alexa-mini-lf-left-front-dark

ALEXA Mini LF

Large format, small camera

ALEXA Mini LF - front - white
Large-format sensor in an ALEXA Mini body

Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. 

Credits

1917

1917

Dune

Dune

Outlander

Nomad

Nomad

La Bonne Épouse

Stranger Things_S4

Stranger Things

Gunpowder Milkshake (1)

Gunpowder Milkshake

El Cid (1)

El Cid

The Mandalorian (1)

The Mandalorian

Fatman (1)

Fatman

Features

Best overall image quality in large format

  • Immersive large-format look
  • Lower noise with higher usable sensitivity
  • Highest dynamic range of any production camera
  • ARRI color science for natural skin tones, easy color correction and clean VFX
  • Perfect for High Dynamic Range (HDR) and Wide Color Gamut (WCG) displays

Best overall production value

  • Robust and reliable
  • Easy to operate and use on set
  • Fast and efficient workflows

Internal recording to new Codex Compact Drive

  • Uncompressed and unencrypted MXF/ARRIRAW
  • Fast and efficient MXF/Apple ProRes
  • New Codex Compact Drive 1TB is small, tough and cost-efficient
  • Affordable Compact Drive Reader works without license or extra software
  • Compact Drive Adapter is compatible with SXR Capture Drive Docks

New MVF-2 high-contrast HD viewfinder

  • HD OLED display, color science and ARRICAM eyepiece like ALEXA LF EVF-2
  • Optimal judgement of focus, dynamic range and color
  • Stable color balance through temperature-controlled display
  • Large 4” flip-out monitor shows image or camera menu
  • Three operation modes: single operator, crew or remote
  • New flexible and reliable CoaXPress VF cable, up to 10 m/33 ft

Additional new features

  • Three internal, motorized large-format FSND filters: ND 0.6, 1.2 and 1.8
  • New dedicated, regulated 12 V and 24 V accessory power outputs
  • New SYNC IN and improved AUDIO connectors
  • Two built-in microphones
  • Six user buttons on camera's left side
  • One LOCK button each for camera and viewfinder
  • Additional external WiFi antenna
  • Easier access to media, VF and TC connectors

Great system compatibility

  • Same sensor and recording formats as ALEXA LF
  • Compatible with LPL and PL mount lenses, Super 35 and full frame
  • Supports all anamorphic de-squeeze ratios
  • Compatible with almost all ALEXA Mini accessories
  • Compatible with ARRI and cmotion wireless remote systems
  • Works with 12 V and 24 V on-board batteries (∼65 W power draw)
data (7) Kopie
Truly cinematic
ARRI large-format system: ALEXA LF, ALEXA Mini LF, Signature Primes
ARRI's large-format camera system

The LF camera system consists of the high-speed ALEXA LF and ALEXA Mini LF cameras, ARRI Signature Prime and Zoom lenses, LPL lens mount, PL-to-LPL adapter, and Lens Data System LDS-2. The combined feature sets and form factors of ARRI’s two large-format cameras encompass all on-set requirements.

Quotes

I love the large format of the ALEXA Mini LF, and I love the Signature Primes, which give beautiful skin tones and a seamless roll-off in the shadows. 

DP and TRINITY operator Daniel Cawthorne

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. I’ve been amazed by the step up in detail with the Mini LF, but also there is something different in the way the sensor handles color, at least in the tests that I’ve done with my DIT, LJ Kim. We’re both in awe of the improvements from the Mini. It makes it hard to go back.

Cinematographer Michael Dwyer (Known for: Hostile Border, “Justin Bieber: Seasons” and Justin Bieber’s “Intentions” music video and many more)

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)

I am thrilled by the natural and organic look, the pleasant sharpness without disturbing micro-sharpness, the warm color rendition in combination with very natural skin tones, and the richness of details deep into the blacks. Thanks to the minimal “breathing” of the ARRI Signature Primes - shifts in focus are hardly noticeable even in fixed tableaus and therefore appear extremely subtle. The combination of my ALEXA Mini LF with the ARRI Signature Primes (provided by Cinegrell) was the perfect choice for the shooting of the Swiss "Aller Tage Abend." The compact design of the Mini LF as well as the amazing light weight of the ARRI Signature Primes allow fast and flexible work.

Cinematographer Simon Huber (Known for: Aller Tage Abend (currently shooting), Lasst die Alten sterben, Experiment Schneuwly and commercials for FIFA, Coca-Cola, Virgin, Samsung and many more)

The image that the LF and the Signatures produces seems, to me, more like what my eyes see than anything else I experienced so far.

Cinematographer Roger Deakins CBE, ASC, BSC (known for: 1917, Blade Runner 2049, Skyfall, Sicario, No Country for Old Men, O Brother Where Art Thou? 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)

The Mini LF is the camera I have been waiting for. A large sensor in a small camera, its perfect.

Sebastian Blenkov on the Set of Operation Mincemeat

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)

The images from the Mini LF are just superb and Large Format, allowing me to utilise longer lenses, is such a fantastic combination.

