ALEXA_Mini_LF_SUP_7-0_M20_Headerimage

ALEXA Mini LF SUP 7.0

ARRI is releasing ALEXA Mini LF Software Update Package 7.0, an update that includes new recording formats and many more features that enhance the usability of the camera.

One of the most asked for additions to the Mini LF are the new Super 35 recording formats. With these new formats, the Mini LF is now more flexible than ever and can be used for both large-format and Super 35 productions. In addition, three of the four Super 35 recording formats offer higher frame rates than the ALEXA Mini.

At the same time, we are expanding the cameras’ features for the immensely popular large format. Two new large format recording formats deliver the large format look with a significantly reduced data rate (HD or UHD recording). Many additional features are based on customer requests and greatly improve the overall usability of the camera.

An overview of features can be found below. A more detailed description of features and updating instructions can be found in the Release Notes, which are available in the download section.

Features Overview

  • New Super 35 and new large format recording formats
  • New recording format names
  • Improved MAGNIFICATION and more framelines
  • Signature Zoom Extender 1.7x support
  • User setup file compatibility 
  • Camera Access Protocol (CAP) enhancements 
  • Improved communication of LBUS devices and other ECS improvements 
  • Improved logfile exporting 
  • System stability improvements
all_recording_formats_S35

MXF/ARRIRAW 3.4K S35 3:2 - 3.4K

The most flexible format for feature films, drama series and commercials in Super 35. This format is covered by most S35 lenses and has enough resolution for many post-production workflows.

Sensor photosites: 3424 x 2202
Recorded file pixels: 3424 x 2202

Maximum frame rate: 60 fps

MXF/Apple ProRes 3.2K S35 16:9 - 3.2K

Very popular for drama series and commercials. This format is ideal for shooting with spherical S35 lenses for a 16:9 target deliverable.

Sensor photosites: 3200 x 1800
Recorded file pixels: 3200 x 1800

Maximum frame rate: 75 fps

MXF/Apple ProRes 2.8K S35 4:3 - 2.8K

Designed for shooting with anamorphic S35 lenses for a target deliverable of 2.39:1 or for shooting with spherical S35 lenses for a target deliverable of 1.85:1 with extra room above and below the image.

Sensor photosites: 2880 x 2160
Recorded file pixels: 2880 x 2160

Maximum frame rate: 75 fps

MXF/Apple ProRes 2.8K S35 16:9 - HD

This is the format of choice if you want the quickest way to an HD deliverable with a super low data rate and the assurance that the sensor area is covered by any S35 lens. Established with the ALEXA Classic EV in 2010 and still very popular.

Sensor photosites: 2880 x 1620
Recorded file pixels: 1920 x 1080

Maximum frame rate: 100 fps

MXF/Apple ProRes 4.3K LF 16:9 - UHD

By using almost the entire width of the LF sensor, this format delivers the unique large format look with a drastically reduced budget-friendly lower data rate, since down-sampling to your target deliverable 16:9 UHD is done in camera. Officially approved by Netflix.

Sensor photosites: 4320 x 2430
Recorded file pixels: 3840 x 2160

Maximum frame rate: 48 fps

MXF/Apple ProRes 4.3K LF 16:9 - HD

By using almost the entire width of the LF sensor, this format delivers the unique large format look with a drastically reduced budget-friendly lower data rate, since down-sampling to your target deliverable 16:9 HD is done in camera.

Sensor photosites: 4320 x 2430
Recorded file pixels: 1920 x 1080

Maximum frame rate: 75 fps

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 - 100 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 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
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 4.3K 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 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
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: 4448 x 3096
ARRIRAW 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
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 4.3K 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 4.5K LF 2.39:1 - 4.5K: 4480 x 1856
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 Container Size (pixel)
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 4448 x 3096
ARRIRAW 3.8K LF 16:9 - UHD: 3840 x 2160
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
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 4.3K 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 4.5K LF 2.39:1 - 4.5K: 4448 x 1856
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)
LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
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°- 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 Drives
Recording Frame Rates
ARRIRAW 4.5K LF 3:2 Open Gate - 4.5K: 0.75 - 40 fps
ARRIRAW 3.8K LF 16:9 - UHD: 0.75 - 60 fps
ARRIRAW 4.5K LF 2.39:1 - 4.5K: 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 4.3K 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 4.5K LF 2.39:1 - 4.5K: 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 fold 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
Built-in motorized ND filters 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)
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 can act as wired remote control with 10m/33ft cable
Web-based remote control from smart phones, tablets and laptops via WiFi & Ethernet (beta version)
Camera Access Protocol (CAP) via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
SXU-1 hand-unit with control over one lens channel
OCU-1 and Master Grip control of lens and user buttons
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
Power Management
-
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
-

ALEXA Mini LF SUP 7.0 FAQ

Quotes

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)

Updating

ALEXA Mini LF SUP 7.0 can be installed on all previously shipped ALEXA Mini LF cameras and we recommend updating from SUP 6.0.22 to SUP 7.0. However, we do not recommend updating a new SUP in the middle of a production. If your camera is not running Mini LF SUP 6.0.22, please update it to 6.0.22 before updating to 7.0. Please read through the Release Notes before you update your camera.

Downdating

While it is possible to downgrade ALEXA Mini LF cameras to previous SUP versions from this version, we strongly recommend against this, since this SUP includes important bug fixes and significantly enhances stability.

Registration

If you have not done so already, please make sure you register your camera using our online customer registration. Your registration ensures that you receive information about future software updates as soon as they are available. If you register your new camera within 1 month of purchase, you will get a 6-month extended warranty for free. You can find the registration here.

Tech Tip

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    8.3 Survival. Sections 2.4, 3, 4, 5, 6, 7, 8, 9 and 10 shall survive any termination or expiration of this Agreement.

    9. Governing Law. Notwithstanding the place where this Agreement is executed, accepted or where obligations under this Agreement are performed, the parties expressly agree that this Agreement and any claim or controversy arising out of or relating to rights and obligations of the parties under it will be governed by and construed in accordance with the substantive laws of the Federal Republic of Germany, without regard to its conflicts of laws principles or the provisions of the United Nations Convention on Contracts for the International Sale of Goods or the United Nations Convention on the Limitation Period in the International Sale of Goods, as each is amended. The parties consent to the exclusive jurisdiction of the Munich district court (Landgericht München I) for any dispute arising out of this Agreement, and the parties waive their right to have an action under this Agreement brought or tried elsewhere.

    10. General Provisions. If any part of this Agreement is found void and unenforceable, it will not affect the validity of the balance of this Agreement, which shall remain valid and enforceable according to its terms. If for any reason a court of competent jurisdiction finds any provision of this Agreement, or portion thereof, to be unenforceable, that provision of the Agreement will be enforced to the maximum extent permissible so as to effect the intent of the parties. By accepting this Agreement you state explicitly and irrevocable that you are acting as entrepreneur and not as consumer. This Agreement may only be modified by a writing signed by an authorized officer of ARRI. This Agreement and any General Terms of Sales and Delivery of ARRI accepted by you with the relevant order or purchase form are the entire agreement between ARRI and you relating to the Software and it supersedes any prior representations, discussions, undertakings, communications or advertising relating to the Software. 

    11. Compliance with Licenses. You agree that upon request from ARRI, you will within thirty (30) days fully document and certify that use of any and all Software at the time of the request is in conformity with your valid licenses from ARRI.

    "ARRI", "ARRI ARRI", "ALEXA", "AMIRA" are registered trademarks of ARRI in Germany and/or other countries.

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