ARRI ALEXA Pocket Manual
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ARRI ALEXA Pocket Manual

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9.1
SUP

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  • Page 1 Pocket Guide...

  • Page 2: Table Of Contents

    ALEXA Pocket Guide Table of Contents Overview Working with ALEXA ALEXA Preshoot Checklist ARRI Lenses New features in SUP 9.0 and 9.1 Exposure Index Recording with the XR or SxS Module ARRI/ZEISS Master Anamorphic Lenses 104 The Home Screen ND filters Camera Setup ARRI/ZEISS Master Prime Lenses Home Screen Soft Buttons False Color Exposure Check Shooting Highspeed ARRI/ZEISS Ultra Prime Lenses Icons on Home Screen Color Spaces Recording ARRIRAW via T-Link ARRI/ZEISS LDS Ultra Prime Lenses MON OUT Icons Video - Rec 709 Shooting Stereo 3D ARRI/FUJINON Alura Zoom Lenses 112 Recording Media Log C ALEXA M/ALEXA XT M fiber maintenance 59...

  • Page 3: Overview

    Overview Introduction The ALEXA and the ALEXA XT family Welcome to the Pocket Guide for the ALEXA and on the real thing. However, carrying this guide with the ALEXA XT family of cameras, which contains you and combining it with other resources such as important preproduction and production information the ALEXA manual at www.arri.com/alexa/downloads for an ALEXA shoot. The ALEXA platform has been or the interactive ALEXA/ALEXA XT Camera designed with ease of use and user-friendliness in Simulator at www.arri.com/alexa/tools will ensure mind; the menu and controls are simple and intuitive, your readiness to take full advantage of the camera’s so the best way to learn ALEXA is to get your hands unique and versatile features. ALEXA ALEXA XT ALEXA XT M ALEXA XT Plus ALEXA XT Studio...

  • Page 4: New Features In Sup 9.0 And

    New features in SUP 9.0 and 9.1 for all ALEXA and ALEXA XT cameras Software Update Packet (SUP) 9.0/9.1 enables a In our manner to keep ALEXA an open, future prove Feature Overview number of new features for all ALEXA and ALEXA XT camera we have adopted the successor of the • ProRes 4444 16:9 High Speed recording up to 120 fps cameras. It adds new recording capabilities, codec Compact Flash card for recording on ALEXA: • Pre-recording for ProRes (loop recording) options and provides the basis for the use of new re- CFast 2.0 (CompactFlash ATA Serial Transfer Standard • Improved DNxHD 4:2:2 recording up to 120 fps cording media and new ARRI accessories. This SUP 2.0, issued 2012). All ALEXA XT series cameras, • DNxHD 4:4:4 recording up to 96 fps also contains software update 1.37 for the ALEXA ALEXAs with XR Module as well as the ARRI AMIRA • Phase user button Electronic Viewfinder EVF-1, which fixes an issue camera support CFast 2.0. Other manufacturers have • Improved color management...

  • Page 5: The Home Screen

    The Home Screen Home Screen Soft Buttons The soft buttons lead to screens where the respective WB: S et white balance, consisting of a Kelvin settings can be changed. In the home screen, the value for red-blue correction and a following info is displayed: CC shift for green-magenta correction (shown as exponent). FPS: Set sensor frame rate ALEXA Studio Icons AUDIO: W hen audio is active, audio levels are shown. Audio can also be switched OFF, or DISABLED (when the sensor is Name Icon Description not running at sync-sound speed) Mirror Flashing Icon when the SHUTTER: S et shutter angle (and turn mirror Shutter Mirror Shutter is spinning. shutter on/off for ALEXA Studio) View EI:...
  • Page 6 DUR D uration of current clip during red/green bar), the camera works at BAT connector, or percentage of recording or length of last recorded 24:26 R emaining capacity of card in SxS slot properly, but no SxS PRO card is SxS 1 remaining capacity of attached battery clip during standby. Shown as 1 in minutes. Calculated for the set present for recording. if it transmits this information. h:mm:ss. frame rate and codec. Note: these are only approximate values. INT/SxS L ook 16:9 D isplays active sensor mode CDL Server active/connected (16:9 or 4:3). INHIB C ard 1 is write protected. C DL Server active/not connected SxS 1 FULL Card 1 is full. not available on ALEXA XT SxS 1...

  • Page 7: Icons On Home Screen

    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 (= 40° C sensor tem- be affected. Mode perature). Should only be used in very humid conditions Temperature Great sensor temperature (e.g. indoor swimming pool). Error offset. Image quality might be affected seriously. WRS Radio WRS radio is active. Only on ALEXA Plus Lock Camera is locked. ALEXA Studio left side. Additional buttons VIEW & GATE for mirror control. and Studio.

  • Page 8: Mon Out Icons

    MON OUT Icons Name Icon Description Name Icon Description General Important information Peaking Peaking enabled for EVF Warning waiting on the info and/or MON OUT. screen. Press the INFO Smooth mode Smooth mode active on EVF. button for more details. Recording Displays current SxS General An error occurred. resolution resolution (HD or 2K). Error Press the INFO button for more details. Temperature Slight sensor temperature Warning offset. Image quality might Gamma Displays Gamma setting for be affected. EVF or MON OUT. Temperature Great sensor temperature Error offset. Image quality might Look active A look is active/burned-in...

