ALEXA Mini LF
Large format, small camera
Large format, small camera
Best overall image quality in large format
Internal recording to new Codex Compact Drive
New MVF-2 high-contrast HD viewfinder
Additional new features
Great system compatibility
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. Congratulations on successfully, and constantly pushing the boundaries in technology, making my job even more exciting!
Cinematographer Greig Fraser ACS, ASC (Known for: Vice, Foxcatcher, Star Wars: Rogue One and Zero Dark Thirty and many more)
The new 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 AFC, ASC (Known for: Changeling, The Hunger Games, American Sniper, Flags of our Fathers and many more)
I think it is wonderful that ARRI made a smaller version of their large-format camera. Nowadays we have to shoot so fast and be flexible and need to move around real quick. It’s good to have that smaller camera available.
Cinematographer Karl Walter Lindenlaub ASC, BVK (Known for: Independence Day, Black Book, Chronicles of Narnia, Halo and many more)
Mini Lf fills a very important gap. There are a lot of jobs who want the image quality of the LF but need at least one small camera and so they forced to use different platforms. And now finally there is a way to kind of fit all the different production challenges with the LF model. It opens up a lot of doors for different types of production.
Cinematographer Logan Schneider (Known for: Drunk History, Gentefied, Watson and many more)
I was absolutely impressed to be holding a large-format camera this small. On the shoot, I never really put the camera down. It’s built to work in every condition, and this is how it feels when you hold it in your hands.
Cinematographer Heiko Knauer (Known for: Stronger, Curtains Falling, Mathilda and many more)
With the ALEXA LF, you have everything you need in one body, including higher frame rate. The ALEXA Mini LF would be my first choice regarding flexibility and versatility. It’s incredible how so much technology, with such a big sensor, can find its place in such a small, but still robust, camera body.
Cinematographer Tom Faehrmann BVK (Known for: The Miracle of Bern, Ulzhan, Campus and many more)
The ALEXA Mini LF has a voltage input range from 11 V to 34 V. Therefore, it can be easily powered by any 14.4 V on-board battery as well as by 24 V on-board batteries.
The ALEXA Mini LF has a power draw slightly higher than the ALEXA Mini, we estimate currently at around 65 W when recording ARRIRAW at 24 fps with the MVF-2 viewfinder connected. Note: electronic accessories will increase power draw based on the accessories’ power draw.
The ALEXA Mini LF uses the new, small and cost-effective Codex Compact Drive 1 TB.
The Compact Drive has been specifically designed for the small form factor of the ALEXA Mini LF, using new flash technology in a miniaturized tough casing. The ALEXA LF Mini accepts Compact Drives directly, without the need for an adapter. ALEXA LF or ALEXA SXT W do not support the Compact Drive.
The Compact Drive 1 TB contains one industrial SSD and both ARRIRAW and Apple ProRes recording can utilize the drive's full recording capacity of 960 GB. The drive will be formatted by the ALEXA Mini LF in the UDF format for ARRIRAW and ProRes. Therefore, both ARRIRAW and ProRes can be recorded onto the same media without reformatting or switching drives. The drive offers sustained write rates of up to 8 Gb/s. We will also use this drive for future cameras.
Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.
Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.
Great images derive from great lenses with their individual touch to the image. For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount.
Get to know all our lens mounts and find out what makes our new LPL mount unique!
A steady look-out for image quality is key to delivering the best possible image through a given pipeline. In this way new developments and ways to shape the DoP's vision on set can be integrated into our cameras via new software releases. ARIRAW footage recorded before such an update benefits as well as it can be re-processed through an updated pipeline.
ARRI Build Quality
Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate - all features that our digital cameras have inherited.
Our very own ALEV III sensor plays its strengths in a film-like look and feel with HDR capability (since 2010). Originally developed for our ALEXA camera family, it had the same height and width as a 35mm film frame. Nowadays the ALEV III comes to live in different cameras and shapes: ALEXA 65 uses the A3X version - a 65mm sensor - whereas ALEXA LF and ALEXA Mini LF use A2X, the slightly smaller variant that covers a little bit more than "full frame".
Our viewfinder are specifically designed to meet the needs of professional camera operators by offering an extremely fast image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including surround view.
The concept behind the term "workflow" is the digital film lab. Hence being able to view, edit and "post" footage recorded with our digital cameras. We develop our own Software Development Kit (ARRIRAW SDK) for processing ARRIRAW data to RGB images and talk to 3rd party vendors to ensure support in their tools.