ARRI ALEXA SUP 7.0 Pocket Manual
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ARRI ALEXA SUP 7.0 Pocket Manual

ARRI ALEXA SUP 7.0 Pocket Manual

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Summary of Contents for ARRI ALEXA SUP 7.0

  • Page 1 Pocket Guide...

  • Page 2: Table Of Contents

    ALEXA Pocket Guide Table of Contents Overview Working with ALEXA Introduction Understanding “Gamma” What’s new in SUP 7.0? Rec 709 The Home Screen Log C Home Screen Soft Buttons Shooting in Log C Icons on Home Screen Look Files in the camera MON OUT Icons Look Files in a non-destructive workflow Recording formats...
  • Page 3 Recording on SxS PRO cards ARRI/ZEISS Master Prime lenses Recording High Speed ARRI/ZEISS Ultra Prime lenses Recording ARRIRAW uncompressed ARRI/ZEISS LDS Ultra Prime lenses ALEXA in a 3D Sync configuration ARRI/FUJINON Alura Zooms ALEXA M fiber maintenance ARRI/ZEISS Master Macro Specifications and Reference...

  • Page 4: Overview

    ALEXA shoot. ALEXA manual at www.arri.com/alexa/downloads or The ALEXA platform has been designed with ease the interactive ALEXA Camera Simulator at of use and user-friendliness in mind;...
  • Page 5 The ALEXA family ALEXA Plus/Plus 4:3 – the all-rounder ALEXA M – the specialist ALEXA Studio – the flagship...

  • Page 6: What's New In Sup 7.0

    What’s new in SUP 7.0? SUP 7.0 brings important new features to your ALEXA • Cleaner camera menus that further improve the camera’s image quality, • Added MON OUT Clone option for REC OUT enable in-camera 2K recording and offer a better •...
  • Page 7 New for SUP 7.0: LCC look file built-in and 6 button available via “USER” menu...

  • Page 8: The Home Screen

    The Home Screen...

  • Page 9: Home Screen Soft Buttons

    Home Screen Soft Buttons The soft buttons lead to screens where the respective Set 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).
  • Page 10 Home Screen Center Bar BAT 2 Displays current timecode including Voltage level of battery attached to source (INT=internal or EXT=external top and/or back onboard battery source). Frames are not displayed, adapter, or percentage of remaining instead the time base of the timecode capacity of attached battery if it is shown in small digits.
  • Page 11 Home Screen Center Bar 16:9 Displays active sensor mode < Marks the active card. (16:9 or 4:3). • STBY The camera is in standby and ProRes 2K Displays active codec (ProRes or ready to record. DNxHD and SxS resolution (HD or 2K). •...

  • Page 12: Icons On Home Screen

    Icons on Home Screen Name Icon Description Name Icon Description General Important information SD Card SD Card present. Warning waiting on the info Turns orange during screen. Press the INFO card access. button for more details. Grab Still frame is being captured General An error occurred.
  • Page 13 ALEXA Studio left side. Additional buttons VIEW & GATE for mirror control.

  • Page 14: Mon Out Icons

    MON OUT Icons...
  • Page 15 Name Icon Description Name Icon Description General Important information Peaking Peaking enables for EVF Warning waiting on the info and/or MON OUT. screen. Press the INFO Smooth Smooth mode active on EVF. button for more details. mode General An error occurred. Displays current SxS Error Press the INFO...

  • Page 16: Recording Formats

    Recording formats recorded in 2K 16:9 or 2K 4:3 mode. When the camera is switched from HD to 2K resolu- The ALEXA has two slots to host SxS cards for tion, the size of the captured frame changes slightly. internal recording. You have the choice between This is necessary, so the de-bayering can work with two compression types/file formats: either you can an optimized downscale factor and deliver the best...
  • Page 17 ALEXA Recording Matrix Recording Media SxS PRO Cards External recording via T-Link HD/HD high speed ARRIRAW Output Option DNxHD & ProRes ProRes uncompressed 2880x1620 1920x1080 2048x1152 16:9 (0.75-60fps) (0.75-60fps) (0.75-60fps) Sensor Mode 2048x1536 2880x2160 – (0.75-60fps) (0.75-48fps) ProRes 4444 not available in high speed mode...