  • Page 9: Recording Media

    17 min 0.75 – 96 85 min 34 min for reasons of clarity. A ll speeds adjustable with 1/1000 fps precision. To record above quirements for the available recording formats 60 fps in any format, the camera needs to be switched to high 16:9 DNxHD 175x/185x/220x 0.75 – 120 48 min 9 min 0.75 – 120 87 min 35 min 0.75 – 120 170 min 34 min speed mode. P roRes is a variable bit rate codec. Actual data rate and recording time varies depending on image content. 16:9 DNxHD 115/120/145 0.75 – 120 72 min 14 min 0.75 – 120 132 min 53 min 0.75 – 120 255 min 51 min P roRes 4444 high speed mode is not available on ALEXA classic cameras.
  • Page 10 ALEXA XT Recording Matrix ALEXA Recording Matrix Internal recording Internal Recording Internal Recording External recording External recording External Recording Media onto XR Capture Drives with SxS PRO or CFast 2.0 adapter Recording Media onto SxS PRO cards via T-Link via HD-SDI recording (onto SxS PRO/CFast 2.0 card)

  • Page 11: Alexa Xt Output Overview

    ALEXA XT Output Overview ALEXA Output Overview 1 or 2x MON OUT HD-SDI 16:9 HD-SDI with T-Link ARRIRAW uncompressed information overlay (16:9 or 4:3) HD-SDI 16:9 Clean image 2x REC OUT HD-SDI HD uncompressed 16:9 (4:4:4 or 4:2:2) 2x REC OUT...

  • Page 12: Arriraw Uncompressed

    806 GB/h 0.75 - 96 to 120 fps, which makes using ARRIRAW as your With the release of SUP 9.0 an additional ARRIRAW chosen format easier than ever before. mode has become available. It is called Open Gate. Open Gate 3414 x 2198 12 bit Bayer 11.3 MB 2.17 Gbit/s 976 GB/h 0.75 - 75 In this format the captured frame extends beyond the ARRIRAW Like film negative, ARRIRAW data has to be surround view area that can be seen in the electronic A ll speeds adjustable with 1/1000 fps precision. processed to produce a color image. ARRIRAW viewfinder. The active frame size of this format is O pen Gate mode is only available on ALEXA XT cameras. images have only one channel. A color reconstruction 28.25 x 18.17 mm (image circle: 33.5 mm), or 3414 algorithm calculates the missing components of by 2198 pixels with an aspect ratio of 1.55:1. Since each pixel based on the type and position of the the Open Gate aperture is wider than a Super 35 array of colored filters (Bayer pattern) on the camera frame, please make sure that the lenses you are sensor. As a result, half of the reconstructed image's using actually cover the whole area. Wide angle green values are interpolated from the surrounding lenses are more critical in this respect than long focal photosites rather than captured, as are three-quarters lengths. of the red and three-quarters of the blue.

  • Page 13: Arriraw Converter 3.0

    ARRIRAW Converter 3.0 ARRIRAW capable software solutions The ARRIRAW Converter (ARC) is a free software A product which has been awarded COMPANY PRODUCT CERTIFIED solution that reads, displays and renders ARRIRAW the ALEXA ARRIRAW Processing Adobe Premiere Pro ✔ Adobe Speedgrade files. Since in 2005 the first ARRIRAW files from Certificate is capable of rendering Scratch CERTIFIED FOR Assimilate the D20 camera have been shot, ARC has under- ALEXA ARRIRAW images in ✔ Scratch Lab gone some iterations and gained more capabilities. a quality that meets ARRI’s Autodesk Flame/Lustre ✔ PROCESSING Autodesk Smoke ✔ ALEXA In 2012 we decided to develop a completely new requirements. Please note that for...

  • Page 14: Prores 422

    1920 x 1080 10 bit YCbCr 0.75 – 120 capture with regular 2:1 anamorphic lenses and ALEXA Studio, ALEXA M, ALEXA XT, ALEXA XT 2048 x 1536 10 bit YCbCr 0.75 – 48 offers extra room for repositioning when using stan- Plus, ALEXA XT Studio and ALEXA XT M. ProRes 422 (HQ) 16:9 2048 x 1152 10 bit YCbCr 0.75 – 60 dard spherical lenses. New for SUP 9.0 is the ability T his only applies to ALEXA cameras with the SxS 16:9 1920 x 1080 10 bit YCbCr 0.75 – 120 to shoot ProRes 4444 in Highspeed Mode. Module. ARRIRAW T-Link output is not available in 2048 x 1536 12 bit RGB 0.75 – 48 conjunction with the XR Module or on ALEXA XT ProRes 4444 16:9 2048 x 1152 12 bit RGB 0.75 – 60 ProRes 2K Image Aperture cameras.

  • Page 15: Dnxhd 145

    DNxHD Recording The ALEXA and ALEXA XT cameras allow in-camera together with sound and embedded metadata in an recording of 1920 x 1080 (16:9) DNxHD encoded MXF container file using the Operational Pattern 1a Data Rate @ Data Volume @ Format Sensor Mode Resolution Color Coding fps Range 24 fps [Mbit/s] 24 fps [GB/h] MXF files onto SxS PRO cards, CFast 2.0 cards (OP1a) file structure. An Avid Media Composer does or XR Capture Drives . With an installed DNxHD not need to transcode this material, as it already is license, ALEXA users can choose between MXF/ available in a native DNxHD codec. The OP1a MXF DNxHD 145 16:9 1920 x 1080 8 bit YCbCr 0.75 – 120 DNxHD or QuickTime/ProRes recording codecs.

  • Page 16: New Recording Features In Sup 9.0

    New recording features in SUP 9.0 Pre-recording Phase-Button This feature allows you to roll the camera before you The new USER button function called "Phase press the REC button, so you won't miss the shot. sensor" increases the sensor frame rate by 0.2 fps With pre-recording enabled and active, the camera for as long as the assigned user button is being will continuously write frames into a ring buffer. As pressed. When shooting e.g. a CRT monitor, you the actual take is started with a second press of the may see a horizontal black bar (video blanking REC button, the camera keeps the content of the interval) across the CRT screen in the EVF or the ring buffer and appends frames into a single clip, MON OUT image. It allows you to move that black until the recording is stopped. Pre-recording is only bar out of the frame. The phase-function is only available for ProRes codecs. available in standby and with time code set to REC RUN.

