Stage header mini lf

ALEXA Mini LF

Large format, small camera

ALEXA Mini LF - front - white
The go-to camera for drama series, feature films and commercials

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. Featuring 16 recording formats, the Mini LF can be universally used for large format and Super 35 productions.

Credits

Empire of Light

The Lord of the Rings: The Rings of Power

Empire of Light

Empire of Light

Empire of Light

Three Thousand Years of Longing

Movieposter_Nightmare Alley (1)

Nightmare Alley

Empire of Light

All of Us Are Dead

The Batman

The Batman

Halo (1)

Halo

The Protege_Mini LF_SP

The Protégé - Made for Revenge

The Power of the Dog_Mini LF_LF

The Power of the Dog

Dune (1)

Dune

Features

Best overall image quality in large format and Super 35

  • Universally usable for Super 35 and large format
  • Immersive large-format look
  • Popular Super 35 recording formats
  • 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

  • Shares some Super 35 recording formats with ALEXA Mini 
  • 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)

ARRI EF Mount (LBUS)

  • Use EF mount lenses with ALEXA Mini LF and ALEXA Mini
  • Wider light baffle covers large-format and Super 35 sensors
  • Extra LBUS connector frees up EXT connector on camera
  • Ability to record focal length and iris metadata

Find more information here


Film production camera used on set.
Truly cinematic

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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 and PL-to-LPL adapter. The combined feature sets and form factors of ARRI’s two large-format cameras encompass all on-set requirements.

Quotes

Today, I work a lot with ALEXA Mini LF. One of the reasons is the size of the sensor. I have the impression that the character is more present, more real. The image exists, a bit like when I shoot with a medium format Hasselblad. I also really like the viewfinder of the ALEXA Mini LF. With it, I can check my images at any time, without the need to install an external monitor. I like to keep the camera as light as possible, so that it remains mobile, intuitive.

Cinematographer Kanamé Onoyama about shooting with ALEXA Mini LF

The LF was a great choice for us. We had the full size LFs for the main work and a Mini LF for Steadicam.

Cinematographer Ari Wegner ACS about shooting "The Power of the Dog" with ALEXA Mini LF and ALEXA LF

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. We were trying to travel carbon neutral, so we were always on different vehicles, like tiny sail boats in rough seas, with the camera bumping against everything. We shot in rainy forests in the middle of Scotland; we hiked up mountains chasing sunsets. On the Isle of Skye, we had to cross a river with the camera on my shoulder, so it was really tested, and it didn’t let us down.

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

We had an amazing 5 week shoot and the Mini LF was a revelation to me. So impressive in its subtle look, expansive latitude and general  ease of operation. We really put it to the test filming in 36deg heat, dusty environments and mounted on boats and it coped so well with everything we threw at it …And for documentary cinematography, that viewfinder is incredible, detailed and reassuring, a real joy to work with.

Cinematographer Ben Joiner ASC about shooting with the ALEXA Mini LF

The film “Buying Her” explores the dark world of human trafficking in Las Vegas. Director Benjamin Nolot and I wanted a camera and lens duo that not only had a beautiful, clean bokeh wide open, but could gracefully handle the extreme contrast of specular highlights on the Las Vegas strip at night. We found the Mini LF and Signature Primes to be the perfect match. Rating the Mini LF at 1600 ASA gave a subtle texture and latitude shift which complimented the material and further highlighted the location and engulfing character in the film.

Cinematographer Matt Ryan shooting “Buying Her” captured with ARRI Signature Primes and ALEXA Mini LF 

We used the Signature Primes along with the Mini LF to shoot re-enactments for a documentary on location in Las Vegas. We were constantly on the move and quickly changing lenses, so the Signature Primes were easy to do this with because they’re so light weight. The Signature Primes paired with the Mini LF created a beautiful look with the lights and colors of Las Vegas. The image quality is sharp and clean, but still extremely natural looking. It was a perfect fit for our project!

Camera Op Sophie Bruza shooting “Buying Her” captured with ARRI Signature Primes and ALEXA Mini LF 

When it comes to achieving a certain imagery ARRI is a trusted choice for me. As an artist, my tools allow me the flexibility to create— my lenses and cameras are the paint and brushes to the canvas of life in motion. A challenge I faced during the pre-production phase was to design, and work, in a world with smaller proportions. The space to put the camera dolly became smaller, and we were also limited on space for lighting. The combination of Signature Primes and the ALEXA Mini LF enabled me to capture the pure essence of the children's choreography while creating a delicate image with rich passionate colors. The choice of lenses solved the limitations of light and space, while producing a defined output. The outcome was inspirational, practical, and magical.

Cinematographer Mina Nabil about the ARRI Signature Primes and ALEXA Mini LF (Project: "Sanosan" commercial )

Recently we were involved with the beta testing program for SUP 7.0 on our ALEXA Mini LF. Since then we have put it through its paces, recording in every resolution and sensor mode, at different frame rates, with and without wireless control. We could not fault it. It has turned the Mini LF into an extremely complete and versatile camera – I would recommend this update to anyone.

1st AC David Cordell

The new SUP 7.0 on our ALEXA Mini LF is next level. The Mini LF has been an incredible workhorse for us here at Chocolate Studios and SUP 7.0 has made the platform even more powerful – giving us great resolution with low data rates in 4.3K LF 16:9 - UHD – all without cropping the sensor.

David Ellis, Founder and Managing Director at Chocolate Studios

I love this new SUP 7.0 update for the Mini LF.  It gives my company, Ryan Hosking Cine, the freedom to use my Mini LF side by side with the original Mini and give me the flexibility to have every option that the ALEXA Mini line delivers in two beautiful compact camera bodies. I’ve spent a lot of time testing it from giant LED MR Panels to exterior beauties and it’s excelled in each scenario. The updated magnification is also really helpful for my high altitude and long range Aerial work I specialize in at RHC.

Cinematographer Ryan Hosking

ryan hosking_on set

I’m really happy with this update. I have to shoot a lot in 16:9 for clients. Now with the Mini LF with SUP 7.0 it’s perfect, because I can now use nearly the full width of the sensor and deliver a large format look.

Cinematographer Joas Burggraaf

UNCONDITIONAL bouncer (OneShot Media)low

The new formats in SUP 7.0 are fantastic. If I am mixing lenses and formats I no longer need more than one camera. This is useful with vintage lenses, periscopes, etc. Also, having higher frame rates in ARRIRAW compared to an ALEXA Mini is very useful. Unless I need the higher frame rates of a full-sized ALEXA LF, I plan on shooting on Mini LF for all jobs regardless of format once this firmware is released.

Cinematographer Logan Schneider (Known for: "Drunk History",  "Gentefied", "Watson" and many more)

SZ The Heist BTS_logan_schneider

While ARRI has added multiple Super 35 formats to the Mini LF with SUP 7.0, it's the additional stability improvements that have increased our trust in the Mini LF and gives us confidence in the camera's reliability on set.

Brandon Zachary, Founder & COO, Dynamic Rentals

Dynamic Rentals IMG-6386 (1)

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)

Simon-Ozolins-ACS-2

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)



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 and some of the ALEXA Mini. Recording formats and maximum frame rates of the 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.

ALEXA Mini LF on the set of MADO XR_2
ALEXA Mini LF on the set of MADO XR_3
ALEXA Mini LF on the set of MADO XR_4

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.

Set components

Tech Talks

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
-

ARRI Technology

Lens Mounts
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!

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Image Processing
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.

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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.

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ALEV Sensors
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".

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Viewfinders
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.

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Workflow
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.

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