Page 1 ALEXA Family of Cameras Software Update Packet 9.0 (ALEXA XT/XR) Software Update Packet 9.0 (ALEXA Classic) U S E R M A N U A L Date: 25 November 2013...
Page 2 Due to continued product development this information may change without notice. The information and intellectual property contained herein is confidential between ARRI and the client and remains the exclusive property of ARRI. If you find any problems in the documentation, please report them to us in writing. ARRI does not warrant that this document is error-free.
Page 3: Table Of Contents
Contents Disclaimer About This Manual ..............11 Scope Introduction to the ALEXA Layout of the ALEXA Safety Guidelines Explanation of Warning Signs and Indications ....25 ...
Page 4 Contents Center Camera Handle CCH-1 ..........41 Side Camera Handle SCH-1 ........... 42 Bridge Plates BP-12/BP-13 ............. 43 Bridge Plate adapter BPA-1 ........... 44 Wedge Adapter WA-1 and Quick-Release Plate QR-HD-1 ... 45 ...
Page 5 Contents 11.1.3.7 WB ................... 85 11.1.4 Function Buttons ..............87 11.1.4.1 TC ..................... 89 11.1.4.2 INFO ..................91 11.1.4.3 USER ..................95 11.1.4.4 PLAY ..................98 11.1.5 Menu ..................
Page 6 Contents 13.4 Lens Data Display LDD-FP ........... 172 13.5 Plus Camera Controls ............173 ALEXA Plus 4:3 ALEXA Studio 15.1 ALEXA Studio Images ............183 15.2 Optics ..................187 ...
Page 7 Contents 17.2 Open Gate sensor mode ............240 ALEXA Fiber Remote Option Remote Control Unit RCU-4 Index Appendix Appendix ................248 Connector Pin Outs .............. 253 ...
Page 8: Disclaimer
Neither ARRI nor its subsidiaries assume any liability for infringement of patents, copyrights or other intellectual property rights of third parties by or arising from the use of ARRI products or any other liability arising from the use of such products. No license, express, implied or otherwise, is granted under any patents, copyrights or other intellectual property right of ARRI or others.
Page 9 About This Manual ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co Betriebs KG. Note: This product and the accessories recommended by the manufacturer fulfill the specifications of the European Directive 2004/108/EC (15th December 2004).
Page 10 Disclaimer...
Page 11: About This Manual
About This Manual About This Manual ARRI recommends that all users of the ALEXA read the manual in its entirety prior to use. For experienced users, the manual's structure also provides quick access for reference. In this manual: Layout of the ALEXA...
Page 12: Scope
Scope Scope This instruction manual applies to the following hardware, software and firmware versions: ALEXA, ALEXA Plus, ALEXA Plus 4:3, ALEXA M: with Electronic Viewfinder EVF-1; ALEXA XT, ALEXA XT Plus, ALEXA XT M: with Electronic Viewfinder EVF-1; ALEXA Studio, ALEXA XT Studio: with optical viewfinder or with Electronic Viewfinder EVF-1;...
Page 13 About This Manual drawing release/ date revision K5.72550.0 2031-00-00-00-99-J K8071 14th May 2012 K5.72550.0 2031-00-00-00-99-K K8128 5th Nov 2012 7.0.1 K5.72550.0 2031-00-00-00-99-L K8169 14th Jan 2013 K5.72550.0 2031-00-00-00-99-M K8189 30th Jan 2013 K5.72550.0 2031-00-00-00-99-N K8223 22nd April 2013 K5.72550.0 2031-00-00-00-99-O K8257 18th June 2013 8.0 +...
Page 14: Introduction To The Alexa
Combining innovative digital technology with 95 years of ARRI history and experience has created a camera system that makes it easy to create great looking images. The ALEXA and ALEXA XT provide the most affordable entry with full ALEXA image quality.
Page 15 ALEXAs are true ARRI cameras: simple and safe to operate, ergonomic in design and reliable in even the most extreme environments. ALEXA cameras are designed around the way you work and, like all other ARRI products, are backed by the global ARRI service network.
Page 16 CMOS sensor with Dual Gain Architecture (DGA) and custom electronics and processing software. These components are carefully crafted by ARRI so that together they produce images with the organic look and feel of film.
Page 17 Well balanced, ergonomic body design Global ARRI service network ALEXA cameras are part of a long heritage of cameras from ARRI, and we are very familiar with the sometimes horrid things done to our cameras in the field. We just have to go into our own service...
Page 18 − Gold mount or V-lock on-board batteries − 12 or 24 V power inputs and outputs − Support for ARRI and cmotion cvolution wireless lens control systems − Support for third party on-board recorders − ARRIRAW* support for third parties through ARRI Partner...
Page 19 ARRI Partner Program. Our ARRIRAW Software Development Kit (SDK) allows them to integrate the ARRI debayering algorithm or create their own, depending on what works best for them. In addition, ALEXAs can be upgraded, as we have shown with the Plus...
Page 20 Introduction to the ALEXA − more efficient on-set and in post − Lens Data Archive (LDA) for use with non-LDS lenses Integrated CDL capture − stores ASC Color Decision List in ARRIRAW metadata Viewfinder Mounting Bracket VMB-3 − improved operating comfort and flexibility −...
Page 21: Layout Of The Alexa
About This Manual Layout of the ALEXA The following images show the ALEXA Classic with SxS module: Figure 1: ALEXA right Figure 2: ALEXA left Figure 3: ALEXA top...
Page 22 Layout of the ALEXA Figure 4: ALEXA bottom Figure 5: ALEXA front Figure 6: ALEXA back...
Page 23 About This Manual The following images show the ALEXA Classic upgraded with the XR module: Figure 7: ALEXA right Figure 8: ALEXA left...
Page 24 Layout of the ALEXA Figure 9: ALEXA top Figure 10: ALEXA bottom Figure 11: ALEXA front Figure 12: ALEXA back...
Page 25: Safety Guidelines
Follow all installation and operating instructions. Do not use accessories or attachments that are not recommended by ARRI, as they may cause hazards and invalidate the warranty! Do not attempt to repair any part of the system! Repairs must...
Page 26: Specific Safety Instructions
Safety Guidelines Specific Safety Instructions Do not remove any safety measures from the system! Do not operate the system in areas with humidity above operating levels or expose it to water or moisture! Do not cover the fan openings at the camera back top and bottom! Do not subject the system to severe shocks! Do not place the system on an unstable trolley/hand truck, stand,...
Page 27 If the contamination cannot be removed, the camera should be taken to an ARRI service center for cleaning. THE USE OF METHANOL TO CLEAN OPTICAL SURFACES IS...
Page 28: General Precautions
General Precautions General Precautions Storage and Transport Use a lens port cap to prevent damage to the sensor cover glass and sensor whenever there is no lens attached. Unplug all cables when transporting the ALEXA in a camera case. Do not store the camera in places where it may be subject to temperature extremes, direct sunlight, high humidity, severe vibration, or strong magnetic fields.
Page 29 To reduce the risk of condensation: Find a warmer storage location. Attach the ARRI air-drying cartridge (silica bottle) to the PL- Mount of the camera during storage Note: Do NOT leave the air-drying cartridge attached to the PL-...
Page 30: Power Supply
Power Supply Power Supply Use only ARRI-recommended power supply solutions. Manipulation of power supplies could result in serious injury or death, or damage to the ALEXA. The ALEXA accepts an input voltage range from 10.5 to 34 V DC. The camera can be powered through the BAT connector or battery adapters accepting V-Lock or Gold Mount batteries.