  • Page 17: Working With Alexa

    Working with ALEXA Exposure Index EI 3200 EI 1600 EI 800 While ALEXA’s 14+ stops of exposure latitude and As a shortcut, we have come up with the following EI 400 unique highlight handling approaches that of film, method of writing ALEXA’s exposure index: EI 200 EI 160 there is one major difference between the way film 9.4 Stops and digital cameras behave: with digital cameras, a 8.4 Stops 7.4 Stops change in EI will shift how many stops are available 6.3 Stops 5.3 Stops 5.0 Stops above and below 18% grey – each EI step shifts the location of 18% grey. What is special about ALEXA, however, is that its wide exposure latitude is avail- Values next to the exposure index are the number low end at EI 160, 0.4 stops fewer in the low end at...

  • Page 18: Nd Filters

    ALEXA PL Lens Mount Working with ND filters IFM Empty Filter Frame While traditional ND filters work great for film, for FSNDs & In-camera Filter Module (IFM-1) IFM Filter Holder digital cameras we recommend the use of ND filters With the launch of ALEXA XT a filter holder mecha- that have a built-in far-red blocker. Traditional ND nism is available (preinstalled on ALEXA XT cameras filters should only be used up to an ND 0.9. A single except ALEXA XT Studio), that allows to work with filter that combines a ND and a far-red cut off gener- a set of eight FSND (Full Spectrum Neutral Density) ally yields better results and fewer reflections than a filters. In comparison to other IRNDs which have traditional ND filter stacked on top of a separate IR-cut some bumps in their spectral behavior or the ordinary off filter. ND which opens up at about 675nm the FSNDs offer an even light attenuation across the whole spectrum (see next page). The ALEXA Studio and ALEXA XT Studio have a built-in motorized ND with a density of ND 1.3 (4.3...

  • Page 19: False Color Exposure Check

    Working with ND filters cont. False Color Exposure Check FSNDs in comparison The false color exposure check for the electronic So if you have the viewfinder set to Rec 709, the viewfinder and/or MON OUT output measures the false color exposure check will be based on the Rec camera image, tints certain signal levels in a distinct 709 image. If you have the MON OUT at the same Wavelength (in nm) color and shows the rest as a black-and-white image. time set to Log C, the false color exposure check for The false color exposure check is based on the color MON OUT will be based on Log C. processing set for the respective output signal path. Color Level Description 99 – 100% White clipping yellow 97 – 99% Just below white clipping/white shoulder pink 52 – 56% One stop over medium gray (Caucasian skin) green 38 – 42% 18% neutral gray IRND Brand 1 blue 2.5 – 4.0%...

  • Page 20: Color Spaces

    Color Spaces The ALEXA or ALEXA XT can deliver the captured Video - Rec 709 footage with "Video Rec 709" or "Log C ALEXA wide ‘Rec 709’ is short for the International Telecommuni- gamut" encoding. cation Union’s ITU-R Recommendation BT.709 - the output format for a traditional television 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 conver- sion, ALEXA Rec 709 images can be processed by most 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 workflow for any HD video-based infrastructure. Color comparison: split image Video/Log C...

  • Page 21: Log C

    REC OUT is typically set to Log C output. The color that will convert Log C material to sensor linear the name of a file format that contains density data Viewing and Monitoring Log C corrector then applies the settings in Log C and con- encoding. The linearization will preserve all image from scanned negative film. Density is a logarithmic Shooting images in Log C delivers the best basis for verts the output to REC 709 video using a 3D LUT. information. It is therefore possible to do round-trip measure of the opacity of the film. The relation of the colorist's work, as it provides the camera's full ARRI provides these LUTs through the online ARRI conversions from Log C to linear and back to Log C. the density to the film’s exposure is called the char- latitude in an unconfined color space. When viewed LUT Generator at www.arri.com/alexa/tools. acteristic curve of the film. Each stock has its own directly, Log C images look flat with desaturated ARRI LUT Generator characteristic curve, but the overall shape is always colors. To correctly display Log C material on an HD Recording Codecs The ARRI LUT Generator can output 1D and 3D LUTs the same. monitor (Rec 709) or in a digital projection (P3), it Log C material is best recorded using a 4:4:4 codec for a wide range of common postproduction tools. It ARRI introduced a scene based encoding for their needs to be tone-mapped and transformed into the (ProRes 4444 or DNxHD 444). The top quality 4:2:2 is available online at www.arri.com/alexa/tools. camera data, which, because of the similarity to target color space. This image conversion can be codecs (ProRes 422 (HQ) and DNxHD 220x) will also the Cineon standard, was named ‘Log C’. With Log performed using a 3D Look Up Table (LUT). provide acceptable results in Log C, but due to the...

  • Page 22: In-Camera Look Files

    Look File a look file may also include a freeform curve (grey card while outputting a Rec 709 image with a look copy *.xml file to SD card scale tone map LUT) that will be applied instead of applied on the MON OUT output. As soon as a Look the standard Log C to Video tone mapping curve. File gets applied to any output, the data of the Look The free ARRI Look Creator (ALC) allows the creation File is stored in metadata. 1. Create Look Grab ARRI Look Creator *.dpx frame grab to SD card load grab & create look...
  • Page 23 Color Grading The Look File does not only go into ALEXA where LogC clips have a preview Grading on your footage 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 in- corporates the Look File into a LUT. The LUT on the LogC Image ARRI LUT Generator other hand is used e.g. in a color grading application Look File transported in file header combine Look with LUT where it serves as a reference point for the grading artist. In this way the director of photography’s vi- sion is being transported directly to post, where the Look File actual ‘development’ of the images takes place. copy *.xml file to SD card 1.
  • Page 24 Dailies of devices. Color correction settings that were made can use the color correction settings and automati- including Log C to Video & CDL correction ASC CDL Values during the shoot are logged with time code and can cally apply them when generating files. On ALEXA send to ALEXA via Ethernet be output in an Avid Log Exchange (ALE) file. XT/XR cameras, the CDL values will be embedded within the header of each ARRIRAW frame. ARRIRAW Footage Color Grading CDL values embedded in file header CDL values with time code in ALE file 2.

