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ARRI ALEXA SUP 11.1 Pocket Guide

1. lt eee Aperture Close Focus Length see 25 err Eu Weight Ultra Prime 8R T2 8 PL T2 8 to T22 0 35 m 13 8 130 mm 5 1 134 mm 5 3 137 mm 5 4 2 0 Kg 4 4 Ib Ultra Prime 12 T2 0 PL T2 0 to T22 0 30 m 11 8 140 5 5 156 6 1 159 6 3 2 0 Kg 4 4 Ib Ultra Prime 14 T1 9 PL 1 9 to T22 0 22 m 8 7 112 mm 4 4 114 mm 4 5 114 mm 4 5 1 8 Kg 4 0 Ib Ultra Prime 16 T1 9 PL T1 9 to T22 0 25 m 9 8 94 3 7 95 mm 3 7 104 4 1 1 2 Kg 2 6 Ib Ultra Prime 20 1 9 PL 1 9 to T22 0 28 m 11 91 3 6 95 mm 3 7 104 4 1 1 2 Kg 2 6 Ib Ultra Prime 24 1 9 PL T1 9 to T22 0 30 m 11 8 91 3 6 95 mm 3 7 104 4 1 1 0 2 2 Ib Ultra Prime 28 T1 9 PL 1 9 to T22 0 28 m 11 91 3 6 95 mm 3 7 104 4 1 1 0 Kg 2 2 Ib Ultra Prime 32 T1 9 PL T1 9 to T22 0 35 m 13 8 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 1 Kg 2 4 Ib Ultra Prime 40 T1 9 PL T1 9 to T22 0 38 m 15 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 0 Kg 2 2 Ib Ultra Prime 50 1 9 PL T1 9 to T22 0 60 m 23 6 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 0 2 2 Ib Ultra Prime 65 T1 9 PL T1 9 to T22 0 65 25 6 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 1 Kg 2 4 Ib Ultra Prime 85 T1 9 PL T1 9 to T22 0 90 m 35 4 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 2 Kg 2 6 Ib Ultra Prime 100 T1 9 PL T1 9 to T22 1 00 m 39 4 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 2 Kg 2 6 Ib Ultra Prime
2. 5 0 adualajay 559226 pied 15 105 0 Ayauesaiy nuaw 18891 10 06 ajqissod S qN3911 sasua 01 10 sua yunow 507 0 0 uorsnjuoo 0 un aouejsip sua EE 46 8509 400 PUB 50204 5181 H19N31 1V204 sfejdsip 811616 1100739 501 ViVd SN311 19881 0 asn 200 1108 200 HU 5 INOH EA 2 0 pouueuo oiper SYM 0 4amod SYM 0 9101 0 Jouueyg SNIVIS LX VX31v pue 5 1X OPNS 1X VX31V uong 9 58119 nua adualajay 5 0 eui 14 0 11 415 VX31V 501 lt WALSAS BIA N VX3 TV PU N LX VX31V 51010 T V 3 086 31080 195 NOILO3HIQ 195 6 9 12 2 1 300401 0123410 548 05 511115 WT IN19 204 1007 5141 9 0001 abewi 7 7 9 6501 ensodxe 10 02 95 14 99 pue 70096 OLN 700011 10002 e3uejeq 195 957008 840026 8 091 195 50 982 0 5 POW ubi 58771 5588
3. Displays current timecode source INT internal TC source EXT external TC source hh mm ss timecode value without frames 24 time base 24 fps in this case Only visible when camera is in external synchronization mode MASTER this camera is the master SLAVE this camera is the slave Settings sync is active so multiple cameras in external synchronization mode share the same settings Voltage level of power source present at BAT connector or percentage of remaining capacity of attached battery if it transmits this information BAT 2 REEL CLIP DUR Voltage level of battery attached to top and or back onboard battery adapter or percentage of remaining capacity if attached battery transmits this information Identifies current reel Consists of camera index letter and reel counter Identifies current clip Consists of clip index letter and clip counter Duration of current clip during recording or length of last recorded clip during standby Shown as h mm ss Active sensor mode 16 9 4 3 or OG Open Gate 575 1 24 26 sxs 1 INHIB Displays active recording format ARRIRAW ProRes HD or 2K or DNxHD SxS PRO adapter or XR Capture Drive inserted into slot Remaining capacity of loaded magazine Loaded Magazine is full No Magazine in slot Magazine does not support the currently selected Recording format Remaining capacity of
4. p ith ALEXA ing wi p ASC CDL Looks The alternative to ARRIs in camera look files is to send a clean Log C signal from the camera s REC OUT to an on set color correction tool such as FilmLight Truelight Technicolor DP Lights or Pomfort Live Grade and apply an ASC CDL American Society of Cinematographers Color Decision List color correction to the live camera feed for monitoring The ASC CDL standard is supported by a wide range of devices Color correction settings that were made during the shoot are logged with time code and can be output in an Avid Log Exchange ALE file The ALE file then can then be used in a color correction system to automatically apply the color corrections when deliverables will be created ALEXAs with an XR Module and Codex Onboard recorders can be connected to any color corrector offering the Truelight CDL Protocol via Ethernet and automatically capture the ASC CDL correction values with the camera footage The Codex VFS can use the color correction settings and automatically apply them when generating files On ALEXA XT XR cameras the CDL values will be embedded within the header of each ARRIRAW frame Y Live Color Correction On Set Monitoring apply ASC CDL color correction output color corrected live image 3 Use Look Clean Feed Log C live image from REC OUT i Dailies m ASC CDL Values including Log C to Video amp CDL cor
5. pueo qs zewo 10 40 Ajuo peai 559928 x10j8N ue4 pue 198 lt lt ajep do 5 u2 5 d0 5 ubIH U 15 20 ung pan mo17 40 Sseuyubuq uonng 8 0 sseuyyBuq uoanq Aejdsig lt lt Jadaaq Aejdsiq 80 10 oranis oranis 1x HOBHTIA aui ainsodxa aas anjeA ajajap ppe 0 96 0 6 paadsufiu SZLI 5088 09 adej 21 0 z TUP jenuey aaa 7 1 9 10 40 p1098g awe SNOILdO Ayun 110 olpny UON Z LH2 ZHI 1H9 1no 148 UON Z LH2 1 300 391 SNOILdO seuoug 100 Olanv AUN 9 0Z 19191 2 2 1snfpe ATUN 01 02 9191 LHO 1sn pe 006 16 62 SZ 77 9 6 z 10 NOW 84 06 26 62 SZ 12 91862 LNO 938 lt lt 544 105 104 VIG3W lt OANI VIQ3IN 1 lt 9 0 38 lt ANNIN IQON 80021 09 POW SH 0 1004 supr vygv SH 03348 ajajap ppe 80107 swix vaa 54402 54109 52 6 70 KASESE 9 8 96 nua 5 0 195
6. 9 49 6 91 11 72 8 53 6 22 10 53 Angle of view DIN Super 3519 ID 30 00 mm 88 85 72 70 101 97 81 24 65 39 94 07 74 85 59 56 87 24 68 56 53 97 80 52 60 22 46 85 71 70 52 01 40 00 62 89 47 45 36 31 57 80 42 07 32 16 51 31 38 01 28 94 46 52 33 55 25 51 41 15 27 26 20 53 33 88 20 99 15 80 26 08 18 15 13 67 22 56 13 74 10 32 17 14 10 35 7 77 12 91 9 30 6 99 11 59 ANSI Super 35 ID 31 14 mm 90 98 74 78 104 26 83 44 67 49 96 33 76 87 61 50 89 33 70 53 55 80 82 48 62 07 48 50 73 66 53 72 41 45 64 81 49 06 37 64 59 66 43 51 33 35 52 98 39 33 30 02 48 04 34 73 26 46 42 52 28 26 21 32 35 13 21 59 16 58 27 00 18 82 14 20 23 39 14 25 10 72 17 79 10 73 8 07 13 40 9 65 7 26 12 03 Entrance pupil 208 3 mm 8 2 189 3 mm 7 5 158 8 mm 6 3 154 9 6 15 149 3 mm 5 9 135 9 5 4 136 7 mm 5 4 128 4 mm 5 1 126 9 4 9 119 6 4 7 136 1 mm 5 4 107 3 4 2 102 5 4 0 57 2 mm 2 3 30 1 1 2 89 0 mm 3 5 741 ARRI ZEISS Ultra Prime Lenses
7. JA3 10 02 saul awes4 nbsap weue NOW Burjead 100 NOW 10 03 9516 110 NOW 0 801616 110 NOW saul 110 NOW 00 110 NOW 110 NOW 100 NOW auoN 195 INJINNSISSY NOLIN 9 SBUN aS nua 5 0 19591 10196J ay juese1dai 0711 415 VX3TV pieg 05 0 anes 493195 10 40 uo 10 10 110 NOW uo Bupjeag 40 08 LAO NOW uo oju seig 110 00 sauy moys 4001 95114 pue 1 SNOILdO 4113 319819 0295 12184318 1514112 9601 apis 8 10161800 XZ AYJd 40 88810 0 152 JO 284 8 4 14818 499195 EPA 19501 A10126J 1ueseudoi Q LL 415 VX31v 5 8 WATA SUAM 4 3 uo SUONNG 94 5 20 0 OANI pue 21 AV Td T1N3IALN3342S3 AIDH 420 X301 011118 19981014 lt nua 1281014 198 198 5319195 91 X4 ut 1811 921005 1981 2446 Wer Uabay ung 5 14 994 2111 3 2111 92105 1 13538 3 01 13S 21139 u9919S 300323INILL 544 113155 VICIN NOISH3A 05 01 JAYS SAN 99195 NOLIVINHOJNI IN31SAS suorun sSurjas nua
8. 1 3 PLLDS T22 0 50 m 20 PID 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 65 1 3 PL LDS 71 3 T22 0 65 2 3 1 8 2 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 75 1 3 PLLDS 71 3 T22 0 80 m 2 9 1 8 9 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 100 1 3 PLLDS 71 3 T22 1 00 m 3 6 1 8 9 153 6 205 mm 8 07 114 mm 4 5 128 5 Master Prime 135 1 3 PLLDS 71 3 T22 0 95m 3 3 1 6 6 172 mm 6 8 224 mm 8 82 114 4 5 128 5 Master Prime 150 1 3 PLLDS 1 3 T22 1 50 m 4 11 1 10 3 210 8 3 262 10 31 134 5 3 137 5 4 For Annotations see 120 All data is subject to change without notice Weight 2 9 Kg 6 4 Ib 2 4 Kg 5 3 Ib 2 2 Kg 4 8 Ib 2 2 Kg 4 8 Ib 2 4 Kg 5 3 Ib 2 6 Kg 5 1 Ib 2 2 Kg 4 8 Ib 2 3 Kg 5 1 Ib 2 2 Kg 4 8 Ib 2 3 Kg 5 1 Ib 2 7 Kg 5 9 Ib 2 6 Kg 5 7 Ib 2 8 Kg 6 2 Ib 2 9 Kg 6 4 Ib 2 8 Kg 6 2 Ib 4 0 Kg 8 8 Ib Normal 35 ID 27 20 mm 83 87 66 44 96 13 76 42 59 41 88 52 70 07 53 79 81 76 63 98 48 60 75 29 55 96 42 05 66 60 48 12 35 79 57 97 43 82 32 45 53 08 38 84 28 74 47 10 35 04 25 82 42 64 30 91 22 75 37 68 25 02 18 27 30 81 19 27 14 06 23 72 16 66 12 17 20 51 12 60 9 17 15 56
9. Front Diameter 156 mm 6 1 Housing Diameter 112 mm 4 4 Weight Focal Length Normal 35 ID 27 20 mm at 9 5 mm 98 6 80 3 110 5 4 8 10 5 Ib at 14 mm 76 3 59 5 88 3 at 18 mm 62 8 47 9 74 1 Angle of view H V D DIN Super 3519 ID 30 00 mm 103 5 87 0 115 7 81 2 65 5 94 0 67 3 53 1 79 5 Alexa HD ID 27 26 mm 103 0 70 3 110 6 80 6 51 1 88 5 66 8 40 8 74 2 Entrance pupil 310 4 mm 12 22 309 4 mm 12 18 308 0 mm 12 13 741 lt ARRI ZEISS Master Macro Lens Lens Name Mount Aperture Master Macro 100 T2 0 PLLDS T2 0 T4 3 to T32 For Annotations see Page 120 data is subject to change without notice Close Focus 0 35 m 13 3 4 Magnification Ratio YA Length 210 0 mm 8 27 Front Diameter 114 mm 4 5 741 Maximum Housing Diameter Weight Horizontal Angle of View Normal 359 DIN Super 3519 ANSI Super 35 ID 27 20 mm ID 30 00 mm ID 31 14 mm 138 mm 5 4 2 6 kg 5 7 165 12 42 13 52 14 02 Annotations Operation Temperature 20 C to 40 4 F to 104 F Storage Transport Temperature 40C to 70 C 40 F to 158 F 1 Positive locking 54mm stainless ste
10. Lu Additional notes for shooting other modes than the standard setup cont Recording Media Rotation 1 Take a fresh drive card make sure it is not locked SxS only and insert it into the camera 2 If the drive card has been used before and still contains footage gt First verify that the material has been properly transferred gt Then use MENU gt Recording gt Internal gt Quick format media to format empty the card for recording gt Ask the data wrangler to empty the drives cards before returning them to you 3 During recording don t wait for a drive card to fill up completely 4 Remove the mag and prepare it to be backed up gt Put the drive card into its case gt Visually mark the exposed negative with colored tape 5 The data wrangler should perform at least the following steps gt Transfer the drive s card s contents including checksum verification Depending on the recording mode format the drive card ProRes DNxHD or clear the drive ARRIRAW before it is returned to the camera This greatly reduces risk to accidently format a drive card that has not been backed up and made it back to the camera by mistake Putthe drive card back into its case without color tape and hand over to the loader Shooting Stereo 3D 1 Do not use different ALEXA models in a 3D setup If a licensed feature will be used the license key must be installed on both cameras 2 Connect both ca
11. Pocket Guide wn t 2 5 Table of Contents Overview New features in SUP 11 0 The Home Screen Home Screen Soft Buttons Icons on Home Screen MON OUT Icons Recording Media ALEXA XT Output Overview ALEXA Output Overview ARRIRAW uncompressed ARRIRAW Converter 3 0 ARRIRAW capable software solutions ProRes DNxHD New recording features in SUP 11 0 5 14 16 20 21 22 24 25 26 28 30 Working with ALEXA Exposure Index ND filters False Color Exposure Check Color Spaces Video Rec 709 Log C Linear ARRI LUT Generator In Camera ARRI Look Files Legal and Extended Range p and psf Metadata Overview Licenses 32 32 34 37 38 38 40 41 41 42 48 49 50 52 ALEXA Pre shoot Checklist Recording with the XR or SxS Module Camera Setup Shooting High Speed Recording ARRIRAW via T Link Shooting Stereo 3D ALEXA M ALEXA XT M fiber maintenance Creating Lens Tables ALEXA XT XR Workflows Compressed Recording Formats Uncompressed ARRIRAW Generating Deliverables Scaling your Workflow Specifications and Reference Technical Specifications Menu Settings amp Button Functions 54 55 55 57 57 59 59 60 68 68 68 71 73 74 74 90 ARRI Lenses ARRI ZEISS Master Anamorphic Lenses Anamorphic UWZ 19 36 ARRI ZEISS Master Prime Lenses ARRI ZEISS Ultra Prime Lenses ARRI ZEISS LDS Ultra Prime Lenses ARRI FUJINON Alura Zoom Lenses ARRI FU
12. on 1 x Uu The ARRI Lens Data System LDS provides frame accurate information about the focus iris and zoom settings of a lens at the time of shooting ALEXA cameras can embed this information with the images or send it to peripheral camera equipment on set Embedded lens data is very helpful for VFX post production as it eliminates paper and guesswork On set the same data can be used with the WCU 4 hand unit s integrated lens data display and pre marked focus rings for more accurate focus pulls and faster lens setups ARRI LDS lenses such as Master Anamorphics Master Primes LDS Ultra Primes Alura Lightweight Zooms and the Ultra Wide Zoom deliver lens data instantly as they have integrated encoders that determine the current lens position as well as a lens table that interprets those encoder values The same applies to Cooke i lenses All other lenses require an external encoder and a custom lens table for lens data generation CLM motors include an accurate encoder that can determine the lens position Custom lens tables can be generated with the ALEXA Webremote interface This document explains how to create and manage custom lens files with an ALEXA Plus or Studio type camera Required Equipment An ALEXA Plus ALEXA Plus 4 3 ALEXA Studio ALEXA XT Plus or ALEXA XT Studio One or more lens motors CLM 2 CLM 3 or CLM 4 We recommend using one motor per lens scale If yo