Page 31: Mains Unit Ng 12/26 R
Note: The NG 12/24 R was the original design that provided 12 & 24 volts output – it was superseded by the NG 12/26 R, which outputs 12 & 26 volts. The NG 12/24 R can easily be upgraded to NG 12/26 R specification at an ARRI service center.
Page 32: Onboard Batteries
Power Supply 2. Connect the battery cable KC-20S or KC-29S (spiral cable) to the power supply socket on the camera and the 28V output on the battery. BAT1 Note: When the battery voltage drops below the warning level, the level in the camera display will start flashing.
Page 33: Gold Mount Batteries
Onboard Batteries 2. While pressing the release button, slide the battery upwards. Figure 14: ALEXA with BAB-V and V-Mount battery Note: Not all V-Lock batteries deliver enough power to supply the camera. Use only batteries with a capacity of 90 Wh or more to prevent damage to the battery and unpredictable camera behavior.
Page 34 Power Supply 2. While pressing the release button, slide the battery camera-left, and pull it straight out. Figure 15: ALEXA with BAB-G and a Gold Mount battery Note: Not all Gold Mount batteries deliver enough power to supply the camera. Use only batteries with a capacity of 90 Wh or more to prevent damage to the battery and unpredictable camera behavior.
Page 35: Power Outputs
Power Outputs Power Outputs The ALEXA, ALEXA M, ALEXA XT, ALEXA HD and ALEXA XT M have two 24 V power outputs and one 12 V power output for accessories. ALEXA Plus, ALEXA Plus 4:3, ALEXA HD Plus, ALEXA XT Plus, ALEXA Studio and ALEXA XT Studio models have three 24 V power outputs and one 12V power output.
Page 36: Camera Support
Camera Support Camera Support Minimum Equipment Recommended For Operation ARRI ALEXA camera body including SxS module or XR module and Lens Adapter PL mount without LDS (LA-PL-1) Electronic Viewfinder EVF-1 Viewfinder Mounting Bracket KC 150-S Viewfinder Cable short 0.35m/1.2ft CCH-1 Center Camera Handle...
Page 37: Electronic Viewfinder Evf-1
Electronic Viewfinder EVF-1 ALEXA camera setup weight with XR module 17.6 (incl. EVF-1, VMB-1, CCH-1, KC-150S) Electronic Viewfinder EVF-1 The electronic viewfinder EVF-1 employs a liquid crystal on silicon (LCOS) imaging device with a temperature-stabilized LED light source to provide a bright, accurate view of the sensor image in all operating conditions.
Page 38: Viewfinder Cables
Camera Support Connect the viewfinder to the camera using the viewfinder mounting bracket. Figure 17: ALEXA with XR module and EVF-1 Note: Do not point the viewfinder eyepiece at direct sunlight or bright light sources, as this could damage the LCOS imaging device. If possible, cover the eyepiece when not in use to prevent any damage.
Page 39: Viewfinder Mounting Bracket
Electronic Viewfinder EVF-1 Figure 18: EVF cables: KC-150S (center), KC-151S (middle), KC-152S (outer) 8.3.2 Viewfinder Mounting Bracket The Viewfinder Mounting Bracket VMB-3 is attached to the camera using two captive 3mm hex socket head screws on top of the camera at the front.
Page 40 EVF-1 further back. It can be attached to a tripod head for use with geared heads or greater comfort when using fluid heads using its standard attachment point for the ARRI Eyepiece Leveler EL-3. The VEB- 3 has been improved over the VEB-1 in the following aspects: The redesigned shape provides greater sturdiness at a lighter weight.
Page 41: Center Camera Handle Cch-1
Center Camera Handle CCH-1 Figure 22: ALEXA with EVF-1, VEB-3 and cable KC-151S Center Camera Handle CCH-1 The Center Camera Handle CCH-1 is attached to the camera top with three captive 3mm hex socket head screws (two at the front and one at the back).
Page 42: Side Camera Handle Sch-1
Camera Support The Handle Extension Block HEB-2 mounts to the front end of the CCH- 1 and adds one more focus hook to the camera in a high position, allowing the tape measure to clear the matte box. Side Camera Handle SCH-1 The Side Camera Handle SCH-1 is used in conjunction with a BAT-V or BAT-G top-mounting battery adapter, or with third-party onboard recorders.
Page 43: Bridge Plates Bp-12/Bp-13
ALEXA. It mounts directly to the camera body using two 3/8"/16 screws and ensures that support rods, matte boxes and follow focus units are positioned properly in regards to the optical center of the camera, just like all other ARRI cameras.
Page 44: Bridge Plate Adapter Bpa-1
Camera Support The bridge plate BP-13 is equivalent to the BP-12, but for 15 mm studio rods. Note: Make sure bridge plates are tightened firmly with a screwdriver, not the commonly used coin! Bridge Plate adapter BPA-1 The bridge plate adapter BPA-1 can be used to attach a BP-3/BP-5/BP- 8/BP-9 to ALEXA.
Page 45: Wedge Adapter Wa-1 And Quick-Release Plate Qr-Hd-1
The WA-1 can be mounted at the same position as a bridge plate. It has a dove tail that slides into the counter part of a quick-release plate, like the ARRI QR-HD-1. The quick-release plate has a pin at its back, which fits into the pin receptacle at the back of the camera base.
Page 46: Shoulder Pad Sp-3
Camera Support 8.10 Shoulder Pad SP-3 The camera base has an integrated arch to fit to the operator's shoulder. For extended handheld shots, the shoulder pad SP-3 can be attached to the base of the camera with velcro. Note: The SP-3 can only be used with a BP-12 and 19 mm rods or with 15 mm rods and a Wedge Adapter WA-1 and a Quick-Release Plate QR-HD-1 .
Page 47: Connectors
Shoulder Pad SP-3 Connectors Camera back Figure 30: Connectors at back From top to bottom: MON OUT, RET/SYNC IN, EXT, REC OUT 1, REC OUT 2, BAT, ETHERNET Camera right Figure 31: Connectors on right side From left to right, top to bottom: 2x RS (24 V) out, AUDIO OUT, TC, 12V out, AUDIO IN, SD CARD (camera bottom)
Page 48 Connectors Camera left For ALEXAs with SxS module: Figure 32: SxS module...
Page 49: Bat
For ALEXAs with XR module: Figure 33: XR module Camera front Figure 34: Camera front EVF connector The BAT connector can be used to power the camera from an external power source with cables KC-20S and KC-29S.
Page 50: Rec Out 1 + 2
Connectors It is located at the back of the camera on the camera-right side. REC OUT 1 + 2 The REC OUT consists of two BNC connectors capable of carrying 1920x1080 1.5G or 3G HD-SDI signals with frame rates from 23.976 to 60 fps according to SMPTE standards 274M, 292M, 372M and 425M (Level B).
Page 51: Ethernet
ETHERNET Standard Ethernet connectors can deliver neither the power nor the durability and reliability required by ARRI, so the ALEXA uses a specially designed 10-pin LEMO connector. The ARRI KC-153-S cable is required to connect the Ethernet socket to a standard RJ-45 Ethernet port.