  • Page 25: Legal And Extended Range

    Legal and Extended Range p and psf A 10 bit legal range signal uses digital code values An ALEXA always records ProRes and DNxHD clips The REC OUT and MON OUT on an ALEXA can be 64 to 940 to represent the camera's full contrast using legal range encoding, as required by the set progressive (p) or progressive segmented frames range from black to white. In an extended range sig- codec specifications. Most editing or post produc- (psf) output. An ALEXA always captures progres- nal, the same range is represented by code values 4 tion tools automatically transform the legal range sively (full frame at once). The psf mode splits each to 1019. Extended range encoding does not provide files to e.g. computer graphics RGB full range frame into two segments other than interlaced cap- a higher dynamic range, nor does legal range encod- (0-1024) for display. ture, which captures both segments in two separate ing limit the dynamic range that can be captured. Note: Some recorders will allow to record e.g. exposures. The psf output enables compatibility to It is only the quantization (the number of lightness ProRes clips in extended range. If this material devices that only understand interlaced signals for steps between the darkest and brightest image is brought into FCP, for example, the application certain frame rates. It has no influence on the inter- parts) that is slightly increased (about 0.2 bits). The displays values outside the legal range as “super- nal recording or ARRIRAW T-Link output. same applies for 8 bit (0-256 range) or 12 bit (0-4096 black” and “superwhite”, but as soon as an RGB range) signals.

  • Page 26: Metadata Overview

    Master Anamorphics, Master Primes, LDS Ultra Primes or ALURA zooms generated by e.g. a focus pull Lens data embedded in file or Non-LDS lenses with LDA/Wireless System header of each ARRIRAW frame can be found on page 62. camera: any from the ALEXA XT series, ALEXA Studio, Plus/Plus 4:3 or M...

  • Page 27: Licenses

    ALEXA camera. A license file is serial number angle of view). ARRIRAW, 2K SxS resolution, AMA plug-in (available from the ARRI website sensitive and can only be used on the camera for ProRes 4444 and 4:3 sensor mode are not for Windows or Mac OS X). Of course DNxHD which it has been purchased. Currently there are supported in High Speed mode; REC OUT will recording is available in Regular and in High three licenses available: Anamorphic De-squeeze, be rerouted to clone MON OUT. Speed mode (see High Speed license). High Speed and DNxHD Recording. • T he DNxHD license allows in-camera recording • O n ALEXA XT the High Speed and Anamorphic • A namorphic De-squeeze shows a properly onto SxS PRO cards of 16:9 HD Avid DNxHD De-squeeze licenses are preinstalled. de-squeezed image (with or without surround 145 (8 bit 4:2:2 ), DNxHD 220x (10 bit 4:2:2) view) on EVF-1 and/or MON OUT when working and DNxHD 444 (10bit 4:4:4) codecs, both with 1.3x or 2x anamorphic lenses. within a MXF wrapper and embedded audio, timecode and metadata. ALEXA MXF/DNxHD • T he High Speed license allows recording 60 files use operational pattern OP1a, frame to 120 fps in 16:9 HD with ProRes codecs up...

  • Page 28: Alexa Preshoot Checklist

    ALEXA Preshoot Checklist General considerations Recording with the XR or SxS Module Camera Setup 1 A ssign an individual camera index when This chapter offers checklists for typical use-cases of fastest and most reliable way to identify problems in an ALEXA or ALEXA XT camera. During prep or pre- the digital workflow. The following steps are necessary to prep the shooting with more than one camera unit. 1 N ext reel count usually starts with 001 and production, the following topics should be clear: camera for recording. We highly recommend that you make at least one 1. S tart your initial camera setup by pressing automatically increments when the camera [MENU], going to User Setups > Factory reset The basic camera parameters (e.g. timecode basis...

  • Page 29: Shooting Highspeed

    (Step 4). 1 T urn SDI remote on. EDIT screen. Please check the user manual of the recorder for 1 B uttons 1 to 3 are available on the assistant Recording ARRIRAW via T-Link (not available on setup instructions. Operating the recording hardware and operator side, so it makes sense to assign ALEXA XT cameras) needs to be taken very seriously. Only trained per- functions that are useful on both sides, like EVF 1 U nless you want to record ARRIRAW and e.g. sonnel should be responsible for handling recording Gamma, MON OUT false color, MON OUT ProRes in parallel, the Codec setting can also equipment. peaking or Check last clip.

  • Page 30: Shooting Stereo 3D

    Additional notes for shooting in other modes than the standard setup cont. Shooting Stereo 3D ALEXA M/ALEXA XT M fiber maintenance XR Capture Drive/SxS PRO card Rotation 4. R emove the mag and prepare it to be backed up. 1. D o not use different ALEXA models in a 3D setup. The cleanliness of the optical fiber connectors is 1. T ake a fresh drive/card, make sure it is not locked 1 Put the drive/card into its case. If a licensed feature will be used, the license key mandatory for seamless functionality. Make sure...

