ALEXA SXT WVS night shot-0584_retouched

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.


ALEXA SXT W 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 videoARRI 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: 

ALEXA Quotes

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

Reed Morano ASC

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

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

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

Emmanuel Lubezki ASC, AMC

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

Cinematographer Dante Spinotti ASC, AIC

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

Cinematographer Robert Richardson ASC

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

DP Ehab Assal

Technical Data
Model
ALEXA SXT W
Sensor Type
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Size
28.25 x 18.17 mm / 1.112 x 0.715"
⌀ 33.59 mm / 1.322"
Photosite Pitch
8.25 μm
Sensor Frame Rates
0.75 - 120fps
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
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°- 358°
Recording Formats
ARRIRAW (.ari)
ProRes 4444 XQ
ProRes 4444
ProRes 422 (HQ)
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 mount
LPL 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. 88W
max. 141W
(Camera body with EVF-1)
Power Outputs
3x Fischer 3pin 24V RS
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)
Weight
~ 7.4 kg / ~ 16.3 lbs
(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
-

ALEXA SXT W 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 for 
    • 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.

Downloads

25 Nov 2018
ALEXA SXT W Flyer
04 Dec 2018
Supported Recording Media Overview
04 Dec 2018
ARRI Sample Footage Technical Information
04 Dec 2018
ALEXA SXT Crib Sheet
04 Dec 2018
Camera Access Protocol Feature List