Page 52: Audio Out
The two RS connectors supply external accessories with at least 24 V power and a combined load of up to 2.2 A (shared with the EXT connector power out). The sockets also accept an ARRI remote start/stop trigger. The connectors are located at the front of the camera on the camera- right side.
Page 53: Sd Card
9.13 SD Card The ALEXA saves data such as user setups, frame grabs and system logs to an SD card. Firmware, additional frame lines and ARRI Look Files are loaded onto the camera from the SD card. The SD card slot is located on the bottom of the camera on the camera-right side.
Page 54: Sxs Slots
Connectors To create the required folder structure on the SD card in the ALEXA without formatting: MENU 1. Press the button. 2. Using the jogwheel, select System. 3. Select SD Card. 4. Select Prepare SD card. The ALEXA will create the required folder structure on the SD card without formatting or deleting any data.
Page 55 SxS Slots SxS PRO cards do not have to be mounted or unmounted—they can be inserted or removed whenever the camera is not recording to the SxS module. If a card is removed during recording, only the last second of the current clip will be lost. All clips on the card will remain accessible and the card will remain fully functional.
Page 56: Xr (Xtended Recording) Module
Connectors 9.15 XR (Xtended Recording) Module This section only applies to ALEXAs with XR module. Figure 36: XR module The ALEXA records clips using the XR (Xtended Recording) module on the camera-left side. The media slot can take XR Capture Drives, SxS PRO cards with the SxS Adapter or CFast 2.0 cards with the CFast 2.0 Adapter.
Page 57 XR (Xtended Recording) Module Inserting media: To load an XR Capture Drive: 1. Insert the XR Capture Drive into the media slot with the contacts facing the front of the camera and the ribbed side facing out (away from the camera body). 2.
Page 58 Connectors When the camera is in ARRIRAW recording mode, XR Capture Drives need to be unloaded before they can be safely removed. Unloading is triggered automatically when the door is opened and the XR Capture Drive is in standby. When the door is already open, but the XR Capture Drive is still loaded, press the eject button on the XR Capture Drive to trigger unloading.
Page 59 XR (Xtended Recording) Module Solid red Media is being accessed (read/write) DO NOT REMOVE THE CARD! Red flashing Media error, see camera for details Blue flashing XR Capture Drive is being loaded or (XR Capture Drive only) unloaded Solid blue XR Capture Drive is unloaded and can (XR Capture Drive only) be ejected safely...
Page 60: Lens Mounting
Lens Mounting Lens Mounting The ALEXA is equipped with an interchangeable lens mount. Note: Lenses must cover an image circle of at least 27.3 mm for 16:9 sensor mode, 29.7 mm for 4:3 sensor mode and 33.6 mm for Open Gate sensor mode to prevent vignetting.
Page 61: Lens Support
Lens Support Figure 37: PL mount LA-PL-1 with index pin 10.2 Lens Support Heavy lenses may require additional lens support. Using a lens support guarantees that the weight of the lens will not influence the flange focal depth and reduces stress on the lens mount. To support a lens use 15mm studio or 19mm studio rods and an appropriate lens bridge.
Page 62 Lens Mounting Slide the bridge into position on the rods directly under the lens support ring on the lens, and fix it in place by tightening the lever on its side. Align and tighten the center screw in the lens support ring, adjusting the height of the center screw with the lever on the back of the lens bridge.
Page 63: Camera Controls
Lens Support Camera Controls The ALEXA can be controlled through three user interfaces: Main controls Location: camera-right side Interface: 3-inch LCD-screen with floating- function buttons, a jogwheel to navigate through menus and adjust parameters, and a range of fixed-function buttons. Operator controls Location: camera-left side Interface: three assignable function buttons...
Page 64: Main Controls
Camera Controls 11.1 Main Controls The main controls can be used to set all camera parameters. Figure 39: Main controls 11.1.1 Display The 3-inch LCD has a resolution of 400x240 pixels. The back-lit, transflective display has exceptional contrast even in bright sunlight. To adjust the LCD brightness: On the HOME screen, rotate the jogwheel while pressing the BACK...
Page 65: Home Screen
Main Controls As a failsafe, operations that cannot be reversed and can result in the loss of data require pressing two buttons simultaneously to confirm the operation. 11.1.3 HOME screen Figure 40: HOME screen with SxS module Figure 41: HOME screen with XR module The HOME screen is the ALEXA’s default screen.
Page 66 Camera Controls Screen buttons Button Function Sets the frame rate of the sensor, adjustable from 0.750-60.000 fps in Regular Speed Mode, and from 60.000-120.000 fps in High Speed Mode. Note: High Speed Mode can only be activated with a valid High Speed license key installed in the camera.
Page 67 Main Controls BAT 1 The voltage level of the power source present at the BAT connector, or the remaining capacity of an attached battery in percentage if it transmits this information. BAT 2 The voltage level of a battery attached to the onboard battery adapter, or the remaining capacity of an attached battery in percentage if it transmits this information.
Page 68: Lists And User Lists
40° C sensor temperature to avoid condensation). Radio The ARRI Wireless Remote System (WRS) radio is active. Note: A sensor temperature warning or error after boot-up is normal as the sensor takes a few seconds to reach its preset temperature.
Page 69 Main Controls 1. Rotate the jogwheel to select the desired list value. 2. Press the jogwheel to set the list value. Adding a list value If the desired list value does not appear in the list, a user-defined value can be added. To add a list value: 1.
Page 70: Fps
Camera Controls 11.1.3.2 FPS Press the (frames per second) button on the HOME screen to open SENSOR FPS list screen, which lists the default frame rates as well as user-defined frame rates. Figure 44: SENSOR FPS screen Note: Access to this screen is disabled during record. The maximum frame rate that can be set is dependent on the type of media and the codec.
Page 71 Main Controls Codec SxS PRO SxS PRO CFast 8-32 GB 64 GB Capture Drive DNxHD 444 30 fps 60 fps 60 fps 60 fps 16:9 2K ProRes 422 Proxy 60 fps 60 fps 60 fps 60 fps through 422 HQ ProRes 4444 40 fps 60 fps...
Page 72 Camera Controls REC OUT fps sets sensor fps or Off. 3. Select and set Figure 45: SENSOR FPS screen with linked sensor frame rate Setting the correct frame rates when recording with external devices When recording ARRIRAW T-Link (only on ALEXA Classic cameras) or the HD-SDI signal from the ALEXA to an external recorder, correct frame-rate settings are critical.
Page 73 Main Controls The MON OUT should match the sensor and the REC OUT frame rate. If the sensor frame rate exceeds the available MON OUT frame rates, set the MON OUT to half the sensor frame rate if possible to maximize the smoothness of the image when panning and tilting.
Page 74 Camera Controls Note: In 16:9 sensor mode, High Speed mode recording is possible in HD codecs only. In 4:3 sensor mode, High Speed mode is only available when the recording mode is set to ARRIRAW (only available for ALEXAs with XR module).
Page 75: Audio
Main Controls Note: Starting from 4:3 Normal Speed, the resulting High Speed mode differs depending on the currently selected recording mode: With ProRes recording selected, the ALEXA will go to 16:9 High Speed. With ARRIRAW recording selected, the ALEXA will go to 4:3 High Speed. Exiting High Speed mode will always return to 4:3 Normal Speed.
Page 76 Camera Controls OPTIONS Press the button to open the AUDIO IN>OPTIONS screen and set audio parameters. Figure 47: AUDIO IN>OPTIONS screen Option Description or Off. Record Turns audio recording If audio recording is switched off, no audio is recorded internally, the HD-SDI contains no audio and the Audio out is muted.