  • Page 31: Creating Lens Tables

    • A computer with installed web browser (e.g. accurate information about the focus, iris, and zoom Master Primes, LDS Ultra Primes, ALURA Light- ALEXA XT Plus or ALEXA XT Studio. Firefox, Chrome, Safari). Cookies must be enabled. settings of a lens at the time of shooting. ALEXA weight Zooms and the Ultra Wide Zoom deliver lens • One or more lens motors (CLM-2, CLM-3 or Internet Explorer and Opera browsers are NOT cameras can embed this information with the im- data instantly, as they have integrated encoders that CLM-4). We recommend using one motor per lens supported! ages, or send it to peripheral camera equipment determine the current lens position, as well as a lens scale. If you have only one motor available but • A n ALEXA Ethernet/RJ-45 Cable KC 153-S on set. table that interprets those encoder values. The same need to add more than one lens axis, you can (K2.72021.0) Embedded lens data is very helpful for VFX post- applies to Cooke /i lenses. create the lens scales sequentially, connecting the production, as it eliminates paper and guesswork. All other lenses require an external encoder and a motor to the respective controller connector. Data On set, the same data can be used with the WCU-4 custom lens table for lens data generation. All ARRI points do not get lost unless the web browser’s hand unit’s integrated lens data display and pre- CLM motors include an accurate encoder that can session cookie is deleted.
  • Page 32 Creating a Lens Table 1. A prerequisite for lens table programming is the 3. O pen the web browser on the computer and enter 5. E nter the LDA tab and click the button Start new • S erial Number: Lens serial number will be session. A browser screen with lens scales comes correct setup of the lens motors. Please set up the the address alexa####.local, with #### being the embedded as metadata. correct motor direction. If you mount the motor serial number of the camera. up. If you did not yet calibrate the lens motors, • Focal Length: Focal length in mm. Will be on the camera right side (ALEXA’s display side), 4. Open the ‘LDA’ tab in the ALEXA web browser. you can do so by hitting the Calibrate button on shown on LDS screens and embedded as set DIRECTION to RIGHT. If you mount a motor screen. The same applies if you are using one metadata. Enter ‘0’ (zero) for zoom lenses. on the left side, set DIRECTION to LEFT. Then motor sequentially for multiple lens axes. calibrate the lens motors by pressing the CAL. The lens scales are displayed on the LDA browser 7. F irst, select the unit of measurement (metric or...
  • Page 33 Creating a Lens Table cont. Data Point Options: Imperial Scales: Metric Scales: Each data point can have up to three characteristics Enter feet values by using the prime symbol (’) and Enter metric values as meters, e.g. that have effects on display and interpolation of the enter inch values by using the double prime symbol lens table. Inactivated options are displayed in grey (”). The prime symbol for feet values can be used to 80 centimeters: color and crossed out. separate feet and inch values, e.g. 5.5 meters: 30 meters: Data point will be indicated with a marking line. 21 inches: 1’9 or 21“ Infinity Point: Data point will be indicated with a number. 14.5 inches: 1’2.5 or 14.5“ Data point will be used for interpolation. 20 feet: 20’ Enter ‘i’ to set the infinity point.
  • Page 34 Editing and Deleting Data Points Saving and Downloading Lens Tables For more information on the LDS, LDA or lens table All three options are usually active with focus scales. Existing data points can be moved on the lens scale You can save a newly created lens table into the creation have a look at our Programming Quick-Guide at However, there are sometimes just the engraved by using the ‘Snap’ function. Hitting the Snap button camera’s internal Lens Data Archive (LDA) by click- www.arri.com/camera/digital_cameras/downloads/. marking lines without any number in the close underneath each lens scale will move the nearest ing the Send to Camera button. The lens file will focus area. If you are unsure about the numerical data point to the current motor position. This can then be processed and stored inside the ALEXA LDA value of such a mark, you can switch off the usage be particularly useful if an existing lens scale has a User Archive section. for interpolation of this data point. You might want slight offset and needs adjustment. The Webremote will prompt an error message in to switch off marking lines for zoom values, if the A data point can be deleted by moving the point to case of any logical data errors within the lens file. In lens does not have those lines as well. Intermediate the screen scale index. Once there, the icon changes such a case, please check the data consistency of iris steps can be programmed with a marking line from the green + symbol to a red - symbol and can the lens values in the LDA browser and correct them.

  • Page 35: Alexa Xt/Xr Workflows

    ALEXA XT/XR Workflows The XR Capture Drive is formatted differently for file system maintains an overall compatibility to a standalone turnkey system called Vault for assisted uncompressed ARRIRAW and compressed ProRes/ the established ALEXA ProRes/DNxHD workflows. location-based data management. DNxHD recording. Capture Drives or SxS PRO cards containing ProRes When a Capture Drive with footage is loaded, the 2K/HD or DNxHD material can be accessed directly contents are presented through the Codex Virtual Compressed Recording Formats with the file names and directory structure in the File System (VFS). The VFS can present various file When the XR Module is set to ProRes 2K/HD or known order. formats, such as readily processed DPX files and DNxHD recording, the drives are initialized like SxS The most affordable solution to access Capture Avid DNxHD proxies next to the original ARI files on PRO cards, as a UDF volume. This provides 240 GB Drives is the Single Dock, a USB-3 Dock that will drive. Except for the recorded data, however, none storage capacity which equals over 100 minutes of hold one drive. of these additional files actually exist. It's only when 16:9 ProRes 4444 in 2K at 24 fps. Using the UDF these files are requested, that they are generated, Uncompressed ARRIRAW on-demand and on the fly. Hence the term "virtual". When the camera records ARRIRAW, the Capture The file formats, file naming and directory structure Drives are initialized for use with the Codex Virtual that will be presented by the VFS are fully configu- File System, which provides 480 GB of storage rable through the Codex software. This makes the...

  • Page 36: Generating Deliverables

    ALEXA XT/XR Workflows cont. Generating Deliverables A "digital lab setup" as shown here can be used to handle all regular data management tasks during a Functions: production. • C lone Capture Drives to transfer drives, maintaining the VFS • * .ARI files are backed up to an internal or external • Checksum verification RAID (and collected for archiving to LTO tape). • Generate files for review, edit and post Depending on the amount of footage per day, 5 • Clear the data from the recording media TB of storage provides enough space for a few shoot days worth of ARRIRAW footage. This gives Optional Features: a production a few days buffer to confirm that • C odex Storage option, to keep footage in VFS the material is OK before the storage needs to be for several days before clearing cleared. • C odex Offloader option, for verified copies to • D eliverables for Dailies review and editorial can be...