13. width 129 mm 5 08 height 149 mm 5 87 Length 323 mm 12 72 width 153 mm 6 02 height 158 mm 6 22 Length 212 mm 8 35 width 129 mm 5 08 height 149 mm 5 87 Length 323 mm 12 72 width 161 mm 6 33 height 158 mm 6 22 Detailed drawings can be found in the ALEXA Dimensions PDF document on our website at http www arri com alexa downloads 54 mm stainless steel LDS PL mount Super 35 centered 52 00 mm nominal flange focal depth All models but Standard ALEXA are outfitted with a Lens Data Mount Viewfinder Low latency lt 1 frame delay electronic color viewfinder ARRI EVF 1 with 1280 x 784 F LCOS micro display image 1280 x 720 status bars 1280 x 32 above and 1280 x 32 below image and ARRI LED illumination both temperature controlled Image can be flipped for use of viewfinder on camera left or right Viewfinder Mounting Bracket allows movement of viewfinder forward backwards left right up down 360 degree rotation and placement on camera left or right EVF 1 controls viewfinder and basic camera settings ZOOM button 2 25x pixel to pixel magnification EXP button false color exposure check and jog wheel ALEXA Studio Optical viewfinder OVF 1 shows a bright high contrast image for through the lens viewing with low distortion accurate color fidelity and no delay Can be used camera left or right and the viewfinder arm telescopes closer farther from the camera body Automatically keeps an upright image in
14. 10 4 17 3 10 5 7 9 13 1 7 992 5 9 9 92 Entrance pupil 155 2 mm 6 1 113 4 mm 4 4 91 3 mm 3 5 85 1 mm 3 3 73 3 mm 2 8 67 4 mm 2 6 67 3 mm 2 6 61 1 mm 2 4 59 2 mm 2 3 13 4 mm 0 5 19 0 mm 0 7 3 5 mm 0 1 12 4 mm 0 4 56 9 mm 2 2 19 7 mm 0 7 741 ARRI ZEISS LDS Ultra Prime Lenses lt Lens Front Maximum housing Name Mount Aperture Close Focus Length Diameter Weight LDS Ultra Prime 12 T2 0 PLLDS 2 0 to T22 0 30 m 11 8 140 mm 5 5 156 6 1 159 mm 6 3 2 0 Kg 4 4 Ib LDS Ultra Prime 14 1 9 PL LDS 1 9 to T22 0 22 m 8 7 112 mm 4 4 114 4 5 114 4 5 1 8 Kg 4 0 Ib LDS Ultra Prime 16 T1 9 PLLDS T1 9 to T22 0 25 m 9 8 94 3 7 95 3 7 104 4 1 1 2 Kg 2 6 Ib LDS Ultra Prime 20 T1 9 PLLDS T1 9 to T22 0 28m 11 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 2 Kg 2 6 Ib LDS Ultra Prime 24 T1 9 PLLDS T1 9 to T22 0 30 m 11 8 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 0 Kg 2 2 Ib LDS Ultra Prime 28 T1 9 PLLDS T1 9 to T22 0 28m 11 91 mm 3 6 95 mm 3 7 104 4 1 1 0 Kg 2 2 Ib LDS Ultra Prime 32 T1 9 PLLDS T1 9 to T22 0 35 m 13 8 91 mm 3 6 95 mm 3 7 104 4 1 1 1 Kg 2 4 Ib LDS Ultra Prime 40 T1 9 PLLDS T1 9 to T22 0 38 m 15 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 0 Kg 2 2 Ib LDS Ultra Prime 50 1 9 PLLDS
15. Rec 709 is the same except for 0 3 stops fewer in the low end at El 160 200 and 400 Also see Page 32 and 33 Presets for 3200 tungsten 4300 fluorescent 5600 daylight and 7000 daylight cool Automatic calculation or manual white balance for 2000 to 11000 Kelvin adjustable in 100 K steps Color Correction Sound Level Power In Power draw ALEXA Plus Plus 4 3 ALEXA XT XT Plus While white balance changes the red blue hue of the image color correction changes green magenta Adjustable range from 12 to 12 CC 1 CC corresponds to 035 Kodak CC values or 1 8 Rosco values ALEXA Under 20 db A while recording ProRes 4444 16 9 HD 24 fps mirror shutter running on the Studio and lt 30 Celsius lt 86 Fahrenheit with lens attached and fan mode set to Regular measured 1 m 3 feet in front of the lens Silent operation at higher temperatures possible with fan mode set Rec low ALEXA XT Under 19 db A while recording ProRes 4444 16 9 HD 24 fps mirror shutter running on ALEXA XT Studio and lt 30 Celsius lt 86 Fahrenheit with lens attached and fan mode set to Regular measured 1 m 3 feet in front of the lens Silent operation at higher temperatures possible with fan mode set to Rec low BAT connector optional V Lock or Gold mount battery adapter back and top Camera accepts 10 5 to 34 V DC on all inputs Values stated here apply to typical use at 24 fps without accessories 85 W for
16. amp Mexico Sales amp Service 600 North Victory Blvd Burbank CA 91502 1639 USA info arri com Tel 1 818 841 7070 Fax 1 818 848 4028 ARRI Inc East Coast Sales amp Service 617 Route 303 Blauvelt NY 10913 1109 USA info arri com Tel 1 845 353 1400 Fax 1 845 425 1250 ARRI Inc Central amp Southern America Sales 2385 Stirling Road Ford Lauderdale FL 33312 USA ventas arri com Tel 1 954 322 4545 Fax 1 954 322 4188 ARRI Canada Limited Sales amp Service 1200 Aerowood Drive Unit 29 Mississauga Ontario LAW 257 info arri com Tel 1 416 255 3335 Fax 1 416 255 3399 Asia ARRI Asia Limited Sales amp Service 2203B The Centrium 60 Wyndham Street Central Hong Kong info arriasia hk Tel 852 2571 9066 Fax 852 2875 9181 ARRI China Beijing Co Ltd Sales amp Service Chaowai SOHO Tower C 6 F 0628 0656 Chaowai Dajie Yi 6 Beijing China store arrichina com Tel 86 10 59009680 Fax 86 10 59009679 Australia New Zealand ARRI Australia Pty Ltd Sales amp Service Level 1 Unit 1 706 Mowbray Road Lane Cove NSW 2066 Sydney Australia info arri com au Tel 61 2 9855 4300 Fax 61 2 9855 4301 wn 5 co co wn x 5 i wn ce igs gt wn wn 5 ARRI Service Contacts Zone Availability Monday Friday 09 00 17 00 C
17. for example is essential for creating dailies or color grading Reel number project fps date and time become important when combining images and sound from different sources Metadata in the ALEXA appears in several different ways embedded in the ARRIRAW header QuickTime metadata atom and ARRI Digital Meta Data ADMD atom MXF metadata XML Final Cut Pro 7 XML and Avid Log Exchange ALE file These atoms or text based files can be parsed by e g editing software and offer the accompanying information mentioned above to the application and its user For more information on the metadata have a look at our whitepaper at www arri com alexa downloads Lens Data System By combining the ALEXA XT Series ALEXA Plus ALEXA M or ALEXA Studio camera with lenses equipped with a Lens Data System LDS PL Mount additional frame by frame lens metadata for use in VFX work will be acquired When using a non LDS lens in combination with the ARRI Controlled Lens Motors a profile for the lens can be created within the Lens Data Archive LDA by doing so the ALEXA camera can compensate for the missing sensors inside the lens by reading the motor s position and calculating the current focus iris or zoom value A guide on how to create an entry for an unknown lens can be found on page 62 VFX Department use Lens Data for effects work Live update 3 Usin lt of Lens Data Display 9 to keep the shot in focus Le n S Data th ALEXA WCU
18. 4 controls camera via white radio ing wi ARRI META Extract CLM 2 3 or 4 extract Lens Data from files drives focus zoom or iris on lens p for use VFX 2 Storing Lens Data SxS PRO Lens data embedded in file header of the Quicktime clip LDS capable lens amp ALEXA camera Lens Data lenses Master Anamorphics Master Primes LDS Ultra Primes or ALURA zooms generated by e g a focus pull or Non LDS lenses with LDA Wireless System camera any from the ALEXA XT series ALEXA Studio Plus Plus 4 3 or M XR Capture Drive Lens data embedded in file header of each ARRIRAW frame ith ALEXA ing wi Licenses Licensed features expand the capabilities of an ALEXA camera A license file is serial number sensitive and can only be used on the camera for which it has been purchased Currently there are three licenses available Anamorphic De squeeze High Speed and DNxHD Recording e Anamorphic De squeeze shows a properly de squeezed image with or without surround view on EVF 1 and or MON OUT when working with 1 3x or 2x anamorphic lenses The High Speed license allows recording up to 120 fps in many recording formats High Speed mode uses the same Super 35 sensor area as Regular Speed mode same depth of field same angle of view The DNxHD license allows in camera recording onto SxS PRO cards of 16 9 HD Avid DNXHD 145 8 bit 4 2 2 DNxHD 220x 10 b
19. 42 29 78 59 36 6 71 1 32 3 64 9 28 9 414 9 mm 16 33 414 4 mm 16 31 413 9 mm 16 30 413 2 mm 16 27 412 5 mm 16 24 ARRI ZEISS Master Prime Lenses lt Name Master Prime 12 1 3 PLLDS 11 3 1122 0 40 16 1 16 5 197 mm 7 8 249 mm 9 80 156 mm 6 1 159 6 3 Master Prime 14 T1 3 PLLDS T1 3 T22 0 35 m 14 1 11 7 172 mm 6 8 224 mm 8 82 114 4 5 128 5 Master Prime 16 1 3 PLLDS 71 3 T22 0 35 m 14 1 11 8 153 mm 6 205 mm 8 07 114 4 5 128 mm 5 Master Prime 18 T1 3 PLLDS 1 3 T22 0 35 m 14 1 11 0 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 21 1 3 PLLDS 71 3 T22 0 35 m 14 1295 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 25 1 3 PLLDS 1 3 T22 0 35 m 14 1 8 6 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 27 1 3 PLLDS 71 3 T22 0 35 m 14 1 7 8 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 32 1 3 PLLDS 71 3 T22 0 35 m 14 1 7 1 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 35 1 3 PLLDS 71 3 T22 0 35 m 14 1 6 4 153 mm 6 205 mm 8 07 114 4 5 128 mm 5 Master Prime 40 T1 3 PLLDS 1 3 T22 0 40 m 16 1 7 0 153 6 205 mm 8 07 114 4 5 128 5 Master Prime 50
20. High Speed ProRes amp Format DNxHD ProRes amp DNxHD 16 9 1920x1080 1920x1080 0 75 60fps 60 120fps Sensor Mode 43 1 DNxHD 444 is not available in High Speed Mode 2 ProRes 2K is limited to 30fps on 32GB SxS PRO cards onto SxS PRO SxS PRO cards 2K ProRes 2048x1152 0 75 60fps 2048x1536 0 75 481 5 External recording via T Link External recording via HD SDI ARRIRAW HD uncompressed uncompressed 2880x1620 0 75 60fps 1920x1080 0 75 60fps 2880x2160 0 75 48fps ALEXA Output Overview 2x REC OUT TLink mw ARRIRAW uncompressed 16 9 or 4 3 HD SDI s HD uncompressed 16 9 4 4 4 or 4 2 2 1 2x MON OUT s HD SDI 16 9 s HD SDI with 2x SxS PRO PRO cards Quicktime HD 2K 16 9 or 4 3 16 9 HD information overlay ProRes 422 ProRes 422 HO ProRes 4444 DNxHD 145 DNxHD 220x DNxHD 444 290 gt im ARRIRAW ARRIRAW is the highest image quality output possible with ALEXA delivering uncompressed unencrypted raw image data for the highest achievable resolution the camera s natural color response and greatest exposure latitude Nothing is baked into an ARRIRAW image processing steps like debayering white balance sensitivity or scaling can be optimized in post based on image content ARRIRAW can be easily up sampled to 4K as has been done with Skyfall X Men Avengers and many others and
21. J0suag eweguedo 5 6 91 ex smanwroranis ix POW 108095 lt lt fuie nusu WIJLSAS 2 1 ouj 4881 aye 90825 U0ne20 1036190 eJaure 1012911 Aueduio uononpoJd lt lt 10196 929911 sua 666 100 14109 981 SiA erg oj enjg U33219 10 02 esaweg 777 exaweg 54 0 6 67 57 77 9 6 57 ayes eure 1291014 IVNH3INI lt Buipio28g lt nua lt Sulpiooay lt nua uonnjosa Jay 3199 40 6 0 6 91 v sma W oianis 1x 9POIN 108495 husu 1 3f 0dd 0261 9 58119 nua 5 0 19501 ay 14 4 0711 415 VX31V OIGNLS SN Td 40 2120 sua aas win ix yaw 501 19591 01984 dnjas peo dnjas Juana anes LAT E SE E DII MV IHU 110 374 aqissod Ajuo ut is um s 10 238 1 40 00 110 NOW aanoy 20 40 4Aq uo annoy 216601 apow aredwog e lt lt afew ani 0 L D9dr ap anes 939 9p e1sut lt lt sainjea pasuaor lt lt ajepdn 128 956 lt lt JEMU p1e2 qs aedalg
22. Studio Lock Camera is locked PLAY MIRROR PARK VIEW 11 ALEXA Studio left side Additional buttons VIEW amp GATE for mirror control Overview MON OUT Icons E gt 5 24 000 SHUTTER 172 8 EI800 WB 5600 CC 0 BAT 1 24 8V BAT215 5V 1 General Warning General Error Temperature Warning Temperature Error Lock Grab Audio Icon Description Name Important information Peaking waiting on the info screen Press the INFO Smooth mode button for more details An error occurred Recording Press the INFO resolution button for more details Slight sensor temperature Gamma offset Image quality might be affected Great sensor temperature offset Image quality might be affected seriously Look active Home screen is locked Stil frame is being captured to the SD card A new still frame can only be captured when this is completed E E Audio recording Return IN enabled disable Description Peaking enabled for EVF and or MON OUT Smooth mode active in active on EVF Displays current SxS resolution HD or 2K Displays Gamma RAW ing for EVF S mon our A look is active burned in on EVF MON OUT and or Internal recording CDL server connected disconnected Return is active image from RET SYNC IN input is shown E gt Recording Med
