ARRI Group
Enlarge your vision Enlarge your vision
Explore
ARRI large-format cinema camera ARRI Signature Prime lenses

The new large-format camera system

ARRI introduces a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount and PL-to-LPL adapter. These system elements have been designed to take full advantage of the enlarged sensor, while also offering compatibility with existing lenses, accessories and workflows.

    “I intentionally shot mundane subjects I wouldn’t normally cover, and the results got me really excited. The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.” Cinematographer Wang Yu
    Photo © Zihao Chen
    “The ALEXA LF camera and Signature Prime lenses are an elegant combination. I love the lenses; they strike a wonderful balance between modernity and character.” Cinematographer Matias Boucard
    Photo © Thanaporn Arkamanon
    “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic. With the 25 mm lens, you feel like you are there in the scene with the actors. The lenses are lightweight and are not too sharp, but with a certain softness and very specific.” Cinematographer Dan Laustsen ASC, DFF
    Photo © Chase Hagen
    “The unique depth of field and visual compression of the ALEXA LF were welcome additions to my tool box. The look and feel of the Signature Primes are completely new, consisting of a pleasing contrast level combined with a radical clarity.” Cinematographer Logan Schneider
    Photo © Chase Hagen
    “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images—a smoothness to the way the camera and lenses work together.” Cinematographer Tom Fährmann BVK
    Photo © Henning Rädlein

    Pulling audiences into the image

    Much like ALEXA 65, ALEXA LF images are truly immersive, heightening emotion and intensifying character with an intimate, three-dimensional feel that draws the viewer in further.

    ARRI large-format system showreel Papa by DP Logan Schneider

    Papa

    DP Logan Schneider

    _____
     
    For this inspiring short film on loss and friendship, cinematographer Logan Schneider paired the organic, silky nature of Signature Primes with ALEXA LF for unprecedented clarity to humanize a robot and immerse the audience.
     
    ALEXA LF with 25, 35, 47, 75 and 125 mm ARRI Signature Prime lenses

    ARRI large-format system showreeel Joy Ride by DP Bill Bennett, ASC

    Joy Ride

    DP Bill Bennett ASC

    _____
     
    Cinematographer Bill Bennett ASC captures two friends hitting the road on a motocross adventure using Signature Primes, Angénieux zoom and Nikor lenses. Shot with available light in Open Gate, Bennett took advantage of the ALEXA LF’s ease of reframing and stabilization in post. The footage showcases the camera’s high speed capability at 90fps and 150fps 2.39:1 to slow down time for visual and emotional impact.
     
    ALEXA LF with 25, 35 and 75 mm ARRI Signature Prime and Angénieux lenses.

    ALEXA large format 125mm Signature Prime

    Face to face

    DP Tom Fährmann BVK

    _____
     
    In contrast with other ALEXA LF showreels exploring low light and shadow, cinematographer Tom Fährmann BVK shot a diverse palette of faces and skin tones against a white background. Varying portrait lighting illustrates the humanity, color and exceptional clarity of the ALEXA LF/ARRI Signature Prime combination.
     
    ALEXA LF with 125 mm ARRI Signature Prime lens

    ALEXA lf Signature Prime Lenses

    The artistic spirit

    DP Wang Yu

    _____
     
    Cinematographer Wang Yu navigates the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. Moving lights, ghostly shadow effects, angular and curved forms, architecture and perspective, raw materials and tools—all reveal the distinctive texture of ALEXA LF images.
     
    ALEXA LF with 25, 47, 75 and 125 mm ARRI Signature Prime lenses

    ALEXA large format 35mm 47mm 75mm

    Soulful connections

    DP Matias Boucard

    _____
     
    Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, cinematographer Matias Boucard works purely with natural light and available sources. Capturing human friendships on location in Thailand, this clip beautifully showcases the detail, dynamic range and sensitivity of ALEXA LF.
     
    ALEXA LF with 35, 47 and 75 mm ARRI Signature Prime lenses

    ARRI Signature Prime lenses

    Freedom and immersion

    DP Dan Laustsen ASC, DFF

    _____
     
    In the Californian desert, cinematographer Dan Laustsen ASC, DFF accompanies two climbers for a day on the rock. Embracing available light conditions ranging from strong daylight to flickering firelight at night, Laustsen reveals the stunning skin tones, gentle fall-off and immersive look of the ALEXA LF camera and ARRI Signature Prime lenses.
     
    ALEXA LF with 25, 35, 75 and 125 mm ARRI Signature Prime lenses

    ARRI large-format system

    An excursion on architecture

    DP Tom Fährmann BVK

    _____
     
    Tom Fährmann BVK uses ALEXA LF and ARRI Signature Prime lenses to document the creative preoccupations of an architect, which bear striking similarities to those of a cinematographer: light, texture, detail, and the expression of emotions through practical skill. All of them are captured perfectly by the ARRI large-format system.
     
    ALEXA LF with 21, 25, 29, 47, 75 and 125 mm ARRI Signature Prime lenses

    Large-format aesthetic with ALEXA image quality

    ARRI ALEXA LF

    Featuring a sensor slightly larger than full frame, ALEXA LF records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore an immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.

    Three sensor modes
    for limitless applications

    ALEXA LF has the largest sensor of any full-frame cinema camera on the market. Maintaining the ALEXA family’s optimal pixel size for best overall image quality results in a 4448 x 3096 picture, which can be recorded in full, up to 90 fps, using the LF Open Gate mode. An LF 16:9 mode maximizes lens options while meeting 4K deliverable standards, and an LF 2.39:1 mode combines a cinematic widescreen image with high frame rates up to 150 fps for sensuous slow motion. All sensor modes offer true 800 ASA sensitivity as well as reduced noise, providing the perfect canvas for modern, subtle lighting techniques.

    large format open gate
    ARRIRAW90 fps
    ProRes 42260 fps
    ProRes 422 HQ60 fps
    ProRes 444460 fps
    ProRes 4444 XQ40 fps
    large format 16:9
    ARRIRAW90 fps
    ProRes 42260 fps
    ProRes 422 HQ60 fps
    ProRes 444460 fps
    ProRes 4444 XQ60 fps
    large format 2.39:1
    ARRIRAW150 fps
    ProRes 422100 fps
    ProRes 422 HQ100 fps
    ProRes 4444100 fps
    ProRes 4444 XQ60 fps

    Maximum frame rates with SXR Capture Drives / Top speed 150 fps

    A larger mount for a larger format

    LPL lens mount for large-format sensors

    A crucial element of this new system is the LPL lens mount, optimized for large-format sensors. A wider diameter and shorter flange focal depth allows the ARRI Signature Prime lenses and all future large-format optics to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible within the confines of the PL lens mount. The LPL mount will also be available for other ARRI cameras such as the ALEXA Mini, and is being licensed to third-party lens and camera manufacturers.

