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ALEXA Mini LF

Large format, small camera

Fast and flexible

Embraced by the world’s leading filmmakers as soon as it was announced, the ALEXA Mini LF is ARRI’s flagship large-format camera. Versatile and adaptable due to its compact size, low weight, and multiple recording formats, the Mini LF offers the best overall image quality for large format and an exciting new REVEAL Color Science post workflow. 

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AlexaMiniLF_WebB_HD_H264_Rec709_24p_MOS (2)

The best for large format


Distinct and cinematic large-format aesthetic
Creative and practical advantages over smaller formats
Highest dynamic range of any large-format camera

The Mini LF: Less, much less, in many respects; especially weight and size but not less powerful than its big sister, the ALEXA LF, in image quality. Truly, for a cinematographer, less is now more.


Cinematographer Tom Stern talking about the ARRI Signature Prime Lenses.

Tom Stern AFC, ASC

Cinematographer

The large format was perfect for our film, because of the slightly enhanced way of separating the characters from the background.


Cinematographer Juan Sarmiento G.

Juan Sarmiento G. ADFC, BVK

Cinematographer

The images from the Mini LF are just superb and large format, allowing me to utilize longer lenses, is such a fantastic combination.

Ben Shirley ACS 1

Ben Shirley ACS

Cinematographer

ALEXA Mini LF Reveal Video Loop
ALEXA Mini LF Reveal Video Loop

REVEAL Color Science 



New post workflow for ARRIRAW, and still compatible with HDE
More accurate colors and subtler tonal variations
Optimized color match between ALEXA Mini LF and ALEXA 35

REVEAL Color Science

Learn all about ARRI’s new colorpipeline for ALEXA Mini LF, ALEXA 35 and other ALEXA models.

Explore more

The dynamic range and accurate color reproduction of the ALEXA Mini LF allowed me to create a dedicated look. This was a perfect opportunity to combine all my knowledge and experience with ARRI color science on the Mini LF.

Eduardo Ramirez_ALEXA Mini LF_quote

Eduardo Ramirez ADFC

Cinematographer

I’ve always loved ARRI cameras because I feel they capture color in a way that no other camera does. Going to the Mini LF was an evolution of that.

Michael Dwyer

Michael Dwyer

Cinematographer

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AlexaMiniLFBumBum_EEE4846CV_Apple_ProRes

First choice on big sets 



The gold standard of large format for countless top filmmakers
Proven sensor technology, trusted by the best in the business
Used on many award-winning productions

I love the sensor, the color sensitivity…I love the format because you can shoot a close-up with a slightly longer lens; I didn’t want that distortion you get with a wider lens.


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Sir Roger Deakins CBE, ASC, BSC

Cinematographer

The ALEXA Mini LF has made possible what I thought was previously impossible with large-format photography. The freedom it allows me as a DP, to move the camera in whatever way I feel is best, is unbeatable.


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Greig Fraser ACS, ASC

Cinematographer

When filming in a volume, you want to avoid having the LED screens in focus, which led us to the ALEXA Mini LF. The camera gave me the immersive large-format look that I really like and could be fed with a genlock signal to communicate directly with the LED wall.


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Nik Summerer

Cinematographer

Credits

House of the Dragon__ALEXA Mini LF

House of the Dragon

Halo (1)

Argentina, 1985

Halo (1)

Wednesday

Halo (1)

Tár

Halo (1)

The Lord of the Rings: The Rings of Power

Halo (1)

Empire of Light

Halo (1)

Three Thousand Years of Longing

The Batman

The Batman

Halo (1)

Halo

The Power of the Dog_Mini LF_LF

The Power of the Dog

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220721_ArriSignaturePrimes_Mini LF

Safe investment  



Taking owner-operator careers to the next level
Production companies can target high-caliber clients
ARRI cameras hold their value better than any others

Owning an ALEXA Mini LF has really helped us grow as a company, elevating us to be able to produce three indie features in three years, and to move from a small basement to three offices with eight full-time employees.

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Carson Nordgaard

Producer/cinematographer, D&N Cinematics LLC

Owning a Mini LF has opened up a whole new dimension of cinematography for me. The unique field of view and the ability to isolate talent within a frame has given my work a distinctive look. Being an owner-operator means I can use it on a variety of projects, no matter the budget. 

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Chris Bell

Cinematographer

The wildness of some of the locations was one of the reasons why I chose the ALEXA Mini LF, because I knew I could trust it.