  • Page 18: Output Overview

    Output Overview ARRIRAW T-Link uncompressed (16:9 or 4:3) 2x REC OUT HD-SDI 16:9 1x or 2x MON OUT MON OUT Quicktime HD, 2x SxS Cards ProRes Proxy 2K 16:9 or 4:3 MXF 16:9 HD ProRes 422 LT ProRes 422 ProRes 422 HQ ProRes 4444 DNxHD 145 DNxHD 175...

  • Page 19: Arriraw Uncompressed

    ARRI introduced the ALEXA ARRIRAW recording When shooting for 2K delivery, recording ARRIRAW certificate, which indicates that a product can reli-...

  • Page 20: Arriraw Capable Software Solutions

    Autodesk Flame Autodesk Smoke cessing parameters (such as sharp- Black Magic Design Resolve ness, color etc.) the ARRI SDK, Codex Digital Datapack/Capture Drive Transfer Station M which is also part of the ARRIRAW Colorfront On-Set Dailies Converter, is the reference.

  • Page 21: Prores

    “ProRes 2K in Editorial“ white paper available at Capturing with the 4:3 aspect ratio is essential for www.arri.com/alexa/downloads. cinemascope productions as it allows using regular 2:1 anamorphic lenses. Additionally, productions shooting with standard spherical lenses can benefit...
  • Page 22 ProRes cont. Data Min. rec. time Max. fps Color Codec rate (on 32GB SxS (on 32GB/64GB Application Coding Depth (24fps) PRO card at 24fps) SxS PRO card) On-set monitoring and proxy editing ProRes 422 YCbCr 36 Mb/s 1 h 23 min 60/120 fps while the master is captured with an (Proxy)

  • Page 23: Dnxhd

    DNxHD Data Min. rec. time Max. fps Color Codec rate (on 32GB SxS (on 32GB/64GB Application Coding Depth (24fps) PRO card at 24fps) SxS PRO card) Television applications if images do not DNxHD 145 YCbCr 36 min 60/120 fps Mb/s require adjustments in postproduction.

  • Page 24: Exposure Index

    Exposure Index While ALEXA’s 14 stops of exposure latitude and EI 3200 EI 1600 unique highlight handling approaches that of film, EI 800 there is one major difference between the way film EI 400 and digital cameras behave: with digital cameras, a EI 200 change in EI will shift how many stops are available EI 160...
  • Page 25 As a shortcut, we have come up with the following method of writing ALEXA’s exposure index: Values next to the exposure index are the number low end at EI 160, 0.4 stops fewer in the low end at of stops above and below 18% grey. These values EI 200 and 0.2 stops fewer in the low end at EI 400.

  • Page 26: Working With Nd Filters

    Working with ND filters While traditional ND filters work great for film, for classical ND filters is that it is located behind the digital cameras we recommend the use of ND filters mirror shutter, so the optical viewfinder image stays that have a built-in far-red blocker.

  • Page 27: False Color Exposure Check

    False Color Exposure Check 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.

  • Page 28: Working With Alexa

    Working with ALEXA Understanding “Gamma” Aside from the ARRIRAW output, which contains choices in color grading, Rec 709 still maintains no color processing, ALEXA can output images in ALEXA’s wide exposure latitude, cinematic look and two different color processing methods (commonly natural color rendition and offers the fastest work- called ‘gamma’): Rec 709 or Log C.
  • Page 29 Color comparison: split image Rec 709/Log C...

  • Page 30: Log C

    For ALEXA The live signal from the camera and recorded materi- and the D-21, ARRI introduced a log encoding that al that is played back for review has to be converted is similar to scanned negative and because of its using a LUT to deliver a visually correct image on a similarity, called it “Log C”.
  • Page 31 This is typically done Log C and play back using a conversion LUT. using a 3D LUT provided through the ARRI LUT Generator at www.arri.com/alexa/tools. Dailies Creation For dailies and offline edit, the Log C material needs Log C material is best recorded using a 4:4:4 codec to be delivered in standard Rec 709 video encoding.
  • Page 32 Understanding “Gamma” cont. hardware would allow applying LUTs on the fly, When it is desired to have matched shots and an most workflows rely on a copy of rendered ‘video optional first color correction to get a preview of proxies’ with baked-in LUTs. the intended look, the clips or e.g.
  • Page 33 ARRI’s LUT Generator Nowadays a broad variety of post tools work with LUTs and are meant to apply color transformations to the signal. ARRI offers LUTs for all commonly used software and hardware solutions. Please visit our LUT Generator at www.arri.com/alexa/tools to...

