ALEXA SXT W

The ALEXA camera system is known for its exceptional image performance that is simple to operate, reliable in even the most extreme environments and versatile enough to cover a wide range of workflow and budget requirements.

Based on this proven technology is the ALEXA SXT W: It has a built-in video transmitter which makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up are quicker, and productions are able to move faster.

Credits

Aladdin

Cover of the movie "Fast & Furious: Hobbs & Shaw". This film was shot with the compact movie camera ALEXA Mini and sxt w.

Fast & Furios: Hobbs & Shaw

Glass

IT Chapter 2

Cover of the Movie "John Wick 3", produced with the ARRI low budget camera sxt.

John Wick: Chapter 3 - Parabellum

Cover of the Movie "Bohemian Rhapsody", production with the help of the low budget arri camera sxt w.

Bohemian Rapsody

Cover of the movie "Us". This film was shot with the compact movie camera ALEXA Mini, sxt w and the Master Primes.

Us

Clemency

Good Boys

The Art of Racing in the Rain

Features

Proven ALEXA features

Best overall image quality
Efficient and versatile workflows
Simple and safe operation
Open, future-proof architecture

Representation of the ARRI camera SXT W, suitable for extreme environments.

More flexibility due to wireless design

Integrated wireless video, ARRI ECS and WiFi radios
No interference between the integrated radios
ARRI built quality & reliability
Smaller and lighter than with external transmitters
Fewer cables, therefore fewer cable problems, faster setup (power on and go)
Accompanied by ARRI wireless video receivers and accessories

Back view of the ARRI camera SXT W, suitable for extreme environmental conditions.

Flexible monitoring options

4 independent monitoring outputs: EVF, MON OUT 1-3
Independent in color space, surround view and look

©Yves Krier

Wide range of media

Four different types of media create unrivaled flexibility for rental houses and productions:

CFast 2.0 Adapter 2 and CFast 2.0 card
SxS Adapter 2 and SxS PRO/SxS PRO+ card
XR Adapter and XR Capture Drive
SXR Adapter and SXR Capture Drive

Shows the different recording media that can be used with the sxt.

Great choice of recording formats

14 in-camera recording formats to fulfill any production needs
All sensor modes in ARRIRAW and ProRes

Close-up view of a person working with the arri sxt w.

©Yves Krier

ARRI Wireless Video System

The ALEXA SXT W forms part of a new and complete ARRI Wireless Video System (WVS), along with a stand-alone video transmitter for use with other ARRI or third-party cameras, and a stand-alone video receiver that picks up signals from either transmitter.

An extensive accessory range includes various mounting brackets, antenna extensions and the handheld Director’s Monitor Support (DMS-1), as well as a specially adapted Transvideo monitor with a built-in receiver for the ARRI transmitters. Whether using this monitor or others, the modular system allows for a compact and efficient setup. An extra power-out on the video receiver, for example, permits a single on-board battery to power both the receiver and an attached handheld monitor. A higher input voltage range allows more flexibility on battery choice.

Representation of the ARRI Wireless Video System usable with the sxt w.

Sample Setups

Between the camera, stand-alone transmitter, receiver, Starlite ARRI‑WVS monitor and extensive range of accessories, any set can be made more efficient with the ARRI Wireless Video System. Up to four receivers (either WVR‑1 or Starlite ARRI‑WVS) can be used per transmitter and four to six transmitter/receiver groups can be used on the same set.

Here is a sample setup with four cameras:

Illustration of various possible combinations with the ARRI sxt w.

Quotes

I love working with ALEXA – you get rich, refined images with the immediacy of shooting digital.

Reed Morano ASC (Known for: Lemonade, Frozen River, Meadowland and many more)

Film Director Reed Morano works with the arri sxt w on set.

I think ALEXA is the best system out there, with different camera models and recording options to choose from, all offering – to my eye – the highest image quality.