Page 77 Main Controls Figure 48: Audio out screen AUDIO OUT Press the button to open the AUDIO OUT>OPTIONS screen where the global volume for both Audio out channels can be adjusted. OPTIONS button opens a list of AUDIO OUT options. Figure 49: AUDIO OUT>OPTIONS Left out Sets which channel is routed to the left output.
Page 78: Shutter
Camera Controls 11.1.3.4 SHUTTER SHUTTER Press the button in the HOME screen to open the SHUTTER ANGLE screen. Note: Access to this screen is disabled during record. The list of default shutter angles includes 11.2°, 22.5°, 45.0°, 90.0°, 172.8°, 180.0°, 270.0° and 358.0°. User-defined shutter angles can be set by pressing the button.
Page 79 Main Controls Due to its high dynamic range, the ALEXA’s sensitivity can be set from 160 to 3200 ASA in steps of 1/3 stops while maintaining high image quality. Figure 51: Exposure Index screen Note: The Exposure Index list has fixed content, meaning that it cannot be changed by the user.
Page 80: Color
EVF, MON OUT, REC OUT and internal recording which ARRI Look File is set which output paths the Look File is applied to...
Page 81 Main Controls The COLOR screen also has buttons for opening the GAMMA screen, selecting a Look File, and applying Look Files to the camera’s output paths. Figure 54: COLOR screen Gamma GAMMA Press the button to open the GAMMA screen and set the gamma of the internal recording, REC OUT, MON OUT and EVF image paths.
Page 82 MON OUT output path is rerouted to REC OUT. ARRI Look Files ARRI Look Files are a way for the user to alter the parameters the ALEXA uses when converting the sensor image data to a video color space.
Page 83 Main Controls On the COLOR screen, press the EVF, OUT, INTERNAL and/or buttons to apply the Look File to the desired output paths. An applied Look File is indicated by a check mark in the box corresponding to each output path. Look Files can only by applied to output paths that are set to REC 709 gamma.
Page 84 On the LOOK FILES screen, press CDL. When the connection to a CDL server is activated, it is no longer possible to select an ARRI Look File or apply it to outputs. The gamma settings for the individual outputs are still available.
Page 85 Main Controls With the CDL server connection enabled, the ALEXA periodically tries to contact the CDL server and displays the connection status on the LOOK FILES screen as well as on the HOME screen. When the CDL server connection is established, INT in the COLOR section of the HOME screen has a green background, otherwise the background is red and it is blinking.
Page 86 CC SHIFT is equal to 035 Kodak CC values or 1/8 Rosco values. Figure 58: WHITE BALANCE screen ARRI recommends adjusting white balance and color compensation using appropriate measuring equipment such as a vectorscope with calibrated gray card or a color meter.
Page 87: Function Buttons
Main Controls Note: If the gray card is significantly over- or underexposed, the ALEXA may not be able to calculate a white balance value and will display an error message. To rename a white balance: 1. On the HOME screen, press the button.
Page 88 Camera Controls Press to start and stop internal recording and send start and stop record signals over REC OUT to an external recording device. See section Prerecording for behavior in prerecording mode. LOCK Press and hold for 3 seconds to lock or unlock the main camera controls and function buttons.
Page 89 Main Controls 11.1.4.1 TC Press the button to open the TIMECODE screen. The TIMECODE screen displays the current timecode and timecode format settings. Figure 60: Timecode screen Note: Individual frame values are not shown but are still counted. SET TC Press the button to set the TC counter (only when the timecode SET 2...
Page 90 Camera Controls Free Run TC runs free. If the source is set to Int TC, and the sensor frame rate does not match the time base of the TC, the value counts up with every new frame generated by the sensor in the project time base.
Page 91: Info
Note: It is only necessary to save a system log if the camera experiences multiple error messages or other abnormal behavior. The system log is not a human-readable file and should be sent to an ARRI Camera Service center for analysis.
Page 92 Camera Controls VERSION Info Cam serial The serial number of the camera. Cam ID Translation of the camera serial number to Base36, with an additional prefix for 3D applications. This encoding of the serial number has been chosen so it can be part of each filename while using the fewest number of characters.
Page 93 Main Controls Free Free storage space displayed as a percentage. capacity Max. fps Maximum frame rate with current codec. current Media size Total available storage space on media Figure 63: MEDIA INFO screen with SxS module Figure 64: MEDIA INFO screen with XR module SYSTEM Info Time/Date Current date and time.
Page 94 Camera Controls Sensor Current temperature of image sensor. Target is temperature 35°C in standard mode, 40°C in high humidity mode. IP address IP address of the camera's Ethernet port. Operating Shows the total operating time of the camera in time hours (since first installation of SUP 4.0 or higher) Figure 65: SYSTEM info screen FPS Info...
Page 95: User
Main Controls Figure 66: FPS Info screen with SxS module Figure 67: FPS Info screen with XR module 11.1.4.3 USER USER Press the button to open the USER BUTTONS screen. There are Buttons 1, 2 User six assignable user buttons. are shared with Buttons 1, 2, in the operator controls.
Page 96 REC 709 and LOG C (only when recording gamma is set to LOG C) MON OUT look toggles the ARRI Look File on the MON OUT on or off (only if Look File is set and the MON OUT is set to REC 709)
Page 97 709 and LOG C (only when recording gamma is set to LOG C) EVF look toggles the ARRI Look File on the EVF on or off (only if Look File is set and the EVF is set to REC 709)
Page 98: Play
Camera Controls Name Description Circle clip marks the clip as a good take or a print during recording or playback Auto WB Press once to open the AUTO WB sceen. Press again to perform an automatic white balance. Grab GUI takes a still image of the current main camera control screen on the LCD and saves it to the SD card as a .png file in the...
Page 99 Main Controls HOME BACK 6. Press the button or button to exit and output a live image over the output paths. Figure 70: PLAY screen PLAY screen buttons STEPSIZE Toggle the scrub step size between one frame and one second. CIRCLE Press to mark the clip as a circle take.
Page 100 Camera Controls OPTIONS The OPTIONS screen button opens a list of general playback options. Figure 71: PLAY OPTIONS screen Clip end action Determines what happens when the end of a clip is reached. Options are Pause and Loop. Show frame lines Sets frame lines to On or Off during playback.
Page 101: Menu
Main Controls circled or not Figure 72: CLIPLIST screen Playback and Look Files During playback, the camera makes a distinction between clips recorded in Log C and clips recorded in Rec 709. When a clip recorded in Log C is played back and a Look File is active in the camera, the look will be applied to the clip.
Page 102: Recording
Camera Controls Links to submenus can be identified by an arrow bracket character on the right side. To access a submenu, select the submenu link and press BACK the jogwheel to open the submenu. Press the button to step back one menu.
Page 103 Main Controls INTERNAL Select the INTERNAL submenu to adjust parameters for internal recording. Mode Select for recording options: Off, ProRes DNxHD (requires license key, not available if Prerecord is On) ARRIRAW (only available on ALEXA XT cameras and ALEXA Classic cameras with an XR Module upgrade) With recording off, power consumption is...
Page 104 If media without a valid file system is loaded in the camera, you will be prompted to format the media. ARRI recommends immediate formatting of media that trigger this warning. Apple ProRes...