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Josua Stäbler about shooting with the ALEXA Mini LF for the YouTube climate change series, “Seat at the Table”

Cinematographer

Multiple recording formats 

The ALEXA Mini LF offers a wide choice of recording formats, among them 4.5K Open Gate and anamorphic Super 35 that fulfills 4K mandates. Multiple frame lines can be used simultaneously, including a vertical 9:16 crop for social media that takes full advantage of the tall ARRI sensor. Ideal for multi-format shoots or whatever aspect ratio, resolution, and data rate suit your production, the Mini LF is truly cinematic, and truly flexible. 

The perfect tool for virtual production

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Real-time camera and lens metadata is supported through ARRI’s UMC-4 and the ARRI Live Link Metadata Plug-in for Unreal Engine, while native genlock support delivers accurate sync. The large sensor limits depth of field and helps avoid moiré artifacts.

40% savings of time and budget with HDE

CODEX High Density Encoding (HDE) is a loss-less encoding scheme that reduces ARRIRAW file sizes by around 40%. Despite the smaller footprint, HDE does not compromise on quality. Once decoded, the output results in a bit-for-bit perfect match to the original ARRIRAW file. Supported by leading content providers and postproduction applications, HDE reduces storage, shortens transfer times, and speeds up workflows, which translates to direct savings of time and money.

Full suite of professional accessories 

The many accessory options for the ALEXA Mini LF further enhance its flexibility and make it suitable for a huge range of shooting styles. Our three Ready to Shoot Sets include everything you need except a card reader, as there are two to choose from. Lightweight, modular, and based on decades of experience, ARRI accessories are famously rugged and reliable. SAM plates provide a quick way to transition from shoulder or tripod to stabilizer. 

Accessories and related products

Tech Talks

FAQ

  • The ALEXA Mini LF uses the same sensor as the ALEXA LF. This is the ALEV 3 A2X sensor, which has the same photosite size and type as ARRI Super 35 digital cameras. The ALEV 3 A2X has 4448 x 3096 photosites (yes, it is therefore a 4.5K sensor) and measures 36.70 x 25.54 mm / 1.444 x 1.005" and requires a 44.71 mm / 1.760" image circle.

  • The ALEXA Mini LF supports large-format as well as Super 35 recording formats, please see the table below. 

  • The ALEXA Mini LF (left) has the same dimensions and the same mounting points as the ALEXA Mini (right), except for the media bay on the camera left side. The ALEXA Mini LF camera body with an LPL lens mount weighs 2.6 Kg/5.7 lbs. The ALEXA Mini LF MVF-2 viewfinder weighs 800 g/1.7 lbs.

  • The ALEXA  Mini LF uses the new, small and cost-effective Codex Compact Drive 1 TB and 2 TB. 
    The Compact Drive has been specifically designed for the small form factor of our cameras, using new flash technology in a miniaturized tough enclosure. The ALEXA  Mini LF accepts Compact Drives directly, without the need for an adapter. ALEXA  LF and ALEXA SXT  W do not support the Compact Drive. 
    Both ARRIRAW and Apple ProRes recording can utilize the drive's full recording capacity. The drive will be formatted by the ALEXA  Mini LF in the UDF format for ARRIRAW and Apple ProRes. Therefore, both ARRIRAW and Apple ProRes can be recorded onto the same media without reformatting or switching drives.
    To get an overview of recording media for ARRI cameras, please take a look at the Supported Recording Media document.

  • The ALEXA Mini LF has an input voltage range from 11 V to 34 V. Therefore, it can be easily powered by any 12 V on-board battery as well as by a 24 V on-board battery. The ALEXA Mini LF has a power draw slightly higher than the ALEXA Mini, at around 65 W when recording ARRIRAW at 24 fps with the MVF-2 viewfinder connected. Electronic accessories will, of course, increase power draw.