    Organic images filled with life and emotion

    16 large-format ARRI Signature Prime lenses

    Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
     
    The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.

      “These lenses are a leap forward in the same way that Master Primes redefined what was possible optically. The look and feel are completely new, consisting of a pleasing contrast level combined with a radical clarity.  I’m not sure how they pulled this off, but they were wonderful to work with.” Cinematographer Logan Schneider
      “I love the look of the Signature Primes. They have a gentle feel to their contrast and resolution - sharp and crisp enough to see details in the shot, but not so defined and edgy as to look clinical. I designed shots to look directly into the sun. I really liked the flares: soft edged and blue-yellow in color. Signature Primes are a gorgeous complement to the magnificent ALEXA LF.” Cinematographer Bill Bennett ASC
      “I was surprised by the quality of the lenses and how light they were, they capture the format beautifully.” Cinematographer Kieran Fowler NZSC, ACS

      Total lens and accessory compatibility

      Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set. Cinematographers are therefore offered an unlimited lens choice, with complete lens metadata accessible from LDS-2, LDS-1 or /i lenses.

      Compatibility with existing PL mount lenses Compatibility with existing PL mount lenses

      For even further cross-system compatibility, an LPL lens mount can be fitted to existing ALEXA, ALEXA Mini and AMIRA cameras. ARRI Signature Primes and other future LPL mount lenses can therefore be used for both Super 35 and large format on productions combining the two.

      Cross-system compatibility of LPL mount for ARRI cameras Cross-system compatibility of LPL mount for ARRI cameras

      ALEXA LF is based on the proven, robust ALEXA camera design, so all existing accessories will work right out of the box. Since all other features and the user interface are the same as in the ALEXA SXT W—including the integrated wireless video transmitter and the user interface—crews will adapt quickly.

      Simple ARRI workflows

      ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Following the 16-bit internal image processing, recording at various resolutions is possible in uncompressed, unencrypted ARRIRAW or fast, efficient ProRes. Existing ARRI Look Files can be used with ALEXA LF, and the entire range of ARRI workflow software tools supports ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

      Simple ARRI workflows with ARRIRAW, Look Files and other tools. Simple ARRI workflows with ARRIRAW, Look Files and other tools.

      ARRI Large Format Camera System - Frequently Asked Questions

      Further answers can be found in the release notes accompanying the latest ALEXA LF Software Update Packet (SUP) or in the ALEXA LF manual. If you have a question not listed here, please ask in the ARRI Forum.
      Version: April 18, 2018.
       

      ALEXA LF Camera FAQs
      • Q: What is the difference in sensor size between the ALEXA 65, ALEXA LF, and ALEXA SXT W?

        A: The ALEXA LF has a sensor twice as large as ALEXA SXT W Open Gate, and ALEXA 65 has a sensor three times as large as the ALEXA SXT W Open Gate. ALEXA LF has the biggest sensor area of any cinema camera currently available for sale, second only to the ALEXA 65, which is a rental-only product. 

      • Q: What are ALEXA LF sensor modes?

        A: A sensor mode is an operating mode where a certain area of the sensor is being read out. Sensor modes influence what lenses cover the recorded area, if surround view is available, the maximum frame rate and the recording data rate. Images from ALEXA LF's large format sensor can be recorded in one of three sensor modes: LF Open Gate, LF 16:9 and LF 2.39:1.
         
        LF Open Gate provides the maximum sensor area (36.70 mm x 25.54 mm) and maximum resolution (4448 x 3096 photosites) for maximum flexibility in post. This sensor mode is covered by full frame lenses, the ARRI Master Macro 100 and by some Super 35 lenses with expanders. The maximum frame rate is 90 fps. Since the entire sensor is recorded, surround view is not available and this mode has the highest data rate.

        •  
        •  

         
        The LF 16:9 sensor mode covers the smallest area (31.68 mm x 17.82 mm) that still meets 4K deliverable standards with its 3840 x 2160 photo sites. Full frame lenses cover this, of course, but the use of Super 35 lenses is also possible, maximizing lens options. LF 16:9 has surround view available, indicated by the dotted yellow line in the drawing below. The maximum frame rate is 90 fps.
         
        Note: The LF 16:9 sensor mode has exactly the same height (2160 photo sites) as the 6:5 anamorphic sensor mode on Super 35 ALEXAs (2578 x 2160), so this mode is great for use with Super 35 anamorphic lenses. Simply crop the sides in post.

        •  
        •  

         
        The LF 2.39:1 sensor mode combines a cinematic widescreen image (36.70 mm x 15.31 mm - 4448 x 1856) with high frame rates of up to 150 fps for sensuous slow motion. This sensor mode has the lowest data rate. In order to maximize frame rate, no surround view is available.
         
        Note: both ALEXA Super 35 3.2K (3200 x 1800) and ALEXA Super 35 2.8K (2880 x 1620) fit within the image area recorded in this sensor mode.

        •  
        •  
      • Q: What are the maximum frame rates for ALEXA LF?

      • Q: What recording resolutions are available with the ALEXA LF?

        A: There are five different recording resolutions available to provide just the right solution for any production and budget.

        1. In LF Open Gate sensor mode, the entire sensor at 4448 x 3096 is recorded (native 4.5K).
        2. In LF 16:9 sensor mode there are three options: first, the native 3840 x 2160 (UHD) can be recorded as is; second, the camera can downscale 3840 x 2160 to ProRes 16:9 2K (2048 x 1152); third, the camera can downscale 3840 x 2160 to ProRes 16:9 HD (1920 x 1080). Those downscale options are available if you want to reduce the data rate and have no need for the higher recording resolutions.
        3. In LF 2.39:1 sensor mode, the sensor area of 4448 x 1856 is recorded (native 4.5K).
      • Q: Is the ALEXA LF camera Netflix approved?

        A: Yes. ALEXA LF is Netflix approved in all three sensor modes (LF Open Gate, LF 16:9 and LF 2.39:1) and in ARRIRAW and ProRes (4444 XQ, 4444 and 422 HQ) recording formats. The ALEXA LF is listed on the Netflix "Help Center Support Page" at:
        https://help.prodicle.com/hc/en-us/articles/115001787532-Cameras-and-Image-Capture.
         