  • Page 34: Look Files In The Camera

    Look Files in the camera ARRI Look Files are editable XML files that can apply a customized look to all outputs (EVF-1, MON OUT, REC OUT, ProRes and/or DNxHD) that are set to Rec 709. These files can be saved to an SD card and imported into the camera.
  • Page 35 Image with Look applied save as cineon, dpx, jpeg or tiff 2. Use Look Look File copy *.xml file to SD card 1. Create Look ARRI Look Creator Grab load grab & create look *.dpx frame grab to SD card...

  • Page 36: Look Files In A Non-Destructive Workflow

    The Look File does not only go back into ALEXA where it is embedded in the metadata/file header, but it is also used in the ARRI LUT Generator at http://www.arri.com/alexa/tools. The ARRI LUT Generator incorporates the Look File into a LUT.
  • Page 37 SxS PRO Card Color Grading LogC clips have a preview Grading on your footage LogC Image ARRI LUT Generator Look File transported in file header combine Look with LUT Look File copy *.xml file to SD card 1. Create Look...

  • Page 38: Legal And Extended Range

    Legal and Extended Range An image encoded in 10 bit legal range has a code rescale the data to the more customary value range value range from 64 to 940 (876 code values), and in computer graphics, which goes from zero to the a 10 bit extended range signal has a code value maximum value allowed by the number of bits used range from 4 to 1019 (1015 code values).

  • Page 39: P And Psf

    p and psf The ALEXA camera offers two different ways to output an HD-SDI signal. Either as progressive frame (p) or as progressive segmented frame (psf). A progressive segmented frame is a progressive frame split into two segments (odd and even lines), which is transported ‘like’...

  • Page 40: Metadata Overview

    Cut Pro 7 XML file, Avid Log Exchange (ALE) file, get lost. QuickTime metadata atom, MXF metadata XML and the ARRI Digital MetaData (ADMD) atom. A range of automatic and human-readable data is being delivered by the ALEXA camera, that makes Theses atoms or text based files can be parsed by...
  • Page 41 *.XML *.ALE META ADMD Camera Parameter Description Grab (SxS) (SxS) (SxS) (SxS) Camera Serial Serial number of camera as on housing take take take take take Number Camera ID Camera serial number short form take take take take take Camera SUP Software version active on camera take take...

  • Page 42: Licenses

    Licenses Licensed features expand the capabilities of an mode uses the same Super 35 sensor area as ALEXA camera. A license file is serial number sensi- Regular Speed mode (same depth of field, same tive and can only be used on the camera for which angle of view).
  • Page 43 (compared to the Quicktime “mov” container). MXF/DNxHD files can be linked to Avid Media Composer 5.5 or greater using the ALEXA AMA plug-in (available from the ARRI website for Windows or Mac OS X). Of course DNxHD recording is available in Regular and in High Speed mode (see High Speed license).

  • Page 44: Alexa Preshoot Checklist

    ALEXA Preshoot Checklist General considerations This chapter offers checklists for typical use-cases fastest and most reliable way to identify problems in of an ALEXA camera. During prep or pre-production, the digital workflow. the following topics should be clear: We highly recommend that you make at least one The basic camera parameters (e.g.

  • Page 45: Recording On Sxs Pro Cards

    Recording on SxS PRO cards Camera Setup 3 Press the TC button and enter the timecode OPTIONS. Assuming we’ll get timecode from The following steps are necessary to prep the camera for SxS recording. the sound guy: 1 Set Source to Ext LTC and verify that 3 Always start your camera setup with a factory re set.
  • Page 46 Recording on SxS PRO cards cont. 3 HOME > COLOR > GAMMA, set SxS to LOG C SxS Card Rotation and everything else to REC 709. 3 Take a fresh SxS PRO card, make sure it is not 3 HOME > EI and adjust the sensitivity, if required. locked and insert it into one of the camera’s slots, label facing outwards.
  • Page 47 1 Visually mark the “exposed negative” with colored tape. 3 The data wrangler should perform at least the following steps: 1 Transfer the card’s contents to at least two backup drives including checksum verification. 1 Disengage the write protection lock. 1 Optionally quick format the card using any type of file system.