Roger Deakins CBE, ASC, BSC (Known for: Blade Runner 2049, Skyfall, Fargo, No Country for Old Men and many more)

Roger Deakins CBE, ASC, BSC talks about his enthusiasm for ARRI products.

No matter what happens with digital cinema, ALEXA is the camera I can rely on…I like ARRIRAW as it gives me the greatest range and the most possibility to achieve the look i want.

Phedon Papamichael ASC, GSC (Known for: Nebraska, The Monuments Men, Downsizing and many more)

Cinematographer Phedon Papamichael talks about his trust in the ARRI ALEXA camera.

The ALEXA camera system allowed us to shoot with very low light levels and make the movie even more immersive.

Emmanuel Lubezki ASC, AMC (Known for: The Revenant, Gravity, Birdman, Children of Men and many more)

Arri ALEXA during a shoot in extreme environments.

You have such exposure latitude with ARRIRAW, especially in the shadows but also in the highlights.

Cinematographer Dante Spinotti ASC, AIC (Known for: L.A. Confidential, The Insider, X-Men: The Last Stand, The Last of the Mohicans and many more)

Cinematographer Dante Spinotti talks about ARRIRAW.

HUGO could not have been achieved with any other camera system.

Cinematographer Robert Richardson ASC (Known for: Hugo, The Aviator, Inglourious Basterds, JFK and many more)

Cinematographer Robert Richardson on set with the ARRI Camera System.

The ALEXA allowed us to do 35 to 40 setups per day.

DP Ehab Assal (Known for: Omar, A Song for Nour, Stories on Human Rights and many more)

Cinematographer Ehab Assal in close-up with the ARRI Camera ALEXA

Set components

K2.0019453 Battery Adapter Back Hi-Load BAB-HV V-mount for ALEXA LF

Battery Adapter Back High Load BAB-HV V-mount for ALEXA LF

K2.0019456 Battery Adapter Back Hi-Load BAB-HG Gold-Mount for ALEXA LF

Battery Adapter Back High Load BAB-HG Gold-Mount for ALEXA LF

Representation of the wireless video receiver WVR-1.

Wireless Video Receiver WVR-1, Basic Set

Dual Wireless Video Receiver WVR-1, Pro Set

Wireless Compact Unit WCU-4

Transvideo Starlite ARRI-WVS

Tech Talks

ARRI Tech Talk celebrating the 10th anniversary of the low-budget movie camera amira.

Jun. 17, 2020

ARRI TECH TALK Live: 10th Anniversary of ALEXA

The first ARRI ALEXA was shipped in June 2010. This June, ALEXA is 10 years young! Please join us in celebrating with an ARRI TECH TALK Live! Product Manager Marc Shipman-Mueller walks down memory lane and shares how it all began, including some interesting insights into the ARRI development process. He also shows memorable productions, products and events that have accompanied us on our way.

Technical Data

Model

ALEXA SXT W

Sensor Type

Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array

Sensor Maximum Number of Photosites and Size

3424 x 2202
28.25 x 18.17 mm / 1.112 x 0.715"
⌀ 33.59 mm / 1.322"

Sensor Frame Rates

0.75 - 120 fps

Weight

∼7.4 kg / ∼16.3 lbs
(camera body with PL lens mount)

Photosite Pitch

8.25 μm

Sensor Active Image Area (photosites)

16:9 ProRes HD: 2880 x 1620
16:9 ProRes 2K: 2880 x 1620
16:9 ProRes 3.2K: 3200 x 1800
16:9 Prores 4K UHD: 3200 x 1800
16:9 ARRIRAW 2.8K: 2880 x 1620
16:9 ARRIRAW 3.2K: 3168 x 1782
6:5 ProRes 2K Anamorphic: 2560 x 2146
6:5 ProRes 4K Cine Anamorphic: 2560 x 2146
6:5 ARRIRAW 2.6K: 2578 x 2160
4:3 ProRes 2.8K: 2880 x 2160
4:3 ARRIRAW 2.8K: 2880 x 2160
Open Gate ProRes 3.4K: 3424 x 2202
Open Gate ProRes 4K Cine: 3414 x 2198
Open Gate ARRIRAW 3.4K: 3424 x 2202

