Pocket Guide

Table of Contents

ALEXA Pocket Guide

Table of Contents
ALEXA Overview Introduction/PreparingaShoot MainFeatures Exposure ExposureIndex FalseColorExposureCheck NDfilterswithALEXA Operation HomeScreen HomeScreenIcons CameraRightSideControls  Buttons&MenuMap Output Options OutputOverview ProRes ARRIRAW Gamma:LogC,Rec709andDCIP3 AboutLogC 4 4 6 8 8 10 11 12 13 15 16 18 28 28 29 30 31 33

ALEXAPlus

GammaSettingsRestrictions MetadataOverview Technical Data ALEXA ALEXAPlus Dimensions ALEXA ALEXAPlus ARRI Lenses ARRI/ZEISSMasterPrimes ARRI/ZEISSUltraPrimes ARRI/ZEISSLDSUltraPrimes ARRI/FujinonAluraZooms ARRI/ZEISSMasterMacro100 Resources and Contacts ServiceContacts SalesContacts InternetResources&Tools

35 36 38 38 45 46 46 49 52 52 54 56 58 60 62 62 64 66

ALEXA

Table of Contents
3

ALEXA Overview

ALEXA Overview
Introduction
WelcometotheALEXAandALEXAPlusPocket Guide,whichprovideskeyinformationfor preproductionandproductiononanALEXAshoot. Whiletheguidedoescontainalotoftechnical information,itisimportanttonotethattheALEXA platformhasbeendesignedtobeasuser-friendlyas possible.Themenusystemandergonomiccontrols arebothsimpleandintuitive,soinmanywaysthe bestwaytolearnALEXAistogetyourhandsonthe realthing.However,carryingthisguidewithyou andcombiningitwithotherresourcessuchasthe interactiveALEXAOnlineSimulatoratarridigital.com willensureyourreadinesstotakefulladvantageof thecamerasuniqueandversatilefeatures.

Preparing a Shoot
Besuretodiscussyourworkflowandchoice ofgammaandrecordingformatwithyour postproductionteam.Toavoidsurprises,itis criticaltotestyourchosensettingsandthe completeworkflowbeforetheshootitself;someof thetaskspreviouslyperformedbyalabwillhaveto berelocatedtootherplacesinthedigitalworkflow. Wehighlyrecommendthatyoumakeatleastone backupimmediatelyafteranon-boardSxSPROcard isremovedfromthecamera.Moreover,itisadvisable tocapitalizeontheimmediacyofdigitallycaptured materialbyhavingsomeonelookatthefootageas soonaspossibleforqualitycontrol.

ALEXA Overview

ALEXA Overview

Main Features
Exceptional Image Performance


Efficient and Versatile Workflows



F  ilm-like,organiclook -extended,cleanhighlights -extremelylownoisefloor -naturalskintones -excellentcolorseparation -cinematicdepthoffield  Wideexposurelatitudeof14stops  EI800basesensitivity(EI160toEI3200)  Sharp,naturalimagesfor2KandHD

Multipleoutputoptions  -ProRes,ARRIRAWandHD-SDI -LogC,Rec709orDCIP3 -audioandmetadatarecording  AppleProRes  -ontoSxSPROcards -allfiveAppleProRescodecs  ARRIRAW  -bestformatfor2Kdeliverables -bestqualityforVFXproductions -greatestflexibilityinpost -bestoptionforarchiving  HD-SDI  -integratesintoexistingHDinfrastructures -configurableHD-SDIoutputs

ARRI Product Quality

 

Open, Future-proof Architecture



Ruggedandreliable Simpleandsafeoperation  Wellbalanced,ergonomicdesign  Carefullyconsidereddetails  Precisionsyncfor3D  Compatiblewithexistingaccessories  WorldwideARRIservicenetwork

Compatibilitywithindustrystandards  -PLmountlenses -HD-SDI,ProRes,SxSPROcards -GoldmountorV-lockon-boardbatteries -12or24Vpowerinputsandoutputs -supportforthirdpartyon-boardrecorders -supportforARRIRAWbythirdpartyposttools  Numerousupgradeoptions  -upgradableStorageInterfaceModule -upgradableElectronicsInterfaceModule -ExchangeableLensMount(ELM) -easyandpowerfulsoftwareupgrades

ALEXA Overview
7

Exposure

Exposure
Exposure Index
EI 800 EI 3200 EI 1600

WhileALEXAs14stopsofexposurelatitudeand uniquehighlighthandlingapproachesthatoffilm, thereisonemajordifferencebetweenthewayfilm anddigitalcamerasbehave:withdigitalcameras, achangeinEIwillshifthowmanystopsareavailable aboveandbelow18%greyeachEIstepshiftsthe locationof18%grey.WhatisspecialaboutALEXA, however,isthatitswideexposurelatitudewhichis availableatallEIsettings,andnotjustatone EIsensitivitysetting.

EI 400 EI 160 EI 200

9.4 Stops 8.4 Stops 7.4 Stops 6.3 Stops 5.0 Stops 5.3 Stops

18% Gray

18% Gray

18% Gray

18% Gray

18% Gray

18% Gray

4.6 Stops 5.6 Stops 6.6 Stops 7.7 Stops 9.0 Stops 8.7 Stops

Asashortcut,wehavecomeupwiththefollowing methodofwritingALEXAsexposureindex:

Valuesbehindtheexposureindexarethenumberof stopsaboveandbelow18%grey.Thesevaluesare forLogC.Rec709andDCIP3have0.5stopsfewer

inthelowendatEI160,0.4stopsfewerinthelow endatEI200and0.2stopsfewerinthelowendat EI400.Otherwisetheyarethesame.

Exposure
9

Exposure

False Color Exposure Check

Thefalsecolorexposurecheckfortheelectronic viewfinderand/orMONOUToutputmeasuresthe cameraimage,tintscertainsignallevelsinadistinct colorandshowstherestasablackandwhiteimage.  Pleasenotethatthecamerasmeasurementsare basedonaRec709orP3gamma.Whenshooting inLogC,thefalsecolorexposurecheckwillalso useRec709orP3gamma(whicheverhadbeen activatedbefore).Rec709,P3andLogCsharevery similarlevelsformiddlegrey,butdifferinthebright anddarkareasasLogChassomeadditionalrange beyondwhatthefalsecolorexposurecheckindicates.Lookingatitfromtheotherside:ifthefalse colorexposurecheckindicatesthatyouareOKin Rec709orP3,youarealsogoingtobeOKinLogC.

What White clipping Just below white clipping One stop over medium gray (Caucasian skin) 18% medium gray Just above black clipping Black clipping

Signal Level 100%-99% 99%-97% 56%-52% 42%-38% 4.0%-2.5% 2.5%-0.0%

Color red yellow pink green blue purple

10

ND filters with ALEXA

Dependingonthesubjectmatterinfrontofthe camera,youcanuseregularNDfiltersuptoan ND0.9.Beyondthat,werecommendtheuseof NDfiltersthatalsoattenuatethefarredspectrum ortheuseofNDfiltersplusaseparatefilterthat attenuatesthefarredspectrum.Theuseofonly NDfiltersbeyondND0.9canleadtosomeblack fabrics,especiallysynthetics,beingrecordedwith areddish/browntint.ThedensertheNDfilterin frontofthecamera,themoreimportantitisto alsoattenuatethefarredspectrum.Filtersthat reducethefarredspectrum,aswellassuchfilters incombinationwithNDfilters,areavailablefrom anumberofmanufacturers.Asinglefilterthat combinesanNDandafarredcutoffusually yieldsbetterresultsthanmultiplestackedfilters.