  • Page 37: Scaling Your Workflow

    ALEXA XT/XR Workflows cont. Scaling your Workflow This setup also offers several options to optimize the To overcome a situation where you will be faced performance in different production environments: with more footage than a setup can handle, the obvi- ous solution is to add a second setup. Sometimes, it • T he Dual Dock allows cloning Capture Drives to • S etting up the Mac in a 10 Gig Ethernet network may be more beneficial to combine setups includ- Codex Transfer Drives. Cloning creates verified, enables direct VFS access for postproduction tools ing a Single Dock and a Dual Dock or a Dual Dock identical copies and maintains the VFS. through a network share. and a Vault, and to use the different feature-sets to • A n optional Codex Storage option will transform • T he optional Codex Offloader option expands the distribute the workload. up to 6TB of internal RAID storage into a Codex Software with an option to create verified copies Sometimes (not even related to the amount of foot- volume, which allows cloning Capture Drives to...

  • Page 38: Specifications And Reference

    Specifications and Reference Technical Specifications Camera Types: ALEXA ALEXA XT Plus 3 5 format film-style digital camera with integrated shoulder arch and receptacles O ffers in addition built-in support for the ARRI Wireless Remote System and for 15 mm lightweight rods. cmotion cvolution lens control system. ALEXA XT ALEXA Studio 3 5 format film-style digital camera with integrated shoulder arch and receptacles I n addition features a rotating mirror shutter, an optical viewfinder that can be for 15 mm lightweight rods. The ALEXA XT Series features a 4:3 sensor as well exchanged with the standard electronic viewfinder and 4:3 capture mode. ALEXA XT Studio as various improvements including a Lens Data Mount for all cameras. I n addition features a rotating mirror shutter, an optical viewfinder that can be ALEXA Plus O ffers in addition built-in support for the ARRI Wireless Remote System, cmotion exchanged with the standard electronic viewfinder. cvolution lens control system and ARRI Lens Data System (including Lens Data ALEXA M B ased on the ALEXA, but with separate camera head and body. Also offers 4:3...
  • Page 39 26.14 x 17,82 mm / 1.029 x 0.5702", ø: 31.64 mm / 1.246" Frameline 2.39 2x Scope 16:9 Surround View – 3168 x 1782 Photosites High Speed mode is available for 16:9 sensor mode only. 26.14 x 14.70 mm / 1.029 x 0.579", ø: 29.99 mm / 1.181" Mirror shutter (ALEXA Studio only) on or off. Switching takes approximately 3 seconds through camera display. Sensor 3 5 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
  • Page 40 Frame Rates Please refer to the tables given in the chapter “Recording Media” on page 16 ff. Sound Level A LEXA: Under 20 db(A) @ 24 fps (mirror shutter running on the Studio) and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to Shutter R otating mirror shutter (ALEXA Studio only) (11.2º - 180.0º) or electronic rolling 'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher shutter (0.75 - 60 fps: 5.0º - 358.0º; 60 - 120 fps: 356º). Shutter angle setting temperatures possible with fan mode set to 'Rec low'. precision: 1/10 degree. Certain fps limits apply for maximum mirror shutter ALEXA XT: Under 19 db(A) @ 24 fps (mirror shutter running on the Studio) and angle. ≤ +30° Celsius (≤ +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 Exposure Latitude 1 4 stops for all sensitivity settings from EI 160 to EI 3200, as measured with temperatures possible with fan mode set to 'Rec low'. the ARRI Dynamic Range Test Chart (DRTC). Power In B AT connector, optional V-Lock or Gold mount battery adapter back and top. Exposure Index Camera accepts 10.5 to 34 V DC on all inputs. Power draw Values behind the exposure index are the number of available stops above and Values stated here apply to typical use at 24 fps, without accessories. below 18% grey. These values apply to Log C output. Rec 709 output provides ALEXA/Plus/Plus 4:3: 85 W for camera and EVF-1, recording to SxS PRO cards. 0.5 stops less on the low end at EI 160, 0.4 stops less on the low end at EI 200 ALEXA XT/XT Plus: 1 00W for camera and EVF-1, recording to Capture Drives/SxS PRO cards.
  • Page 41 8.4 kg/18.5 lb body through a standard SMPTE hybrid cable up to 50 meters, without acces- ALEXA XT Plus with XR Module 7.3 kg/16.1 lb 8.7 kg/19.2 lb sories. The camera head has one 10.5 to 34 V DC power input that can be used ALEXA Studio with SxS Module 8.0 kg/17.6 lb 10.2 kg/22.5 lb to power the head independently form the camera body. ALEXA XT Studio with XR Module 8.3 kg/18.3 lb 10.5 kg/23.1 lb ALEXA M XT/XT M Head 2.9 kg/6.39 lb – Power Out 1 2 V connector: limited to 12 V, up to 2.2 A. ALEXA M Backend 5.5 kg/12 lb – RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V, above 24 V: ALEXA XT M Backend 5.8 kg/12.8 lb – 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. E VF-1 with Viewfinder Mounting Bracket VMB-1, viewfinder cable, and Center The camera head on the ALEXA M offers two RS connectors and one Camera Handle (CCH-1) ETHERNET connector, with the same specifics as on the camera body. A ccessories for ALEXA Studio/XT Studio: OVF-1 and CCH-1...