23. T1 9 to T22 0 60 m 23 6 91 3 6 95 3 7 104 4 1 1 0 Kg 2 2 Ib LDS Ultra Prime 65 T1 9 PLLDS T1 9 to T22 0 65 m 25 6 91 mm 3 6 95 mm 3 7 104 mm 4 1 1 1 Kg 2 4 Ib LDS Ultra Prime 85 T1 9 PLLDS T1 9 to T22 0 90 m 35 4 91 mm 3 6 95 mm 3 7 104 4 1 1 2 Kg 2 6 Ib LDS Ultra Prime 100 T1 9 PLLDS T1 9 to T22 1 00 m 39 4 91 3 6 95 3 7 104 mm 4 1 1 2 Kg 2 6 Ib LDS Ultra Prime 135 T1 9 PLLDS T1 9 to T22 1 50 m 59 1 119 4 7 95 mm 3 7 102 mm 4 0 1 6 Kg 3 5 Ib LDS Ultra Prime 180 T1 9 PLLDS 1 9 to T22 2 60 102 4 166 6 5 114 4 5 119 mm 4 7 2 6 Kg 5 7 Ib For Annotations see Page 120 data is subject to change without notice Normal 35 ID 27 20 mm 85 5 67 8 97 6 75 6 58 9 87 6 68 6 52 8 80 3 58 9 44 6 69 8 50 5 37 8 60 5 43 6 32 4 52 6 38 6 28 5 46 8 31 0 22 8 37 9 24 3 17 8 29 8 19 4 14 2 23 9 15 2 18 7 12 3 8 9 15 29 9 3 6 7 11 5 6 9 5 1 8 5 Angle of view H V D DIN Super 3519 ID 30 00 mm 90 5 74 2 103 2 80 5 64 8 93 29 73 39 58 4 85 8 63 2 49 6 75 1 54 4 42 2 65 4 47 1 36 2 57 2 41 8 31 9 51 0 33 79 26 6 41 5 26 5 20 0 32 8 21 9 16 5 27 2 16 5 12 4 20 5 13 4 10 0 16 7 10
24. aspect ratio of 1 55 1 Since the Open Gate aperture is wider than a Super 35 frame make sure that the lenses you are using actually cover the whole area Wide angle lenses are more critical in this respect than long focal lengths A guide is given by the ARRI online Lens Illumination Guide www arri com alexa tools File size Data Rate Data Volume ara Bang 24 fps 24 fps 7 MB 1 34 Gbit s 605 GB h 0 75 120 8 4 MB 1 61 Gbit s 726 GB h 0 75 96 9 3 MB 1 79 Gbit s 806 GB h 0 75 96 11 3 MB 2 17 Gbit s 976 GB h 0 75 75 E 2 E im gt ARRIRAW Converter 3 2 The ARRIRAW Converter ARC is a free software solution that reads displays and renders ARRIRAW files Since in 2005 the first ARRIRAW files from the D20 camera have been shot the ARC has been greatly improved In 2012 we decided to develop a completely new version of the ARRIRAW Converter which has been released at IBC 2013 Since Version 3 0 the ARRIRAW Converter features a new user interface in combination with a feature rich tool palette Working with ARRIRAW has become more intuitive and straight forward from browsing through the images to reviewing and finally render ing to other file formats To allow a quick start with ARC 3 2 we ve created a series of tutorial videos on all available features Also including the new User Pixel Mask a feature introduced to ALEXA cameras in SUP 9 0 www arri com goto arriraw tutori
25. bit 322 45 0 75 60 ProRes 4444 4 3 2048 x 1536 12 bit 429 93 0 75 48 16 99 3164 1778 12 bit 777 350 0 75 30 16 9 1920 x 1080 12 bit 423 91 0 75 75 16 9 2048 1152 12 bit 482 217 0 75 60 ProRes 4444 XQ 4 3 2048 x 1536 12 bit 643 290 0 75 48 16 95 3164 1778 12 bit 1165 524 0 75 30 1 ProRes is a variable bit rate codec The actual data rate varies with the image content 2 ProRes 4444 4444 XO provides an alpha channel which is not used by the ALEXA 3 All speeds adjustable with 1 1000 fps precision ProRes recording speed is limited on 32GB SxS PRO cards 5 ProRes 3 2K is available for ALEXA XT cameras and ALEXA Classic cameras with the XR Module upgrade only ProRes 444 3 2K is not available on SxS Pro Pro cards E DNxHD Recording ALEXA and ALEXA XT cameras allow in camera recording of 1920 x 1080 16 9 DNxHD encoded files onto SxS PRO cards CFast 2 0 cards2 or XR Capture Drives2 With an installed DNxHD license ALEXA users can choose between MXF DNxHD or QuickTime ProRes recording codecs ALEXA s MXF DNxHD material can be edited in Avid Media Composer Version 5 5 and later without transcoding The Material eXchange Format MFX is a core media container technology for nonlinear workflows An container file can Wrap different types of video and audio material along with associated metadata The internal structure of MXF files is defin
26. camera and EVF 1 recording to SxS PRO cards 100W for camera and EVF 1 recording to Capture Drives SxS PRO cards pe 2 m 2 8 Nn ce co co wn 2 co D ALEXA Studio ALEXA XT Studio ALEXA M ALEXA XT M Power Out 90 W for camera with OVF 1 recording to SxS PRO cards mirror shutter on 105 W for camera with OVF 1 recording to Capture Drives SxS PRO cards mirror shutter on When running over 30 fps with mirror shutter on a supply voltage of 18 V or more is recommended 40 W for camera head and 85 W for body recording to SxS PRO cards 40 W for camera head and 100 W for body recording to Capture Drives SxS PRO cards A 24 V power input to the body is required to power the camera head from the body through a standard SMPTE hybrid cable up to 50 meters without accessories The camera head has one 10 5 to 34 V DC power input that can be used to power the head independently form the camera body 12 V connector limited to 12 V up to 2 2 A RS EXT and ETHERNET input below 24 V is regulated up to 24 V above 24 V input output voltage Both RS and EXT connectors combined up to 2 2 A ETHERNET up to 1 2 A Maximum power draw is also limited by the power source The camera head on the ALEXA M offers two RS connectors and one ETHERNET connector with the same specifics as on the
27. illuminated buttons button lock and jog wheel Operator interface with illuminated buttons and button lock Camera left ALEXA Studio and ALEXA XT Studio MIRROR PARK buttons VIEW GATE Optional accessory Remote Control Unit RCU 4 for cabled remote control via camera ETHERNET connector Optional accessory Wireless Compact Unit WCU 4 for wireless remote control ALEXA QuickTime ProRes or MXF DNxHD recording onto one or two Dual Recording SxS PRO or SxS PRO cards All formats include embedded audio timecode and metadata Recording Outputs ALEXA XT Series Uncompressed and unencrypted ARRIRAW compressed and unencrypted QuickTime ProRes or compressed and unencrypted MXF DNxHD recording onto XR Capture Drives With SxS Adapter QuickTime ProRes or MXF DNxHD onto SxS PRO or SxS PRO cards With CFast 2 0 Adapter QuickTime ProRes or MXF DNxHD onto CFast 2 0 cards All formats include embedded audio timecode and metadata ARRIRAW can additionally store an ASC Color Decision List CDL from an on set network connection ALEXA 2x 1 5G or 3G REC OUT BNC connectors for ARRIRAW T Link or HD SDI video Both with embedded audio timecode metadata and recording flag ARRIRAW 2880 x 1620 16 9 uncompressed unencrypted 12 bit log without white balance or exposure index processing applied Requires an ARRIRAW T Link certified recorder HD SDI video uncompressed 1920 x 1080 16 9 4 4 4 RGB or 4 2 2 YCbCr at 23 976 24 25 29 97 30 50 59 9
28. mm 7 4 264 0 mm 10 4 231 6 mm 9 1 213 9 mm 8 4 234 4 mm 9 6 2 0 mm 0 1 101 5 mm 4 0 ARRI FUJINON Alura LDS Extender Combining the Zooms with Alura Extenders Alura Zoom Alura Extender Resulting Combination Alura LDS Extender 1 4x Alura 22 63 T4 0 Alura Lightweight Zoom 15 5 45 T2 8 Alura LDS Extender 2 0x Alura 31 90 T5 6 Alura LDS Extender 1 4x Alura 42 112 T4 0 Alura Lightweight Zoom 30 80 T2 8 Alura LDS Extender 2 0x Alura 60 160 T5 6 Alura LDS Extender 1 4x Alura 25 112 T3 7 Alura Zoom 18 80 T2 6 Alura LDS Extender 2 0x Alura 36 160 T5 2 Alura LDS Extender 1 4x Alura 63 350 T3 7 Alura Zoom 45 250 12 6 Alura LDS Extender 2 0x Alura 90 500 T5 2 741 Weight Diameter without knobs Length without knobs Alura LDS Extender 1 4x 300 g 0 66 Ib 77 mm 3 03 44 mm 1 73 Alura LDS Extender 2 0x 530 g 1 17 Ib 77 mm 3 03 60 mm 2 36 lt ARRI Ultra Wide Zoom UWZ 9 5 18 Lens Focal Length Focal Length Focal Length Mount Wide Long Ratio porum Name Ultra Wide Zoom UWZ 9 5 18 T2 9 e 95 18 1 9 T2 9 T22 For Annotations see 120 All data is subject to change without notice Close Focus 0 55 m 1 9 Magnification Ratio 110 7 Length 335 5 mm 13 2
29. storage provides enough space for a few shoot days worth of ARRIRAW footage This gives a production a few days buffer to confirm that the material is OK before the storage needs to be cleared Deliverables for Dailies review and editorial can be provided via Network or shuttle disks Nn 2 2 gt lt 2 m lt p 4 2 gt lt 2 lt ALEXA XT XR Workflows cont This setup also offers several options to optimize the performance in different production environments The Capture Drive Dock SAS allows cloning XR Capture Drives to Codex Transfer Drives Cloning creates verified identical copies and maintains the VFS e An optional Codex Storage option will transform up to 6TB of internal RAID storage into a Codex volume which allows cloning Capture Drives to keep all data in the VFS Setting up the Mac in a 10 Gig Ethernet network enables direct VFS access for postproduction tools through a network share The optional Codex Offloader option expands the Software with an option to create verified copies of the VFS to connected external disks or to LTO tapes for archiving Scaling your Workflow To overcome a situation where you will be faced with more footage than a setup can handle the obvious solution is to add a second setup Sometimes it may be more beneficial to combine setups including a Capture Drive Dock USB or Thunderbolt
30. to Log C ARRI LUT Generator The ARRI LUT Generator can output 1D and 3D LUTs for a wide range of common postproduction tools It is available online at www arri com alexa tools ing with A p ith ALEXA ing wi p In Camera Look Files ARRI Look Files are editable XML files that can apply a customized look to all outputs EVF 1 MON OUT REC OUT ProRes and or DNxHD recording that are set to Rec 709 A look file can be created based on a Log C DPX grab or a Log C QuickTime clip that was stored by the camera It contains parameters for saturation printer lights controls RGB offsets and for lift gamma gain similar to the CDL controls Optionally a look file may also include a freeform curve grey scale tone map LUT that will be applied instead of the standard Log C to Video tone mapping curve The free ARRI Look Creator ALC allows the creation of camera look files based on Log C DPX frame grabs Looks can also be created with third party software Pomfort Silverstack SET and Colorfront On Set Dailies ARRI Look Files can be saved to an SD card and imported into the camera One Look File can be activated at a time and applied to the different image paths individually It is possible for instance to record a clean Log C image onto the SxS PRO card while outputting a Rec 709 image with a look applied on the MON OUT output As soon as a Look File gets applied to any output the data of the Loo
31. 02 1008 ay 1uese1dai 0 11 416 VX31V anjeA 14IHS 29 pue 210096 ONY 5100011 0002 9 901 602 939 9901602934 100 NOW 9 901 607 238 110 939 J 901 60 038 1010 999 602 338 10 140 0 1001 60 334 10 440 0 1001 100 602 038 10 440 7007 1M 185 IX gv 109 ix vxaiv dNO9 109 Aq 00 221 Ud V P qs yoo 500 2 3001 138 ___________ 00 80 40 oranis oranis 1x 9577008 vsvooze 75091 9014 1 zewo 40 09 8164 UX IX CP BI 18404 UX IX Now P482 18101 8184 1010 108488 aseug non SXS 918801 10 00 Saul 4 nbsap weue NOW Bupjead 100 NOW 10J02 981 110 NOW 80118 100 NOW saul awe 110 NOW yoo 110 NOW 110 NOW punouns 100 NOW IWON 9 c p uong 195 1 HdYOWYNY LX 119 qe 8164 10109 108095 9584 ony dip 919119 yeys pua dip 186 2949 Now 858 918801 8An2e uinjag 1118 4 3 Bupjead 1 3 10109 95 JA3 wooz 4 3 0jUI 811616 JA3 saul JA3 7001 443
32. 06 Drive BAT2 13 5V DUR 0 00 27 00 44 43 800 5600 COLOR WB Home Screen Soft Buttons The soft buttons lead to screens where the respective settings can be changed In the home screen the following info is displayed FPS AUDIO SHUTTER COLOR Set sensor frame rate Set audio preferences When on audio levels are shown OFF turned off DISABLED sensor is not running at sync sound speed Set shutter angle and turn mirror shutter on off for ALEXA Studio Set exposure index and insert internal ND filter for ALEXA Studio Set gamma for REC OUT output REC and internal recording of ProRes or DNxHD INT blue_int_icon The selected ARRI Look File is applied to internally recorded footage WB blue_REC_icon The selected ARRI Look File is applied to REC OUT red_int_icon blinking The CDL server connection has been enabled but the CDL server cannot be reached Set white balance consisting of a Kelvin value for red blue correction and a CC shift value for green magenta correction shown as exponent ALEXA Studio Icons Name Mirror Shutter View Position Gate Position ND filter Icon Description Flashing Icon when the Mirror Shutter is spinning Mirror Shutter in View position G Mirror Shutter in Gate position ND filter active E gt E E 2 i Home Screen Center Bar BAT 1
33. 102 95mm 3 7 Master Anamorphic 135 T1 9 PLLDS TL9 T22 120m 3 11 NUS 226mm 9 1 278mm 107 95mm 3 7 For Annotations see Page 120 data is subject to change without notice 741 MA or view Entrance Super 35 Cinemascope ID 29 26 mm 114 mm 4 5 2 6 5 7 65 5 29 9 178 8 mm 7 0 114 4 5 2 7 6 0 58 7 26 3 176 0 6 9 114 mm 4 5 2 6 5 7 48 5 21 2 171 5 mm 6 8 114 4 5 27 6 0 41 15 17 77 152 0 mm 6 0 114 mm 4 5 2 6 57 33 4 14 2 136 7 mm 5 4 114 4 5 3 1 6 8 25 4 10 7 145 9 mm 5 7 114 mm 4 5 3 8 84 18 9 7 9 129 3 mm 5 1 ARRI Anamorphic Ultra Wide Zoom AUWZ 19 36 N Lens Focal Length Mount Wide Anamorphic Ultra Wide Zoom PLLDS 19 AUWZ 19 36 218 For Annotations see Page 120 data is subject to change without notice Focal Length Long 36 Focal Length Ratio 1 9 Aperture 74 2 T22 Close Magnification Focus Ratio 1 10 2 H 0 6 2 1 5 2 V at 36mm Length 397 1 mm 15 634 Front Diameter 114 mm 4 488 Housing Diameter 112 4 409 Weight 5 5 Kg 12 1 Ib Focal Length at 19 mm at 24mm at 28 mm at 32 mm at 36 mm Angle of view H V Super 35 Cinemascope ID 29 26 mm 100 8 52 0 87 4