Exposure
11

Operation
12

Operation
Home Screen

Home Screen Center Bar

TC Displayscurrenttimecodeincluding  source(INT=internalorEXT=external source).Framesarenotdisplayed, insteadthetimebaseofthetimecode isshowninsmalldigits. C  ameraissettoExtsync:MASTER C  ameraissettoExtsync:SLAVE CLIP  BAT 1 Settingssyncisactive Voltagelevelofpowersourcepresent  atBATconnector,orpercentageof remainingcapacityofattachedbattery ifittransmitsthisinformation. DUR Identifiescurrentclip.Consistsof  clipindexandclipcounter. D  urationofcurrentclipduring recordingorlengthoflastrecorded clipduringstandby.Shownas h:mm:ss. BAT 2 V  oltagelevelofbatteryattachedto topand/orbackonboardbattery adapter,orpercentageofremaining capacityofattachedbatteryifit transmitsthisinformation. I dentifiescurrentreel.Consistsof cameraindexandreelcounter.

MASTER  SLAVE 

REEL

Operation
13

Operation

Home Screen Center Bar

CARD section  isplayscapacityinformationof D SxS PROcards.
SxS 1

STBY 

Thecameraisinstandbyand  readytorecord. T  hecameraisrecording. A  nerroroccured.Recordingisnot possible.PresstheINFObutton formoreinfo. I fnothingisshown,thecamera worksproperly,butnoSxS PRO cardispresentforrecording.

10MIN 

C  apacityofcurrentlyactivecardin minutes.Calculatedforcurrentlyset framerateandcodec. Note:sinceProResisavariablebit ratecodec,theseareonlyapproximate values. G  reencapacitybarshowing remainingcapacityasapercentage. Greyifcardslotisempty. R  edifcardcannotberecorded. P  resstheINFObuttonformoreinfo. Markstheactivecard.

REC  ERROR 

  

<

14

Home Screen Icons

Name General Warning   General Error  Temperature Warning   Temperature Error   Icon                Description Importantinformation waitingontheinfo  screen.PresstheINFO buttonformoreinfo. Anerroroccurred. PresstheINFO buttonformoreinfo.   Name Lock Icon  Description Cameraislocked.

SDCard   Grab     Tropical Mode 

          

SDCardpresent. Turnsorangewhen cardisaccessed.

Smallsensor temperatureoffset.  Imagequalitymight  beaffected. Largesensor  temperatureoffset. Imagequalitymightbe affectedseriously.

Stilframeiscurrently  capturedtotheSDcard. Anewstillframecan  onlybecapturedwhen thisiscompleted. Sensorisintropical mode(=40C sensortemperature) 15

Operation

16

Operation ALEXA

ALEXA Plus

Operation
17

Operation

Buttons & Menu Map ALEXA & ALEXA Plus

MENU
RECORDING
SxS Cards >> Codec (ProRes 422 Proxy/ProRes 422 LT/ProRes 422/ ProRes 422 HQ/ProRes 4444) Dual Recording (On/Off) Quick format SxS Card 1 Quick format SxS Card 2 Erase SxS Card 1 Erase SxS Card 2 REC OUT >> Framerate (23.976/24/25/29.97/30/48/50/59.94/60fps) HD-SDI format (422 1.5G SL/DL/3G SL/444 1.5 DL/ ARRIRAW 1.5G DL) Scan format (psf/p) Output range (Legal/Extended/Raw) REC OUT fps sets sensor fps (On/Off) SDI remote (On/Off) Vari flag (On/Off)

MONITORING
Electronic viewfinder >> Brightness (1-5) Rotate image (On/Off) Smooth mode (On/Off) Status info (On/Off) Surround view (On/Off) Surround mask (Black line/Color line/Mask 25%/50%/75%) Frame lines (On/Off) Center mark (Off/Dot/Cross) MON OUT >> Framerate (23.976/24/25/29.97/30/48/50/59.94/60fps) Scanformat (psf/p) Status info (On/Off) Surround view (On/Off) Surround mask (Black line/Color line/Mask 25%/50%/75%) Frame lines (On/Off) Center mark (Off/Dot/Cross) False Color (On/Off) Framelines >> Frame line 1 (choose/add/delete; ARRI-178) Frame line 2 (choose/add/delete; Off) User rectangles (Off/Rect 1/Rect2/Rect 1&2) Color (Red/Green/Blue/Yellow/Black/White) Intensity (1-4) Set rect 1 Set rect 2 Set rect 1/2 >> Top, Bottom, Left, Right (0 1000)

18

SYSTEM
Sensor >> Sensor temperature (Standard/Tropical) Power >> BAT1 (Plug) warning (11.0-30.0V; 21.0V) BAT2 (Onboard) warning (11.0-30.0V; 12,0V) Display >> Display button brightness (1-8) Button brightness (Off/Low/Medium/High) System clock/date >> set date and time External sync >> Eye index (R/L) Sensor sync (Off/EXT master/slave/RET slave) HD out phase (+/- 30 clocks; 0 clocks) Send HD sync trigger > Settings sync (Off/ETH master/slave) Run beeper >> Mode (Off/Start/Stop/Start+Stop) Firmware >> select update file

PROJECT
Project frame rate (23.976/24/25/29.97/30fps) Camera index (A-Z) Next reel count (001-999) Production info Production info >> Director Cinematographer Location Production User info 1 User info 2

FRAMEGRABS
Set RGB file format (Jpeg/Tiff/Dpx/Ari) Grabbed images inherit REC OUT settings! Ari only possible, when REC OUT = ARRI RAW

USER SETUPS
Save current setup Load setup Factory reset
ALEXASUP3.0/3.1 underlinedvalues representthefactoryreset.

Operation
19

Operation

Buttons & Menu Map ALEXA & ALEXA Plus

HOME
FPS
set Sensor Speed (0.75 fps - 60fps; 24fps) add/delete value SxS Codec (MENU > RECORDING > SxS CARDS) SxS Info (INFO > SxS CARDS) REC OUT (MENU > RECORDING > REC OUT)

COLOR
set Gamma for SxS REC OUT MON OUT EVF (REC709, DCI P3, LOGC) (REC709, DCI P3, LOGC, ARRIRAW) (REC709, DCI P3, LOGC) (REC709, LOGC)

AUDIO
Audio OUT CH1+/- (level +20/-10) CH2+/- (level +20/-10) Options

EI
set ExposureIndex (160ASA - 3200ASA; 800ASA)

LOG C film matrix (On/Off)

ALEXASUP3.0/3.1underlinedvaluesrepresentthefactoryreset.

USER BUTTON ASSIGNMENT

USER

20

set Button 1, 2, 3 >> None MON OUT surround MON OUT gamma MON OUT framelines MON OUT status info MON OUT false color Frame lines color EVF surround EVF gamma EVF frame lines EVF status info EVF zoom EVF false color Grab still frame

set Button 4, 5 >> None MON OUT surround MON OUT gamma MON OUT framelines MON OUT status info MON OUT false color Frame lines color Toggle SxS Format Card1 Format Card2

PLAY

SxS PLAYBACK
CLIPLIST LIVE Options Play/Pause CIRCLE CLIP

LOCK

BUTTON LOCK
locks HOMESCREEN, MENU, PLAY, TC and INFO; also locks the buttons on EVF!

SHUTTER
Audio OUT >> L+/- (Phones Level +/-) R+/- (Phones Level +/-) Options Audio OUT > Options >> Audio IN > Options >> Channel 1 monitor (None, L/R out, L&R out) Record (on/off) Channel 2 monitor (None, L/R out, L&R out) Channel 1/2 level (manual/unity) Audio OUT level (Manual, Unity max.) Channel 1/2 source (L/R in) Soundroll (=Tape) (edit name) set Shutter Angle (5.0 - 358.0; 180) add/delete value see calculated exposure time

WB
set WhiteBalance (2000K - 11000K; 5600K; and CC SHIFT) add/rename/delete value

INFO
PLAY Options >> Clip end action (Stop/Pause/Loop) Show frame lines (On/Off) Status info on MON OUT (On/Off)

SYSTEM INFORMATION
LIVE INFO VERSION SxS CARDS SYSTEM SAVE TO SD FPS INFO

TC

TIMECODE
SET TC (SET 2 TIME/RESET/MANUAL) Options TC Options >> Userbits (set Userbits) Source (Int TC/Ext LTC)

Operation
21

SxS Info (INFO > SxS CARDS) REC OUT (MENU > RECORDING > REC OUT)

MON OUT (REC709, DCI P3, LOGC) EVF (REC709, LOGC) LOG C film matrix (On/Off)

Options

Operation

Buttons & Menuset ExposureIndex (160ASA - 3200ASA; 800ASA) Map ALEXA & ALEXA Plus
USER BUTTON ASSIGNMENT

EI

USER

set Button 1, 2, 3 >> None MON OUT surround MON OUT gamma MON OUT framelines MON OUT status info MON OUT false color Frame lines color EVF surround EVF gamma EVF frame lines EVF status info EVF zoom EVF false color Grab still frame Toggle SxS Check last clip Circle clip

set Button 4, 5 >> None MON OUT surround MON OUT gamma MON OUT framelines MON OUT status info MON OUT false color Frame lines color Toggle SxS Format Card1 Format Card2

PLAY

SxS PLAYBACK
CLIPLIST LIVE Options Play/Pause CIRCLE CLIP

LOCK

BUTTON LOCK
locks HOMESCREEN, MENU, PLAY, TC and INFO; also locks the buttons on EVF!