        Note 1: While full frame lenses cover the full ALEXA LF sensor, many Super 35 lenses also cover the LF 16:9 sensor mode, including:

        • ARRI Ultra Primes ≥ 20 mm
        • ARRI Master Primes ≥ 35 mm
        • ARRI Master Macro 100
        • ARRI Ultra Wide Zoom 9.5 – 18 ≥ 10 mm
        • ARRI Alura LWZ 15.5 – 45 with Alura Extender 1.4x
        • ARRI Alura LWZ 30 – 80 mm
        • ARRI Alura Studio zoom 18 – 80 from 40 mm on without extender
        • ARRI Alura Studio zoom 18 – 80 with Alura Extender 1.4x
        • ARRI Alura Studio zoom 45 – 250 from 100 mm on
        • ARRI Alura Studio zoom 45 – 250 with Alura Extender 1.4x

         
        Note 2: Netflix recommends that lenses not specifically designed for large format be thoroughly tested for adequate sensor coverage, and for satisfaction of the production’s creative intent. To support this, ARRI has updated the ARRI Lens Illumination Guide to cover the ALEXA LF.

      • Q: Is ALEXA LF compatible with existing postproduction tools?

        A: Yes, ARRI is working closely with all members of the Partner Program on updating their tools as soon as possible. If you are planning a production with ALEXA LF, check with your post house to make sure that their tools have been updated to ALEXA LF compatible versions. ARRI will release, as usual, sample clips of ALEXA LF footage in ARRIRAW and ProRes for testing. The following software already supports the ALEXA LF ARRIRAW formats, with more available by the time you read this:

        • ARRI ARRIRAW Converter 3.5.3.5
        • Assimilate SCRATCH 8.6 build 969
        • Autodesk Flame, Flame Assist, Flare, Lustre 2019 (available from NAB on - April 2018)
        • Black Magic DaVinci Resolve Studio 14.1.005 Beta (available from NAB on - April 2018)
        • Codex Production Suite 4.6.6
        • Colorfront OSD, EXD and Transkoder
        • Digital Vision 2018.1 – available on request, official release later in 2018
        • Filmlight Daylight 5.1
        • Filmlight Baselight 5.1
        • MTI Cortex Version 5 (available from NAB on - April 2018)
        • Pomfort Livegrade Pro 3.9.3
        • Pomfort Silverstack and Silverstack Lab: 6.3.3
        • Yoyotta YoYottaID 2.3 (544)
      • Q: Is recording ARRIRAW with the ALEXA LF the same as with the ALEXA SXT?

        A: Yes. Recording ARRIRAW with the ALEXA LF works exactly the same as recording ARRIRAW with ALEXA XT, SXT or SXT W cameras. The same hardware tools, software tools (see question/answer above) and methods can be used.

      • Q: Can I record MXF/ARRIRAW with the ALEXA LF?

        A: The ALEXA LF records the traditional ARRIRAW (.ari), which is the same format recorded by the ALEXA Classic, ALEXA XT and ALEXA SXT family of cameras.

      • Q: Does ProRes recording to SXR Capture Drives on the ALEXA LF work as it does on the ALEXA SXT W?

        A: Yes. SXR Capture Drives used with the ALEXA LF will have the same ProRes recording behavior as with the ALEXA SXT W: ProRes is recorded in a RAID configuration and the same hardware tools, software tools and methods can be used.

      • Q: Will you support ProRes RAW?

        A: ProRes RAW is a new addition to the family of ProRes Codecs which is in its early stages and we are currently looking into it.

      • Q: Which Recording Media can I use with ALEXA LF?

        A: Currently the ALEXA LF camera running Software Update Packet SUP LF 2.0 should only be used with 1TB or 2TB SXR Capture Drives. The camera must not be used with SxS cards at this time. While the ALEXA LF is designed to work with both SXR Capture Drives and SxS PRO+ 256 GB cards, very late in the testing process an issue was found concerning the use of SxS cards. Rather than delaying the shipping of ALEXA LF, we have decided to ship the camera and inform customers that SxS cards must not be used with LF SUP 2.0. We are working on a fix and will provide further information as soon as it is available.

      • Q: Can I make my own framelines for the ALEXA LF?

        A: Yes. A number of common framelines for large format and Super 35 are accessible from the ALEXA LF menu under MONITORING>FRAMELINES. Custom framelines can be created with the online ARRI Frameline Composer at: http://www.arri.com/camera/alexa/tools/arri_frameline_composer

        •  
      • Q: Can I see my custom framelines in the Lens Illumination Guide?

        Framelines created in the Frameline Composer can now be imported into the Lens Illumination Guide with the new "Optional Frameline" feature of the Lens Illumination Guide.

      • Q: Can I monitor HDR with the ALEXA LF in HD and UHD?

        A: Yes, the ALEXA LF can load an ARRI Look file for HDR monitoring in either PQ or HLG. This works with the HD and UHD MON OUT settings.

      • Q: What output standards do the ALEXA LF MON OUTs support?

        A: MON OUT 1 and MON OUT 2 can each output either

        • a 422 1.5G single link HD-SDI (1920 x 1080) signal or
        • a 422 6G single link UHD-SDI (3840 x 2160) signal.

        MON OUT 3 can output a 422 1.5G single link HD-SDI signal. The signals going to the three MON OUTs can each have the following processing applied to the monitoring path: Log C, Look File or ALEXA Classic 709. All three MON OUTs can be set to output in either Rec 709 or the Rec 2020 color space, independently of the monitoring path processing.

      • Q: What is different about the new noise reduction in ALEXA LF?

        A: Temporal noise reduction, as used in the ALEXA SXT, looks at the frames before and after the target frame to reduce noise. New in the ALEXA LF is Enhanced Motion Detection (EMD), which is possible because the ALEXA LF has more processing power than all previous ALEXA cameras. EMD additionally checks the pixel behavior around each pixel and thereby avoids temporal artifacts in high motion areas. This feature is newly introduced with the ALEXA LF to make noise reduction more robust for footage with high motion.
         
        Noise reduction, when turned on, is baked into ProRes but not baked into ARRIRAW. It is, however, recorded as metadata in ARRIRAW.

        •  
        •  
      • Q: What is the size of the ALEXA LF?

        A: The ALEXA LF is significantly smaller than the ALEXA 65, and only 12 mm longer and wider than the ALEXA SXT W.

      • Q: What are those three screws in the front of the camera?

        A: The screws have no relevance for the user. They allow us to adjust the sensor coplanarity (the sensor surface being perfectly parallel with the lens mount surface) in manufacturing. These three screws are not the actual adjustments but rather capping screws and there are no user-serviceable parts inside.

      • Q: Is there a "High Humidity" sensor temperature setting in ALEXA LF?

        A: All ALEXA cameras actively keep the sensor at a stable temperature for best overall image quality. ALEXA Classic, XT, SXT and SXT W cameras keep the sensor at 35º C. In rare cases in high humidity environments, this could lead to condensation on the sensor. Therefore, these cameras have a "High Humidity" sensor temperature option that allows the sensor to run a little hotter to avoid condensation. With ALEXA LF we have found a way to always run the sensor at a higher temperature, and therefore do not need a special high humidity mode.