34. 12 20 120 7 6 5 7 9 5 ANSI Super 35 ID 31 14 92 6 76 3 105 2 82 6 66 8 95 4 75 4 60 2 88 1 65 1 51 3 77 2 56 2 43 7 67 5 48 7 37 5 59 0 43 2 33 1 52 7 34 9 26 6 42 9 27 4 20 8 33 9 21 9 16 5 27 2 17 1 12 9 2135 13 9 10 4 17 3 10 5 7 9 131 7 9 5 9 9 9 113 4 mm 4 4 91 3 mm 3 5 85 1 mm 3 3 73 3 mm 2 8 67 4 mm 2 6 67 3 mm 2 6 61 1 mm 2 4 59 2 2 3 13 4 mm 0 5 19 0 mm 0 7 3 5 0 1 12 4 mm 0 4 56 9 2 2 19 7 mm 0 7 741 ARRI FUJINON Alura Zooms Lenses lt Lens Focal Length Focal Length Focal Length Close Magnification A Front Mount Wide Long Ratio porum Focus Ratio Cengi Diameter Alura Lightweight Zoom 15 5 45 T2 8 PLLDS 15 5 45 2 9 2 8 T22 0 6 m 2 0 1 81 228 9 0 114 4 5 Alura Lightweight 7 30 80 2 8 PLLDS 30 80 2 7 2 8 T22 0 6 m 2 0 1 4 9 228 9 0 114 4 5 Alura Zoom vU 3 18 80 T2 6 PE 18 80 44 T2 6 T22 0 7 m 2 4 575 285 11 2 134 5 3 Zoom T 45 250 T2 6 PL 45 250 5 6 T2 6 T22 1 2m 3 11 1 4 370 14 6 134 5 3 For Annotations see 120 All data is subject to chang
35. 135 T1 9 PL T1 9 to T22 1 50 m 59 1 119 mm 4 7 95 mm 3 7 102 4 0 1 6 Kg 3 5 Ib Ultra Prime 180 T1 9 PL 1 9 to T22 2 60 m 102 4 166 mm 6 5 114 4 5 119 4 7 2 6 Kg 5 7 Ib For Annotations see Page 120 data is subject to change without notice Normal 35 ID 27 20 mm 107 1 89 1 118 3 85 5 67 8 97 6 75 6 58 9 87 6 68 6 52 8 80 3 58 9 44 6 69 8 50 5 37 8 60 5 43 6 32 4 52 6 38 69 28 5 46 8 31 0 22 8 37 9 24 3 17 8 29 8 19 4 14 2 23 9 15 2 11 1 18 7 12 3 8 9 15 2 9 3 6 7 11 5 6 9 5 1 8 5 Angle of view H V D DIN Super 3519 ID 30 00 111 8 95 8 123 1 90 5 74 2 103 2 80 5 64 8 93 2 73 3 58 4 85 8 63 2 49 6 75 1 54 4 42 2 65 4 47 1 36 2 57 2 41 8 31 9 51 0 33 7 26 6 41 5 26 5 20 0 32 8 21 9 16 5 27 2 16 5 12 4 20 5 13 4 10 0 16 7 10 1 7 6 12 6 7 6 5 7 9 5 ANSI Super 35 ID 31 14 mm 113 7 98 0 124 8 92 6 76 3 105 2 82 6 66 8 95 4 75 4 60 2 88 1 65 1 51 3 77 29 56 2 43 7 67 5 48 7 37 5 59 0 43 2 33 1 52 7 34 9 26 6 42 9 27 4 20 8 33 9 21 9 16 5 27 2 17 1 12 9 21 3 13 9
36. 4 or 60 fps Recording other speeds requires a recorder with Variflag support Legal or extended range signal mapping ALEXA XT Series 2x 1 5G or 3G REC OUT BNC connectors for uncompressed 1920 x 1080 4 4 4 RGB or 4 2 2 YCbCr HD video at 23 976 24 25 29 97 30 50 59 94 or 60 fps Recording other speeds requires a recorder with Variflag support Legal or extended range signal mapping Embedded audio time code metadata and recording flag ALEXA XT models do not offer ARRIRAW T Link output w ce wn fo 8 3 So o ce 5 wn 2 pm 17 D rn Monitor Output Image Processing Synchronization 2x MON OUT BNC connector on ALEXA Plus Plus 4 3 Studio XT Plus XT Studio for uncompressed 1 5G HD SDI video 1920 x 1080 16 9 4 2 2 YCbCr all legal range ALEXA ALEXA M ALEXA XT and ALEXA XT M offer 1x MON OUT 16 bit linear internal image processing in full ALEXA native color space Target output color spaces ProRes DNxHD REC OUT and MON OUT Log C Rec 709 For Rec 709 a customized look can be applied during record and playback with ARRI Look Files Optional horizontal image mirroring Master Slave mode for precision sync of settings sensor processing HD SDI outputs and QuickTime ProRes or MXF DNxHD recording for 3D applications PHASE user button for shifting camera phase to move phase ar
37. 6 0 6 alue jennus yas 54172 59102 54109 54 5 0 paads 10595 198 4Aq 3 10974 9 8 nua 5 0 3 Jouu 10 xz 55910 2 10095 31 9 0 YOUMS e 995 5110 Josu 10 xz 55210 19501 10196J 1ueseJdai 0 11 415 VX31V 01Pn3S 1X VX31y uo 040 101 7 1 Ausuajuj 88811 10 02 Saul awel4 8 1951 UPI se Buej2ag 1950 00 40 X2 191083 Z saul 9 199 95 saul 193 95 10 40 ayeyoy ssauyBug ARRI ZEISS Master Anamorphic Lenses lt Name ones Aperture Close Focus Dion Length Length ront 5 Master Anamorphic 35 T1 9 PLLDS 1 9 122 0 75 m 26 gt 183 7 2 235mm 9 3 95 mm 3 7 Master Anamorphic 40 1 9 PLLDS T19 T22 0 70 m 24 v 183 7 2 235 9 3 95 3 7 Master Anamorphic 50 71 9 PLLDS 11 9 T22 0 75 m 2 6 AT 183mm 72 235mm 9 3 95 mm 3 7 Master Anamorphic 60 T1 9 PLLDS 1 9 122 0 90 m 3 V 1253 183 mm 7 2 235mm 9 3 95 mm 3 7 Master Anamorphic 75 T1 9 PLLDS 1 9 122 0 90 m 3 3 189 183 7 2 235mm 9 3 95 mm 3 7 Master Anamorphic 100 71 9 PLLDS 1 9 22 0 95 31 Cea 206mm 8 1 258mm
38. 6 255 3335 852 2537 4266 86 10 5900 9680 91 22 42 10 9000 61 2 9855 4305 Zone 2 Americas Zone 1 EMEA Zone 3 Asia Pacific London Moscow Mississauga Munich New York Milan Istanbul Beijing Burbank Hong Kong Sydney ARRI Service is the first port of call for all questions and software related issues upgrades or e g the concerning the ALEXA cameras with worldwide recovery of cards that have been accidentally erased service centers and 24h availability on Monday to Friday Well trained technicians cover all hardware wn 5 co co wn x 5 i wn ce ARRI Digital Workflow Solutions The Digital Workflow Solutions DWS group deals with all workflow related issues including ARRI Look File handling data copying backups quality check LUTs metadata or working with Log C files In addition the DWS group provides support for such tools as the ARRIRAW Converter ARRI Look Creator ARRI LUT Generator and ALEXA Frameline Composer wn co wn 5 i wn ce Feel free to contact DWS at digitalworkflow arri de This ARRI ALEXA Pocket Guide Ident Nr 80 0003607 is published by Arnold amp Richter Cine Technik April 01 2014 ARRI 2014 Technical data and offerings are subject to change without notice All rights reserved Without any warranty Not binding 04 2014 ARRI is a r
39. ET Monday Friday 09 00 17 30 CMT Monday Friday 09 00 18 00 CET Monday Saturday 09 00 18 00 MSK Monday Friday 9 00 18 00 EET Monday Friday 08 30 17 00 PST Monday Friday 08 30 17 30 EST Monday Friday 08 30 17 00 EDT Monday Friday 09 00 18 00 Monday Friday 09 00 18 00 CST Monday Saturday 10 00 18 00 CST Monday Friday 08 00 17 00 AEST Service Center Munich Germany Arnold amp Richter Cine Technik London Great Britain ARRI CT Limited Milan Italy ARRI Italia S r l Moscow Russia Bars Pro Ltd Istanbul Turkey LINKA Ithalat Ihracat ve Dis Tic Burbank USA ARRI Inc West Coast New York USA ARRI Inc East Coast Mississauga Canada ARRI Canada Limited Hong Kong ARRI Asia Limited Beijing China ARRI China Co Limited Mumbai India CINEOM Broadcast India Pvt Ltd Sydney Australia ARRI Australia Pty Limited E Mail service arri de service arri ct com service arri it arri bars pro ru service linkgroup com tr service arri com service arri com service arri com service arri cn service arrichina com service cineom com service arri com au Telephone Hotline 49 89 3809 2121 44 1895 457 051 39 335 749 00 70 7 495 415 98 13 7 499 586 02 99 90 212 358 4520 1 877 565 2774 1 877 565 2774 1 41
40. JINON Alura LDS Extender ARRI Ultra Wide Zoom UWZ 9 5 18 ARRI ZEISS Master Macro Lens Resources and Contacts ARRI Sales Contacts ARRI Service Contacts ARRI Digital Workflow Solutions Online Resources 104 104 106 108 110 112 114 116 118 120 124 124 126 128 129 wn i t S 5 E E Introduction Welcome to the Pocket Guide for the ALEXA Classic and ALEXA XT family of cameras which contains important preproduction and production information for an ALEXA shoot The ALEXA platform has been designed with ease of use and user friendliness in mind the menu and controls are simple and intuitive so the best way to learn ALEXA is to get your hands on the real thing However carrying this guide with you and combining it with other resources such as the ALEXA manual at www arri com alexa downloads or the interactive ALEXA ALEXA XT Camera Simulator at www arri com alexa tools will ensure your readiness to take full advantage of the camera s unique and versatile features ALEXA ALEXA XT gt gt The ALEXA and the ALEXA family ALEXA XT M ALEXA XT Plus ALEXA XT Studio 5 E im SUP 10 amp 11 New Features ALEXA is the first and only camera to support Apple s new ProRes 4444 XO codec With its target data rate of 500 Mb s at 1920 x 1080 30p and low compression ratio of 1 45 1 ProRes 4444 XO is
41. RDING menu This chart reflects the ALEXA XT menu Software Update Packet version 11 0 9 58119 nua 5 0 19591 ay 3 1 1 Q LL 45 VX31V lt lt N 3 3 ped NI I3H 0 1 Ausuaquy a19 p y 10109 0001 0 14514 91 doy lt lt 7 1 1291 1985 1950 Z dul awely dul awely lt lt saul JW 10102 as e4 T 0 Bupjeag uozuou oiuonel J Oju 511016 yew ysew punong UQ 8 awely iD punong d 27 sod 007 10 ovr arsanbsop alydioweuy 1 Bunjeag TS38P 81 S48P 6 S38P 0 9 9 910 159 10 10 euo 189 ajqeuy 020 90 184 10109 13 1 152 13 110 2 shumas lt ou s pues 542012 0 x20 9 0 eseud 5 4 915 3 110 9448 10suag 8 1 eA3 lt lt 24 6 1071 0706 0 01 pieoquo 2198 AD TZ A0 0 0 01 081 218304 Ajeyuozuou 1 9004 uuojsuen
42. able license keys Anamorphic De squeeze High Speed and DNxHD pe 2 m 2 Ew 8 Nn Note All technical data based on Software Update Packet SUP 11 0 All data is subject to change without notice 40 u0 ozu 01 10 90 407104 3100129 3 80 10 oyu 881616 8801 100 10 6 00 07 SPY AUlj 10 07 9ul ySew punong 40 00 awes4 40 00 punouns 10 40 10 40 ayeyoy 5 0 888 4048 10 40 84 108488 5195 54 10 238 691 abued 3nding d jsd 7 punoung LNO NOW ueajg 40 8uo 110 NOW 56 18 9 96 ix noy MYY 10 96 15 DE vvt 10 1 777 15 96 10 99 1 15 DST 227 yewo 05 0 84 09 96 69 08 89 06 16 62 42 02 916 z 9 lt lt 110 939 2 1 P129 SXS 85611 81160 y 2 1 PIED SKS 18310 8 001 1 81 1099 8111022 9218 194 ng 0 40 10281914 110 NOW 1x 80 10 jeng 840 9 M pue 8 7 159916 MZ v smaix QES1 25 L LX870Z 2 080150261 uonnjosay OX S9uold 0 6 1 GHXNG Bumes su Bunes 598014 10 yewo lt lt Note The only differences between ALEXA XT and the classic ALEXA can be found in the RECO
43. ail able at all El settings 1600 3200 800 400 200 160 5 2 Stops 8 6 Stops 7 8 Stops 6 6 Stops 18 Gray me 18 Gray 18 Gray 6 7 Stops 7 9 Stops 9 7 Stops 4 8 Stops As a shortcut we have up with the following method of writing ALEXA s exposure index El 1605 El200 5 400 Values next to the exposure index are the number of stops above and below 18 grey These values for Log C Rec 709 has 0 5 stops fewer in the El 8007 16005 32007 low end at EI 160 0 4 stops fewer the low end at EI 200 and 0 2 stops fewer in the low end at El 400 Otherwise they are the same ith ALEXA ing wi p ith ALEXA ing wi p Working with filters While traditional ND filters work great for film for digital cameras we recommend the use of the ARRI Full Spectrum Neutral Density FSND filters Alternatively use ND filters that have a built in far red blocker Traditional ND filters should only be used up to an ND 0 9 A single filter that combines a ND and a far red cut off generally yields better results and fewer reflections than a traditional ND filter stacked on top of a separate IR cut off filter FSNDs amp In camera Filter Module IFM 1 With the launch of ALEXA XT a filter holder mechanism is available for a set of eight FSND Full Spectrum Neutral Densit
44. all positions with an optional override for manual image rotation Includes a flip in ND 0 6 contrast filter and 2x de squeeze module for 2x anamorphic lenses lenses can also be retrofitted with a 1 3x de squeeze module Includes Basic Insert Module BIM 1 for RGB frameglow Accepts 8x and 10x 435 eyepieces 435 eyepiece extensions and heated eyecups With the optional ARRICAM Eyepiece Adapter AEA 1 the OVF 1 can accept the 8x ARRICAM Studio eyepiece ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio Viewfinder Zoom Extension Not compatible with Lite Universal Eyepiece Can be replaced with the ALEXA Electronic Viewfinder EVF 1 by using the Electronic Viewfinder Adapter EVA 1 pe 2 5 m 2 8 Nn ce 5 co wn 2 pm co D 6 Assistive Displays For EVF 1 and MON OUT For OVF 1 Control Camera right Camera left In camera Recording preset and custom frame lines user rectangles surround view 180 image rotation camera status false color exposure check peaking focus check com pare stored image with live image RETURN IN video and anamorphic de squeeze For MON OUT additionally Reel amp clip number Warning LEDs for REC recording BAT battery low FULL XR Capture Drive or SxS PRO card full Main user interface with a 3 transflective 400 x 240 pixel LCD color screen
45. als For ARC 3 2 we implemented the ADA 5 Debayer and made the ARRIRAW Converter future proof for ALEXA65 All additional ARRIRAW formats captured with ALEXA65 cameras can be processed by ARC ARRIRAW Converter 3 2 is available for Mac OSX A build for Windows operating systems is available as beta version Download ARC 3 2 at http www arri de alexa arriraw ARRIRAW capable software solutions A product which has been awarded ARRI CERTIFIED FOR the ALEXA ARRIRAW Processing Certificate is capable of rendering ALEXA ARRIRAW images in a quality that meets ARRI s requirements Please note that for all image processing parameters such as sharpness color etc the ARRI SDK which is also part of the ARRIRAW Converter is the reference ARRIRAW PROCESSING ALEXA You can find more information about working with ARRIRAW at www arri com alexa workflow Further documents covering ARRIRAW and other topics such as the ALEXA VFX FAQ are available for download at www arri com alexa downloads COMPANY Adobe Adobe Assimilate Autodesk Autodesk Blackmagic Design Codex Digital Colorfront DigitalFilmTechnology DVS Eclair eyeon FilmLight Glue Tools mage Systems Digital Vision MTI Film Pretend Quantel SGO The Foundry The Foundry Tweak PRODUCT Premiere Pro Speedgrade Scratch Scratch Lab Flame Lustre Smoke Resolve Transfer Station On Set Dailies Flex
