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
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)
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)
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)
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 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.
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.