aperture and Color Peaking
Audio Input
1x LEMO 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)
Audio Output
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
Camera Access Protocol via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
1x LEMO 5pin LTC Timecode In/Out
1x LEMO 10pin Ethernet for remote control and service
1x BNC Sync In (optional activation through ARRI Service)
1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and unregulated power output (outputs battery voltage)
1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable
1x USB 2.0 (for user setups, look files etc)
Wireless Interfaces
Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Lens Mounts
Titanium PL lens mount with LBUS connector
LPL lens mount with LBUS connector
PL lens mount with Hirose connector
EF lens mount
B4 lens mount with Hirose connector
Leitz Cine Wetzlar M lens mount
Flange Focal Depth
PL mount: 52 mm
LPL mount: 44 mm
Power Input
1x LEMO 8pin (10.5-34 V DC)
Power Consumption
min. 43W
max. 84W
(Camera body with MVF-1)
Power Outputs
1x LEMO 7pin EXT unregulated power output (outputs battery voltage) with max. 1.1 A
Power Management
Measurements (HxWxL)
140 x 125 x 185 mm / 5.5 x 4.9 x 7.3"
(camera body with PL lens mount)
Operating Temperature
-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics
Storage Temperature
-30° C to +70° C / -22° F to +158° F
Sound Level
< 20 dB(A) at 24fps
Software Licenses
ALEXA Mini 4:3 License Key
ALEXA Mini ARRIRAW License Key
ARRI Look Library License Key


  • There are a number of simple steps you can take in the cozy comfort of your home:

    • Read the ALEXA Mini web pages
    • Read this FAQ. It contains many important questions that have been asked by other users. 
    • To familiarize yourself with ALEXA Mini’s control panel you can use the ALEXA Mini Camera Simulator.
    • Read the ALEXA Mini user manual.

     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:

    • Wirelessly control the camera through the ARRI Wireless Control Unit WCU-4. The WCU-4 connects directly to the camera's radio, so there are no extra boxes or cables.
    • Using the built-in webremote; any computer, tablet or phone can remotely control all camera functions via WiFi or ethernet.
    • The General Purpose IO Box GPB-1 offers 14 freely configurable user buttons and connects to the camera’s EXT port.
    • Third party applications that support the built-in Camera Access Protocol CAP offer control over look file parameters and operational parameters.
    • Basic REC/STOP control can be achieved with the cabled RS-4 switch.


Camera System Highlights - Brochure 2020
ALEXA Mini SUP 5.4 - User Manual
ALEXA Mini Leaflet
ALEXA Mini Studio Set Flyer
ALEXA Mini Camera Access Protocol
Supported Recording Media Overview
ALEXA Mini SUP 5.4 - Release Notes
ALEXA Mini - Quick Guide
ALEXA Mini Menu Settings Chart SUP 5.3/SUP 5.4
ARRI Sample Footage - Technical Information
Recording Formats for Cinematic Release
ALEXA Mini Recording Areas, Surround Views and Framelines SUP 4.0
ALEXA Mini Dimensions
End of Film Credit - ALEXA Mini Logo