      • Q: What are you planning for future ALEXA LF software updates?

        A: We are currently evaluating a number of new features for future ALEXA LF software updates, including:

        • SxS PRO+ 256 GB card support
        • ARRI Look Library
        • Super 35 sensor modes
        • A zoom and magnify feature very similar to that of the ALEXA 65
        • Battery adapter support
        • Many others
      • Q: Will there be an ALEXA LF Mini?

        A: We are looking into the feasibility of this, but we do not know yet. What we do know is that it would be difficult because of the high data rates.
         
        However, if you are looking for a small and lightweight companion camera for the ALEXA LF, the current ALEXA Mini is a great choice. Since it uses the same photosite design it matches the look of the ALEXA LF and can be easily intercut. Almost all ALEXA 65 productions use ALEXA Mini as a companion for handheld, drones, gimbals and tight shots, including Solo, Star Wars Rogue One, War of the Planet of the Apes, Fantastic Beasts and Where to Find Them 2, Jurassic World: Falling Kingdom, Dr. Strange, Avengers: Infinity War, Thor: Ragnarok, Life and many others.

      • Q: What accessories are not compatible with ALEXA LF?

        A: The following accessories are not compatible with ALEXA LF cameras (in contrast to ALEXA SXT W) running LF SUP 2.0:

        • Current 12V on-board battery adapters for 12V Gold mount (BAB-G K2.72003.0 and BAT-G K2.72006.0) and 12V V Lock (BAB-V K2.72010.0 and BAT-V K2.72011.0)
        • Viewfinder Cable Long (2.00m/6.6ft) KC 152-S (K2.72014.0). The length of this viewfinder cable is such that proper functioning cannot be guaranteed at all times.
        • Internal S35 FSND filters
          • Use internal LF FSND filters instead (included with ALEXA LF Pro sets)
          • Note: S35 ALEXA cameras equipped with a LPL lens mount need special "LPL S35 FSND filters"
        • XR Capture Drives
        • All CFast 2.0 cards
        • All SxS PRO and SxS PRO+ cards
          • Support for SxS PRO+ 256 GB cards is planned for LF SUP 3.0
        • ARRI Ultra 16 lenses
          • ARRI Ultra 16 lenses collide with the LF FSND filters
      • Q: Why do you not support XR Capture Drives, CFast 2.0 cards or the smaller capacity SxS PRO cards anymore?

        A: This is because the slower and smaller capacity media don’t make sense with the higher data rate of ALEXA LF, and because we wanted to reduce complexity and testing time.

      • Q: Does the ALEXA LF support cforce motors?

        A: The ALEXA LF is based on the ALEXA SXT, which does not support the LBUS connector that is required for cforce motors. However, the ALEXA LF does support the ARRI CLM motors, of which there are many available in rental houses worldwide. Alternatively, cforce motors can be used on any ALEXA, including the ALEXA LF, with the help of the Active Motor Controller AMC-1. In that case, as far as camera remote control is concerned, only wireless camera start/stop is available.

      • Q: What does the ALEXA SXT W do that the ALEXA LF does not do?

        A: While there is a large overlap between ALEXA LF and ALEXA SXT W cameras, there are still some things the ALEXA SXT W is capable of that are not available from the ALEXA LF.

        • In-camera anamorphic de-squeeze for recording. ALEXA LF has anamorphic de-squeezing for monitoring only.
        • Many more bespoke recording formats
        • Support for XR Capture Drives, CFast 2.0 cards, and older SxS PRO and SxS PRO+ cards
        • Higher ProRes frame rates for the Super 35 sensor area. For instance, for ProRes 4444 XQ the ALEXA LF provides a maximum frame rate of 60 fps, while the ALEXA SXT W can record ProRes 2K 4444 XQ up to 120 fps.
        • Pre-recording
        • 3D Sync

        For any show that does not require the look of large-format or 4K, the ALEXA SXT W remains our top-of-the-line Super 35 camera.

      • Q: Does the ALEXA LF support WiFi Client mode?

        A: Neither the ALEXA LF nor the ALEXA SXT W support WiFi client mode.

      • Q: Why is the ALEXA LF not an 8K camera?

        A: We firmly believe that image quality is not just resolution but consists of other parameters that are arguably more important than resolution. Dynamic range, for instance, has been a very important factor that is becoming even more important now with High Dynamic Range displays becoming the next new trend. Going for higher resolution means smaller pixels, which in turn receive less light, and so have lower dynamic range and more noise than larger pixels. We believe in better pixels instead of more pixels.

      • Q: What is the ALEXA LF power draw?

        A: In order to provide ALEXA best image quality at higher pixel counts, ALEXA LF has a higher power draw than previous ALEXA cameras.

        • 120W have been measured
          • while recording ProRes 4444
          • in LF 16:9 sensor mode
          • at 24 fps
          • onto SxS PRO+ 256 GB cards
          • with EVF-1 and wireless video transmitter on,
          • but no further accessories attached.
        • 160W have been measured
          • while recording ARRIRAW
          • at 90 fps
          • in LF Open Gate sensor mode
          • onto SXR Capture Drives
          • with EVF-1 and wireless video transmitter on,
          • but no further accessories attached.

        Note: electronic accessories will increase power draw based on the accessories’ power draw.

      • Q: Can I use existing 24 V block batteries with ALEXA LF?

        A: Yes. The power draw of the ALEXA LF is no problem for existing 24V block batteries that are attached with a cable to the ALEXA LF BAT connector.

      • Q: What on-board batteries can I use with ALEXA LF?

        A: The top end of the ALEXA LF power draw from a 12V on-board battery could have generated currents that various components in the camera/battery-adapter/on-board-battery system are not rated for. Therefore, the power input of the ALEXA LF has been set to 19.5 - 34 V, which in turn means that the current ALEXA battery adapters for 12V Gold mount (BAB-G K2.72003.0 and BAT-G K2.72006.0) and 12V V Lock (BAB-V K2.72010.0 and BAT-V K2.72011.0) will not work with the ALEXA LF.
        However, we are working on three alternative solutions:

        1. We are already offering the RP-CFA1 battery adapter for Hawk-Woods 26V Reel Power on-board batteries. These batteries are being used successfully with the ALEXA 65 and, since the RP-CFA1 is compatible with other ALEXA models, they can also be used with ALEXA Classic, XT, SXT and SXT W. A separate rod mounted Reel Power battery adapter is available for ALEXA Mini. Take a look at www.hawkwoods.co.uk/Prods/Product/RP-CFA1
        2. Additionally, we are working on a solution that will support bebob 12V ACine and VCine High Load on-board batteries.
        3. We are also looking into a dual battery mount (aka T-piece or shark-fin) solution that would support traditional 12V Gold Mount and 12V V-lock on-board batteries.