46. alues e g 21 inches 179 or 21 14 5 inches 12 5 14 5 20 feet 20 Metric Scales Enter metric values as meters e g 80 centimeters 0 8 5 5 meters 5 5 30 meters 30 Infinity Point Enter i to set the infinity point wn 5 wn on x Kk wn EI w x ue Creating a Lens Table cont Recommended Practice All three options are usually active with focus scales However there are sometimes just the engraved marking lines without any number in the close focus area If you are unsure about the numerical value of such a mark you can switch off the usage for interpolation of this data point You might want to switch off marking lines for zoom values if the lens does not have those lines as well Intermediate iris steps can be programmed with a marking line only without a number and without being used for interpolation Editing and Deleting Data Points Existing data points can be moved on the lens scale by using the Snap function Hitting the Snap button underneath each lens scale will move the nearest data point to the current motor position This can be particularly useful if an existing lens scale has a slight offset and needs adjustment A data point can be deleted by moving the point to the screen scale index Once there the icon changes from the green symbol to a red symbol and can be deleted by
47. and a Capture Drive Dock SAS or a Capture Drive Dock SAS and a Vault and to use the different feature sets to distribute the workload Sometimes not even related to the amount of footage higher efficiency may be gained by splitting tasks between location and post production One example would be creating multiple deliverables for editorial dailies projection streaming on the web iPad etc which can be done more efficiently using a dedicated dailies tool Archiving to LTO tape also does not necessarily need to happen on location especially if postproduction is close by and possibly connected over e g 10 Gig Ethernet 4 2 gt lt 2 lt ce 5 wn 2 17 6 Technical Specifications Camera Types ALEXA ALEXA XT ALEXA Plus ALEXA Plus 4 3 35 format film style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods 35 format film style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods The ALEXA XT Series features a 4 3 sensor as well as various improvements including in camera ARRIRAW recording Open Gate a Lens Data Mount for all cameras Offers in addition built in support for the ARRI Wireless Remote System cmotion cvolution lens control system and ARRI Lens Data System including Lens Data Mount and Lens Data Archive fo
48. camera body Weight w Camera Model Camera Body With Accessories ALEXA with SxS Module 6 3 kg 13 8 Ib 7 7 kg 16 9 Ib ALEXA XT with XR Module 6 6 kg 14 5 Ib 8 0 kg 17 6 Ib ALEXA Plus Plus 4 3 with SxS Module 7 0 kg 15 4 Ib 8 4 kg 18 5 Ib a ALEXA XT Plus with XR Module 7 3 kg 16 1 Ib 8 7 kg 19 2 Ib ALEXA Studio with SxS Module 8 0 kg 17 6 Ib 10 2 kg 22 5 Ib e ALEXA XT Studio with XR Module 8 3 kg 18 3 Ib 10 5 kg 23 1 Ib 5 ALEXA Head 2 9 kg 6 39 Ib ALEXA M Backend 5 5 kg 12 Ib 5 ALEXA XT Backend 5 8 kg 12 8 Ib D 1 with Viewfinder Mounting Bracket VMB 1 viewfinder cable and Center Camera Handle CCH 1 Accessories for ALEXA Studio XT Studio OVF 1 and 1 i ce 5 wn 2 17 D Dimensions ALEXA ALEXA XT ALEXA Plus Plus 4 3 ALEXA XT Plus ALEXA Studio ALEXA XT Studio ALEXA M Head ALEXA M Backend ALEXA XT M Head ALEXA XT M Backend Lens Mount Length 332 mm 12 95 width 153 mm 6 02 height 158 mm 6 22 Length 332 mm 12 95 width 161 mm 6 33 height 158 mm 6 22 Length 332 mm 12 95 width 175 mm 6 89 height 158 mm 6 22 Length 332 mm 12 95 width 183 mm 7 20 height 158 mm 6 22 With OVF 1 Length 402 mm 15 83 width 268 mm 10 55 height 241 mm 9 49 With OVF 1 Length 402 mm 15 83 width 268 mm 10 55 height 241 mm 9 49 Length 212 mm 8 35
49. card in SxS slot 1 in minutes Calculated for the set frame rate and codec Note these are only approximate values Card 1 is write protected not available on ALEXA XT Card 1 is full Marks the active card The camera is in standby and ready to record The camera is recording frames into its ring buffer The camera is recording An error occured Recording is not possible Press the INFO button for more details If nothing is shown neither the red green bar the camera works properly but no SxS PRO card is present for recording Look GNI CDL Server active connected CDL Server active not connected E gt Icons on Home Screen Overview Name Icon Description Name Icon Description General Important information SD Card SD Card present Warning waiting on the info Turns orange during screen Press the INFO card access button for more details Grab Still frame is being captured General An error occurred to the SD card A new still Error Press the INFO frame can only be captured button for more details when this is completed Temperature Slight sensor temperature High Sensor is in high humidity Warning offset Image quality might Humidity mode in very humid conditions be affected Mode e g indoor swimming pool Temperature Great sensor temperature WRS Radio WRS radio is active Error offset Image quality might Only on ALEXA Plus be affected seriously and
50. clicking on the red symbol or pressing ENTER on the keyboard Click the Clear Scale button to delete all data points on the respective scale Saving and Downloading Lens Tables You can save a newly created lens table into the camera s internal Lens Data Archive LDA by clicking the Send to Camera button The lens file will then be processed and stored inside the ALEXA LDA User Archive section The Webremote will prompt an error message in case of any logical data errors within the lens file In such a case please check the data consistency of the lens values in the LDA browser and correct them Click Download from Camera to download any exist ing lens table from the ALEXA LDA User Archive to the computer Save them onto an SD card if you want to load them into another camera from the SD card SD card folder ARRI ALEXA LDA For more information on the LDS LDA or lens table creation have a look at our Programming Quick Guide at www arri com camera digital_cameras downloads wn 5 wn x p 2 gt lt 2 lt The KR Capture Drive is formatted differently for uncompressed ARRIRAW and compressed ProRes DNxHD recording Compressed Recording Formats When the XR Capture Drive is being formatted for ProRes DNxHD recording it is initialized like SxS PRO cards as a UDF volume This provides 240 GB storage capacity which equals o
51. d in camera downscaler and provides the best possible 2K image output When capturing ARRIRAW it is common to use the full 2880 image width for processing a 2K deliverable The ARRIRAW SDK however allows to process 2K images from both 2880 and 2868 pixels width to deliver an exact match to ProRes 2K footage when ARRIRAW was recorded in parallel with ProRes 2K 1 4 3 ProRes 2K is available on ALEXA Plus 4 3 ALEXA Studio ALEXA M ALEXA XT ALEXA XT Plus ALEXA XT Studio and ALEXA XT M This only applies to ALEXA cameras with the SxS Module ARRIRAW T Link output is not available in conjunction with the XR Module or on ALEXA XT cameras 3 ProRes 3 2K available on ALEXA XT only For more information on using ProRes 2K in different applications please take a look at the ProRes 2K in Editorial white paper available at www arri com alexa downloads gt gt 5 5 Data Rate Data Volume Format Mode Resolution Bit Depth 24 fps Mbit s 24 fps GB h fps Range 16 9 1920 x 1080 10 bit 126 57 0 75 120 16 9 2048 x 1152 10 bit 143 64 0 75 60 ProRes 422 43 2048 x 1536 10 bit 190 86 0 75 48 16 95 3164 x 1778 10 bit 345 55 0 75 30 16 9 1920 x 1080 10 bit 188 85 0 75 120 16 9 2048 x 1152 10 bit 214 97 0 75 60 422 4 3 2048 1536 10 bit 286 29 0 75 48 16 95 3164 1778 10 bit 518 233 0 75 30 16 9 1920 x 1080 12 bit 283 27 0 75 120 16 9 2048 x 1152 12
52. e in out TRS 3 5 mm headphone mini stereo jack out LEMO custom 16 pin electronic viewfinder LEMO 10 pin Ethernet with 24 V power Fischer 5 pin Lens Control System Fischer 5 pin Lens Data Display Fischer 12 pin for CLM 2 CLM 3 or later Fischer 12 pin for CLM 2 CLM 3 or later Fischer 12 pin for CLM 2 CLM 3 or later LEMO SMPTE 304M hybrid fiber connector Name 5 5 REC OUT 1 2 MON OUT AUDIO IN RET SYNC IN EXT BAT RS 12V AUDIO OUT EVF ETHERNET LCS LDD IRIS ZOOM FOCUS Optical Link ALEXA XT 2 1 ES E m ESI ALEXA XT Plus 4 3 Studio 2 1 ALEXA XT M Backend 2 1 2 1 ALEXA XT M Head ea SD Card For importing and storing ARRI Look Files camera set up files frame line files feature license keys user pixel masks and custom lens tables for the Lens Data Archive LDA Stores captured stills from the REC OUT image path in TIFF tif 16 bit DPX dpx 10 bit or JPEG jpg 8 bit format 1 Stores log files Also used for installing Software Update Packets SUPs Upgrades The Storage Interface Module can be exchanged for future storage modules The Electronics Interface Module available as either regular ALEXA or ALEXA Plus versions can be exchanged for future control electronics An easily exchangeable lens mount allows other lenses beyond PL mount lenses to be used Simple camera software updates via free of charge Software Update Packets SUPs and pay
53. e of camera settings can be affected for different reasons Sometimes the reasons are creative sometimes the production pace may have an influence To avoid surprises it is critical to give the planned setup try and run a short test through the entire workflow before starting the shoot This is the fastest and most reliable way to identify problems in the digital workflow During production we strongly recommend that you make at least one verified backup immediately after the recording media is removed from the camera We also recommend that a first quality control check should happen on location With digitally captured footage being viewable immediately after recording potential problems can be spotted right away and re shooting a scene will be less of a problem Also check the conditions of your completion bond it is not unusual that LTO backups are a mandatory requirement for the footage to be covered Recording with the XR or 5 5 Module Camera Setup The following steps are necessary to prep the camera for recording 1 Start your initial camera setup by pressing MENU going to User Setups gt Factory reset and press both soft buttons to confirm Note that ARRI Look Files and Custom Frame lines need to be uploaded again after a factory reset 2 Enter the PROJECT screen using the shortcut on the bottom right gt Select a sensor mode to shoot in 16 9 4 3 Full Cropped or Open Gate gt Pick your recording f
54. e without notice Housing Diameter sions 114 4 5 2 2 Kg 4 9 Ib 114 4 5 2 2 Kg 4 9 Ib 134 mm 5 3 4 7 Kg 10 4 Ib 153 mm 6 7 5 Kg 16 5 Ib Focal Length at 15 5 mm at 25 mm at 45 mm at 30 mm at 50 mm at 80 mm at 18 mm at 50 mm at 80 mm at 45 mm at 150 mm at 250 mm Normal 35 ID 27 20 mm 70 7 54 6 82 5 47 5 35 5 57 1 27 5 20 2 33 6 40 3 29 9 48 8 24 8 18 2 30 4 15 7 11 4 19 3 62 8 48 0 74 1 24 8 18 2 30 4 15 6 11 4 19 3 27 5 20 2 33 6 8 4 6 1 10 4 5 0 3 7 6 2 Angle of view H V D DIN Super 3519 ID 30 00 mm 74 9 46 7 82 7 50 8 29 9 57 2 29 6 16 9 33 7 43 2 25 1 48 9 26 7 15 2 30 5 16 9 9 6 19 3 67 4 53 1 79 6 27 0 20 4 33 4 17 128 21 2 29 9 22 6 36 9 9 1 6 9 11 47 5 5 4 1 6 9 Alexa D 21 HD ID 27 26 mm 78 5 49 4 86 3 53 8 31 8 60 4 31 4 18 35 8 45 8 26 7 51 77 28 4 16 22 32 4 18 10 2 20 6 66 8 40 7 74 3 26 7 15 2 30 5 16 9 9 5 19 3 29 6 16 9 33 7 9 1 5 1 10 4 5 4 3 19 6 2 IE 17 Entrance pupil 237 0 mm 9 3 230 9 mm 9 1 222 6 mm 8 8 219 3 mm 8 6 201 0 mm 7 9 187 4
55. ed by the so called Operational Patterns ALEXA cameras record DNxHD encoded images together with sound and embedded metadata in an container file using the Operational Pattern OP1a file structure This is ideal for both camera acquisition and archiving since audio and video is always kept together and no data is lost if recording is interrupted for any reason An Avid Media Composer does not need to transcode this material as it already is available in a native DNxHD codec To get more information about working with ALEXA DNxHD material please take a look at the MXF DNxHD White Paper which is available at www arri com alexa downloads Format Sensor Mode Resolution DNxHD 115 16 9 1920 x 1080 DNxHD 220x 16 9 1920 x 1080 DNxHD 444 16 9 1920 x 1080 1 All speeds adjustable with 1 1000 fps precision Bit Depth 8 bit 10 bit 10 bit CFast 2 0 cards and XR Capture Drives can only be used on cameras with XR Module Data Rate 24 fps Mbit s 116 176 352 Data Volume 24 fps GB h 52 79 159 fps Range 0 75 120 0 75 120 0 75 96 z gt gt E gt Features added in prior SUP versions Pre recording This feature allows you to roll the camera before you press the REC button so you won t miss the shot With pre recording enabled and active the camera will continuously write frames into a ring buffer As the actual ta