  • Page 48: Recording High Speed

    Recording High Speed Camera Setup 3 Press the TC button and enter the timecode OPTIONS. Sync with audio usually is not The following steps are necessary to prep the camera for High Speed SxS recording. Makes sure required, so the best option is to use record you are using Sony SxS PRO 64GB cards.
  • Page 49 3 HOME > WB to adjust the white balance to SxS Card Rotation match the light source. Refer to “Recording on SxS PRO cards“ (p. 45) for 3 HOME > COLOR > GAMMA, set SxS to LOG C information on SxS card rotation. and everything else to REC 709.

  • Page 50: Recording Arriraw Uncompressed

    Recording ARRIRAW uncompressed Camera Setup Assuming we’ll get timecode from the sound guy: 1 set Source to Ext LTC and verify that The following steps are necessary to prep the 1 Mode is set to Free Run and camera for ARRIRAW recording. 1 Generator is set to Jam Sync.
  • Page 51 3 Press the HOME button, go to the FPS > SDI 1 Buttons 4 and 5 are only available on the FPS and set the MON OUT frame rate to same as assistant side through the user screen, so REC OUT. assign functions like Return in active or 3 From the HOME screen, go to SHUTTER and Format Card 1.

  • Page 52: Alexa In A 3D Sync Configuration

    ALEXA in a 3D Sync configuration Camera Setup Note: The first steps need to be performed on both The camera that can be seen better in the 3D rig should be set to EXT/ETH slave as only the slave cameras to prep them for a 3D shoot. 3 Connect the ALEXA EXT to EXT cable to both camera indicates a missing sync between master cameras.

  • Page 53: Alexa M Fiber Maintenance

    ALEXA M fiber maintenance The cleanliness of the optical fiber connectors is mandatory for seamless functionality. Make sure not to touch the white fiber ends and never leave the connectors open - cover them with their rubber covers when not in use. Plug the fiber covers together while using the fiber cable to prevent dirt from accumulating inside the cover.

  • Page 54: Specifications And Reference

    15 mm lightweight rods. ALEXA Plus Offers in addition built-in support for the ARRI Wireless Remote System, cmo- tion cvolution lens control system and ARRI Lens Data System (including Lens Data Mount and Lens Data Archive for lenses without built-in LDS).
  • Page 55 35 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer Note 2: ALEXA’s default framelines also include “ARRI 1.66” and “ARRI 2.39 Scope 1.3x” but are not shown here for simplicity’s sake. Note 3: In sensor mode 4:3, the 4:3 image will be displayed as pillarbox in the EVF-1 and on MON OUT.
  • Page 56 Frameline ARRI 2.39 Scope 2x 1936 x 1620 Photosites (1.195:1) 15.97 x 13.37 mm / 0.629 x 0.526”, ø: 20.83 mm / 0.820” Sensor Mode: 16:9, Recording Resolution: 2K ALEXA, ALEXA Plus, ALEXA Plus 4:3, ALEXA M and ALEXA Studio Surround View Optical Viewfinder (Studio only, 1.38:1)
  • Page 57 Frameline ARRI 2.39 Scope 2x 1926 x 1612 Photosites (1.195:1) 15.89 x 13.30 mm / 0.626 x 0.524”, ø: 20.72 mm / 0.816” Sensor Mode: 4:3, Recording Resolution: 2K Surround View Optical Viewfinder (Studio only, 1.38:1) 26.14 x 19.0 mm / 1.029 x 0.748”, ø: 32.32 mm / 1.272”...
  • Page 58 Operating Modes Sensor mode 16:9 or 4:3. Switching takes approx. 60 seconds. 4:3 output only available for ARRIRAW and ProRes 2K recording; Not available for DNxHD recording. Regular or High Speed mode. Switching takes approximately 40 seconds. 4:3 High Speed mode is only available for 16:9 sensor mode. Mirror shutter (ALEXA Studio only) on or off.