Page 105 Main Controls Format Sensor Reso- Color Data 64 GB 120 GB Mode lution Coding Rate Capture CFast Drive 16:9 1920 x 10 bit 93 min 347 min 173 min 1080 YCbCr Mbit/s ProRes 2048 x 10 bit 43 min 158 min 79 min 1536 YCbCr...
Page 106 Camera Controls Format Sensor Reso- Color Data 64 GB 120 GB Mode lution Coding Rate Capture CFast Drive DNxHD 16:9 1920 x 8 bit 115- 72 min 255 min 132 min 115/120/ 1080 YCbCr Mbit/s DNxHD 16:9 1920 x 10 bit 175- 48 min 170 min...
Page 107 Main Controls Prerecording Select PRERECORDING to adjust prerecording parameters. Prerecord Select to toggle prerecording mode On or Off Buffer size Select to set the buffer size. Following buffer sizes are available: 220 MB 660 MB 1100 MB Calculated duration Shows the prerecording duration that is derived from buffer size, codec and current fps.
Page 108 Camera Controls REC OUT Select the REC OUT submenu to adjust parameters for recording to external recorders over the HD-SDI REC OUT outputs. Note: Only use double shielded HD-SDI cables for recording to ensure error free data transmission! Frame rate Select to set the frame rate of the REC OUT outputs (independent of sensor frame rate).
Page 109 Main Controls Output range Select to set which bit range of the full 10 bit range (0-1023) is used to transmit image data. Legal: Uses values 64-940 for RGB and Y signals, and values 64-960 for CbCr signals. This complies with SMPTE 274M 8.7.
Page 110 Camera Controls 1920x1080 4:4:4 23.976, 24, 25, 29.97, 30 3G SL 1920x1080 4:4:4 48, 50, 59.94, 3G DL ARRIRAW 2880x1620 Bayer Bayer 23.976, 24, 25, 29.97, 30 1.5G DL ARRIRAW 2880x1620 Bayer Bayer 23.976, 24, 25, 29.97, 30 3G SL ARRIRAW 2880x1620 Bayer...
Page 111: Monitoring
Main Controls 11.1.5.2 Monitoring Select the Monitoring submenu to adjust parameters for monitoring on the EVF-1 and over the MON OUT output. These outputs are meant for monitoring and not recording. Frame lines set in the Frame lines submenu apply to both MON OUT and EVF-1.
Page 112 Camera Controls Brightness Select to adjust the brightness of the EVF. Rotate image When mounting the EVF to the right side of the camera, the image can be flipped to orient the image correctly in the viewfinder. Affects only the EVF image, MON OUT and recording images are not rotated.
Page 113 Main Controls Frame lines + status info screen Frame lines Select to set frame lines to On or Off. Frame lines are a reference for framing that typically consist of an image frame, a center mark and an aspect ratio reference. See the appendix for more information on the ALEXA frame line format.
Page 114 Camera Controls left pixel. psf: Progressive segmented frame. Images are first split into fields, which are then transmitted line by line from left to right. Surround view Select to set Surround view on the MON OUT On or Off. When set to on, the additional pixels outside the recorded image area on the ALEXA’s ALEV III sensor are displayed, allowing the operator to see outside the recorded image and...
Page 115 Main Controls Frame lines + status info screen Frame lines Select to set frame lines to On or Off. Frame lines are a reference for framing that typically consist of an image frame, a center mark and an aspect ratio reference. See the appendix for more information on the ALEXA frame line format.
Page 116 Additional frame lines can be loaded from the SD card. To create additional frame lines, use ALEXA Frameline Composer, a free web tool at http://www.arri.com/camera/digital_cameras. Save the new frame lines as XML files to an SD card formatted on the ALEXA, in the Frame lines folder.
Page 117: Project
Main Controls Color Select to set the color of the frame lines. In the frame lines definition file, lines can either be given a fixed color, or they can have the color specified as "User". If "User" is chosen for a line, the setting chosen in this menu section is applied to the line.
Page 118 Camera Controls Rec. resolution Select to set the current recording resolution. Links to MENU>Recording>Internal. Note: Not shown on ALEXA HD and ALEXA HD Plus, as resolution is fixed to HD. Codec Select to set the current recording codec. Links to MENU>Recording>Internal.
Page 119 Main Controls Production Info The PRODUCTION INFO screen has fields to enter metadata information specific to the production. The user can enter the names of the director, cinematographer, location, production, scene and take. Two additional fields allow to enter other data. Production Enter the name of the production Prod.
Page 120: System
Camera Controls 11.1.5.4 System The System menu contains submenus of system settings. Sensor Sensor mode Select to set which sensor mode is active, 4:3, 16:9 or Open Gate. Note: 4:3 is available only on ALEXA Plus 4:3, ALEXA Studio, ALEXA M, ALEXA XT, ALEXA XT Plus, ALEXA XT M and ALEXA XT Studio.
Page 121 As an added service, it is possible to send the User Pixel Mask to ARRI Service at service@arri.de for verification. We strongly recommend to take advantage of this free service, as sometimes, depending on the background, clusters are difficult to spot.
Page 122 Camera Controls NOTE: When shooting ARRIRAW, it is not necessary to load the User Pixel Mask into the camera. Instead, it can be applied to the ARRIRAW files in post using the ARRIRAW converter software or any third party software that has implemented the User Pixel Mask feature through our ARRIRAW SDK.
Page 123 Main Controls Note: When the voltage level reaches a point 10% below the warning level set in the POWER menu, the ALEXA displays a battery error message and recording is unavailable. The camera will read the voltage level as insufficient. Smart batteries that transmit their remaining load to the camera emit a warning at 10% remaining capacity and an error at 5% remaining capacity.
Page 124 Camera Controls trigger without settings sync, the EXT MASTER camera must send a trigger to the EXT SLAVE camera to ensure the HD outputs of the cameras are synced. Press the jogwheel to send the trigger. Settings sync ALEXA cameras can be operated in synced- settings mode, where the settings of two cameras can be synced via Ethernet.
Page 125 Main Controls Display + Beeper Display Select to adjust the brightness of the LCD display brightness on the camera-right side. To adjust the display brightness when the HOME screen is displayed, BACK press and hold the button while rotating the jogwheel. Button Select to adjust the brightness of the button brightness...
Page 126 Camera Controls Set time + date Use the lower screen buttons to navigate between the elements in the screen and to finish your setting. To set the time and date: 1. In the System menu, select System time + date. 2.
Page 127 Note: ARRI discourages downgrading cameras to lower SUP versions. Be sure to carefully read the release notes of the currently installed SUP to find out if downgrading is possible, and ask your ARRI service center if in doubt. To update the camera to a new SUP: 1.
Page 128 Licensed Features The capabilities of the ALEXA can be further enhanced through licensed features available for online purchase. Visit the ALEXA LICENSE SHOP at http://alshop.arri.de and follow the instructions for purchasing and downloading license keys. Available licenses include: DNxHD License Key...
Page 129: Frame Grabs
Main Controls The INSTALLED LICENSES screen displays a list of installed licenses. New license can be installed from the SD card. To install new licenses after purchase: 1. Copy the license key—it will have the suffix .lic—into the Licenses folder on an SD card formatted on the ALEXA. Load the SD card into the camera.