ALEXASUP3.0/3.1underlinedvaluesrepresentthefactoryreset.

22

INFO
PLAY Options >> Clip end action (Stop/Pause/Loop) Show frame lines (On/Off) Status info on MON OUT (On/Off)

SYSTEM INFORMATION
LIVE INFO VERSION SxS CARDS SYSTEM SAVE TO SD FPS INFO

TC

TIMECODE
SET TC (SET 2 TIME/RESET/MANUAL) Options TC Options >> Userbits (set Userbits) Source (Int TC/Ext LTC) Project (Menu > Project) Mode (Rec run/Free Run) Generator (Regen/Jam Sync) User bit source (Internal/LTC in UB)

GRAB

save Framegrab to SD Card

Operation
23

Options Audio IN > Options >> Record (on/off) Channel 1/2 level (manual/unity) Channel 1/2 source (L/R in) Soundroll (=Tape) (edit name)

Audio OUT > Options >> Channel 1 monitor (None, L/R out, L&R out) Channel 2 monitor (None, L/R out, L&R out) Audio OUT level (Manual, Unity max.)

WB
set WhiteBalance (2000K - 11000K; 5600K; and CC SHIFT) add/rename/delete value

Operation

Buttons & Menu Map ALEXA Plus

WRS
RADIO
STATUS Channel: 0 Units: 0 On/Off PLUS CAM > WRS WRS radio power (On/Off) WRS radio channel (0-7)

CAM LEVEL
STATUS READOUT FROM SENSORS Tilt: 0.0 Roll: 0.0 CAM LEVEL > CALIBRATE use to reset your null balance

IRIS CLM
CLM STATUS displays TYPE, DIRECTION and TORQUE(1-4; only CLM-3) IRIS CLM set DIRECTION set TORQUE CALIBRATE/CAL. ALL

ZOOM CLM
CLM STATUS displays TYPE, DIRECTION and TORQUE(1-4; only CLM-3) ZOOM CLM set DIRECTION set TORQUE CALIBRATE/CAL. ALL

24

ALEXASUP3.0/3.1underlinedvaluesrepresentthefactoryreset.

LENS DATA
LDS READOUT Tilt: 0.0 Roll: 0.0 Status LENS DATA displays FOCAL LENGTH, IRIS, FOCUS and DoF close/far OPTIONS Lens distance unit (Metric, Imperial, Default Unit) Circle of confusion (0.013/0.025/0.035/0.050mm)

FOCUS CLM
CLM STATUS displays TYPE, DIRECTION and TORQUE(1-4; only CLM-3) FOCUS CLM set DIRECTION set TORQUE CALIBRATE/CAL. ALL

Operation
25

Operation

Buttons & Menu Map Electronic Viewfinder EVF-1

C A M

FPS
set Sensor Speed (0.75 fps - 60fps; 24fps)

SHUTTER
set Shutter Angle (5.0 - 358; 180)

E V F

EI
set EI value (160 ASA - 3200 ASA; 800 ASA)

WB
set WhiteBalance (2000K - 11000K; 5600K; and CC SHIFT)
ALEXASUP3.0/3.1underlinedvaluesrepresentthefactoryreset.

26

Brightness (0-5) Rotate Image (On/Off) Surround View (On/Off) Surround Mask (Black line/Color Line/Mask 25%/50%/75%) Status Info (On/Off) Frame Lines (On/Off) Select Frame Lines 1 (choose from list) Select Frame Lines 2 (choose from list) Center Mark (Off/Dot/Cross) User Rectangles (Off/Rect 1/Rect 2/Rect 1&2) Edit User Rectangles (only when User Rectangles active) Frame Lines Color (Red/Green/Blue/Yellow/Black/White) Frame Lines Intensity (1 - 4)

ZOOM

get pixel to pixel view (for permanent press ZOOM + EXP)

EXP

false color exposure check (for permanent press EXP + ZOOM)

Operation
27

Output Options

Output Options
Output Overview

T-Link

2880 x 1620 ARRIRAW, 12 bit 1920 x 1080 4:4:4 RGB, 10 bit

2x REC OUT 1x MON OUT 2x SxS Cards

HD-SDI HD-SDI QuickTime

1920 x 1080 4:2:2 YCbCr, 10 bit 1920 x 1080 4:2:2 YCbCr, 10 bit 1920 x 1080 ProRes 4444, 12 bit 1920 x 1080 ProRes 422 (HQ), 10 bit 1920 x 1080 ProRes 422, 10 bit 1920 x 1080 ProRes 422 (LT), 10 bit 1920 x 1080 ProRes 422 (Proxy), 10 bit

28

ProRes
Codec Color Coding Bit Depth Data rate @ 30 fps Min. rec. time (32 GB SxS PRO @ 24 fps) 1h23min Max. fps** Application On-setmonitoringandproxy editingwhilethemasteris capturedwithanexternaldevice. Sameasabovewhenahigher imagequalityisdesired. Basictelevisionapplicationsif imagesdonotrequireadjustmentsinpostproduction Highqualitytelevisionapplicationsrequiringcolorcorrection. Highqualitytelevisionorcinema applicationsrequiringcolor correctionand/orcompositing.

ProRes 422 (Proxy)

YCbCr

10

45Mb/s

60

ProRes 422 (LT)

YCbCr

10

102Mb/s

37min

60

ProRes 422

YCbCr

10

147Mb/s

25min

60

ProRes 422 (HQ)

YCbCr

10

220Mb/s

17min

60

ProRes 4444*

RGB

12

330Mb/s

11min

40

* Eventhoughtheofficialnameofthiscodec(pronouncedProResfourbyfour)containsfourfours,ALEXArecordsthree(444).   Thefourthfourstandsforanalphachannelthatcanbeusedinpostbuthasnorelevancyforimagecaptureinthecamera. **CurrentlimitsoftheSxSPRO32GBcard(March2011)

Output Options
29

Output Options

ARRIRAW
ARRIRAWisthehighestqualityrecordingformat whenshootingwithALEXA,storingthefull2880x 1620pixelsofraw,uncompressedandunprocessed 12bitlogBayerdatadeliveredbythesensor.Any stepsthatarenecessarytocreateafullcolorimage inagivenresolutionwillbeperformedinpost.This providesARRIRAWadvantagesintermsofachievable resolution,postproductionflexibilityandarchivability. Whenshootingfora2Kpostworkflow,recording ARRIRAWat2880x1620pixelsanddown-converting inposttoa2Kimageshowsvisiblybetterresolution thanshootingin1920x1080HDandup-converting to2K.Thisresolutiondifferenceisevenmore pronouncedwhenspecialeffectsareinvolved: theARRIRAWfilescanbereconstructedto a2880x1620fullcolorimageforspecialeffects, andonlybedown-convertedto2Kaftertheeffects havebeenapplied. ManyprocessingstepsthatareirreversiblybakedintotheProResorHD-SDIimagearenotapplied totheARRIRAWfiles.Thoseprocessingstepswill beperformedinpost,wherethereismoretimeand wheretheycanbereversedatanytimebygoing backtotheoriginalARRIRAWfiles.ThusARRIRAW providesmoreflexibilityinpost,includingthe flexibilitytoapplydifferentvendorsimage reconstructionalgorithms. ARRIRAWT-LinkCertifiedRecordersarecurrently (March2011)CodexDigitalOnboardaswellas S.TwoOB-1.Pleasecheckourwebsitearridigital. comformorecertifiedrecordersandARRIRAW compatiblesoftwareproducts.