Sensor Active Image Area (dimensions)

16:9 ProRes HD: 23.76 x 13.37 mm / 0.935 x 0.526"
16:9 ProRes 2K: 23.76 x 13.37 mm / 0.935 x 0.526"
16:9 ProRes 3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"
16:9 Prores 4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585"
16:9 ARRIRAW 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526"
16:9 ARRIRAW 3.2K: 26.14 x 14.70 mm / 1.029 x 0.579"
6:5 ProRes 2K Anamorphic: 21.12 x 17.70 mm / 0.831 x 0.697"
6:5 ProRes 4K Cine Anamorphic: 21.12 x 17.70 mm / 0.831 x 0.697"
6:5 ARRIRAW 2.6K: 21.38 x 17.82 mm / 0.842 x 0.702"
4:3 ProRes 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"
4:3 ARRIRAW 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"
Open Gate ProRes 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715"
Open Gate ProRes 4K Cine: 28.17 x 18.13 mm / 1.109 x 0.714"
Open Gate ARRIRAW 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715"

Recording File Container Size (pixel)

16:9 ProRes HD: 1920 x 1080
16:9 ProRes 2K: 2048 x 1152
16:9 ProRes 3.2K: 3200 x 1824
16:9 Prores 4K UHD: 3840 x 2160
16:9 ARRIRAW 2.8K: 2880 x 1620
16:9 ARRIRAW 3.2K: 3168 x 1782
6:5 ProRes 2K Anamorphic: 2048 x 858
6:5 ProRes 4K Cine Anamorphic: 4096 x 1716
6:5 ARRIRAW 2.6K: 2592 x 2160
4:3 ProRes 2.8K: 2944 x 2176
4:3 ARRIRAW 2.8K: 2944 x 2176
Open Gate ProRes 3.4K: 3456 x 2202
Open Gate ProRes 4K Cine: 4096 x 2636
Open Gate ARRIRAW 3.4K: 3424 x 2202

Recording File Image Content (pixel)

16:9 ProRes HD: 1920 x 1080
16:9 ProRes 2K: 2048 x 1152
16:9 ProRes 3.2K: 3200 x 1800
16:9 Prores 4K UHD: 3840 x 2160
16:9 ARRIRAW 2.8K: 2880 x 1620
16:9 ARRIRAW 3.2K: 3168 x 1782
6:5 ProRes 2K Anamorphic: 2048 x 858
6:5 ProRes 4K Cine Anamorphic: 4096 x 1716
6:5 ARRIRAW 2.6K: 2578 x 2160
4:3 ProRes 2.8K: 2880 x 2160
4:3 ARRIRAW 2.8K: 2280 x 2160
Open Gate ProRes 3.4K: 3424 x 2202
Open Gate ProRes 4K Cine: 4096 x 2636
Open Gate ARRIRAW 3.4K: 3424 x 2202

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°- 358°

Recording Formats

ARRIRAW (.ari)
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422

Recording Media

SXR Capture Drives
XR Capture Drives
SxS PRO+ Cards
CFast 2.0 Cards

Recording Frame Rates

16:9 ProRes HD: 0.75 - 120 fps
16:9 ProRes 2K: 0.75 - 120 fps
16:9 ProRes 3.2K: 0.75 - 72 fps
16:9 Prores 4K UHD: 0.75 - 50 fps
16:9 ARRIRAW 2.8K: 0.75 - 120 fps
16:9 ARRIRAW 3.2K: 0.75 - 120 fps
6:5 ProRes 2K Anamorphic: 0.75 - 96 fps
6:5 ProRes 4K Cine Anamorphic: 0.75 - 60 fps
6:5 ARRIRAW 2.6K: 0.75 - 96 fps
4:3 ProRes 2.8K: 0.75 - 60 fps
4:3 ARRIRAW 2.8K: 0.75 - 96 fps
Open Gate ProRes 3.4K: 0.75 - 60 fps
Open Gate ProRes 4K Cine: 0.75 - 48 fps
Open Gate ARRIRAW 3.4K: 0.75 - 90 fps