Page 130 Camera Controls To set the still frame format: 1. In the Frame grabs menu, select File format. 2. Use the jogwheel to select the desired format and press the jogwheel to set it. Unavailable formats are grayed out. To take a still frame and save it to the SD card: GRAB Press the button.
Page 131: User Setups
A user setup contains all parameters set in the camera except files that have been transferred via SD card, specifically frame lines and ARRI Look Files. These are not affected by loading a user setup and are only cleared by performing a factory reset.
Page 132 1. Before shooting, perform a factory reset to restore factory default settings. 2. Save a user setup named "Reset" or similar. This will be used instead of performing the ALEXA’s factory reset. 3. Adjust the camera's shooting parameters and settings, and load the desired frame lines and ARRI Look Files.
Page 133: Operator Controls
Title A-Cam". 5. To reset the camera to the default settings without losing the frame lines or ARRI Look Files, load the "Reset" user setup. User setups can be used to ensure that cameras on multi-camera shoots have matching settings, or to transfer a show’s setup onto daily cameras, to ensure they carry the same shooting specifications.
Page 134: Controls
Camera Controls Figure 75: Operator UI 11.3 EVF-1 Controls The EVF-1 controls are located on the electronic viewfinder. They consist of a number of function buttons and a jogwheel. Press the CAM button to open the EVF-1's CAM menu. Press the EVF button to open the EVF-1's EVF menu.
Page 135: Viewfinder Evf Menu
EVF-1 Controls LOCK When the button on the main controls is engaged, the CAM and EVF buttons are locked with the main controls and operator controls. ZOOM buttons are not affected by the lock. The message "Button is locked!" is displayed in the EVF-1 when the button is pressed while the main controls are locked.
Page 136: Viewfinder Cam Menu
Camera Controls will always be indicated to allow proper framing. Users can choose between: Black line Color line Mask 25% Mask 50% Mask 100% Status info Select to set Status info to On or Off. When set to On, camera shooting parameters are displayed across the top of the EVF-1's image, outside the active image area and camera status information is displayed across the...
Page 137 EVF-1 Controls Select to set the exposure index. Settings from EI 160 to EI 3200 can be selected, in steps of 1/3 stop. Select to set the white balance. Preconfigured and previously added user-defined values can be selected in the WB list.
Page 138: Operation Of The Camera
The user is encouraged to adapt the recommendations and workflow to individual and production needs. Note: ARRI cannot be held responsible for the loss of any data in conjunction with internal recording! ALEXA cameras can be equipped with an SxS Module or the new XR Module for internal recording.
Page 139: Xr Module
Recording 12.1.1.2 XR Module ALEXA XT cameras and ALEXA Classic cameras that were upgraded with an XR Module can use XR Capture Drives, Sony SxS PRO cards or CFast 2.0 cards for internal recording. Using SxS PRO cards requires the SxS Adapter, using CFast 2.0 cards requires the CFast 2.0 Adapter; SxS Pro cards and CFast 2.0 cards do not allow recording ARRIRAW data.
Page 140 Operation of the Camera ProRes ALEXA has been the first camera offering internal, ready-to-edit, QuickTime/ProRes HD recording to SxS PRO cards. With SUP 7.0, all cameras received a free upgrade enabling QuickTime/ProRes 2K recording. Recording in ProRes 2K is a cost-efficient alternative to shooting ARRIRAW, as it requires less storage space and no processing, but at the same time delivers an image quality that is superior to that of up-scaled HD material.
Page 141 Recording Format Sensor Reso- Color Data 64 GB 120 GB Mode lution Coding Rate Capture CFast Drive 16:9 1920 x 12 bit 29 min 107 min 53 min 1080 Mbit/s Without alpha channel (444 only) Data rate/recording time@24 fps; Apple ProRes is a variable bit rate codec, meaning that the available recording time is subject to the image content.
Page 142 Operation of the Camera Format Sensor Reso- Color Data 64 GB 120 GB Mode lution Coding Rate Capture CFast Drive DNxHD 16:9 1920 x 8 bit 115- 72 min 255 min 132 min 115/120/ 1080 YCbCr Mbit/s DNxHD 16:9 1920 x 10 bit 175- 48 min...
Page 143 Recording Recording File Data time on XR Reso- Color size Rate Format Capture lution Coding (single Drive @ 24 @ 24 fps frame) 4:3 ARRIRAW 2880 x 12 bit 1.79 35 min 9.3 MB 2.8K 2160 Bayer Gbit/s 16:9 ARRIRAW 2880 x 12 bit 1.34...
Page 144 Operation of the Camera Always test the full workflow pipeline with the preferred recording format before shooting. Media preparation The typical usage cycle of recording media is: 1. Format 2. Record 3. Copy 4. Back up 5. Verify data 6. Format Format Before recording, the drives/cards must be formatted.
Page 145 For more information about ALEXA metadata, please refer to the ALEXA Metadata Whitepaper, available at http://www.arri.com/camera/digital_cameras/downloads. File Structure for ARRIRAW Recording (Codex VFS) When an XR Capture Drive with ARRIRAW footage is loaded on a computer, it shows up like a regular external drive. Operating underneath, however, is the Codex Virtual File System (VFS).
Page 146 Operation of the Camera The file formats, file naming and directory structure that will be presented by the VFS are fully configurable through the Codex Platform software. This makes the VFS a highly flexible tool for providing exactly the material you require, when you want it, without redundant processing and storage overhead on your drives.
Page 147 Recording Clip Index: One character, fixed to C. Main use is to separate the reel counter from the clip counter. If more than 999 clips are recorded to one card (not likely to happen), it changes to D. Date: Current date, in order YYYYMMDD, as set in Menu>System/Time/Date, separated from the other naming components by underscores.
Page 148 Operation of the Camera Additional recommendations To minimize the risk of lost data, ARRI suggests the following guidelines for data management: Pre-format your media. Format all the drives/cards in the camera before shooting begins. This will save production time at least until all cards have been used once.
Page 149: External Recording
Recording Dual recording The Dual recording function is only available on ALEXA Classic cameras with an SxS module. It allows recording to two SxS PRO cards in parallel, creating an instant backup at the time of recording. To enable dual recording, set Dual recording to On in the INTERNAL menu (in RECORDING menu).
Page 150 ARRIRAW* 1.5G DL ARRIRAW is the proprietary raw data generated by ARRI cameras. Raw data is the sensor image data before it is converted to RGB images. The ALEXA has a single sensor with a Bayer pattern color filter array, meaning that every pixel has only one channel of color information.
Page 151 An ARRIRAW T-Link-certified recorder must be used for recording ARRIRAW. Certified recorders are available from Codex, Convergent Design and S.Two, among others. For more information, visit http://www.arri.com/alexa/arriraw. ARRIRAW* 3G SL The ARRIRAW 3G SL signal format uses a single HD-SDI signal that complies with the SMPTE 425M standard.
Page 152: Parallel Recording
Operation of the Camera 12.1.3 Parallel recording Recording both internally and to external recorders simultaneously offers additional workflow options. For example, the internal recording can be used for dailies and proxy editing, while the external recorder captures the master data. On ALEXA XTs or ALEXA Classic cameras with an XR Module upgrade, the XR Capture Drive can capture the ARRIRAW camera master while the REC OUT can be used to feed a video assist.
Page 153: Monitoring
Note: When shooting ProRes 2K (2048x1152) for a DCI 2K release in a 1.85:1 aspect ratio, the preloaded frame line ARRI 1.85 2K DCI can be used to mark the corresponding 1998x1080 area for a DCI 2K 1.85 without requiring any scaling in post production.