  • Page 42 ALEXA XT Studio: W ith OVF-1: Length: 402 mm/15.83”, width: 268 mm/10.55”, to pixel magnification), EXP button (false color exposure check) and jog wheel. height: 241 mm/9.49” ALEXA Studio: Optical viewfinder OVF-1 shows a bright, high contrast image ALEXA M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87” for through-the-lens viewing with low distortion, accurate color fidelity and ALEXA M Backend: Length: 323 mm/12.72”, width: 153 mm/6.02”, height: 158 mm/6.22" no delay. Can be used camera left or right and the viewfinder arm telescopes ALEXA XT M Head: Length: 212 mm/8.35”, width: 129 mm/5.08“, height: 149 mm/5.87” closer/farther from the camera body. Automatically keeps an upright image in ALEXA XT M Backend: Length: 323 mm/12.72”, width: 161 mm/6.33”, height: 158 mm/6.22" 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 D etailed drawings can be found in the ALEXA Dimensions PDF document on lenses (can also be retrofitted with a 1.3x de-squeeze module). Includes Basic our website at: http://www.arri.com/alexa/downloads Insert Module BIM-1 for RGB frameglow. Accepts 8x and 10x 435 eyepieces, 435 eyepiece extensions and heated eyecups. With the optional ARRICAM Lens Mount A RRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount Eyepiece Adapter AEA-1, the OVF-1 can accept the 8x ARRICAM Studio eye- with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. All piece, ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio models but Standard ALEXA are outfitted with a Lens Data Mount. Viewfinder Zoom Extension. Not compatible with Lite Universal Eyepiece. Can be replaced with the ALEXA Electronic Viewfinder EVF-1 by using the Electronic Flange Focal Depth 52.00 mm nominal Viewfinder Adapter EVA-1.
  • Page 43 Assistive Displays ALEXA XT Series: Records ARRIRAW, ProRes or DNxHD onto XR Capture For EVF-1 and MON OUT: f rame lines, surround view, camera status, false color exposure check, peaking Drives up to 120fps. With SxS Adapter: Apple QuickTime files with ProRes focus check, electronic level, compare stored image with live image, RETURN encoding or MXF files with DNxHD encoding onto SxS PRO cards. All codecs IN video and anamorphic de-squeeze. MON OUT only: reel & clip number. maintain legal range levels with embedded audio, timecode and metadata. For OVF-1: W arning LEDs for REC (recording), BAT (battery low), FULL (SxS PRO card MXF/DNxHD may require a license key. full). ALEXA Studio ground glass holder and frameglow frames are compatible Recording Outputs to ARRICAM. Exact alignment of framelines and captured frame, however, A LEXA: 2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9) requires the use of ALEXA Studio ground glasses and glow masks. For custom or HD-SDI video (16:9). Both with embedded audio, timecode, metadata and aspect ratios not in the price list, please use the online ground glass composer recording flag. ARRIRAW: uncompressed 2880 x 1620 (16:9) or 2880 x 2160 at http://www.arri.com/camera/ground_glass_composer.html. (4:3; ALEXA Studio, Plus 4:3 and M only) 12 bit log. Requires an ARRIRAW T-Link certified recorder. HD-SDI: uncompressed 1920 x 1080 (16:9) 4:4:4 RGB Control or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than Camera right: m ain user interface with a 3” transflective 400 x 240 pixel LCD color screen, HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder illuminated buttons, button lock and jog wheel. with Variflag support. Camera left: o perator interface with illuminated buttons, button lock and card swap button. ALEXA XT Series: 2x 1.5 G or 3G REC OUT BNC connectors HD-SDI video Optional accessory RCU-4 for remote control via camera ETHERNET connector.
  • Page 44 Monitor Output 2 x MON OUT BNC connector on ALEXA Plus/Plus 4:3 and Studio for uncom- Playback A LEXA: QuickTime/ProRes or MXF/DNxHD playback from SxS PRO cards to pressed 1.5G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; all legal range. EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON OUT ALEXA and ALEXA M offer 1x MON OUT. and REC OUT signals and on the headphones jack. Image Processing 1 6 bit linear internal image processing. Target color spaces for ProRes, DNxHD ALEXA XT Series: ARRIRAW, QuickTime/ProRes or MXF/DNxHD playback from 220x, REC OUT and MON OUT: Log C and Rec 709. Target color space for XR Capture Drive or QuickTime/ProRes or MXF/DNxHD playback from SxS PRO DNxHD 145: Rec 709. For Rec 709, a customized look can be applied during card to EVF-1, MON OUT and REC OUT. Playback audio embedded in the MON record and playback with ARRI Look Files. Optional horizontal image mirroring. OUT and REC OUT signals and on the headphones jack. Synchronization M aster/Slave mode for precision sensor sync, synchronized settings, process- Audio 1 x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio ing, HD-SDI outputs and QuickTime/ProRes or MXF/DNxHD recording for 3D input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps. applications. Automated sync of lens settings for 3D applications in Master/ Audio is recorded uncompressed into the QuickTime/ProRes or MXF/DNxHD Slave mode. files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
  • Page 45 Connectors SD Card F or importing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA); also used ALEXA (XT) ALEXA (XT) M ALEXA (XT) M for installing software update packets (SUPs). Stores captured stills from the Connector type Name ALEXA (XT) Plus/4:3/ Backend Head Studio REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) SxS Module/XR Module SxS/– and JPEG (.jpg, 8 bit) format as well as logging files. BNC recording out HD-SDI, 1.5G/3G REC-OUT 1/2 – BNC monitoring out HD-SDI, 1.5G MON OUT – Upgrades T he Storage Interface Module (currently available for SxS PRO cards or XR XLR 5 pin audio in AUDIO IN –...
  • Page 46 Note: The only differences between ALEXA XT and the classic ALEXA can be found in the RECORDING menu. This chart reflects the ALEXA XT menu, Software Update Packet version 9.0/9.1.