30

Gamma: Log C, Rec 709 and DCI P3

AsidefromtheARRIRAWoutput,whichcontains nocolorprocessing,ALEXAcanoutputimages withfourdifferentcolorprocessingmethods (commonlycalledgamma)applied.ThusALEXA canprovidetheappropriateimageformatfora widerangeofworkflowsfromfeaturefilmsto television. Log C (film matrix off)isaLogCsignalwith awidegamutcolorspace.Thisoptionprovides greatflexibilityincolorgrading,asitpreserves themostcolorinformationintherecorded image.However,youshouldbeawarethat LogCisanintermediatecolorformatandnot designedasadisplaystandard.Viewedona regularvideomonitor,LogCimagelookflatand desaturated.WhenusingLogCimages,color gradingbecomesanobligatorypostproduction stepandforproperpreviewing,creationof dailiesoreditingproxiesitisnecessarytouse LookUpTables(LUTs).LUTsforALEXAimages canbedownloadedfromhttp://www.arridigital. com/technical/luts.Foranyfurtherhelpwith LUTs,contactdigitalworkflow@arri.de. Log C (film matrix on)appliesacolormatrix thatmakestheresultingimageresemblefilm negativescannedonanARRISCAN.Whilethis optionsomewhatreducesthecolorgamutin contrasttoLogC(filmmatrixoff),itprovidesan easyandfastwayforcoloristswhoareusedto scannednegative,thusspeedingupcolor grading.Itisalsoagreatoptionwhencombining ALEXAimageswithfilmoriginatedimages. ThesamecaveatsasforLogC(filmmatrixoff) alsoapply.

Output Options
31

Output Options

Rec 709istheoutputformatforatraditional televisionworkflow.Rec709isshortforthe InternationalTelecommunicationUnionsITU-R RecommendationBT.709.SinceRec709isthe internationalstandardfordisplayingimageson videomonitors,LookUpTables(LUTs)arenot necessarytoshowtheseimagesonmonitors ortocreatedailiesoreditingproxies.Additionally,Rec709imagescanbeeasilyprocessedby mostHDvideopostproductiongearinrealtime. Whileprovidingsomewhatreducedchoicesin colorgrading,Rec709stillmaintainsALEXAs wideexposurelatitude,cinematiclookand naturalcolorrenditionandoffersthefastest workflowforanyHDvideo-basedinfrastructure.

 CI P3issuitedforDCIP3(alsoknownas D SMPTE431-2)compliantdisplays.Thoseare primarilydigitalcinemaprojectors,butan increasingnumberofLCDdisplayssupport DCIP3aswell.DCIP3hasasimilartone mappingtoRec709butawidercolorgamut thatisdesignedtoapproximatethecolorgamut ofprintfilm.IfyouhaveaDCIP3compliant monitoronthesetorcanseeaDCIP3 compliantprojection,thiswillgiveyouagood ideawhatyourimageswilllooklikeinthedigital cinemawithouthavingtouseLookUpTables.

32

About Log C
Cineonwasadigitalcompositingsystemmade byKodakandisalsothenameofafileformatthat containsdensitydatafromscannednegativefilm. Densityisalogarithmicmeasureoftheopacityof thefilm.Therelationofthedensitytothefilms exposure(measuredinlogarithmicunits)iscalled thecharacteristiccurveofthefilm.Eachstockhas itsowncharacteristiccurve,buttheoverallshape isalwaysthesame.ForALEXAandtheD-21,ARRI introducedalogencodingthatissimilartoscanned negativeandbecauseofitssimilarity,calleditLog C.LogCisatransformofcameradata;itssimilar butnotequaltothedatayougetfromafilmscan. ShootinginLogC Whenscannedfilmmaterialisbroughtintocolor grading,thecoloristusesapreviewLUT,sothe monitordisplaystheimageasitwouldappearina projectionfromfilm.LogCmaterialfromALEXAcan begradedthesamewayasscannedfootage(using previewLUTs).ShootinginLogCmeansthatthis materialistheimmediateresultofcinematography. LUTsarerequiredearlyinproductionandforawide rangeofapplications: On Location Thelivesignalfromthecameraandrecordedmaterial thatisplayedbackforreviewhastobeconverted usingaLUTtodeliveravisuallycorrectimageona monitor.Technically,wearenottalkingaboutaprint simulationLUTanymore,butaconversionLUTasitis intendedtopresenttheimageasifthecamerawere recordingwithwhatyouseeiswhatyougetHD videoencoding(Rec709). IfLogCmaterialisrecordeddirectlyontoSxS cardsinanALEXA,thecamerasMONOUTis typicallysettoRec709.Thisactivatesaconversion LUT,whichisappliedonthemonitoringoutput.

Output Options
33

fanexternalrecorderisusedwithALEXA,moniI toringusuallyishookeduptotherecorderrather thanthecamera,toeliminatetheriskofdefective cables.Theconversionthereforeisappliedonthe recordersmonitoringoutput.  henanHDplaybacksystemisusedtorecord W thecamerasoutputinparallel,itcouldrecordLog CandplaybackusingaconversionLUT. Dailies Creation Fordailiesandofflineedit,theLogCmaterialneedsto bedeliveredinstandardRec709videoencoding.The camerametadata,embeddedintheHD-SDIsignaland QuickTimefiles,listsallinformationneededtoselect theappropriateLUT.Whilecurrenthardwarewould allowapplyingLUTsonthefly,mostworkflowsrelyon acopyofrenderedvideoproxieswithbaked-inLUTs. Whenitisnotdesiredtohavematchedshotswitha firstcolorcorrection: Externallyrecordedmaterialcanbeingested/ transferredtopostproductionwithaLUTapplied ontherecordersoutputs(file-basedaswellas signaloutput).

 aterialrecordedtoSxScardswithanALEXAcan M beconvertedwithaLUTdirectlyintheeditingtool usingasoftwarepluginoroutsidetheeditingtool usingastandaloneconverterapp. Whenitisdesiredtohavematchedshotsandanoptional firstcolorcorrectiontogetapreviewoftheintended look,theProResQuickTimeclipsore.g.dpxortifffile sequencesareusuallybroughtintoacolorgradingtool whichalsoappliestheLUTuponrendering. ConvertingLogCencodedmaterialtoRec709video getsridofallinformationthatisnotrequiredforawhat youseeiswhatyougetimage.WhenRec709material isbroughtbacktoLogCitthereforedoesnotcontainthe sameamountofinformation. Visual Effects Visualeffectsoftenworkwithlinearlightencoded material.WhenLogCmaterialislinearized,allinformation canbepreserved.Itisthereforepossibletodoround-trip conversionsfromLogCtolinearandbacktoLogC.

