ALEXA SXT W
Ready to unplug
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
Features
Proven ALEXA features
- Best overall image quality
- Efficient and versatile workflows
- Simple and safe operation
- Open, future-proof architecture
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
Flexible monitoring options
- 4 independent monitoring outputs: EVF, MON OUT 1-3
- Independent in color space, surround view and look
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
Great choice of recording formats
- 14 in-camera recording formats to fulfill any production needs
- All sensor modes in ARRIRAW and ProRes
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.
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:
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)
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)
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)
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)
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)
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)
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)
Set components
Tech Talks
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"
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)
(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
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"
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
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
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
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
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
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
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
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
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)
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)
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
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
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
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.
1.30
2.00, 2.00 mag.
Exposure and Focus Tools
False Color
Peaking
Zoom
Peaking
Zoom
Audio Input
1x XLR 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)
(Line input max. level +24dBu correlating to 0dBFS)
Audio Output
3,5mm stereo headphone jack
SDI (embedded)
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
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
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
Built-in White Radio for ARRI lens and camera remote control
Built-in Wireless Video System
Lens Mounts
PL lens mount
LPL lens mount
LPL lens mount
Flange Focal Depth
PL mount: 52 mm
LPL mount: 44 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)
1x On-board battery interface (10.5-34 V DC)
Power Consumption
min. 88W
max. 141W
(Camera body with EVF-1)
max. 141W
(Camera body with EVF-1)
Power Outputs
3x Fischer 3pin 24V RS
1x LEMO 2pin 12V
1x LEMO 2pin 12V
Power Management
Active ORing between BAT connector
and on-board battery adapters
Measurements (HxWxL)
158 x 189 x 351 mm / 6.22 x 7.44 x 13.82"
(camera body with PL lens mount)
(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
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