Technical Data
Model
ALEXA Mini LF
Sensor Type
Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array
Sensor Maximum Number of Photosites and Size
4448 x 3096
36.70 x 25.54 mm / 1.444 x 1.005"
⌀ 44.71 mm / 1.760"
Sensor Frame Rates
0.75 - 90 fps
Weight
∼2.6 kg / ∼5.7 lbs
(camera body with LPL lens mount)
800 g (MVF-2)
Photosite Pitch
8.25 μm
Sensor Active Image Area (photosites)
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
ARRIRAW 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 2.8K LF 1:1 - 2.8K: 2880 x 2880
ARRIRAW 3.4K S35 3:2 - 3.4K: 3424 x 2202
Apple ProRes 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
Apple ProRes 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
Apple ProRes 4.3K LF 16:9 - UHD: 4320 x 2430
Apple ProRes 4.3K LF 16:9 - HD: 4320 x 2430
Apple ProRes 3.8K LF 16:9 - UHD: 3840 x 2160
Apple ProRes 3.8K LF 16:9 - 2K: 3840 x 2160
Apple ProRes 3.8K LF 16:9 - HD: 3840 x 2160
Apple ProRes 2.8K LF 1:1 - 2.8K: 2880 x 2880
Apple ProRes 3.2K S35 16:9 - 3.2K: 3200 x 1800
Apple ProRes 2.8K S35 4:3 - 2.8K: 2880 x 2160
Apple ProRes 2.8K S35 16:9 - HD: 2880 x 1620
Sensor Active Image Area (dimensions)
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
ARRIRAW 3.8K LF 16:9 - UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
ARRIRAW 2.8K LF 1:1 - 2.8K: 23.76 x 23.76 mm / 0.935 x 0.935"
ARRIRAW 3.4K S35 3:2 - 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715"
Apple ProRes 4.5K LF 3:2 Open Gate - 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
Apple ProRes 4.5K LF 2.39:1 - 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
Apple ProRes 4.3K LF 16:9 - UHD: 35.64 x 20.05 mm / 1.403 x 0.789"
Apple ProRes 4.3K LF 16:9 - HD: 35.64 x 20.05 mm / 1.403 x 0.789"
Apple ProRes 3.8K LF 16:9 - UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
Apple ProRes 3.8K LF 16:9 - 2K: 31.68 x 17.82 mm / 1.247 x 0.702"
Apple ProRes 3.8K LF 16:9 - HD: 31.68 x 17.82 mm / 1.247 x 0.702"
Apple ProRes 2.8K LF 1:1 - 2.8K: 23.76 x 23.76 mm / 0.935 x 0.935"
Apple ProRes 3.2K S35 16:9 - 3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"
Apple ProRes 2.8K S35 4:3 - 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"
Apple ProRes 2.8K S35 16:9 - HD: 23.76 x 13.37 mm / 0.935 x 0.526"
Recording File Container Size (pixel)
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
ARRIRAW 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 2.8K LF 1:1 - 2.8K: 2880 x 2880
ARRIRAW 3.4K S35 3:2 - 3.4K: 3424 x 2202
Apple ProRes 4.5K LF 3:2 Open Gate - 4.5K: 4480 x 3096
Apple ProRes 4.5K LF 2.39:1 - 4.5K: 4480 x 1856
Apple ProRes 4.3K LF 16:9 - UHD: 3840 x 2160
Apple ProRes 4.3K LF 16:9 - HD: 1920 x 1080
Apple ProRes 3.8K LF 16:9 - UHD: 3840 x 2160
Apple ProRes 3.8K LF 16:9 - 2K: 2048 x 1152
Apple ProRes 3.8K LF 16:9 - HD: 1920 x 1080
Apple ProRes 2.8K LF 1:1 - 2.8K: 3072 x 2880
Apple ProRes 3.2K S35 16:9 - 3.2K: 3200 x 1800
Apple ProRes 2.8K S35 4:3 - 2.8K: 2880 x 2160
Apple ProRes 2.8K S35 16:9 - HD: 1920 x 1080
Recording File Image Content (pixel)
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
ARRIRAW 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 2.8K LF 1:1 - 2.8K: 2880 x 2880
ARRIRAW 3.4K S35 3:2 - 3.4K: 3424 x 2202
Apple ProRes 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
Apple ProRes 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
Apple ProRes 4.3K LF 16:9 - UHD: 3840 x 2160
Apple ProRes 4.3K LF 16:9 - HD: 1920 x 1080
Apple ProRes 3.8K LF 16:9 - UHD: 3840 x 2160
Apple ProRes 3.8K LF 16:9 - 2K: 2048 x 1152
Apple ProRes 3.8K LF 16:9 - HD: 1920 x 1080
Apple ProRes 2.8K LF 1:1 - 2.8K: 2880 x 2880
Apple ProRes 3.2K S35 16:9 - 3.2K: 3200 x 1800
Apple ProRes 2.8K S35 4:3 - 2.8K: 2880 x 2160
Apple ProRes 2.8K S35 16:9 - HD: 1920 x 1080
Dynamic Range
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°- 356° or 1s - 1/8000s
Recording Formats
MXF/ARRIRAW
MXF/Apple ProRes 4444 XQ
MXF/Apple ProRes 4444
MXF/Apple ProRes 422 HQ
Recording Media
Codex Compact Drive 1TB (CA08-1024)
Codex Compact Drive 2TB (CB16-2048)
Recording Frame Rates
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 0.75 - 40 fps
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 0.75 - 60 fps
ARRIRAW 3.8K LF 16:9 - UHD: 0.75 - 60 fps
ARRIRAW 2.8K LF 1:1 - 2.8K: 0.75 - 60 fps
ARRIRAW 3.4K S35 3:2 - 3.4K: 0.75 - 60 fps
Apple ProRes 4.5K LF 3:2 Open Gate - 4.5K: 0.75 - 40 fps
Apple ProRes 4.5K LF 2.39:1 - 4.5K: 0.75 - 60 fps
Apple ProRes 4.3K LF 16:9 - UHD: 0.75 - 48 fps
Apple ProRes 4.3K LF 16:9 - HD: 0.75 - 75 fps
Apple ProRes 3.8K LF 16:9 - UHD: 0.75 - 60 fps
Apple ProRes 3.8K LF 16:9 - 2K: 0.75 - 90 fps
Apple ProRes 3.8K LF 16:9 - HD: 0.75 - 90 fps
Apple ProRes 2.8K LF 1:1 - 2.8K: 0.75 - 60 fps
Apple ProRes 3.2K S35 16:9 - 3.2K: 0.75 - 75 fps
Apple ProRes 2.8K S35 4:3 - 2.8K: 0.75 - 75 fps
Apple ProRes 2.8K S35 16:9 - HD: 0.75 - 100 fps
Recording Modes
Standard real-time recording
No Pre-recording
No Intervalometer
Viewfinder Type
Multi Viewfinder MVF-2 with 4" flip-out monitor
Viewfinder Technology
OLED viewfinder display
LCD flip-out monitor
Viewfinder Resolution (pixel)
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 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters
Four position built-in motorized ND filter: Clear, 0.6, 1.2, 1.8
Fixed optical low pass, UV, IR filter
Image Outputs
1x proprietary signal output for MVF-2 viewfinder on VF CoaXPress connector (video, audio, power, control signals)
SDI 1:
-HD only, Processed or Clean, with or without a look file applied
-1.5G 422 HD (SMPTE ST292-1, up to 30 fps, progessive (p) or progressive segmented frame (psf))
-3G 422 HD (SMPTE ST425-1, up to 60 fps, p)
-3G 444 HD (SMPTE ST425-3, up to 30 fps, p)
SDI 2:
-HD or UHD, Clean only, with or without a look file applied, or SDI 1 clone
-1.5G 422 HD (SMPTE ST292-1, up to 30 fps, p or psf)
-3G 422 HD (SMPTE ST425-1, up to 60 fps, p)
-3G 444 HD (SMPTE ST425-3, up to 30 fps, p)
-6G 422 UHD (SMPTE ST2081-10, up to 30 fps, p)