56. eeds to be tone mapped and transformed into the target color space This image conversion can be performed using a 3D Look Up Table LUT When recording Log C or ARRIRAW the MON OUT is typically set to display Rec 709 video This activates an internal Log C to video conversion LUT on the output The same applies if the REC OUT is used example to present a clean video feed to the director When an on set color correction system is used to apply live looks to the camera image the REC OUT is typically set to Log C output The color corrector then applies the settings in Log C and converts the output to REC 709 video using a 3D LUT ARRI provides these LUTs through the online ARRI LUT Generator at www arri com alexa tools Recording Codecs Log C material is best recorded using a 4 4 4 codec ProRes 4444 ProRes 4444 XO or DNxHD 444 The top quality 4 2 2 codecs ProRes 422 HO and DNxHD 220x will also provide acceptable results in Log C but due to the higher compression ratio grading images recorded with these codecs may exhibit artifacts We do not recommend the Log C gamma for codecs with an even higher compression ratio Linear Visual effects often work with linear light encoded material The ARRI LUT Generator can produce LUTs that will convert Log C material to sensor linear encoding The linearization will preserve all image information It is therefore possible to do round trip conversions from Log C to linear and back
57. egistered trademark of Arnold 8 Richter Cine Technik GmbH amp Co Betriebs KG Arnold amp Richter Cine Technik GmbH amp Co Betriebs KG T rkenstrasse 89 D 80799 Munich Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 www arri com Online Resources Downloads ALEXA Manual ALEXA Dimensions ALEXA Software Update Packets Technical Details Frequently Asked Questions ARRIRAW ProRes DNxHD Software Tools apps ARRIRAW Converter ARC ARRI Look Creator ALC ARRI Meta Extract Software Tools online ALEXA Camera Simulator ALEXA Frameline Composer LUT Generator Lens Illumination Guide www arri com alexa downloads www arri com alexa downloads www arri com alexa downloads www arri com alexa learn www arri com alexa arriraw www arri com alexa sxs www arri com alexa tools www arri com alexa tools www arri com alexa tools www arri com alexa tools www arri com alexa tools www arri com alexa tools www arri com alexa tools wn 5 co co wn x 5 i wn ce ALEXA Pocket Guide WebApp www arri com alexa apg ARRI
58. el lens 5 Diameter of the lens matte box interface mount on some models with Lens Data System LDS contacts Close focus is measured from the film sensor plane Magnification ratio is the relationship of the size of an object on the film sensor plane first number to the size of that object in real life second number at the close focus setting on zoom lenses also at the telephoto zoom setting for Master Anamorphic Lenses horizontal H and vertical V Length is measured from the lens mount to the front of the lens housing Maximum lens housing diameter for the Master Macro 100 is 138 mm 6 The distance from the entrance pupil to the film sensor plane at focus infinity Positive numbers indicate an entrance pupil in front negative num bers indicate an entrance pupil behind the film sensor plane The entrance pupil often mistakenly called nodal point is the center of perspective moving the camera lens system around the center of the entrance pupil prevents parallax errors While largely irrelevant for live action this mea surement is important for special effects work 7 The image diameter ID is the diameter of the image circle needed for the respective format These lenses are designed for the largest ID given here 8 Horizontal and vertical V angles of view for a Super 35 Cinemascope camera aperture 22 5mm x 18 7mm 0 8858 x 0 7362 9 Horizontal H vertical V and diagonal D angles of vi
59. en Gate sensor modes Switching takes approx 60 seconds 16 9 available for ARRIRAW ProRes and DNxHD recording 4 3 Full available for ARRIRAW and ProRes 2K recording 4 3 Cropped and Open Gate available for ARRIRAW recording Regular or High Speed mode Switching takes approximately 20 seconds Mirror shutter ALEXA Studio only on or off Switching takes approximately 3 seconds through camera display w ce 5 wn 2 pm So Q 5 co wn 2 co D 6 Motorized Filter ALEXA Studio ALEXA XT Studio only Frame Rates Shutter Exposure Latitude Exposure Index White Balance Sealed behind the lens motorized filter mechanism provides optical flat or ND 1 3 4 1 3 stops Please refer to the tables given in the chapter Recording Media on page 16 ff Rotating mirror shutter ALEXA Studio only 11 2 180 0 or electronic rolling shutter 0 75 60 fps 5 0 358 0 60 120 fps 356 Shutter angle setting precision 1 10 degree Certain fps limits apply for maximum mirror shutter angle 14 stops for all sensitivity settings from El 160 to El 3200 as measured with the ARRI Dynamic Range Test Chart DRTC 1602 200 400 EI8007 E11600 3200 Values behind the exposure index are the number of stops above and below 18 grey These values are for Log C
60. ew for a Normal 35 Academy camera aperture 1 37 1 22mm x 16mm 0 8661 x 0 6299 10 Horizontal vertical and diagonal angles of view for a DIN Super 35 Silent camera aperture 1 33 1 24mm x 18mm 0 944 x 0 7087 11 Horizontal H vertical V and diagonal D angles of view for an ANSI Super 35 Silent camera aper ture 1 33 1 24 9mm x 18 7mm 0 980 x 0 7362 12 Horizontal H vertical and diagonal 0 angles of view for the Alexa D 21 HD camera aperture 1 78 1 2880 x 1620 pixels 23 76 mm x 13 37mm 0 935 x 0 526 14 Length is measured from the sensor plane to the front of the lens housing 15 Excluding front and gear 16 180 optical image rotation 741 5 co co wn LI 5 i wn ce ARRI Sales Contacts Europe Middle East Africa India Arnold amp Richter Cine Technik GmbH amp Co Betriebs KG Headquarters Sales amp Service T rkenstraf e 89 80799 Munich Germany salessupport arri de Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 ARRI CT Limited Sales amp Service 2 Highbridge Oxford Road Uxbridge UB8 1LX Middlesex United Kingdom Tel 44 1895 457 000 Fax 44 1895 457 001 ARRI Italia S r l Sales amp Service Viale Edison 318 20099 Sesto San Giovanni Milano Italy info arri it Tel 39 02 262 271 75 Fax 39 02 242 1692 Americas ARRI Inc West Coast
61. ia For internal recording ALEXA Classic cameras have an SxS Module They can record QuickTime ProRes or MXF DNxHD files to Sony SxS PRO SxS PRO cards ALEXA Classic cameras with an XR Module upgrade or ALEXA XT cameras have the XR Module instead which allows them to record to XR Capture Drives Sony SxS PRO SxS PRO cards and CFast 2 0 cards Uncompressed ARRIRAW can only be recorded to XR Capture Drives but ProRes and DNxHD can be recorded to all three media SxS PRO SxS PRO or CFast 2 0 cards require a mechanical adapter from ARRI XR Capture Drives share the same mechanical interface as other Codex Capture and Transfer Drives but only XR drives can be used for recording on ALEXA cameras For detailed information on data and frame rates within the ALEXA Classic and ALEXA XT cameras have a look at our ALEXA SUP 11 Data Rates and ALEXA SUP 11 Max Frame Rates documents within the Technical Information section at http Awww arri com camera alexa downloads E E SxS Adapter CFast 2 0 Adapter e SxS PRO Card SxS PRO CFast 2 0 Card XR Capture Drive E dm gt Recording Media Recording Format 16 9 43 Full 43 Cropped Sensor Mode Open Gate ARRIRAW uncom pressed 2880x1620 0 75 120fps 2880 2160 0 75 90fps 2578x2160 0 75 96fps xi 3414x2198 0 75 751 SET ALEXA XT Recording Matrix Internal reco
62. is a truly future proof archiving format that has been made public in SMPTE Recommended Disclosure Document RDD 30 2014 and RDD 31 2014 With the introduction of the ALEXA XT cameras ARRIRAW can be recorded directly in the camera at up to 120 fps making it easy and economical to shoot in the premium ALEXA capture format ARRIRAW 4 3 Cropped Introduced in SUP 10 ARRIRAW 4 3 cropped records only the image area necessary for anamorphic lenses thus achieving 96 fps This not only reduces processing time but also slims down the ARRIRAW 4 3 full from 9 3 MB to 8 4 MB cropped ARRIRAW 4 3 wA ARRIRAW 4 3 Cropped Recording with anamorphic lens sgueezed by 2 1 Postproduction desgueezing 8 cropping Final image 2 39 anamorphic With the release of SUP 9 0 ARRIRAW Open Gate sensor mode has become available Using the full ALEXA sensor area Open Gate mode is great for VFX shows up sampling to 4K image repositioning resizing rotating or stabilizing The active frame size of this format is 28 25 x 18 17 mm image circle 33 5 mm or 3414 by 2198 pixels Format Resolution Color Coding 16 9 ARRIRAW 2 8K 2880 x 1620 12 bit Bayer 2578 2160 12 bit Bayer 2880 2160 12 bit Bayer Open Gate 3414 x 2198 12 bit Bayer ARRIRAW 3 4K 1 All speeds adjustable with 1 1000 fps precision Open Gate and 4 3 Cropped mode is only available on ALEXA XT cameras with an
63. it 4 2 2 and DNxHD 444 10bit 4 4 4 codecs all within a MXF wrapper and embedded audio timecode and metadata ALEXA MXF DNxHD files use operational pattern OP1a frame wrapped per SMPTE 2019 4 2008 and a MXF Media eXchange Format container compared to the Quicktime mov container MXF DNxHD files can be linked to Avid Media Composer 5 5 or greater using the ALEXA AMA plug in available from the ARRI website for Windows or Mac OS X Of course DNxHD recording is available in Regular and in High Speed mode see High Speed license Pre installed licenses th ALEXA ALEXA None ALEXA Plus None ALEXA Anamorphic de squeeze high speed on ALEXA Plus 4 3 Anamorphic de squeeze high speed DNxHD ALEXA Studio Anamorphic de squeeze high speed DNxHD ALEXA XT Anamorphic de squeeze high speed e ALEXA XT M Anamorphic de squeeze high speed ALEXA XT Plus Anamorphic de squeeze high speed DNxHD ALEXA XT Studio Anamorphic de squeeze high speed DNxHD uw i i wn General considerations This chapter offers checklists for typical use cases of an ALEXA or ALEXA XT camera During prep or pre production the following topics should be clear The basic camera parameters e g timecode basis respectively project speed choice of gamma and recording format should always be discussed with postproduction The choic
64. k File is stored in metadata 5 5 ARRIRAW look embedded in file header look embedded and or bumtin look embedded in file header 4 and or burnt in LJ S Apply Look File 5 en REC OUT look embedded and or burnt in Image with Look applied save as cineon dpx jpeg or tiff 2 Use Look XML Look File copy xml file to SD card Grab ARRI Look Creator frame grab to SD card load grab amp create look ing with ALEXA ith ALEXA ing wi p Non Destructive Look Files The Look File does not only go into ALEXA where it is embedded in the metadata file header but it is also used in the ARRI LUT Generator at http www arri com alexa tools The ARRI LUT Generator incorporates the Look File into a LUT The LUT on the other hand is used e g in a color grading application where it serves as a reference point for the grading artist In this way the director of photography s vision is being transported directly to post where the actual development of the images takes place ls 2 Use Look Dalies or Conform SxS PRO Card Color Grading LogC clips have a preview Grading on your footage LogC Image ARRI LUT Generator Look File transported in file header combine Look with LUT XML Look File copy xml file to SD card Grab ARRI Look Creator frame grab to SD card load grab amp create look ing with
65. ke is started with a second press of the REC button the camera keeps the content of the ring buffer and appends frames into a single clip until the recording is stopped Pre recording is only available for ProRes codecs FPS 24900 c 1722 1 08 03 47 24 16 9 REEL J278 ProRes HD 28 47 BATI 25 5V CLIP C001 5 51 D 2 16 0V DUR 0 00 13 SxS2 800 56000 Phase Button The new USER button function called Phase sensor increases the sensor frame rate by 0 2 fps for as long as the assigned user button is being pressed When shooting e g a CRT monitor you may see a horizontal black bar video blanking interval across the CRT screen in the EVF or the MON OUT image The Phase sensor function allows you to move that black bar out of the frame The phase function is only available in standby and with time code set to REC RUN tS BUTTONS to edit 1 1 Ready Notavail 4 5 6 E gt e ith ALEXA ing wi p Exposure Index While ALEXA s 14 stops of exposure latitude and unique highlight handling approaches that of film there is one major difference between the way film and digital cameras behave with digital cameras a change in El will shift how many stops are available above and below 18 grey each El step shifts the location of 18 grey What is special about ALEXA however is that its wide exposure latitude is av