Cinematographer Ben Shirley ACS (Known for: Commercials: Apple/Vodafone, VB, Mercedes, Australian Defence Force, Lexus, Audi, Subaru, Mitsubishi, Schweppes and many more)

The Alexa Mini LF has quickly become my favourite cinema camera. The large format picture quality is absolutely stunning just like the original LF but the small form factor makes it the ideal companion for all my handheld work. The new viewfinder also needs a mention, it’s clearest and most accurate EVF I’ve ever used.

Cinematographer Simon Ozolins ACS ( Known for: The Other Guy, Tomorrow When The War Began; Commercial: Seafolly, RM Williams, KFC, Westfield; Music Video: Empire of the Sun and many more)

After exhaustive tests with many cameras and lenses, my choice was clear: ALEXA Mini LF and Signature Prime lenses. I had found the perfect combination: the cameras with a large sensor, large pixels, intense blacks, skin tones in their natural color range, high latitude and versatility and the lenses with unmatched quality optics including a well-balanced relationship between definition, softness and contrast.

Cinematographer Javier Salmones AEC (Currently shooting "El Cid", a TV series for Amazon Prime; Known for: La Lengua de las Mariposas, The Retorned, Mallorca´s Songs 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)

Working with the ALEXA Mini LF, was like driving a luxury car. Now that I’ve gotten a taste of this tool, I don’t want to settle for anything less. 

Director & Writer Chelsea Bo (Known for: Cinematic Self-Portraits, TheCavKid, Doritos: Elephant In The Room and many more)

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 the same recording formats as the ALEXA LF. Recording formats and maximum frame rates of both cameras are shown in 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 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.

  • 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 enclosure. The ALEXA Mini LF accepts Compact Drives directly, without the need for an adapter. ALEXA LF or ALEXA SXT W do not support the Compact Drive.

    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.

    To get an overview of recording media for ARRI cameras, please take a look at the Supported Recording Media document.

190321_stills_mila_2.22.2_2.28.1
Café Mila Showreel
210319_stills_mila_2.42.1

Lens options for ARRI large-format cameras

Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, 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.

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40% savings of time and budget with High Density Encoding

Codex High Density Encoding (HDE) uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40% during the offload from the recording media. While exhibiting a smaller footprint, HDE is not compromising on quality. Once decoded, the output results in a bit-for-bit perfect match to the original ARRIRAW file! HDE lowers storage costs, shortens transfer times, and speeds up workflows, which translates to direct savings in time and money.

You can apply HDE to ARRIRAW data from any of our cameras with the free Device Manager software from Codex (Mac only). The file format is supported by major studios and many standard post production applications. Codex also created a SMTPE RDD, which describes the HDE file structure and how HDE can be decoded. HDE can be used at no charge with Codex Capture Drives, Codex Compact Drives, and any Codex Dock or Reader. Codex also offers paid HDE license options which allow productions using ALEXA Mini and AMIRA cameras with CFast 2.0 recording media to benefit from HDE.

Technical Data
Model
ALEXA Mini LF
Sensor Type
Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array
Sensor Maximum Resolution 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)
LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 3840 x 2160
LF 16:9 ProRes 2K: 3840 x 2160
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Sensor Active Image Area (dimensions)
LF Open Gate ProRes 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
LF Open Gate ARRIRAW 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"
LF 16:9 ProRes HD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes 2K: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ProRes UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 16:9 ARRIRAW UHD: 31.68 x 17.82 mm / 1.247 x 0.702"
LF 2.39:1 ProRes 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
LF 2.39:1 ARRIRAW 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"
Recording File Container Size (pixel)
LF Open Gate ProRes 4.5K: 4480 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4480 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Recording File Image Content (pixel)
LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
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
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 Drives
Recording Frame Rates
LF Open Gate ProRes 4.5K: 0.75 - 40 fps
LF Open Gate ARRIRAW 4.5K: 0.75 - 40 fps
LF 16:9 ProRes HD: 0.75 - 90 fps
LF 16:9 ProRes 2K: 0.75 - 90 fps
LF 16:9 ProRes UHD: 0.75 - 60 fps
LF 16:9 ARRIRAW UHD: 0.75 - 60 fps
LF 2.39:1 ProRes 4.5K: 0.75 - 60 fps
LF 2.39:1 ARRIRAW 4.5K: 0.75 - 60 fps
Note: maximum fps values are preliminary information
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 fold 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
Built-in motorized ND filters 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)
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 can act as wired remote control with 10m/33ft cable
Web-based remote control from smart phones, tablets and laptops via WiFi & Ethernet (beta version)
Camera Access Protocol (CAP) 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
SXU-1 hand-unit with control over one lens channel
OCU-1 and Master Grip control of lens and user buttons
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
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
Power Management
-
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
-

Downloads

2020-09-10
2020 09-09 ALEXA Mini LF Supporting Tools and Software Overview
2019-09-25
MVF-2 Viewfinder Slide-in Card DIN A4
2019-09-25
MVF-2 Viewfinder Slide-in Card US Letter
2020-09-16
Software Update Package 6.0.22 - User Manual
2019-11-06
Camera System Highlights - Brochure 2020
2019-04-03
ARRI large-format camera system brochure
2019-09-18
Supported Recording Media Overview