        Note: While most "12V" batteries are really 14.4 or 14.8V, we have stuck to the more common terminology of calling them "12V batteries" to keep things simple.

      Lens Mounts FAQs
      • Q: Why do we need a new lens mount?

        A: A larger sensor needs a larger lens mount for optimal lens design. The LPL lens mount allows the design of full-frame lenses that are smaller, lighter and have a faster T-stop than equivalent lenses designed for the smaller PL lens mount. The traditional PL mount would compromise modern full-frame lens design; its diameter was based on the Super 35 sensor size and its long flange focal depth was dictated by the fact that film cameras had a mirror shutter.

      • Q: Can the LPL lens mount be used on other cameras and other lenses?

        A: Yes. The LPL mount is a key element of the ARRI large format system. Since we know that customers will not always use ARRI cameras and/or ARRI lenses, but we did not want to limit our customers' choices, the LPL mount comes in a number of versions and is licensed to other camera and lens manufacturers.
         
        There currently are three versions of the LPL lens mount supplied by ARRI. The "LPL Lens Mount for ALEXA" works on ALEXA Classic, XT, SXT, SXT W and LF cameras. The "LPL Lens Mount for ALEXA Mini/AMIRA" can be used on ALEXA Mini and AMIRA. However, the LBUS connector on this mount will only work on an ALEXA Mini, not on AMIRA. The "LPL Mount for ALEXA 65" can be used on the ALEXA 65. In addition, we are licensing the LPL mount to other camera manufacturers.
         
        A number of companies have announced that they are planning to equip lenses with the LPL Mount, including Angenieux, ARRI Rental, CW Sonderoptic/Leica, Cooke, Panavision, Vantage, Zeiss and others.
         
        The PL-to-LPL Adapter allows the use of Super 35 PL mount lenses and of full frame PL mount lenses.

        Compatibility with existing PL mount lenses Compatibility with existing PL mount lenses
      • Q: Can I attach the existing 54 mm PL lens mount to the ALEXA LF?

        A: Yes, the existing PL lens mount fits on the ALEXA LF as well. However, in tests we have found that a combination of LPL lens mount and PL-to-LPL Adapter lets more light through in the corners than the PL lens mount on its own, so we recommend always using the LPL lens mount with PL-to-LPL adapter for PL lenses. Below is an example shot with an ALEXA LF and a Master Prime 65 mm lens.

      • Q: Why does the LPL Mount have a flange focal depth of 44 mm?

        A: The LPL lens mount has a flange focal depth of 44mm for two reasons: first, an optical design study concluded that a 44mm flange focal depth and 62mm diameter allow for ideal optical designs for large format lenses; second, it provides enough room to create LPL mounts for ALEXAs, ALEXA Minis, AMIRAs and third party cameras and has enough space for the PL-to-LPL adapter.

      • Q: Why is there only one set of LDS contacts on the LPL lens mount?

        A: The LPL lens mount specifications determine that one set of LDS-2 contacts is located at the 12 o’clock position. All lenses made with an LPL mount should have at least a set of LDS-2 contacts in the 12:00 o'clock position.

      • Q: Which lens metadata standards are supported by the LPL mount?

        A: The LPL lens mount on the ALEXA LF accepts LDS-2 and Cooke /i lens metadata signals.

      • Q: Which lens metadata standards are supported by the PL-to-LPL adapter?

        A: The PL-to-LPL Adapter supports both LDS-1 and Cooke /i lens metadata signals. Because the adapter has two sets of contacts on the camera side, it can be inserted into the LPL mount in two positions: either so the contacts are in the 12:00 o'clock position for ARRI lenses (left image), or so that the contacts are in the 3:00 o'clock position for Cooke lenses (right image). In both positions the adapter supports LDS-1 and Cooke /i.

      Lens Compatibility FAQs
      • Q: Can I use anamorphic lenses on the ALEXA LF?

        A: Yes, the use of anamorphic lenses is easy. ALEXA LF can de-squeeze images from all current anamorphic squeeze ratios (1.25x, 1.3x, 1.5x and 2x) on the viewfinder and monitor outputs. Additionally, the 2.0x de-squeeze exists also in a slightly magnified version called "2.0xmag".

        • For full-frame anamorphic lenses, use the LF Open Gate sensor mode (left image).
        • For Super 35 anamorphic lenses, use the LF 16:9 sensor mode (3840 x 2160), which has exactly the same height as the 6:5 anamorphic sensor mode on Super 35 ALEXAs (2578 x 2160), and crop the sides in post (right image).
        •  
      • Q: Can I use PL mount lenses on the ALEXA LF?

        A: Yes, a PL-to-LPL Adapter fits securely into the LPL mount and allows the use of Super 35 PL mount lenses or full frame PL mount lenses. This adapter ships with each camera and allows fast switching between PL and LPL mount lenses on set. Since the adapter is a mechanical device with no optics, there is no light loss when using it.

      • Q: Can I use Super 35 lenses on the ALEXA LF?

        A: Yes. There are many methods for using Super 35 lenses with the ALEXA LF. Here are three of the most common ones:

        1. Using the wide illumination circle of ARRI Super 35 lenses

          Lenses have an image circle within which the manufacturer guarantees the optical quality. They also have a (larger) illumination circle where there’s still light, but of undefined quality. Both circles of most ARRI lenses are very large, since we wanted to make sure that if a customer shot Super 35 on a film camera but had forgotten to switch the lens mount from N35 to S35, they would still get an image. Because of that our lenses have bigger image and illumination circles than most other Super 35 lenses.
           
          In tests, we found that the illumination circle of many ARRI Super 35 lenses cover the LF 16:9 sensor mode (UHD - 3840 x 2160). Therefore, a production can be shot mostly with those lenses and use maybe one or two Signature Primes or the Ultra Wide Zoom 9.5 - 18 for wide-angle shots.
           
          Below an example of the Master Prime 35 mm lens, the widest Master Prime that covers the LF 16:9 sensor mode. Note that a Master Prime 35 mm used with the LF 16:9 sensor mode has the same horizontal angle of view as a Master Prime 26 mm used with the Super 35 2.8K sensor mode (1.33x conversion factor).