“Clean” is an image without surround view or overlays (status, false color, zebra, framelines, etc.)
“Processed” is an image with surround view or overlays.
Lens Squeeze Factors
1.00, 1.25, 1.30, 1.50, 1.65, 1.80, 2.00
Exposure and Focus Tools
False Color
Zebra
Zoom
Aperture and Color Peaking
Audio Input
1x LEMO 6pin balanced stereo line in with 12V power output
(Line input max. level +24dBu correlating to 0dBFS)
Two built-in microphones for scratch audio
Audio Output
SDI (embedded)
3,5mm stereo headphone jack (on MVF-2)
Audio Recording
2 channel linear PCM, 24 bit 48 kHz
Remote Control Options
MVF-2 viewfinder as wired remote control with 10m/33ft cable
Camera Companion App
ARRI Electronic Control System (ECS)
Web-based remote control via Ethernet & WiFi (beta version)
Camera Access Protocol (CAP) via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
Interfaces
1x LEMO 5pin LTC Timecode In/Out
1x LEMO 10pin Ethernet for remote control and service
1x BNC SYNC IN
1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and 24V power output
1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable
1x USB 2.0 in media bay (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
LPL lens mount with LBUS connector
PL-to-LPL adapter
EF Mount (LBUS)
Leitz M mount (availbale from Leitz)
Flange Focal Depth
LPL mount: 44 mm
with PL-to-LPL adapter: 52 mm
Power Input
1x LEMO 8pin (11-34 V DC)
Power Consumption
Around 65 W when recording ARRIRAW at 24 fps with MVF-2 attached (preliminary information)
Power Outputs
1x Fischer 3pin 24V RS
1x LEMO 2pin 12V
1x LEMO 7pin EXT 24V power output
Measurements (HxWxL)
140 x 143 x 188 mm / 5.5 x 5.6 x 7.4"
(camera body with LPL 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
-