  • Page 59: Frame Rates

    Frame Rates Operating Mode Recording/Output Format Fps Range Configuration ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ) 0.75 – 60 32 GB/64 GB SxS PRO cards ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ) 0.75 – 120 High Speed license and 64 GB SxS PRO cards ProRes 4444 0.75 –...
  • Page 60 Exposure Latitude 14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC). Exposure Index Values behind the exposure index are the number of available stops above and below 18% grey.
  • Page 61 Sound Level 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 ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher tempera- tures possible with fan mode set to ‘Rec low’.
  • Page 62 Power Out 12 V connector: limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V, above 24 V: input = output voltage. Both RS and EXT connectors combined: up to 2.2 A. ETHERNET: up to 1.2 A.
  • Page 63 Cameras are splash and dust proof through sealed electronics. System cooling through radiator/single fan. Lens Mount ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. Standard ALEXA has no LDS contacts.
  • Page 64 52.00 mm nominal Viewfinder Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled.
  • Page 65 ARRICAM. Exact alignment of framelines and captured frame, however, requires the use of ALEXA Studio ground glasses and glow masks. For custom aspect ratios not in the price list, please use the online ground glass composer at http://www.arri.com/camera/ground_glass_composer.html. Control Camera right: main user interface with a 3”...
  • Page 66 In-camera Recording Records Apple QuickTime files with ProRes encoding or MXF files with DNxHD encoding onto either one or two (Dual Recording) SxS PRO cards. All codecs maintain legal range levels with embedded audio, timecode and metadata. MXF/DNxHD may require a license key. Recording Outputs 2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9) or HD-SDI video (16:9).
  • Page 67 220x, REC OUT and MON OUT: Log C and Rec 709. Target color space for DNxHD 145: Rec 709. For Rec 709, a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring. Synchronization...
  • Page 68 Connectors ALEXA ALEXA M ALEXA M Connector type Name ALEXA Plus/4:3/ Backend Head Studio Slots for SxS PRO cards – BNC recording out HD-SDI, 1.5G/3G REC-OUT 1/2 – BNC monitoring out HD-SDI, 1.5G MON OUT – XLR 5 pin audio in AUDIO IN –...
  • Page 69 SD Card For 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 for installing software update packets (SUPs). Stores captured stills from the REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit)

  • Page 84: Arri Lenses

    ARRI Lenses ARRI/ZEISS Master Prime lenses Lens Lens Magnification Magnification Front Front Maximum housing Maximum housing Name Name Aperture Aperture Close focus Close focus Length Length Weight Weight Mount Mount ratio ratio diameter diameter diamenter diamenter Master Prime 12 Master Prime 12...
  • Page 85 Normal 35 ID = 27.20 mm DIN Super 35 ID = 30.00 mm Angle of view H. V. D Angle of view H. V. D Entrance pupil Entrance pupil ANSI Super 35 (10) ID = 31.14 mm Operation Temperature: -20°C to +40°C / -4°F to +104°F Normal 35 DIN Super 35 ANSI Super 35...

  • Page 86: Arri/Zeiss Ultra Prime Lenses

    ARRI/ZEISS Ultra Prime lenses Lens Lens Front Front Name Name Aperture Aperture Close focus Close focus Length Length Weight Weight Mount Mount diameter diameter Normal 35 ID = 27.20 mm Ultra Prime 8R Ultra Prime 8R T2.8 to T22 T2.8 to T22 0.35 m / 13.8"...
  • Page 87 Normal 35 ID = 27.20 mm DIN Super 35 ID = 30.00 mm Horizontal Angle of View Horizontal Angle of View Entrance pupil Entrance pupil ANSI Super 35 (10) ID = 31.14 mm Operation Temperature: -20°C to +40°C / -4°F to +104°F DIN Super 35 ANSI Super 35 (10)

  • Page 88: Arri/Zeiss Lds Ultra Prime Lenses

    ARRI/ZEISS LDS Ultra Prime lenses Lens Lens Front Front Name Name Aperture Aperture Close focus Close focus Length Length Weight Weight Mount Mount diameter diameter Normal 35 ID = 27.20 mm Ultra Prime 12 Ultra Prime 12 PL LDS PL LDS T2.0 to T22...
  • Page 89 Operation Temperature: -20°C to +40°C / -4°F to +104°F Storage/Transport Temperature: -40C to +70°C / -40°F to +158°F Horizontal Angle of View Horizontal Angle of View Entrance pupil Entrance pupil Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts DIN Super 35 ANSI Super 35...