          More information on which lens covers what can be found in the online ARRI Lens Illumination Guide. Based on the information available there, we have found that the following ARRI Super 35 lenses cover the LF 16:9 sensor mode:

          • ARRI Ultra Primes ≥ 20 mm
          • ARRI Master Primes ≥ 35 mm
          • ARRI Master Macro 100
          • ARRI Ultra Wide Zoom 9.5 – 18 ≥ 10 mm
          • ARRI Alura LWZ 15.5 – 45 with Alura Extender 1.4x
          • ARRI Alura LWZ 30 – 80 mm
          • ARRI Alura Studio zoom 18 – 80 from 40 mm on without extender
          • ARRI Alura Studio zoom 18 – 80 with Alura Extender 1.4x
          • ARRI Alura Studio zoom 45 – 250 from 100 mm on
          • ARRI Alura Studio zoom 45 – 250 with Alura Extender 1.4x

          Note: lenses not specifically designed for large format should be thoroughly tested for adequate sensor coverage, and for satisfaction of the production’s creative intent. The online ARRI Lens Illumination Guide will show how much light is available in the corners of the image but makes no claim as to image quality.

        2. Using an image expander

          •  
          •  

          You can use a third-party image expander that will optically magnify the image to cover the full sensor in LF Open Gate sensor mode. This works with spherical as well as anamorphic Super 35 lenses. However, you should be aware of a number of issues:

          • For most expanders, the lens needs to be closed to T2.1 or an even smaller aperture for good image quality
          • Depending on the expander's magnification ratio, it will lose one or more stops of light
          • It is possible that some image quality might be lost.
          • An expander might not mechanically fit on all lenses, based on the dimensions of the expander and the dimensions of the lens.
          • The lens will exhibit the same image characteristics it would show for the sensor size that it was designed for. A 35 mm lens projecting an image through a 1.4x image expander in LF Open Gate Mode will have the same angle of view and depth of field as a 35 mm lens on a Super 35 camera, such as an ALEXA SXT.
        3. Cropping the Super 35 area in post

          •  

          Using the LPL lens mount and the PL-to-LPL Adapter, it is possible to shoot with a Super 35 lens and crop the image in post. This works great for anamorphic and spherical lenses.

          • For anamorphic lenses, the LF 16:9 sensor mode happens to be exactly the same height as the ALEXA Super 35 6:5 sensor mode, which is used for anamorphic lenses (see left image). ALEXA LF 16:9 sensor mode captures 3840 x 2160, and ALEXA S35 6:5 is 2578 x 2160.
          • When working with spherical lenses, you can use the LF 2.39:1 sensor mode, which runs up to 150 fps (right image). Both ALEXA Super 35 3.2K and ALEXA Super 35 2.8K fit within the image area recorded in this sensor mode. While most ARRI Super 35 lenses have an image circle that covers 3.2K, the image circle of some third-party Super 35 lenses does not cover 3.2K, but all Super 35 lenses cover 2.8K.
      • Q: What is the difference between an expander and an extender?

        A: Basically, expanders and extenders perform the same function: they magnify an image. The difference lies in the intent.

        • An extender's magnifies the image to increase the focal length of an existing lens for a given sensor size. So, if you put a 50 mm lens on a Super 35 camera with a 2x extender, you get the effect of a 100 mm lens on a Super 35 camera. Since the extender is designed for Super 35, it magnifies the image but may very well crop any part of the image beyond the Super 35 sensor size. Extenders are usually available in 1.4x (one stop light loss) and 2x (two stops light loss) magnification.
        • The expander, in contrast, magnifies the image in order to spread it over a larger sensor area. So, for example, a Super 35 50 mm lens with a 1.5x expander will cover a full frame sensor. Expanders are available in a variety of magnification ratios. How much the expander needs to magnify depends on the image circle your lens projects, but a good rule of thumb is that you would need a 1.5x expander to go from Super 35 to full frame. An expander's light loss depends, just like with extenders, on the magnification ratio. A 1.4x expander has one-stop light loss and a 2x expander has a two-stops light loss.
      • Q: Is a 50 mm lens still a 50 mm lens on the ALEXA LF?

        A: Good question and a source of much confusion. There are three terms that play into the answer: focal length, sensor size and angle of view. Let’s start with focal length, which is defined as the distance from the optical center of the lens to the sensor when the lens is focused at infinity. So, focal length is a property of the lens, and always stays the same. A 50 mm lens is always a 50 mm lens and will always project an image of the same size into the camera. This is where the sensor size becomes important; ARRI uses three sensor sizes in cameras: 35 format, large-format (aka full frame) and 65 format. They determine how much of that image projected by a 50 mm lens you actually capture. A large format sensor will capture more image than a 35 mm sensor. The result is expressed as angle of view. That is how much image you see. Let’s say you use a 50 mm lens to shoot a landscape with a tree in it. Put that lens on a 35 mm camera, and you may just get the tree in. A large format camera will show the tree and a lot of surrounding landscape. Not because the lens is doing anything different, but because the sensor can grab more of the image created by the lens.

      • Q: So, can I use my 50 mm lens on 35 format, large format and 65 format cameras?

        A: That depends on whether the lens has the corresponding lens mount and if it projects an image circle big enough for large format or the 65 format. Many Super 35 format lenses do not project an image circle large enough to cover large format; these will show vignetting. The amount of vignetting can be seen with the online ARRI Lens Illumination Guide.

      • Q: Can I use Leica M lenses on ALEXA LF?

        A: Not at the moment. We would have to build a special Leica M lens mount, which we will do if there is enough demand.

      • Q: What about other third-party full-frame photo lenses?

        A: It might be possible, but we would need to create a new lens mount, since the flange focal depth of still photo lenses would not permit an adapter.

      ALEXA LF technical details

      Camera Type

      Large Format (LF) digital camera with electronic viewfinder EVF-1 and built-in radios for ARRI Wireless Remote System, ARRI Wireless Video System and WiFi

      Compatibility

      All current ARRI ALEXA accessories,

      LPL lenses and PL lenses with PL-to-LPL adapter

      Sensor Mode

      LF Open Gate

      36.70 x 25.54 mm

      4448 x 3096, ø 44.71 mm

      ARRIRAW: 0.75 - 90 fps,

      ProRes: 0.75 – up to 60 fps

      Sensor Mode

      LF 16:9

      31.68 x 17.82 mm

      3840 x 2160, ø 36.35 mm

      ARRIRAW: 0.75 - 90 fps,

      ProRes: 0.75 – 60 fps

      Sensor Mode

      LF 2.39:1

      36.70 x 15.31 mm

      4448 x 1856, ø 39.76 mm

      ARRIRAW: 0.75 - 150 fps,

      ProRes: 0.75 – up to 100 fps

      Shutter

      Electronic rolling shutter, 5.0º - 358.0º

      Internal ND Filter

      One of 8 available Large Format Full Spectrum Neutral Density (LF FSND) filters can be inserted manually in front of the sensor (ND 0.3 to ND 2.4)

      Exposure

      Latitude

      14+ stops

      Exposure Index

      EI 800

      Sound Level

      Sound level ≤ 20 db(A) while recording LF Open Gate ProRes 4.5 K 4444 @ 30 fps and ≤ +30° Celsius (≤ +86° Fahrenheit), measured 1 m/3 feet in front of the lens

      Power In

      19.5 to 34 V DC

      Power Out

      4x RS (24 V), 1x 12V (12 V), 1x EXT (24 V), 1x ETH (24 V)

      Weight

      (body + LPL)

      7.8 kg/17.2 lbs.