Output Options
34

Gamma Settings Restrictions

Itispossibletochoosegammasettingsindividuallyforviewfinder(EVF-1),MONOUT,RECOUT andSxS.Pleasenote,however,thattherearesome restrictionsbasedonaninterdependencyofthe RECOUTandSxSoutputsassummarizedinthe tablesbelow.IfyousetRECOUTorMONOUTto agammasettingthatwouldnotbepermitted,the otheroutputwillbeswitchedtothesamesetting. TheMONOUTandtheEVFimagesareindepen- dentfromeachother.However,theEVF-1image cannotbesettoDCIP3.
REC OUT Setting Log C Rec 709 DCI P3 Possible SxS Setting Rec709,LogCorDCIP3 Rec709orLogC LogCorDCIP3

SxS Setting Log C Rec 709 DCI P3

Possible REC OUT Setting Rec709,LogCorDCIP3 Rec709orLogC LogCorDCIP3

Output Options
35

Output Options

Metadata Overview
metadata |metdat; -dt|
noun;asetofdatathatdescribesandgives informationaboutotherdata. ALEXAcandeliverarangeofautomaticand human-readabledatathatmakesworkinpost mucheasier.Exposureindex,gammaandwhite balanceinformationforexampleisessentialwhen itcomestocreatingdailiesorgoingintocolor grading.Reelnumber,projectfps,dateandtime becomeveryimportantwhenimagesandsound needtobecombinedfromdifferentsources. Allmetadatalistedherecanbereadfromthe xml-filethatisstoredalongwiththemovieclipson thememorycard.StartingwithSUP4.0itwillbe embeddedwithintheclips.Amuchlargersetof metadata,however,isembeddedintheHD-SDI andARRIRAWsignal. Formoredetailsaboutincludedmetadata,please contactdigitalworkflow@arri.de

36

Camera Parameter SensorFps ShutterAngle WhiteBalance WhiteBalanceCCShift ExposureIndex SxSGamma CameraModel CameraID CameraSerialNumber CameraSUP Date Time ProductionName DirectorName CinematographerName LocationName UserInfo1 UserInfo2 CircleClip ProjectFps FCPUUID Reel/TapeName SxSSerialNumber SoundReel

Description Framerateofcamerasensor Shutterangleofcamerasensor WhiteBalancesetoncamera WhiteBalanceGreen/MagentaCCShiftsetoncamera ExposureIndexsetoncamera GammasetoncameraforSxSrecording ARRIALEXA A-Zunitinformation SerialnumberofcameraencodedasBase36(alsousedin Reelname) Softwareupdatepacketinstalledoncamerawhenclipwas recorded Dateofdayassetbyuserwhenclipwasrecorded Timeassetbyuserincameraatwhichclipwasrecorded Infostringasenteredbyuserincamera Infostringasenteredbyuserincamera Infostringasenteredbyuserincamera Infostringasenteredbyuserincamera Infostringasenteredbyuserincamera Infostringasenteredbyuserincamera Infoongoodtake,assetbyuserincamera Projectframerate=TimebaseofTimecode=Playbackfps UUIDinFCPcompatibleformat Nameofreelassignedtocard SerialnumberofSxScardusedforrecording Nameofsoundreel,assetincamerabyuser

FCP XML* x x x x x x x x x x x x x x x x x x x x x x x x

QuickTime Atom SUP 3.0/3.1

QuickTime Atom SUP 4.0 x x x x x x x x x

x x

x x x x x x x x x x x x x x

(SUP4.0)

*OtherinfoinFCPXML:Timecode,durationandcameraroll. Note:AllmetadataiscontainedinSDI/ARRIRAWifrecordersupportsit.

Output Options
37

Technical Data

Technical Data
ALEXA
Camera Type 3  5formatfilm-styledigitalcamerawithintegratedshoulderarchand receptaclesfor15mmlightweightrods 3  5formatALEVIIICMOSwithDualGainArchitecture(DGA)andBayerpattern colorfilterarray.1.5xoversamplingfor1920x1080output.1.78:1(16:9) sensorareausedforimageout.
Sensor Size 3392 x 2200 Pixels (1.54:1) 27.98 mm x 18.15 mm / 1.102 x 0.715 33.35 mm / 1.313 Surround View 3168 x 1782 Pixels (1.78:1) 26.14 mm x 14.70 mm / 1.029 x 0.579 29.99 mm / 1.181 Image Out 2880 x 1620 Pixels (1.78:1) 23.76 mm x 13.37 mm / 0.935 x 0.526 27.26 / 1.073

Sensor

Frame Rates

P  roRes422(Proxy),422(LT),422and422(HQ):0.75-60fps; ProRes4444:0.75-40fps; HD-SDI:0.75-60fps; ARRIRAW:0.75-30fps;allspeedsadjustablewith1/1000fpsprecision

38

Shutter Exposure Latitude

E  lectronicrollingshutter,adjustablefrom5.0to358.0with1/10degreeprecision 1  4stopsfortheentireexposurelatitudefromEI160toEI3200,asmeasured withtheARRIDynamicRangeTestChart(DRTC)

Exposure Index  

 V  aluesbehindtheexposureindexarethenumberofstopsaboveandbelow 18%grey.ThesevaluesareforLogC.Rec709andDCIP3have0.5stops fewerinthelowendatEI160,0.4stopsfewerinthelowendatEI200and 0.2stopsfewerinthelowendatEI400.Otherwisetheyarethesame. R  ed/bluebalance:2000to11000Kelvin,adjustablein100Ksteps,with presetsof:3200(tungsten),4300(fluorescent),5600(daylight), 7000(daylightcool);green/magentabalance:-8to+8colorcorrection(CC). 1CC=035KodakCCvaluesor1/8Roscovalues. U  nder20dB(A)at<25Celsius(<77Fahrenheit)withlens,measured1m/3 feetfromtheimageplane 39

White Balance

 Sound Level

Technical Data

Technical Data

Power In

T  hreeinputs:BATconnector,batteryadapterbackandbatteryadaptertop. Allaccept10.5to34VDC.85WpowerdrawforcameraandEVF-1intypical userecordingtoSxSPROcards,withoutaccessories. 1  2Vconnector:limitedto12V,upto2.2A.RS,EXTandETHERNET:input below24Visregulatedupto24V,above24V:input=outputvoltage.BothRS andEXTconnectorscombined:upto2.2A.ETHERNET:upto1.2A.Maximum powerdrawisalsolimitedbythepowersource. A  LEXAcamerabody+SxSModule:6.3Kg/13.8lbs ALEXAcamerabody+EVF-1+ViewfinderMountingBracketVMB-1+viewfindercable+SxSModule+CenterCameraHandleCCH-1:7.7Kg/16.9lbs Length:332mm/12.95,width:153mm/6.02,height:158mm/6.22  20Cto+45C(-4Fto+113F)@95%humiditymax,noncondensing. Splashanddustproofthroughsealedelectronics.Systemcoolingthrough radiator/singlefan. A  RRIExchangeableLensMount(ELM);shipswithLensAdapterPLMount w/oLDS(LA-PL-1),54mmstainlesssteelPLmount,Super35centered.

Power Out

Weight

Dimensions Environmental

Lens Mount

40

Viewfinder

L  owlatency(1framedelay)electroniccolorviewfinderARRIEVF-1with 1280x784F-LCOSmicrodisplay(image:1280x720,statusbars: 1280x32aboveand1280x32belowimage)andARRILEDillumination, bothtemperaturecontrolled.Customizableframelines,surroundviewand camerastatus.Imagecanbeflippedforuseofviewfinderoncameraleft orright.ViewfinderMountingBracketallowsmovementofviewfinder forward/backwards,left/right,up/down,360degree-rotationandplacement oncameraleftorright. C  ameraright:mainuserinterfacewith3transflective400x240pixelLCD colorscreen,illuminatedbuttonsandjogwheel.Cameraleft:operator interfacewithilluminatedbuttonsandcardswapbutton.EVF-1:viewfinder andbasiccamerasettings,ZOOMbutton(2.25xpixeltopixelmagnification), EXPbutton(falsecolorexposurecheck)andjogwheel. A  ppleQuickTime/ProRes4444,422(HQ),422,422(LT)or422(Proxy) 1080p.movfileswithembeddedaudio,timecodeandmetadata,recording toSxSPROcards.ProRes4444isRGB12bit,allothersYCbCr10bit. LogC(filmmatrixoff),LogC(filmmatrixon),Rec709orDCIP3,alllegal range.Minimumrecordingtimesona32GBcardat24fps:ProRes4444- 15minutes,ProRes422(HQ)-19minutes.