  • Page 53: Arri Lenses

    ARRI Lenses ARRI/ZEISS Master Anamorphic Lenses Lens Magnification Front Maximum Housing Weight Weight Angle of View Name Aperture Close Focus Length Length Entrance Pupil Mount Ratio Diameter Diameter (kg) (lb) H - V Super 35 Cinemascope ID = 29.26 mm H: 1:32.3...

  • Page 54: Arri/Zeiss Master Prime Lenses

    ARRI/ZEISS Master Prime Lenses Lens Magnification Front Maximum Name Aperture Close Focus Length Length Weight Angle of view H – V – D Entrance pupil Mount Ratio Diameter Housing Diameter Normal 35 DIN Super 35 ANSI Super 35 ID = 27.20 mm ID = 30.00 mm...

  • Page 55: Arri/Zeiss Ultra Prime Lenses

    ARRI/ZEISS Ultra Prime Lenses Lens Front Maximum housing Name Aperture Close Focus Length Weight Angle of view H – V – D Entrance pupil Mount Diameter diameter Normal 35 DIN Super 35 ANSI Super 35 ID = 27.20 mm ID = 30.00 mm ID = 31.14 mm...

  • Page 56: Arri/Zeiss Lds Ultra Prime Lenses

    ARRI/ZEISS LDS Ultra Prime Lenses Lens Front Maximum housing Name Aperture Close Focus Length Weight Angle of view H – V – D Entrance pupil Mount Diameter diameter Normal 35 DIN Super 35 ANSI Super 35 ID = 27.20 mm ID = 30.00 mm...
  • Page 57 ARRI/FUJINON Alura Zooms Lenses Lens Focal Length Focal Length Focal Length Close Magnification Front Maximum Name Aperture Length Weight Focal Length Angle of view H – V – D Entrance pupil Mount Wide Long Ratio Focus Ratio Diameter Housing Diameter...

  • Page 58: Arri/Fujinon Alura Lds Extender

    ARRI/FUJINON Alura LDS Extender Combining the Alura Zooms with Alura Extenders Name Weight Diameter without knobs Length (mm) without knobs Alura Zoom Alura Extender Resulting Combination Alura LDS Extender 1.4x 300 g / 0.66 lb 77 mm / 3.03” 44 mm / 1.73”...

  • Page 59: Arri Ultra Wide Zoom Uwz

    ARRI Ultra Wide Zoom UWZ 9.5-18 Lens Focal Length Focal Length Focal Length Close Magnification Front Maximum Name Aperture Length Weight Focal Length Angle of view H – V – D Entrance pupil Mount Wide Long Ratio Focus Ratio Diameter...

  • Page 60: Arri/Zeiss Master Macro Lens

    ARRI/ZEISS Master Macro Lens Lens Magnification Front Name Aperture Close Focus Length Weight Horizontal Angle of View Mount Ratio Diameter Normal 35 DIN Super 35 ANSI Super 35 ID = 27.20 mm ID = 30.00 mm ID = 31.14 mm For Annotations, see Page 120.
  • Page 61 (LDS) contacts Macro 100 is 138 mm. These lenses are designed for the largest ID given ture (1.33:1, 24.9mm x 18.7mm / 0.980" x 0.7362") 2 C lose focus is measured from the film/sensor 6 T he distance from the entrance pupil to the film/ here. 12 H orizontal (H), vertical (V) and diagonal (D) angles plane sensor plane (at focus = infinity). Positive numbers 8 H orizontal (H) and vertical (V) angles of view for a of view for the Alexa/D-21 HD camera aperture 3 M agnification ratio is the relationship of the size of indicate an entrance pupil in front, negative num- Super 35 Cinemascope camera aperture (1.78:1, 2880 x 1620 pixels, an object on the film/sensor plane (first number) to bers indicate an entrance pupil behind the film/ (22,5mm x 18,7mm / 0.8858" x 0.7362") 23.76 mm x 13.37mm / 0.935" x 0.526") the size of that object in real life (second number) sensor plane. The entrance pupil (often mistakenly 9 H orizontal (H), vertical (V) and diagonal (D) angles...

  • Page 62: Resources And Contacts

    Viale Edison 318, info@arri.com Chaowai Dajie Yi 6, Beijing, China (Headquarters, Sales & Service) 20099 Sesto San Giovanni (Milano), Italy Tel: +1 (845) 353 1400, Fax: +1 (845) 425 1250 store@arrichina.com Türkenstraße 89, 80799 Munich, Germany info@arri.it Tel : +86 10 59009680, Fax : +86 10 59009679 salessupport@arri.de Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692 ARRI Inc. / Central & Southern America (Sales) Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245 2385 Stirling Road, Ford Lauderdale, FL 33312, USA Australia / New Zealand ventas@arri.com ARRI CT Limited (Sales & Service) Tel: +1 954 322 4545, Fax: +1 954 322 4188 ARRI Australia Pty Ltd (Sales & Service) 2 Highbridge Level 1, Unit 1, 706 Mowbray Road, Oxford Road, Uxbridge ARRI Canada Limited (Sales & Service)

  • Page 63: Arri Service Contacts

    ZONE 2 ZONE 1 ZONE 3 Zone 2 ARRI Service Contacts Zone 1 Zone 3 Zone Availability Service Center E-Mail Telephone Hotline Monday – Friday: Munich, Germany service@arri.de +49 89 3809 2121 09:00 – 17:00 (CET) Arnold & Richter Cine Technik Monday – Friday: London, Great Britain service@arri-ct.com +44 1895 457 051 09:00 – 17:30 (CMT) ARRI CT Limited Moscow London Mississauga Munich Monday – Friday:...

  • Page 64: Arri Digital Workflow Solutions

    ARRI Digital Workflow Solutions Online Resources The Digital Workflow Solutions (DWS) group deals ALEXA Manual www.arri.com/alexa/downloads with all workflow related issues including ARRI ALEXA Data Sheets www.arri.com/alexa/downloads Look File handling, data copying, backups, quality ALEXA Dimensions www.arri.com/alexa/downloads check, LUTs, metadata or working with Log C files. ALEXA Tech Talk Videos www.arri.com/alexa/techtalk In addition the DWS group provides support for Frequently Asked Questions www.arri.com/alexa/learn such tools as the ARRIRAW Converter, ARRI Look ALEXA Software Update Packets www.arri.com/alexa/downloads Creator, ARRI LUT Generator and ALEXA Frameline Composer. Technical details on recording ARRIRAW www.arri.com/alexa/arriraw Feel free to contact DWS at digitalworkflow@arri.de ProRes www.arri.com/alexa/sxs DNxHD www.arri.com/alexa/sxs ALEXA Camera Simulator www.arri.com/alexa/tools ALEXA Frameline Composer www.arri.com/alexa/tools ALEXA LUT Generator www.arri.com/alexa/tools This ARRI ALEXA Pocket Guide (Ident.-Nr.: 80.0001361) is published by Arnold & Richter Cine Technik, April 01, 2014 © ARRI/2014...
  • Page 65 ALEXA Pocket Guide WebApp www.arri.com/alexa/apg...

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