  • Page 90: Arri/Fujinon Alura Zooms

    ARRI/FUJINON Alura Zooms Lens Lens Focal Length Focal Length Focal Length Focal Length Focal Length Focal Length Close Close Magnification Magnification Front Front Name Name Aperture Aperture Length Length Mount Mount Wide Wide Long Long Ratio Ratio focus focus ratio...
  • Page 91 Maximum housing Maximum housing Weight Weight Focal Length Focal Length Angle of view H, V, D Angle of view H, V, D Entrance pupil Entrance pupil diameter diameter Normal 35 DIN Super 35 Alexa/D-21 HD Alexa 2K (11) (10) ID = 27.20 mm ID = 30.00 mm ID = 27.26 mm ID = 29.08 mm...

  • Page 92: Arri/Zeiss Master Macro

    ARRI/ZEISS Master Macro Lens Lens Magnification Magnification Front Front Name Name Aperture Aperture Close focus Close focus Length Length Mount Mount ratio ratio diameter diameter Master Macro T2.0/100 mm Master Macro T2.0/100 mm PL-LDS PL-LDS T2.0/T4.3 to T32 T2.0/T4.3 to T32 0.35 m / 13 3/4"...
  • Page 93 Weight Weight Horizontal Angle of View Horizontal Angle of View Entrance pupil Entrance pupil Normal 35 DIN Super 35 ANSI Super 35 (10) ID = 27.20 mm ID = 30.00 mm ID = 31.14 mm 2.6 kg / 5.7 lbs 2.6 kg / 5.7 lbs 12.42°...

  • Page 94: Resources And Contacts

    Bill Russell, brussell@arri.com Tel: +49 (0)89 3809 1295, Fax: +49 (0)89 3809 1245 Tel: +1 (818)841 7070, Fax: +1 (818)848 4028 ARRI Italia S.r.l. (Sales & Service, Milan) ARRI Inc. (Sales & Service) Viale Edison 318, 20099 Sesto San Giovanni...
  • Page 95 Jeffrey Reyes, jreyes@arri.com Tel: +1 (954)322 4545, Fax: +1 (954)322 4188 Australia / New Zealand ARRI Canada Limited (Sales & Service) ARRI Australia Pty Ltd 415 Horner Ave. Unit 11 & 12, Toronto, Level 1, Unit 1, 706 Mowbray Road,...

  • Page 96: Arri Service Contacts

    10:00 – 18:00 (IST) Monday – Friday: Burbank, USA service@arri.com +1 877 565 2774 08:15 – 17:00 (PST) ARRI Inc. West Coast Monday – Friday: New York, USA service@arri.com +1 877 565 2774 08:00 – 17:30 (EST) ARRI Inc. East Coast Toronto, Canada Monday –...
  • Page 97 New York Burbank Hong Kong Mumbai Sydney ARRI Service is the first port of call for all questions ARRI Service is the first of call for all questions Well trained technicians cover all hardware- and Well trained technicians all hardware- and concerning not only the ALEXA cameras, but all software-related issues, upgrades or e.g.

  • Page 98: Arri Digital Workflow Solutions

    Feel free to contact DWS at digitalworkflow@arri.de This ARRI ALEXA Pocket Guide (Ident.-Nr.: K5.40980.A) is published by Arnold & Richter Cine Technik, April 01, 2012 © ARRI/2012 Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2012.

  • Page 99: Online Resources

    Online Resources ALEXA Pocket Guide WebApp www.arri.com/alexa/apg ALEXA Data Sheets www.arri.com/alexa/downloads ALEXA Dimensions www.arri.com/alexa/downloads ALEXA Manual www.arri.com/alexa/downloads Frequently Asked Questions www.arri.com/alexa/learn ALEXA Software Update Packets www.arri.com/alexa/downloads Technical details on recording ARRIRAW www.arri.com/alexa/arriraw 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...
  • Page 100 ALEXA Pocket Guide WebApp www.arri.com/alexa/apg...

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