66. licking on the ft m icon in the upper right corner of the focus scale If you want to pro gram the lens for both metric and imperial units you need to program both scales sequentially Move lens ring to the physical engraving that you want to add as a new data point Click on the green in the LDA browser scale or hit the Enter button on your keyboard to open the active edit field Enter the current lens value Move the lens ring to the next position to enter the next data point Kk wn on EI x wn wn on Ed co Creating a Lens Table cont Company Zeiss Description Zoom 55 105 Serial Number 652345 Focal Length 0 FOCUS QQ IRIS T QQ ZOOM mm QE QE Sendto Camera Download from Camera 357 25 357 i AAG Data Point Options Each data point can have up to three characteristics that have effects on display and interpolation of the lens table Inactivated options are displayed in grey color and crossed out A Data point will be indicated with a marking line Data point will be indicated with a number Data point will be used for interpolation Imperial Scales Enter feet values by using the prime symbol and enter inch values by using the double prime symbol The prime symbol for feet values can be used to separate feet and inch v
67. meras using the EXT to EXT and Ethernet to Ethernet cable 3 Start the initial camera setup with a Factory reset on both cameras and skip the Project settings 4 Enter MENU gt SYSTEM gt External Sync gt Set the Eye index for each camera depending on their position gt Set Sensor sync to EXT master on one camera and EXT slave on the other gt Set Settings sync to ETH master on one camera and ETH slave on the other All settings made on one camera will now automatically be set on the other 5 Now return to MENU gt Project and proceed from Step 2 in the regular camera setup Note The camera that can be seen better in the 3D rig should be set to EXT ETH slave as only the slave camera indicates a missing sync between master and slave before recording ALEXA M ALEXA XT M fiber maintenance The cleanliness of the optical fiber connectors is mandatory for seamless functionality Make sure not to touch the white fiber ends Never leave the connectors open immediately cover them with their rubber covers when not in use Plug the fiber end covers together while using the fiber cable to prevent dirt from accumulating inside the cover Regularly check the cleanliness of the fiber end e g with a fiber microscope If dirty clean the fiber end with the appropriate tools such as the SMPTE cleaning pen K2 72082 0 w LI i wn Lu 9 wn
68. n be output on MON OUT SUP 11 Feature Overview New Debayer Algorithm ADA 5 ProRes 3 2K recording up to 30fps ARRIRAW Checksum in the file header Framelines saved in ARRIRAW Metadata Support for Lens Data Encoder LDE 1 Support for Rev C SxS PRO Memory Cards SBP 64C and SBP 128C Support for SanDisk CFast 2 0 128 GB Memory Cards Advanced WCU 4 support Updated Web Remote GUI V2 0 User Button Check last clip end and Check last clip start SUP 10 Feature Overview ProRes 4444 XO recording up to 75 fps ALEXA XT and XR Support for SxS PRO 64GB and 128GB cards ALEXA Classic XT and XR 180 Image Rotation ALEXA Classic XT and XR Open Gate Support for ALEXA M ALEXA XT M REC OUT Clean MON OUT ALEXA Classic XT and XR ARRIRAW 4 3 Cropped recording for 96 fps with anamorphic lenses ALEXA XT and XR Fast regular high speed switching ALEXA Classic XT and XR Dimmable status information ALEXA Classic XT and XR Monochrome status icons ALEXA Classic XT and XR Colored camera index letter ALEXA Classic XT and XR Lens Squeeze Factor metadata filed ALEXA Classic XT and XR Independent Peaking setting for playback ALEXA Classic XT and XR E The Home Screen E im gt AUDIO SHUTTER 240900 2 1725 TC INT 03 20 58 8924 16 9 003 ARRIRAW BATI 25 3V CLIP C0
69. opped 2578 x 2160 Photosites 21 27 x 17 82 mm 0 837 x 0 702 0 27 75 mm 1 092 Sensor Mode 16 9 ARRIRAW ProRes 2880 x 1620 Photosites ARRI 2 39 Flat 23 76 x 13 37 mm 0 935 x 0 526 27 26 mm 1 073 car NN eels pi ae ProRes 2K 2868 1612 Photosites Eramslltemesrzi DENE 23 66 x 13 30 mm 0 931 x 0 524 27 14 mm 1 069 ProRes 3 2K 3164 x 1778 Photosites 26 10 14 67 mm 1 027 x 0 578 9 29 94 mm 1 179 Frameline 2 39 2x Scope i EVF 1 MON OUT 4 3 Surround View 3168 x 2160 Photosites 26 14 x 17 82 mm 1 029 x 0 5702 0 31 64 mm 1 246 16 9 Surround View 3168 x 1782 Photosites 26 14 x 14 70 mm 1 029 x 0 579 29 99 mm 1 181 ce 3 2 f 35 format ALEV Ill CMOS sensor with Bayer pattern color filter array Photo Sites 16 9 4 3 Full 4 3 Cropped Open Gate Operating Modes 2880 x 1620 used for ARRIRAW 16 9 2880 x 1620 down sampled to 1920 x 1080 for HD SDI ProRes HD 16 9 and DNxHD HD 16 9 2868 x 1614 down sampled to 2048 x 1152 for ProRes 2K 16 9 3164 x 1778 natively used for ProRes 3 2K 2880 x 2160 used for ARRIRAW 4 3 Full 2868 x 2152 down sampled to 2048 x 1536 for ProRes 2K 4 3 2578 x 2160 used for ARRIRAW 4 3 Cropped 3414 x 2198 used for ARRIRAW Open Gate Sensor mode 16 9 4 3 Full 4 3 Cropped or Op
70. ormat a recording resolution and codec or switch to ARRIRAW recording gt Set the project frame rate which also acts as timecode base and playback frame rate Assign an individual camera index when shooting with more than one camera unit Next reel count usually starts with 001 and automatically increments when the camera starts recording to a new card or drive 3 Press TC and enter the timecode OPTIONS Assuming we ll get timecode from the Production Sound Mixer Set Source to Ext LTC and verify that Mode is set to Free Run and Generator is set to Jam Sync 4 Press HOME and go to the FPS screen Enter SDI FPS and adapt REC OUT and MON OUT to the project frame rate gt Go BACK select the SENSOR FPS from the list and enter by clicking the menu wheel LI i wn a Lu Recording with the XR or SxS Module cont 5 Back on the Home screen enter COLOR gt GAMMA set INTERNAL to LOG C not used for ARRIRAW and everything else to REC 709 From the HOME screen adjust El SHUTTER and WB as required LI i i wn Lu Frequently used functions should be assigned to user buttons Press USER button and enter the EDIT screen by pressing the menu wheel gt Buttons 1 to 3 are available on the assistant and operator side so it makes sense to assign functions that are
71. perwhite but as soon as an RGB filter layer is applied those values are clipped and psf on REC OUT and MON OUT The ALEXA REC OUT and MON OUT scan format can be set progressive p or progressive segmented frames psf Progressive outputs a whole frame while psf splits the frame into two segments mimicking the output format of interlaced images Progressive mode looks better and has less delay than psf Psf enables compatibility to devices that only understand interlaced signals for certain frame rates some monitors or video transmitters work better with psf which is why that option exists You will have to test your monitors and video transmitters to see what works best Note that this scan format setting is only for REC OUT and MON OUT and has no influence on the ALEXA internal recording or ARRIRAW T link which are always progressive ith ALEXA ing wi p ith ALEXA ing wi Metadata Overview Metadata is a set of data that describes and gives information about other data sometimes called the essence ALEXA and ALEXA XT always records as much metadata as is available This additional infor mation makes documentation easier as the metadata is stored within the image files so it cannot get lost A range of automatic and human readable data is being delivered by the ALEXA camera this data makes work in post much easier knowing exposure index gamma and white balance information
72. r lenses without built in LDS This version of ALEXA Plus offers a 4 3 capture mode in addition to the Plus feature set It is bundled with an Anamorphic De squeeze High Speed and DNxHD license ALEXA XT Plus ALEXA Studio ALEXA XT Studio ALEXA M ALEXA XT M Offers in addition built in support for the ARRI Wireless Remote System and cmotion cvolution lens control system In addition features a rotating mirror shutter an optical viewfinder that can be exchanged with the standard electronic viewfinder and 4 3 capture mode In addition features a rotating mirror shutter an optical viewfinder that can be exchanged with the standard electronic viewfinder Based on the ALEXA but with separate camera head and body Also offers 4 3 capture mode Based on the ALEXA but with separate camera head equipped with LDS PL mount and body 2 m 2 Ew Nn Output Formats 16 9 4 3 and Open Gate Sensor Mode Optical Viewfinder ALEXA Studio 26 14 x 19 0 mm 1 029 x 0 748 0 32 32 mm 1 272 Sensor Mode Open Gate 1 55 1 ARRIRAW 3414 x 2198 Photosites 28 17 x 18 13 mm 1 109 x 0 714 9 33 50 mm 1 319 Sensor Mode 4 3 ARRIRAW full 2880 x 2160 Photosites 23 76 x 17 82 mm 0 935 x 0 702 0 29 70 mm 1 169 ProRes 2K 2868 x 2150 Photosites 23 66 x 17 74 mm 0 931 x 0 698 9 29 57 mm 1 164 ARRIRAW cr
73. r the respective output signal path So if you have the viewfinder set to Rec 709 the false color exposure check will be based on the Rec 709 image If you have the MON OUT at the same time set to Log C the false color exposure check for MON OUT will be based on Log C ing with ALEXA Color Level Description 99 100 White clipping 97 99 Just below white clipping white shoulder 52 56 One stop over medium gray Caucasian skin green 38 42 18 neutral gray blue 2 5 4 096 Just above black clipping black slope purple 0 2 596 Black clipping ith ALEXA ing wi p Color Spaces The ALEXA or ALEXA XT can deliver the captured footage with Video Rec 709 or Log C ALEXA wide gamut encoding Video Rec 709 Rec 709 is short for the International Telecom munication Union s ITU R Recommendation BT 709 the output format for a traditional televi sion workflow Since the Video Rec 709 encoding from an ALEXA follows this standard for displaying images on video monitors ALEXA Rec 709 images can be directly displayed on monitors or used for editing and dailies review Without the need for color space conversion ALEXA Rec 709 images can be processed by HD video postproduction gear in real time While providing somewhat reduced choices in color grading Video Rec 709 maintains ALEXA s wide exposure latitude cinematic look and natural color rendition and offers the fastest wo
74. rding onto XR Capture Drives HD ProRes 1920x1080 0 75 60fps HD High Speed ProRes amp DNxHD 1920x1080 60 120fps 1 DNxHD 444 is not available in High Speed Mode 2 ProRes 2K is limited to 30fps on 32GB SxS PRO cards 3 ProRes 3 2K is available for ALEXA XT and ALEXA Classic cameras with the XR Module upgrade only 2K ProRes 2048x1152 0 75 60fps 2048x1536 0 75 48fps 3 2K ProRes 3164x1778 0 75 30fps Internal Recording with SxS or CFast 2 0 Adapter onto SxS PRO SxS PRO CFast 2 0 card HD ProRes amp DNxHD 1920x1080 0 75 60fps HD High Speed ProRes DNxHD 1920x1080 2048x1152 60 120fps 0 75 60fps 2048x1536 0 75 48 3 2K ProRes 3164x1778 0 75 30fps External recording HD uncom pressed 1920x1080 0 75 60fps ALEXA XT Output Overview 2 MON OUT s HD SDI 16 9 mu HD SDI with 2x REC OUT 1x XR Capture Drive 1x XR Capture Drive or SxS PRO PRO card or CFast 2 0 card HD SDI 16 9 me ARRIRAW m 16 9 4 3 4 3 cropped or Open Gate QuickTime 16 9 HD 16 9 4 3 2K or 16 9 3 2K MXF 16 9 HD information overlay Clean image uncompressed ProRes 422 ProRes 422 HQ ProRes 4444 ProRes 4444 XQ DNxHD 145 DNxHD 220x DNxHD 444 E 2 i E ALEXA Classic Recording Matrix Internal Recording Recording Media HD HD Recording
75. rection send to ALEXA Ethernet ARRIRAW Footage Color Grading CDL values embedded in file header CDL values with time code in ALE file 2 Transport Look 7771 CODEX VFS generate deliverables for dailies and mastering ARRIRAW Footage CDL values embedded in file header ith ALEXA ing wi p Legal and Extended Range A 10 bit legal range signal uses digital code values 64 to 940 to represent the camera s full contrast range from black to white In an extended range signal the same range is represented by code values 4 to 1019 Extended range encoding does not provide a higher dynamic range nor does legal range encoding limit the dynamic range that can be captured It is only the quantization the number of lightness steps between the darkest and brightest image parts that is slightly increased about 0 2 bits The same applies for 8 bit 0 256 range or 12 bit 0 4096 range signals An ALEXA always records ProRes and DNxHD clips using legal range encoding as required by the codec specifications Most editing or post production tools automatically transform the legal range files to e g computer graphics RGB full range 0 1024 for display Note Some recorders will allow to record e g ProRes clips in extended range If this material is brought into FCP for example the application displays values outside the legal range as superblack and su