      Dimensions

      (body + LPL)

      L 364 mm/14.33”

      W 201 mm/7.91”

      H 158 mm/6.22”

      Operating

      Temperature

      -20° C to +45° C (-4° F to +113° F)

      Lens Mount

      62 mm LPL mount (LDS-1, LDS-2 & /i)

      Flange Focal Depth

      44 mm

      Recording

      Codecs

      ARRIRAW (.ari)

      QuickTime/ProRes (422, 422 HQ, 4444 & 4444 XQ)

      Recording

      Resolutions

      4.5K (sensor modes LF Open Gate and LF 2.39:1)

      UHD (sensor mode LF 16:9)

      2K (in-camera downscale in sensor mode LF 16:9)

      HD (in-camera downscale in sensor mode LF 16:9)

      Supported Media

      SxS PRO+ 256 GB (ProRes)

      SXR Capture Drives 1 TB (ARRIRAW or ProRes)

      SXR Capture Drives 2 TB (ARRIRAW or ProRes)

      Monitor Outputs

      MON OUT 1a, 1b and 2: SDI 6G UHD or SDI 1.5G HD up to 30 fps.

      MON OUT 3: SDI 1.5 G HD up to 30 fps, also wireless video

      Anamorphic de-squeeze for 1.25x, 1.3x, 1.5x, 2x lens squeeze ratios

      Image Processing

      16 bit linear in ALEXA Wide Gamut/Log C color space

      Target output color spaces: Log C, Rec 709 or Rec 2020

      Supports ARRI Look File (ALF-2) with CDL values and a 3D LUT

      3D LUTs available for SDR, HDR PQ and HDR HLG

      Playback

      ARRIRAW or ProRes

      Audio

      1x XLR 5 pin AUDIO IN for 2 channels, line level

      Signature Prime technical details

      Name

      ARRI

      SIGNATURE PRIME

      18/T1.8

      ARRI

      SIGNATURE PRIME

      21/T1.8

      ARRI

      SIGNATURE PRIME

      25/T1.8

      ARRI

      SIGNATURE PRIME

      29/T1.8

      Release

      2018

      2018

      2018

      2018

      Lens Mount

      LPL

      LPL

      LPL

      LPL

      MOD from sensor plane (minimum marked distance)

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      MOD from lens front

      0.13 m / 5.1"

      0.13 m / 5.1“

      0.13 m / 5.1"

      0.13 m / 5.1“

      Length from flange

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      Magnification Ratio at MOD (Paraxial)

      1:9.2

      1:8.2

      1:7.1

      1:6.4

      Entrance pupil position (related to image plane, in direction to object)

      189.9 mm / 7.48“

      183.4 mm / 7.22“

      178.1 mm / 7.01“

      166.0 mm / 6.54“

      Angle of view

      H - V - D
      for LF Open Gate

      91.4° / 71.0° / 102.6°

      82.8° / 63.0° / 94.0°

      73.0° / 54.4° / 84.0°

      65.2° / 47.8° / 75.8°

      Front diameter

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      Maximum housing diameter

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      Weight (lens only)

      2.0 kg / 4.4lb

      1.9 kg / 4.2lb

      1.9 kg / 4.2lb

      1.8 kg / 4.0lb

      Name

      ARRI

      SIGNATURE PRIME

      35/T1.8

      ARRI

      SIGNATURE PRIME

      40/T1.8

      ARRI

      SIGNATURE PRIME

      47/T1.8

      ARRI

      SIGNATURE PRIME

      58/T1.8

      Release

      2018

      2018

      2018

      2018

      Lens Mount

      LPL

      LPL

      LPL

      LPL

      MOD from sensor plane (minimum marked distance)

      0.35 m / 14"

      0.35 m / 14"

      0.45 m / 18“

      0.45 m / 18“

      MOD from lens front

      0.13 m / 5.1"

      0.13 m / 5.1“

      0.23 m / 9.0“

      0.23 m / 9.0“

      Length from flange

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      Magnification Ratio at MOD (Paraxial)

      1:5.4

      1:4.8

      1:6.3

      1:5.3

      Entrance pupil position (related to image plane, in direction to object)

      162.5 mm / 6.40“

      159.8 mm / 6.29“

      156.1 mm / 6.15“

      145.4 mm / 5.72“

      Angle of view
      H - V - D
      for LF Open Gate

      55.4° /40.2° / 65.2°

      49.2° / 35.4° / 58.2°

      42.6° / 30.4° / 50.8°

      34.8° / 24.8° / 41.8°

      Front diameter

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      Maximum housing diameter

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      Weight (lens only)

      1.7 kg / 3.7lb

      1.8 kg / 4.0lb

      1.8 kg / 4.0lb

      2.0 kg / 4.4lb

      Name

      ARRI

      SIGNATURE PRIME

      75/T1.8

      ARRI

      SIGNATURE PRIME

      95/T1.8

      ARRI

      SIGNATURE PRIME

      125/T1.8

      ARRI

      SIGNATURE PRIME

      150/T1.8

      Release

      2018

      2018

      2018

      2018

      Lens Mount

      LPL

      LPL

      LPL

      LPL

      MOD from sensor plane (minimum marked distance)

      0.65 m / 26“

      0.85 m / 3‘ 1“

      1 m / 3‘ 4“

      1.5 m / 5‘

      MOD from lens front

      0.43 m / 16.9“

      0.63 m / 2‘ 1“

      0.78 m / 2‘ 7“

      1.25 m / 4‘ 2“

      Length from flange

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      208 mm / 8.19“

      Magnification Ratio at MOD (Paraxial)

      1:7.2

      1:7.9

      1:7.0

      1:9.0

      Entrance pupil position (related to image plane, in direction to object)

      118.6 mm / 4.67“

      86.6 mm / 3.41“

      66.3 mm / 2.61“

      145.4 mm / 5.72“

      Angle of view
      H - V - D
      for LF Open Gate

      27.6° /19.4° / 33.2°

      21.8° / 15.2° / 26.4°

      16.6° / 11.6° / 20.2°

      13.8° / 9.8° / 16.8°

      Front diameter

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      Maximum housing diameter

