ALEXA SXT W

FAQ

• What has changed with the ALEXA camera line-up due to the introduction of the ARRI WVS?

  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)

  
  

  

• What are the main features of the ALEXA SXT Cameras?

  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

• Can you give a more detailed list?

  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

• Can you explain the differences between sensor modes, recording formats and distribution formats?

  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. 

• Why are there so many recording formats?

  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.