Control

In-camera Recording

Technical Data
41

Flange Focal Depth

52.00mmnominal

Technical Data

Recording Outputs

2  xRECOUTBNCconnectorsforuncompressedARRIRAWoruncompressed HD-SDIvideo.Bothwithembeddedaudio,timecodeandmetadata. A  RRIRAW:2880x1620,12bitlogsignalwithoutwhitebalanceorexposure indexprocessingapplied.RequiresanARRIRAWT-Linkcertifiedrecorder. H  D-SDIvideo:1920x10804:4:4RGBor4:2:2YCbCr;allLogC(filmmatrix off),LogC(filmmatrixon),Rec709orDCIP3,alllegalorextendedrange. RecordingframeratesotherthanHDstandard(23.976,24,25,29.97,30,50, 59.94,60fps)requiresarecorderwithVariflagsupport. 1  xMONOUTBNCconnectorforuncompressedHD-SDIvideo:1920x1080, 4:2:2YCbCr.LogC(filmmatrixoff),LogC(filmmatrixon),Rec709orDCIP3, alllegalrange. Q  uickTimeclipscanbeplayedbackfromtheSxSPROcardstotheEVF-1, MONOUTandRECOUToutputs 16bitlinearinternalimageprocessing 1  xXLR5pinAUDIOINconnectorfor2channel,linelevelbalancedaudio input,24bit/48kHzA/Dconversion,worksat23.976,24,25,29.97and 30fps.AudioisrecordedintotheQuickTime/ProResfileandembeddedinall

 

Monitor Output

Playback

Processing Audio

42

Connectors

2  xslotsforSxSPROcards(SxS) 2xBNCrecordingoutHD-SDI,1.5G/3Gswitchable(RECOUT1and RECOUT2) 1xBNCmonitoringoutHD-SDI1.5G(MONOUT) 1xXLR5pinaudioin(AUDIOIN) 1xBNCreturnsignal/syncinHD-SDI1.5G(RET/SYNCIN,functionalityavailableinfuturesoftwareupdate) 1xLEMO16pinexternalaccessoryinterface(EXT) 1xFischer2pin24Vpowerin(BAT) 2xFischer3pin24Vremotestartandaccessorypowerout(RS) 1xLEMO2pin12Vaccessorypowerout(12V) 1xLEMO5pintimecodein/out(TC) 1xTRS3.5mmheadphoneministereojackout(AUDIOOUT) 1xLEMOcustom16pinelectronicviewfinder(EVF) 1xLEMO10pinEthernetwithpower(ETHERNET) S  torescamerasetupfiles,logfiles,framelinexmlfilesandcapturedstillsin JPEG(.jpg),TIFF(.tif),DPX(.dpx)orARRIRAW(*.ari)format.Alsousedfor softwareupdates.

SD Card

Technical Data
43

HD-SDIoutputs,includingARRIRAWT-Link.Maxof2.5dBmoutputfrom AUDIOOUTheadphonesconnector.

Technical Data

Upgrades

T  heStorageInterfaceModule(currentlyavailableforSxSPROcards)canbe exchangedforfuturestoragemodules.TheElectronicsInterfaceModule (availableaseitherregularALEXAorALEXAPlusversions)canbeexchanged forfuturecontrolelectronics.ExchangeableLensMount(ELM)allowsother lensesbeyondPLmountlensestobeused.Simplecamerasoftwareupdates.

AlltechnicaldatabasedonSoftwareUpdatePacket(SUP)3.1.Alldatasubjecttochangewithoutnotice.

44

ALEXA Plus
SameasALEXA,butwithbuilt-inwirelessremotecontrol,LensDataSystem,oneadditionalMONOUT,one additionalRS,twoLCS,oneLDDandthreelensmotorconnectors,built-inmotionsensorsandQuickSwitch BNCconnectors. Weight A  LEXAPluscamerabody+SxSModule:7.0Kg/15.4lbs ALEXAPluscamerabody+EVF-1+ViewfinderMountingBracketVMB-2+ viewfindercable+SxSModule+CenterCameraHandleCCH-1: 8.4Kg/18.5lbs Length:332mm/12.95,width:175mm/6.89,height:158mm/6.22 SameasALEXA A  RRIExchangeableLensMount(ELM);shipswithLensAdapterPLMount withLDS(LA-PL-2),54mmstainlesssteelPLmount,Super35centered

Dimensions Power Out Lens Mount

AlltechnicaldatabasedonSoftwareUpdatePacket(SUP)3.1.Alldatasubjecttochangewithoutnotice.

Technical Data
45

Dimensions
46

Dimensions
ALEXA

ALEXA

47

Dimensions

48

Dimensions ALEXA

ALEXA Plus

Dimensions
49

Dimensions
50

ALEXA Plus

ALEXA Plus

Dimensions
51

ARRI Lenses

ARRI Lenses
ARRI/ZEISS Master Primes
Name Lens Mount (1) Aperture Close focus
(2)

Magnification ratio (3)

Length (4)

Front diameter (5)

Maximum housing diamenter

Weight

MasterPrime12 MasterPrime14 MasterPrime16 MasterPrime18 MasterPrime21 MasterPrime25 MasterPrime27 MasterPrime32 MasterPrime35 MasterPrime40 MasterPrime50 MasterPrime65 MasterPrime75 MasterPrime100 MasterPrime150

PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS

T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22 T1.3-T22

0.40m/16" 0.35m/14" 0.35m/14" 0.35m/14" 0.35m/14" 0.35m/14" 0.35m/14" 0.35m/14" 0.35m/14" 0.40m/16" 0.50m/20" 0.65m/2'3" 0.80m/2'9" 1.00m/3'6" 1.50m/4'11"

1:16.5 1:11.7 1:11.8 1:11.0 1:9.5 1:8.6 1:7.8 1:7.1 1:6.4 1:7.0 1:7.0 1:8.2 1:8.9 1:8.9 1:10.3

197mm/7.8" 172mm/6.8" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 153mm/6" 210mm/8.3"

156mm/6.1" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 114mm/4.5" 134mm/5.3"

159mm/6.3" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 128mm/5" 137mm/5.4"

2.9Kg/6.4lb 2.4Kg/5.3lb 2.2Kg/4.8lb 2.2Kg/4.8lb 2.4Kg/5.3lb 2.6Kg/5.1lb 2.2Kg/4.8lb 2.3Kg/5.1lb 2.2Kg/4.8lb 2.3Kg/5.1lb 2.7Kg/5.9lb 2.6Kg/5.7lb 2.8Kg/6.2lb 2.9Kg/6.4lb 4.0Kg/8.8lb

52

Angle of view H, V, D Normal35(8) ID=27.20mm(7) 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 8.53-6.22-10.53 DINSuper35(9) ID=30.00mm(7) 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 9.30-6.99-11.59 ANSISuper35(10) ID=31.14mm(7) 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 9.65-7.26-12.03

Entrance pupil

(6)

Operation Temperature: -20C to +40C / -4F to +104F Storage/Transport Temperature: -40C to +70C / -40F to +158F
(1)

(2)

-208.3mm/-0.683" 241.3mm/0.792" 210.8mm/0.692" 207.0mm/0.679" 201.3mm/0.660" 188.0mm/0.617" 188.7mm/0.619" 180.5mm/0.592" 178.9mm/0.587" 171.6mm/0.563" 188.2mm/0.617" 159.4mm/0.523" 154.6mm/0.507" 109.3mm/0.359" -37.1mm/-0.112"

(3)

(4) (5) (6)

(7)

(8)

(9)

(10)

Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts Close focus is measured from the lm/sensor plane Magnication ratio is the relationship of the size of an object on the lm/ sensor plane (rst number) to the size of that object in real life (second number) at the close focus setting Lens length is measured from the lens mount to the front of the lens housing Diameter of the lens/matte box interface The distance from the entrance pupil to the lm/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an entrance pupil behind the lm/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 largerly irrelevant for live action, this measurement is important for special effects work. 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. Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661" x 0.6299") Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944" x 0.7087") Horizontal (H), vertical (V) and diagonal (D) angles of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980" x 0.7362")

All data subject to change without notice.