76. rkflow for any HD video based infrastructure Color comparison split image Video Log gt lt lt on ith ALEXA ing wi p Color Spaces cont Log C The C in Log C is derived from Cineon was the digital film scanning processing and yrecording system developed by Kodak in the 90s It is also the name of a file format that contains density data from scanned negative film Density is a logarithmic measure of the opacity of the film The relation of the density to the film s exposure is called the characteristic curve of the film Each stock has its own characteristic curve but the overall shape is always the same ARRI introduced a scene based encoding for their camera data which because of the similarity to the Cineon standard was named Log C With Log C encoding the signal level increases by a fixed amount with each increase of exposure measured in stops Log C images offer the original ALEXA spe cific wide gamut color space and are ideal to carry image information Viewing and Monitoring Log C Shooting images in Log C delivers the best basis for the colorist s work as it provides the camera s full latitude in an unconfined color space However when viewed directly Log C images look flat with desaturated colors To correctly display Log C material on an HD monitor Rec 709 or in a digital projection P3 it n
77. rol web interface that can be accessed through an ethernet connection using the Bonjour protocol Part of this web interface is the LDA Lens Data Archive tab that allows creation and storage of new lens tables to the ALEXA camera mr culations 2 Connect the camera to a computer inserta data point Aer A manual is available for download 5 Enter the LDA tab and click the button Start new session A browser screen with lens scales comes up If you did not yet calibrate the lens motors you can do so by hitting the Calibrate button on screen The same applies if you are using one motor sequentially for multiple lens axes The lens scales are displayed on the LDA browser screen once the respective motors have been calibrated The green symbol indicates the current position of the motor attached to the lens Fill in the lens descriptive fields Lens descriptions will be shown on LDS screens or embedded as metadata Company The lens manufacturer Will not be embedded as metadata Description Lens description that will be displayed in the camera and WCU 4 screen and embedded as metadata Lens type focal length and serial number Serial Number Lens serial number will be embedded as metadata Focal Length Focal length in mm Will be shown on LDS screens and embedded as metadata Enter 0 zero for zoom lenses First select the unit of measurement metric or imperial by c
78. the ideal choice for productions that are shooting for premium image quality are looking for extreme color grading options or want to preserve the superior tonal range of ALEXA s Log C signal ProRes 3 2K recording format is suitable for productions requiring 4K UHD deliverables The rescale to 4 only demands a small upscale factor of 1 2x Available to ALEXA XT and ALEXA Classic cameras with the XR Module upgrade ProRes 3 2K is a new recording resolution that uses 3164x1778 photo sites from the sensor to record a 16 9 3 2K ProRes file The 3 2K sensor area was chosen because it is the largest area that can still be covered by almost all Super 35 PL mount lenses In addition the new ADA 5 enhanced debayering algorithm further improves ALEXA s image quality in all already available ALEXA recording resolutions as well as 3 2K recording 180 image rotation allows Steadicam operators to flip their rig upside down for low mode shooting and it rotates the image for the ARRI Ultra Wide Zoom UWZ 9 5 18 2 9 The rotation applies to MON OUT and REC OUT Internal recording is not affected For high end workflows that utilize color on the set SUP 10 extends the number of recording modes that support two independent HD SDI outputs Previously only available in 16 9 HD regular speed other recording modes now also benefit from a clean Log C signal on REC OUT while a Rec 709 signal with overlays and an optional ARRI Look File ca
79. tifacts out of frame i e when shooting a CRT monitor or rear screen projector works in Rec Run TC mode Playback Audio ALEXA Playback of ProRes or DNxHD from SxS PRO or SxS PRO cards visible on EVF 1 MON OUT and REC OUT Playback audio available over headphone jack and embedded in the MON OUT and REC OUT signal ALEXA XT Series Playback of ARRIRAW ProRes or DNxHD from XR Capture Drive or playback of ProRes or DNxHD from SxS PRO or SxS PRO cards visible on EVF 1 MON OUT and REC OUT Playback audio available over headphone jack and embedded in the MON OUT and REC OUT signal 1x XLR 5 pin AUDIO IN for 2 channel line level balanced audio 24 bit 48 kHz A D conversion Uncompressed PCM audio recording to ARRIRAW ProRes DNxHD and embedded in all HD SDI outputs Only available with same project sensor speed at 23 976 24 25 29 97 and 30 fps Max of 2 5 dBm output from AUDIO OUT headphones connector w ce 5 wn 2 pm So Q m ce 5 co wn 2 co So 6 Connectors Connector type SxS Module XR Module BNC recording out HD SDI 1 5G 3G BNC monitoring out HD SDI 1 5G XLR 5 pin audio in BNC return signal HD SDI 1 5G LEMO 16 pin external accessories Fischer 2 pin 24 V power in Fischer 3 pin 24 V remote start and accessory power out LEMO 2 pin 12 V accessory power out LEMO 5 pin timecod
80. u have only one motor available but need to add more than one lens axis you can create the lens scales sequentially connecting the motor to the respective controller connector Data points do not get lost unless the web browser s session cookie is deleted One lens control hand unit e g WCU 4 Alternatively lens rings can also be moved manually with the motor attached to the lens motor attached to the lens A computer with installed web browser e g Firefox Chrome Safari Cookies must be enabled Internet Explorer and Opera browsers are NOT supported An ALEXA Ethernet RJ 45 Cable KC 153 S K2 72021 0 80 on x Creating a Lens Table 1 A prerequisite for lens table programming is the 3 Open the web browser on the computer and enter correct setup of the lens motors Please set up the the address alexa local with being the correct motor direction If you mount the motor serial number of the camera on the camera right side ALEXA s display side 4 Open the LDA tab in the ALEXA web browser set DIRECTION to RIGHT If you mount a motor on the left side set DIRECTION to LEFT Then calibrate the lens motors by pressing the CAL ALL button Each ALEXA camera comes with an built in basic Kk wn on x int 00 10 52 24 Company Less Description Serial Number remote cont
81. ually exist It s only when these files are requested that they are generated on demand and on the fly Hence the term virtual The file formats file naming and directory structure that will be presented by the VFS are fully configu rable through the Codex software This makes the VFS a highly flexible tool for providing exactly the material you require when you want it without redundant processing and storage overhead on your drives wn A 25 gt lt lt gt lt lt wn 2 25 gt lt lt gt lt lt ALEXA XT XR Workflows cont ALEXA XT LTO 5 Drive LTO 5 Drive XR Capture Drive Dual Dock Mac Pro Executive Dailies Edit Generating Deliverables Functions Clone XR Capture Drives to transfer drives maintaining the VFS Checksum verification Generate files for review edit and post Clear the data from the recording media Optional Features Codex Storage option to keep footage in VFS for several days before clearing Codex Offloader option for verified copies to external drives or LTFS tape A digital lab setup as shown here can be used to handle all regular data management tasks during a production e ARI files are backed up to an internal or external RAID and collected for archiving to LTO tape Depending on the amount of footage per day 5 TB of
82. useful on both sides like EVF Gamma MON OUT false color MON OUT peaking or Check last clip gt Buttons 4 to 6 are only available on the assistant side through the camera display Additional notes for shooting in other modes than the standard setup Shooting High Speed gt When shooting at 60 to 120 fps the project frame rate determines how many of the recorded frames will make up one second in playback timecode base gt TC should be set to Int LTC and Rec Run Step 3 gt Switch to High Speed from the FPS screen Step 4 Recording ARRIRAW via T Link not available on ALEXA XT cameras gt Unless you want to record ARRIRAW and e g ProRes in parallel the Codec setting can also be used to turn off the SxS Module Step 2 This will output a record flag to start external recorders automatically even if no SxS card is present in the camera gt Go to MENU gt Recording gt REC OUT and set the HD SDI format to ARRIRAW 1 5G DL or 3G SL for normal speed or 3G DL for high speed up to 60fps ARRIRAW output gt Optionally turn on REC OUT fps sets sensor fps Please check the user manual of the recorder for setup instructions Operating the recording hardware needs to be taken very seriously Only trained per sonnel should be responsible for handling recording equipment w LI i wn Lu LI i i wn
83. ver 100 minutes of 16 9 ProRes 4444 in 2K at 24 fps Using the UDF file system maintains an overall compatibility to the established ALEXA ProRes DNxHD workflows XR Capture Drives SxS PRO SxS PRO or CFast 2 0 cards containing ProRes or DNxHD material can be accessed directly with the file names and directory structure in the known order The most affordable solution to access Capture Drives is the Capture Drive Dock USB 3 no VFS license that will hold one drive Uncompressed ARRIRAW When the camera records ARRIRAW the Capture Drives are initialized for use with the Codex Virtual File System which provides 480 GB of storage capacity or about 45 minutes of 16 9 ARRIRAW 2 8K These drives can be accessed using Codex software running on a Mac that is connected to a Capture Drive Dock USB3 0 or Thunderbolt or preferably the more powerful Capture Drive Dock SAS which has 2 drive bays and a fast SAS interface seru TE Configuration Backup and Dailies res EXE STATUS Codex also offers a standalone turnkey system called Vault for assisted location based data management When an XR Capture Drive with footage is loaded the contents are presented through the Codex Virtual File System VFS The VFS can present various file formats such as readily processed DPX files and Avid DNxHD proxies next to the original ARI files on drive Except for the recorded data however none of these additional files act
84. xity Clipster ColorUsDailies Fusion Baselight ARRIRAW Toolkit for Mac OS X Nucoda FilmMaster Control Dailies Enterprise Cortex Control Dailies Cortex Convey Stereoid Pablo Mistika Hiero Nuke RV CERTIFIED SISISISISISISISISISI S SISISS E gt E ProRes Recording ALEXA is the first camera offering internal ready to edit recording to QuickTime ProRes files With Software Update Packet SUP 7 0 all cameras received a free upgrade enabling ProRes 2K recording Now SUP 11 0 adds 3 2K ProRes to the lineup of ALEXA XT cameras Recording in ProRes 2K or 3 2K is a cost efficient alternative to shooting ARRIRAW as it requires less storage space and no processing but at the same time delivers an astonishing image quality 3 2K is an ideal base for up scaling to UHD delivery by only a factor of 1 2 With the option to capture ProRes 2K in the 4 3 aspect ratio the format offers true anamorphic capture with regular 2 0 anamorphic lenses and offers extra room for repositioning when using standard spherical lenses SUP 9 0 enabled ProRes 4444 recording in High Speed Mode and SUP 10 added ProRes 4444 XQ ProRes 2K Image Aperture When the ProRes recording resolution is switched from HD to 2K the captured aperture changes from 2880 pixels 23 76 mm 0 935 width to 2868 pixels 23 66 mm 0 932 width This allows the use of an optimize
85. y filters In comparison to IRNDs which show a color shift at higher densities or ordinary NDs which show a significant color shift at higher densities the FSNDs offer an even light attenuation across the whole spectrum see next page The filter holder is pre installed on ALEXA XT cameras except ALEXA XT Studio and can be easily retrofitted to ALEXA Classic cameras The ALEXA Studio and ALEXA XT Studio have a built in motorized ND with a density of ND 1 3 4 3 stops which can be moved in and out of the optical path The advantage over classical ND filters is that it is located behind the mirror shutter so the optical viewfinder image stays bright ALEXA PL Lens Mount IFM Empty Filter Frame IFM Filter Holder IFM Shim 8x Full Spectrum Neutral Density Filters FSND Optical Clear ith ALEXA ing wi Working with filters cont FSNDs in comparison ith ALEXA ing wi Wavelength in nm 350 400 450 500 550 600 650 700 750 800 im A 11 IRND Brand 1 IRND Brand 2 12 FSND 1 2 Classic ND False Color Exposure Check The false color exposure check for the electronic viewfinder and or MON OUT output measures the camera image tints certain signal levels in a distinct color and shows the rest as a black and white image The false color exposure check is based on the color processing set fo

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