Page 154 Operation of the Camera To create a centered frame line with a center cross as in the example, a total of six lines is necessary. To calculate the position of a line for a given aspect ratio, use the following formulas: −...
Page 155 Monitoring XML example The following sample XML code illustrates the frame lines system . It describes frame lines for a 2.35 centered aspect ratio inside the camera's 1.78 recorded image. <?xml version="1.0" encoding="UTF-8"?> <!-- NOTES: All widths are in pixels. All colors can be one of: black, white, or user.
Page 156: Status Info Overlays
ALEXA. On the right side, there are three groups labeled MON, EVF and LOOK. They provide specific information about the MON OUT, EVF-1 and the application of ARRI Look Files. The following table explains the icons in the SYS group:...
Page 157 Monitoring Warns that the camera temperature has reached a critical point where it can no longer be operated and must be powered down. Indicates that prerecording is activated. Indicates that audio recording has been switched on. Warns that audio recording has been switched on, but is currently disabled, e.g.
Page 158: Using Timecode
Operation of the Camera established. Indicates that the current Look File is applied to the EVF-1. Indicates that the current Look File is applied to the MON OUT output. Indicates that the current Look File is applied to the internal recording path. Indicates that the current Look File is applied to the REC OUT output.
Page 159 Using Timecode Setup: The sound department acts as the timecode master, and generates timecode which uses the time of day as a value, and a time base matching the project frame rate. Twenty-four hours of time will translate into twenty-four hours of time code. Timecode is fed to the camera via the TC connector.
Page 160: Syncing The Sensors Of Two Cameras
Operation of the Camera Restrictions: None. 12.4 Syncing the Sensors of Two Cameras Two ALEXAs can be synced for 3D applications or any application requiring sensor sync using the EXT connectors and corresponding cable. When synced, images are captured from each camera's sensor at precisely the same time.
Page 161: Syncing The Settings Of Two Cameras
ALEXA Studio. 12.5 Syncing the Settings of Two Cameras Two ALEXAs can be operated with synchronized settings. ARRI recommends to sync the settings ALEXAs of the same model only, for example, two ALEXA Plus models. Settings syncing is not available on ALEXA HD and ALEXA HD Plus models.
Page 162 Operation of the Camera The master camera will initially distribute its settings to the slave camera. Once this is done, settings can also be changed on the slave camera, and the change will take effect on both cameras. This is useful if the master camera's controls are not accessible.
Page 163: Sensor Modes 16:9 And 4:3
Sensor modes 16:9 and 4:3 MENU>Monitoring>EVF>Framelines MENU>Monitoring>EVF>Anamorphic desqueeze MENU>Monitoring>MON OUT>Frame rate MENU>Monitoring>MON OUT>Scan format MENU>Monitoring>MON OUT>Status info MENU>Monitoring>MON OUT>Surround view MENU>Monitoring>MON OUT>Surround mask MENU>Monitoring>MON OUT>Framelines MENU>Monitoring>MON OUT>Anamorphic desqueeze MENU>Project>Project fps In addition, the slave camera takes over the Camera ID of the master camera, so file names are identical except for the Camera ID prefix.
Page 164 Operation of the Camera LOAD 4. Press the buttons simultaneously to load the new sensor mode. Loading the new sensor mode takes approximately 30 seconds including a mandatory camera reboot. A progress bar indicates the sensor mode loading progress. Note: Switching from 16:9 to 4:3 and vice versa always includes a factory reset. Frame rate The maximum sensor frame rate in 4:3 is 48 fps.
Page 165 Sensor modes 16:9 and 4:3 Monitoring For monitoring, the 4:3 image is downscaled to 960 x 720 pixels for the EVF and 1440 x 1080 for the MON OUT. Only horizontal surround view is available in 4:3 mode. The image is not rescaled for surround view, but horizontally extended.
Page 166: Alexa Plus
Plus camera features can be adjusted. Any ALEXA can be upgraded to an ALEXA Plus by installing the Plus module. Note: The Plus module must be installed by an authorized ARRI service center only. Figure 77: CLM sockets...
Page 167: Lens Adapter Pl-Mount La-Pl-2 (With Lds)
13.1 Lens Adapter PL-Mount LA-PL-2 (with LDS) The ALEXA Plus lens mount supports the ARRI Lens Data System. An LDS lens must be mounted in the 12 o'clock or 3 o'clock position to enable the LDS functions. Take care not to damage the LDS contacts on the lens and the camera when mounting or unmounting a lens or lens port cover.
Page 168: Radio System
ALEXA Plus Apart from the LDS feature, the same procedures as with the LA-PL-1 (on page 60) apply. Figure 79: Lens adapter PL-Mount LA-PL-2 (with LDS) 13.2 Radio System The ALEXA Plus module contains a radio unit that enables wireless lens control, lens data communication and remote control of basic camera functions.
Page 169: Wireless Remote System
Master camera via the EXT cable. 13.3 Wireless Remote System 13.3.1 Lens Motors The ALEXA Plus supports ARRI CLM-2, CLM-3 and CLM-4 motors. CLM- 1 motors are not supported. CLM-2, CLM-3 and CLM-4 motors can be used in a mixed setup.
Page 170 ALEXA Plus after a camera reboot after changing lenses after a change in motor position while powered down Note: Omitting motor calibration might lead to damage of the lens due to the high level of motor torque. To calibrate a motor: 1.
Page 171: Hand Units
The whole unit is completely splash proof for ARRI-typical reliability. The slider has its scale on the 3” display, providing clearly readable T- stop numbers and optional on-screen markings.
Page 172: Lens Data Display Ldd-Fp
ALEXA Plus Wired Hand Adapter WHA-3 The WHA-3 allows both WFU-3 and WZU-3 to connect to the camera via cable. Zoom Main Unit ZMU-3 The ZMU-3 controls the the zoom axis. It can be connected to the camera via cable to an LCS port, or via cable through an LCS port of an WCU-3, or wirelessly by using a WZE-3.
Page 173: Plus Camera Controls
Plus Camera Controls 13.5 Plus Camera Controls The ALEXA Plus has an additional function button labeled WRS (Wireless Remote System). It gives access to the WRS screen, from where all camera settings related to the Plus camera features can be handled.
Page 174 ALEXA Plus CAM LEVEL Shows the tilt and roll of the camera in degrees as measured by the camera's position sensor. This sensor can be reset if it appears to have an offset. Press the CAM LEVEL screen button to access the reset screen.
Page 175 The main archive contains a set of lens tables for ARRI/Zeiss Highspeed, Master Primes and Ultra Primes and can be extended with additional lens tables for any PL-Mount lens.
Page 176 ALEXA Plus To add a lens table from the main archive, access the User LDA screen and press the ADD button. This opens the MAIN LDA screen. From the main archive, first select a lens type, then a lens model and then a lens class.
Page 177 Plus Camera Controls Note: When starting a motor calibration, make sure each motor's gear wheel is connected properly to the lens. Pay extra attention that no one is close to the motors or holding them. Catching a finger, cloth or anything else on the motor's gear wheel can cause severe body harm as well as damage to the system (and not to mention hurt like hell).
Page 178 ALEXA Plus Shows status, direction and torque of the CLM connected to the ZOOM socket. Press the ZOOM CLM screen button to access the ZOOM CLM screen. This screen shows the type of motor connected to the ZOOM socket, its direction and torque.