ARRI Lenses
53

ARRI Lenses

ARRI/ZEISS Ultra Primes

Name

Lens Mount (1)

Aperture

Close focus

(2)

Length (4)

Front diameter (5)

Weight Normal35(8) ID=27.20mm(7)

UltraPrime8R UltraPrime10 UltraPrime12 UltraPrime14 UltraPrime16 UltraPrime20 UltraPrime24 UltraPrime28 UltraPrime32 UltraPrime40 UltraPrime50 UltraPrime65 UltraPrime85 UltraPrime100 UltraPrime135 UltraPrime180

PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL

T2.8toT22 T2.1toT22 T2.0toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22

0.35m/13.8" 0.35m/13.8" 0.30m/11.8" 0.22m/8.7" 0.25m/9.8" 0.28m/11" 0.30m/11.8" 0.28m/11" 0.35m/13.8" 0.38m/15" 0.60m/23.6" 0.65m/25.6 0.90m/35.4" 1.00m/39.4" 1.50m/59.1" 2.60m/102.4"

130mm/5.1" 143mm/5.6" 140mm/5.5" 112mm/4.4" 94mm/3.7" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 119mm/4.7" 166mm/6.5"

134mm/5.3" 156mm/6.1" 156mm/6.1" 114mm/4.5" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 95mm/3.7" 114mm/4.5"

2.0Kg/4.4lb 2.9Kg/6.4lb 2.0Kg/4.4lb 1.8Kg/4.0lb 1.2Kg/2.6lb 1.2Kg/2.6lb 1.0Kg/2.2lb 1.0Kg/2.2lb 1.1Kg/2.4lb 1.0Kg/2.2lb 1.0Kg/2.2lb 1.1Kg/2.4lb 1.2Kg/2.6lb 1.2Kg/2.6lb 1.6Kg/3.5lb 2.6Kg/5.7lb

107.0 90.8 85.2 75.6 70.8 58.4 50.2 43.2 38.2 30.6 24.0 19.2 15.2 12.6 9.3 7.0

54

Horizontal Angle of View DINSuper35(9) ID=30.00mm(7) 112.0 100.2 90.2 80.6 73.0 62.8 54.2 46.8 41.6 33.2 26.2 21.0 16.5 13.7 10.2 7.6 ANSISuper35(10) ID=31.14mm(7) 114.0 102.1 92.6 82.6 75.2 65.0 55.8 48.4 43.0 34.7 27.2 21.8 17.1 13.9 10.5 7.9

Entrance pupil

(6)

Operation Temperature: -20C to +40C / -4F to +104F Storage/Transport Temperature: -40C to +70C / -40F to +158F
(1) (2) (3)

207.2mm/0.680" 172.2mm/0.565" 165.4mm/0.543" 143.3mm/0.470" 137.2mm/0.450" 125.3mm/0.411" 119.4mm/0.392" 119.3mm/0.391" 113.1mm/0.371" 111.3mm/0.215" 65.4mm/0.617" 71.0mm/0.233" 55.5mm/0.182" 64.5mm/0.212" -4.9mm/-0.016" 32.3mm/0.106"
(7) (4) (5) (6)

(8)

(9)

(10)

Positive locking (PL) 54 mm stainless steel lens mount Close focus is measured from the lm/sensor plane Magnication ratio is the relationship of the size of an object on the lm/ sensor plane (rst number) to the size of that object in real life (second number) at the close focus setting Lens length is measured from the lens mount to the front of the lens housing Diameter of the lens/matte box interface The distance from the entrance pupil to the lm/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an ent rance pupil behind the lm/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 largerly irrelevant for live action, this measurement is important for special effects work. 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. Horizontal angles of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661" x 0.6299") Horizontal angles of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944" x 0.7087") Horizontal angles of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980" x 0.7362")

All data subject to change without notice.

ARRI Lenses
55

ARRI Lenses

ARRI/ZEISS LDS Ultra Primes

Name

Lens Mount (1)

Aperture

Close focus

(2)

Length (4)

Front diameter (5)

Weight Normal35(8) ID=27.20mm(7)

UltraPrime12 UltraPrime14 UltraPrime16 UltraPrime20 UltraPrime24 UltraPrime28 UltraPrime32 UltraPrime40 UltraPrime50 UltraPrime65 UltraPrime85 UltraPrime100 UltraPrime135 UltraPrime180

PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS PLLDS

T2.0toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22 T1.9toT22

0.30m/11.8" 0.22m/8.7" 0.25m/9.8" 0.28m/11" 0.30m/11.8" 0.28m/11" 0.35m/13.8" 0.38m/15" 0.60m/23.6" 0.65m/25.6 0.90m/35.4" 1.00m/39.4" 1.50m/59.1" 2.60m/102.4"

140mm/5.5" 112mm/4.4" 94mm/3.7" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 91mm/3.6" 119mm/4.7" 166mm/6.5"

156mm/6.1" 114mm/4.5" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 104mm/4.1" 114mm/4.5"

2.2Kg/4.8lb 1.8Kg/4.0lb 1.5Kg/3.3lb 1.5Kg/3.3lb 1.3Kg/2.9lb 1.5Kg/3.3lb 1.4Kg/2.1lb 1.4Kg/2.1lb 1.2Kg/2.6lb 1.4Kg/2.1lb 1.5Kg/3.3lb 1.5Kg/3.3lb 2.0Kg/4.4lb 2.8Kg/6.2lb

85.2 75.6 70.8 58.4 50.2 43.2 38.2 30.6 24.0 19.2 15.2 12.6 9.3 7.0

56

Horizontal Angle of View DINSuper35(9) ID=30.00mm(7) 90.2 80.6 73.0 62.8 54.2 46.8 41.6 33.2 26.2 21.0 16.5 13.7 10.2 7.6 ANSISuper35(10) ID=31.14mm(7) 92.6 82.6 75.2 65.0 55.8 48.4 43.0 34.7 27.2 21.8 17.1 13.9 10.5 7.9

Entrance pupil

(6)

Operation Temperature: -20C to +40C / -4F to +104F Storage/Transport Temperature: -40C to +70C / -40F to +158F
(1)

(2)

165.4mm/0.543" 143.3mm/0.470" 137.2mm/0.450" 125.3mm/0.411" 119.4mm/0.392" 119.3mm/0.391" 113.1mm/0.371" 111.3mm/0.215" 65.4mm/0.617" 71.0mm/0.233" 55.5mm/0.182" 64.5mm/0.212" -4.9mm/-0.016" 32.3mm/0.106"

(3)

(4) (5) (6)

(7)

(8)

(9)

(10)

Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts Close focus is measured from the lm/sensor plane Magnication ratio is the relationship of the size of an object on the lm/ sensor plane (rst number) to the size of that object in real life (second number) at the close focus setting Lens length is measured from the lens mount to the front of the lens housing Diameter of the lens/matte box interface The distance from the entrance pupil to the lm/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an ent rance pupil behind the lm/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 largerly irrelevant for live action, this measurement is important for special effects work. 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. Horizontal angles of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661" x 0.6299") Horizontal angles of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944" x 0.7087") Horizontal angles of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980" x 0.7362")

All data subject to change without notice.

ARRI Lenses
57

ARRI Lenses

ARRI/Fujinon Alura Zooms

Name

Lens Mount (1)

Focal Length Wide

Focal Length Long

Focal Length Ratio

Aperture

Close focus (2)

Magnification ratio (3)

Length (4)

Front diameter (5)

ARRI/FUJINON AluraZoom18-80

PL

18

80

4.4

T2.6-T22

0.7m/2'4"

1:5.5

285mm/11.2"

134mm/5.3"

ARRI/FUJINON AluraZoom45-250

PL

45

250

5.6

T2.6-T22

1.2m/3'11"

1:4

370mm/14.6"

134mm/5.3"

Operation Temperature: -10C to +50C / +14F to +122F Storage/Transport Temperature: -20C to +60C / -4F to +140F
(1) (2) (3)

(5) (6)

(4)

Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts Close focus is measured from the lm/sensor plane Magnication ratio is the relationship of the size of an object on the lm/sensor plane (rst number) to the size of that object in real life (second number) at the close focus setting Lens length is measured from the lens mount to the front of the lens housing

Diameter of the lens/matte box interface The distance from the entrance pupil to the lm/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an ent rance pupil behind the lm/ 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 largerly irrelevant for live action, this measurement is important for special effects work.