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      135 mm / 5.31“

      Weight (lens only)

      1.9 kg / 4.2lb

      2.4 kg/5.3lb

      2.3 kg / 5.1lb

      3.5 kg/7.7lb

      Name

      ARRI

      SIGNATURE PRIME

      200/T2.5

      ARRI

      SIGNATURE PRIME

      12/T1.8

      ARRI

      SIGNATURE PRIME

      15/T1.8

      ARRI

      SIGNATURE PRIME

      280/T2.8

      Release

      2018

      2019

      2019

      2019

      Lens Mount

      LPL

      LPL

      LPL

      LPL

      MOD from sensor plane (minimum marked distance)

      1.8 m / 6‘

      0.35 m / 14“

      0.35 m / 14“

      2.5 m / 8‘ 2“

      MOD from lens front

      1.54 m / 5‘

      tbd

      tbd

      tbd

      Length from flange

      218 mm / 8.58“

      tbd

      tbd

      tbd

      Magnification Ratio at MOD (Paraxial)

      1:8.3

      tbd

      tbd

      tbd

      Entrance pupil position (related to image plane, in direction to object)

      48.0 mm / 1.89“

      tbd

      tbd

      tbd

      Angle of view
      H - V - D
      for LF Open Gate

      10.4° / 7.2° / 12.6°

      113.6° / 93.6° / 123.5°

      101.5° / 80.8° / 112.3°

      7.5° / 5.2° / 9.1°

      Front diameter

      114 mm / 4.49“

      tbd

      tbd

      134 mm / 5.28“

      Maximum housing diameter

      135 mm / 5.31“

      tbd

      tbd

      tbd

      Weight (lens only)

      3.6 kg/7.9lb

      tbd

      tbd

      5.5 kg/12.1lb

      Name

      ARRI

      SIGNATURE PRIME

      18/T1.8

      ARRI

      SIGNATURE PRIME

      21/T1.8

      ARRI

      SIGNATURE PRIME

      25/T1.8

      ARRI

      SIGNATURE PRIME

      29/T1.8

      ARRI

      SIGNATURE PRIME

      35/T1.8

      ARRI

      SIGNATURE PRIME

      40/T1.8

      ARRI

      SIGNATURE PRIME

      47/T1.8

      ARRI

      SIGNATURE PRIME

      58/T1.8

      ARRI

      SIGNATURE PRIME

      75/T1.8

      ARRI

      SIGNATURE PRIME

      95/T1.8

      ARRI

      SIGNATURE PRIME

      125/T1.8

      ARRI

      SIGNATURE PRIME

      150/T1.8

      ARRI

      SIGNATURE PRIME

      200/T2.5

      ARRI

      SIGNATURE PRIME

      12/T1.8

      ARRI

      SIGNATURE PRIME

      15/T1.8

      ARRI

      SIGNATURE PRIME

      280/T2.8

      Release

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2018

      2019

      2019

      2019

      Lens Mount

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      LPL

      MOD from sensor plane (minimum marked distance)

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      0.35 m / 14"

      0.45 m / 18“

      0.45 m / 18“

      0.65 m / 26“

      0.85 m / 3‘ 1“

      1 m / 3‘ 4“

      1.5 m / 5‘

      1.8 m / 6‘

      0.35 m / 14“

      0.35 m / 14“

      2.5 m / 8‘ 2“

      MOD from lens front

      0.13 m / 5.1"

      0.13 m / 5.1“

      0.13 m / 5.1"

      0.13 m / 5.1“

      0.13 m / 5.1"

      0.13 m / 5.1“

      0.23 m / 9.0“

      0.23 m / 9.0“

      0.43 m / 16.9“

      0.63 m / 2‘ 1“

      0.78 m / 2‘ 7“

      1.25 m / 4‘ 2“

      1.54 m / 5‘

      tbd

      tbd

      tbd

      Length from flange

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      178 mm / 7.01“

      208 mm / 8.19“

      218 mm / 8.58“

      tbd

      tbd

      tbd

      Magnification Ratio at MOD (Paraxial)

      1:9.2

      1:8.2

      1:7.1

      1:6.4

      1:5.4

      1:4.8

      1:6.3

      1:5.3

      1:7.2

      1:7.9

      1:7.0

      1:9.0

      1:8.3

      tbd

      tbd

      tbd

      Entrance pupil position (related to image plane, in direction to object)

      189.9 mm / 7.48“

      183.4 mm / 7.22“

      178.1 mm / 7.01“

      166.0 mm / 6.54“

      162.5 mm / 6.40“

      159.8 mm / 6.29“

      156.1 mm / 6.15“

      145.4 mm / 5.72“

      118.6 mm / 4.67“

      86.6 mm / 3.41“

      66.3 mm / 2.61“

      145.4 mm / 5.72“

      48.0 mm / 1.89“

      tbd

      tbd

      tbd

      Angle of view
      H - V - D
      for LF Open Gate

      91.4° / 71.0° / 102.6°

      82.8° / 63.0° / 94.0°

      73.0° / 54.4° / 84.0°

      65.2° / 47.8° / 75.8°

      55.4° /40.2° / 65.2°

      49.2° / 35.4° / 58.2°

      42.6° / 30.4° / 50.8°

      34.8° / 24.8° / 41.8°

      27.6° /19.4° / 33.2°

      21.8° / 15.2° / 26.4°

      16.6° / 11.6° / 20.2°

      13.8° / 9.8° / 16.8°

      10.4° / 7.2° / 12.6°

      113.6° / 93.6° / 123.5°

      101.5° / 80.8° / 112.3°

      7.5° / 5.2° / 9.1°

      Front diameter

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      114 mm / 4.49“

      tbd

      tbd

      134 mm / 5.28“

      Maximum housing diameter

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      115 mm / 4.53"

      135 mm / 5.31“

      135 mm / 5.31“

      tbd

      tbd

      tbd

      Weight (lens only)

      2.0 kg / 4.4lb

      2.1 kg / 4.6lb

      1.9 kg / 4.2lb

      1.8 kg / 4.0lb

      1.7 kg / 3.7lb

      1.9 kg / 4.2lb

      1.8 kg / 4.0lb

      2.1 kg / 4.6lb

      1.9 kg / 4.2lb

      2.4 kg/5.3lb

      2.3 kg / 5.1lb

      3.5 kg/7.7lb

      3.6k g/7.9lb

      tbd

      tbd

      5.5 kg/12.1lb

      Register for Extended Warranty

      Get in touch

      Sign up for information, offers and product demonstrations.











      * Mandatory fields

      Submit