Recording Modes

Standard real-time recording
Pre-recording (ProRes only)
No Intervalometer

Viewfinder Type

Electronic Viewfinder EVF-1

Viewfinder Technology

F-LCOS viewfinder display

Viewfinder Resolution (pixel)

1280 x 784

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 100K steps
Color correction adjustable range from -12to +12 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values

Filters

Manual behind the lens FSND filters: Optical Clear, 0.3, 0.6, 0.9, 1.2, 1.5, 1.8, 2.1, 2.4
Fixed optical low pass, UV, IR filter

Image Outputs

1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata

Lens Squeeze Factors

1.00, 1.30, 2.00, 2.00 mag.

Exposure and Focus Tools

False Color
Peaking
Zoom

Audio Input

1x XLR 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)

Audio Output

3,5mm stereo headphone jack
SDI (embedded)

Audio Recording

2 channel linear PCM, 24 bit 48 kHz

Remote Control Options

Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
WCU-4 hand unit with control over lens motors and operational parameters via built-in white radio
Remote Control Unit RCU-4 via Ethernet

Interfaces

1x LEMO 5pin LTC Timecode In/Out
1x BNC SDI Return In
1x LEMO 16pin EXT for accessories and sync
1x LEMO 10pin Ethernet for remote control and sync
1x SD Card (for user setups, look files etc)
3x Fischer 12pin connectors for CLM lens motors
2x Fischer 5pin LCS Lens Control System connectors for hand units
1x LDD Lens Data Display connector

Wireless Interfaces

Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Built-in Wireless Video System

Lens Mounts

PL lens mount
LPL lens mount

Flange Focal Depth

PL mount: 52 mm
LPL mount: 44 mm

Power Input

1x Fischer 2pin BAT connector (10.5-34 V DC)
1x On-board battery interface (10.5-34 V DC)

Power Consumption

min. 88 W
max. 141 W
(Camera body with EVF-1)

Power Outputs

3x Fischer 3pin 24V RS
1x LEMO 2pin 12V

Measurements (HxWxL)

158 x 189 x 351 mm / 6.22 x 7.44 x 13.82"
(camera body with PL lens mount)

Operating Temperature

-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing

Storage Temperature

-30° C to +70° C / -22° F to +158° F

Sound Level

< 20 dB(A) at 24fps

Software Licenses

Low budget camera ALEXA SXT W shoots in extreme environments.

Person carries low budget camera arri sxt.

ARRI ALEXA SXT W under extreme environments on set.

FAQ

With the ALEXA SXT W we introduced an integrated HD wireless video transmitter. The ALEXA LF continued using this built-in technology.
The ALEXA SXT W replaces the ALEXA SXT Plus and ALEXA SXT Studio cameras. The ALEXA SXT W is based on the ALEXA SXT Plus, with the addition of a wireless video transmitter, a WiFi radio and a new internal board that allows faster frame grabs.
The new ALEXA line-up includes:

ALEXA LF (wireless HD video, ARRI ECS camera & lens control, WiFi)
ALEXA SXT W (wireless HD video, ARRI ECS camera & lens control, WiFi)
ALEXA Mini (ARRI ECS camera & lens control, WiFi)
ALEXA SXT EV (no wireless)

Here is the short list:

New Recording Formats
New ARRI Look Management
Super flexible on-set monitoring
Improved image quality
Single speed mode
New media bay and drives

And here is a slightly longer list with more details:

New recording formats

16:9 ProRes 4K UHD (3840 x 2160)
The easiest and fastest path to the best 4K UHD image, with the immediacy and speed of ProRes. Exactly the same format as on ALEXA Mini and AMIRA.
Open Gate ProRes 4K Cine (4096 x 2636)
Unique to ALEXA SXT. Recorded file contains 4K cine standard width with extra height for VFX tracking markers or repositioning.
6:5 ProRes 2K Anamorphic (2048 x 858)
The most economical path to the best overall image quality with anamorphic lenses. Camera creates a ready-to-view ProRes file in the 2K DCI delivery format, with no de-bayering, cropping, rescaling or de-squeezing needed in post.
6:5 ProRes 4K Cine Anamorphic (4096 x 1716)
The most economical path to the best overall image quality with anamorphic lenses. Camera creates a ready-to-view ProRes file in the 4K DCI delivery format, with no de-bayering, cropping, rescaling or de-squeezing needed in post.
4:3 ProRes 2.8K (2880 x 2160)
This format provides extra height for VFX tracking markers or repositioning when shooting 16:9 or 1.85 projects. Lower data rate and smaller image circle than Open Gate. Same pixel count as 4:3 ARRIRAW 2.8K.
Open Gate ProRes 3.4K (3424 x 2202)
Maximum image area and photo site count from a Super 35 ALEXA in combination with the immediacy and speed of ProRes. Same pixel count as ARRIRAW Open Gate 3.4K.
16:9 ARRIRAW 3.2K (3168 x 1782)
The largest number of pixels that can be processed at 120 fps. About half the data of ARRIRAW Open Gate 3.4K. Use full 3.2K image area for most ARRI Super 35 PL lenses, or use 2.8K center for lenses with a smaller image circle (and gain padding).

New ARRI Look Management

Look management from prep to post
Maintain and share the cinematographer's intended look on set, in dailies and in editing
Wide range of unique looks possible
Same look file and tools for ALEXA SXT, ALEXA Mini (SUP 4.0) and AMIRA (SUP 4.0)
ARRI Look File is always stored in metadata
Live grading on set
Automated dailies creation
Editing with looks
Super flexible on-set monitoring
High Dynamic Range (HDR) monitoring
Rec 709 or Rec 2020 monitoring outputs
Four independent monitoring outputs
Better frame grabs

Improved image quality

Optional ARRI Noise Reduction (ANR)
Advanced defect pixel correction
More range for baked-in looks with 3D LUTs

Single speed mode

Switch instantly to any frame rate without a switch from regular to high speed mode

Powerful new media bay and new drives

Supports new high speed SXR Capture Drives (1 TB and 2 TB) via SXR Adapter
Supports current XR Capture Drive 512 GB via XR Adapter
Supports SxS PRO and SxS PRO+ cards via SxS Adapter 2
Supports CFast 2.0 cards via CFast 2.0 Adapter 2
Increased frame rates for some recording formats
ProRes RAID; redundant recording to XR and SXR Capture Drives

A sensor mode defines an aspect ratio, which defines the area on the sensor that is being captured. A recording format define what is being recorded in-camera in the file. So while a sensor mode defines a certain number of photosites on the sensor, those may be recorded straight or up or down-sampled to create the pixels of the recording format. A distribution format defines how the final product is delivered to the consumer. The contents in the recording format is often up or down-sampled, cropped, repositioned or rotated in post before it becomes the final distribution format.

An example: Choosing a 16:9 sensor mode on the camera allows the further choice of various recording formats. Choosing the 4K UHD recording format means that a 16:9 area from the sensor is read out, up-sampled in camera to a 4K UHD image and then recorded. In this case the recording format of 4K UHD is the same as the distribution format of 4K UHD.

With the 14 different recording formats we have in the ALEXA SXT we are offering the best image quality and most efficient workflow for the most common production, post and distribution requirements. The recording formats are optimized for different budget situations, market segments, distribution resolutions and aspect ratios, lens choices and necessary post steps including the amount of VFX work.

...and more questions on the ARRI Wireless Video System

More FAQs