58

Maximum housing diameter

Weight

Focal Length Normal35(8) ID=27.20mm(7) at18mm 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 DINSuper35(9) ID=30.00mm(7) 67.4-53.1-79.6 27.0-20.4-33.4 17.1-12.8-21.2 29.9-22.6-36.9 9.1-6.9-11.4 5.5-4.1-6.9
(10)

Entrance pupil Alexa2K(10) ID=29.08mm(7) 70.3-43.2-77.9 28.4-16.2-32.4 18.0-10.2-20.6 31.4-18.0-35.8 9.7-5.4-11.1 5.8-3.3-6.7

(6)

Alexa/D-21HD(9) ID=27.26mm(7) 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 5.4-3.1-6.2

264.0mm/10.4" 231.6mm/9.1" 213.9mm/8.4" 234.4mm/9.6" 2.0mm/0.1" -101.5mm/-4.0"

134mm/5.3"

4.7Kg/10.4lb

at50mm at80mm at45mm

153mm/6"

7.5Kg/16.5lb

at150mm at250mm

(7)

(8)

(9)

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. Horizontal (H), vertical (V) and diagonal (D) angles of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22 mm x 16 mm / 0.866" x 0.630") Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa/D-21 HD camera aperture (aspect ratio 1.78:1, 2880 x 1620 sensor pixels, dimensions 23.76 mm x 13.37mm / 0.935" x 0.526")

(11)

Horizontal (H), vertical (V) and diagonal (D) angles of view for the Alexa 2K camera aperture (aspect ratio 1.78:1, 3072 x 1728 sensor pixels, dimensions 25.34 mm x 14.26 mm / 0.998" x 0.561") Horizontal (H), vertical (V) and diagonal (D) angles of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24 mm x 18 mm / 0.944" x 0.709")

All data subject to change without notice.

ARRI Lenses
59

ARRI Lenses

ARRI/ZEISS Master Macro 100

Name

Lens Mount (1)

Aperture

Close focus

(2)

Magnification ratio (3)

Length (4)

Front diameter (5)

MasterMacroT2.0/100mm
(1)

PL-LDS

T2.0/T4.3toT32
(6)

0.35m/133/4"

1:1

202,7mm/8"

114mm/4.5"

Positive locking 54 mm stainless steel lens mount with Lens Data System (LDS) contacts Maximum aperture at innity is T2.0, at close focus T4.3 Close focus is measured from the lm/sensor plane Magnication ratio is the relationship of the size of an object on the lm/sensor plane (rst number) to the size of that object in real life (second number) at the close focus setting (5) Lens length is measured from the lens mount to the front of the lens housing
(2) (3) (4)

Diameter of the lens/matte box interface. Maximum lens housing diameter for the Master Macro 100 is 138 mm. Horizontal angle of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980 x 0.7362) (8) Horizontal angle of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944 x 0.7087)
(7)

60

Weight Normal35(8) ID=27.20mm(7) 2.6kg/5.7lbs

(9)

Horizontal Angle of View DINSuper35(9) ID=30.00mm(7) 13.52 ANSISuper35(10) ID=31.14mm(7) 14.02

Entrance pupil

(6)

12.42

-77,139mm/-3.0"

Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661 x 0.6299) The image diameter (ID) is the diameter of the image circle needed for the respective format. The Master Macro 100 is designed for the largest ID given here (ANSI Super 35). (11) The distance from the entrance pupil to the lm/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an entrance pupil behind the lm/ sensor plane.
(10)

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 largerly irrelevant for live action, this measurement is important for special effects work. All data subject to change without notice.

ARRI Lenses
61

Resources and Contacts

Resources and Contacts

Service Contacts
Zone Availability Service Center Munich, Germany Arnold&RichterCineTechnik 1 9:0018:00 CentralEuropean Time Rome, Italy ARRIItaliaS.r.l. London, Great Britain ARRICTLimited New York, USA ARRIInc.EastCoast 2 17:002:00 CentralEuropean Time Toronto, Canada ARRICanadaLimited Burbank, USA ARRIInc.WestCoast 1:0010:00 CentralEuropean Time Sydney, Australia ARRIAustraliaPtyLtd Hong Kong ARRIAsiaLimited Email service@arri.de service@arri.it service@arri-ct.com service@arri.com service@arri.com service@arri.com service@arri.com.au service@arriasia.hk Telephone Hotline +498938092121 +393357490070 +441895457051 +18775652774 +14162553335 +18775652774 +61298554305 +85225374266

62

DigitalWorkflowSolutions: ForallworkflowrelatedquestionspleasecontacttheDigitalWorkflowSolutionsgroup:digitalworkflow@arri.de

ZONE 2

ZONE 1

ZONE 3

Zone 2

Zone 1

Zone 3

London Toronto New York Burbank Rome

Munich

Hong Kong

Sydney

Resources and Contacts

63

Resources and Contacts

Sales Contacts
Europe, Middle East, Africa, India Arnold&RichterCineTechnik GmbH&Co.BetriebsKG (Headquarters,Sales&Service) Trkenstrae89,D-80799Munich,Germany salessupport@arri.de Tel:+49(0)8938091295,Fax:+49(0)8938091245 ARRIItaliaS.r.l.(Sales&Service,Milan) VialeEdison318,20099SestoSanGiovanni (Milano),Italy GeneralManager:AntonioCazzaniga, acazzaniga@arri.it Tel:+39(02)26227175,Fax:+39(02)2421692 Americas ARRIInc.(Sales&Service) 600NorthVictoryBlvd.,Burbank, CA91502-1639,USA VicePresident:BillRussell,brussell@arri.com Tel:+1(818)8417070,Fax:+1(818)8484028 ARRIInc.(Sales&Service) 617Route303,Blauvelt,NY10913-1109,USA VicePresident:JrgenSchwinzer, jschwinzer@arri.com Tel:+1(845)3531400,Fax:+1(845)4251250

64

Asia ARRIInc.(Sales) 2385StirlingRoad,FortLauderdale,FL33312,USA TechnicalSalesRepresentative:JeffreyReyes, jreyes@arri.com Tel:+1(954)3224545,Fax:+1(954)3224188 ARRICanadaLimited(Sales&Service) 415HornerAve.Unit11&12,Toronto,Ontario M8W4W3,Canada AccountsManager,Camera&DigitalSystems: SbastienLaffoux,seb@arrican.com Tel:+1(416)2553335,Fax:+1(416)2553399 ARRIAsiaLimited 3B,29/F,TheCentrium,60WyndhamStreet, Central,HongKong GeneralManager:PaulIvan, pivan@arriasia.hk Tel:+85225716288,Fax:+85228759181 Australia / New Zealand ARRIAustraliaPtyLtd Level1,Unit1,706MowbrayRoad, LaneCoveNSW2066,Sydney,Australia GeneralManager:StefanSedlmeier, ssedlmeier@arri.com.au Tel:+61298554300,Fax:+61298554301

Resources and Contacts

65

Resources and Contacts

Internet Resources
ALEXADataSheet FrequentlyAskedQuestions ALEXAManual ColorProcessingWhitePaper QuantelDigitalFactBook DigitalCameraBasics http://www.arri.com/downloads/alexa http://www.arridigital.com/alexa/faq http://www.arri.com/downloads/alexa http://www.arri.com/downloads/alexa http://www.arridigital.com/technical/digitalfactbook http://www.arridigital.com/creative/camerabasics

Internet Tools
ALEXAOnlineSimulator ALEXAFrameLineComposer ALEXALUTGenerator http://www.arridigital.com/technical/simulator http://www.arridigital.com/technical/aflc http://www.arridigital.com/technical/luts

66

ThisARRIALEXAPocketGuide(Ident.-Nr.:K5.40949.0)ispublishedbyArnold&RichterCineTechnik,April21,2011ARRI/2011 Technicaldataandofferingsaresubjecttochangewithoutnotice.Allrightsreserved.Withoutanywarranty.Notbinding04/2011. ARRIisaregisteredtrademarkofArnold&RichterCineTechnikGmbH&Co.BetriebsKG. Arnold&RichterCineTechnikGmbH&Co.BetriebsKGTrkenstrasse89D-80799Munich tel+49(0)8938090fax+49(0)8938091245www.arri.com

Resources and Contacts

67