Page 179: Alexa Plus 4:3
Plus Camera Controls ALEXA Plus 4:3 The ALEXA Plus 4:3 is identical to an ALEXA Plus except for its 4:3 active sensor area. This makes the camera the ideal companion camera to an ALEXA Studio. Licenses The ALEXA Plus 4:3 includes a bundle license, which enables DNxHD, High Speed recording and anamorphic desqueeze.
Page 180 ALEXA Plus 4:3 Note: Switching from 16:9 to 4:3 and vice versa always includes a factory reset. Frame rate The maximum sensor frame rate in 4:3 is 48 fps. 4:3 and Highspeed Mode It is possible to switch from 4:3 to High Speed mode and vice versa. If recording is set to ProRes, only the 16:9 center area of the image sensor is read out.
Page 181 Plus Camera Controls Anamorphic desqueeze For the electronic viewfinder EVF-1 and the MON OUT both 1.3x and 2x anamorphic desqueeze is available in 4:3 mode. 1.3x anamorphic desqueeze results in an image size of 1280 x 720 for the EVF and 1920 x 1080 for the MON OUT, while 2x desqueeze results in an image size of 1280 x 480 for the EVF and 1920 x 720 for the MON OUT.
Page 182: Alexa Studio
ALEXA Studio ALEXA Studio The ALEXA Studio extends the features of an ALEXA Plus 4:3 by: Optical viewfinder: Brand-new construction from ARRI, featuring optical anamorphic desqueeze, diopter correction, image flip, camera left/right positioning and horizontal distance adjustment Electronic mirror shutter: The electronic mirror shutter can be adjusted in a range of 11.2°...
Page 183: Alexa Studio Images
ALEXA Studio Images 15.1 ALEXA Studio Images The following images show the ALEXA Studio with SxS module: Figure 89: ALEXA Studio right Figure 90: ALEXA Studio left...
Page 184 ALEXA Studio Figure 91: ALEXA Studio top Figure 92: ALEXA Studio bottom Figure 93: ALEXA Studio front...
Page 185 ALEXA Studio Images Figure 94: ALEXA Studio back...
Page 186 ALEXA Studio The following images show the ALEXA Studio with XR module: Figure 95: ALEXA Studio right Figure 96: ALEXA Studio left Figure 97: ALEXA Studio top...
Page 187: Optics
Optics 187 Figure 98: ALEXA Studio bottom Figure 99: ALEXA Studio front Figure 100: ALEXA Studio back 15.2 Optics...
Page 188: Electronic Mirror Shutter
ALEXA Studio 15.2.1 Electronic Mirror Shutter The electronic mirror shutter is located between the PL-mount and the image sensor at an angle of about 45°. It is part of the optical reflex viewfinder system that reflects the lens image into the optical viewfinder.
Page 189: Lens Adapter Pl Mount La-Pl-2 (With Lds)
Optics 189 15.2.2 Lens Adapter PL Mount LA-PL-2 (with LDS) The lens mount of the ALEXA Studio supports the ARRI Lens Data System. The LDS lens must be mounted in the 12 o'clock or 3 o'clock position to enable the LDS functions. Take great care not to harm any elements of the LDS contacts on either lens or camera when attaching or deattaching a lens or lens port cover.
Page 190: Optical Viewfinder
ALEXA Studio Note: Due to the optical mirror shutter, Angenieux Optimo DP zoom lenses, any Super 16 lenses, or lenses with dimensions not matching the dimensions in the figure "Allowed lens dimensions with mirror shutter" drawing cannot be used with the ALEXA Studio, as they would destroy the rotating mirror shutter! Figure 102: Allowed lens dimensions with mirror shutter 15.2.3 Optical Viewfinder The ALEXA Studio has an optical reflex viewfinder system with...
Page 191 Optics 191 Note: To use the optical viewfinder, the mirror shutter must be set to On. The viewfinder is adjustable in two axes, laterally extendable for left eye operation and shows illuminated frame lines (ARRIGLOW). The viewfinder image stays upright and correct left-to-right when the viewfinder is swivelled within the main axis.
Page 192 Check that the new ground glass and the ground glass holder are clean. Screw the ARRI Ground Glass Puller into the new ground glass and push it into the holder. Make sure the ground glass is inserted completely and correctly locked in place.
Page 193 To remove the field lens, which is located above the ground glass: Remove the ground glass first Screw the ARRI Ground Glass Puller into the field lens Carefully pull out the field lens Figure 106: Field lens in camera with attached Ground Glass Puller...
Page 194 ALEXA Studio Note: Due to the risk of displacement caused by shock force, we recommend to remove both ground glass and field lens before transportation and shipping of the camera. Whenever removing the camera from its case, check that both ground glass and field lens are properly seated before switching on the camera to prevent any damage to the mirror shutter.
Page 195 Optics 195 Place the bubble element on top of the FRAMEGLOW module and tighten the 3mm allen screw. Turn on the FRAMEGLOW and check that ground glass and glow mask are correctly aligned. Figure 109: Glow mask slot Anamorphic Desqueeze Turn the wheel on top of the OVF ball element to swing the anamorphic desqueeze element into the optical path.
Page 196 ALEXA Studio Attaching the optical viewfinder Upon delivery, the OVF is not connected to the camera and must be installed by the user. Remove the protective cover from the OVF by loosening its 2x 3mm allen screws. Remove the cover plate from the camera by loosening its 2x 3mm allen screws.
Page 197 Optics 197 Swapping the optical viewfinder for an electronic viewfinder EVF-1 Make sure the camera is powered down. Loosen the 3x 3mm hex screws of the OVF completely (See OVF top view image for locations of screws). Remove the optical viewfinder. Place the EVA-1 electronic viewfinder adapter plate where the optical viewfinder was.
Page 198: Nd Filter
ALEXA Studio 15.2.4 ND Filter The ALEXA Studio has a ND filter in front of the sensor, which can be moved in and out of the optical path. The motorized filter slider contains a ND filter with a density of 1.3 (= 4.3 stops), and a cover glass without additional density.
Page 199: Studio Camera Controls
Studio Camera Controls 15.3 Studio Camera Controls A few additional controls are available on the ALEXA Studio. These are used to control the mirror shutter and the ND filter. The HOME screen has icons for the active ND filter and the mirror shutter position and state.
Page 200 ALEXA Studio ND FILTER On the EI screen, press to move the ND filter in and out of the optical path. Figure 115: EI screen Mirror shutter activation On the HOME screen, press SHUTTER. MIRROR On the SHUTTER ANGLE screen, press to activate or deactivate the mirror shutter.
Page 201 Studio Camera Controls MIRROR PARK buttons VIEW and GATE The camera left side Operator Controls have two additional function buttons labelled VIEW and GATE. These buttons control the parking position of the mirror shutter. A spinning mirror shutter can be stopped by pressing either of the two buttons.
Page 202: 4:3 Mode
ALEXA Studio Frame rates higher than 37 fps in 4:3 or 48 fps in 16:9 reduce the maximum possible mirror shutter angle. When the frame rate change reduces the allowed mirror shutter angle below the currently active shutter angle, the camera automatically sets the shutter angle to 135.0°. The technically possible maximum shutter angle depends on the frame rate.
Page 203 4:3 Mode LOAD 4. Press the buttons simultaneously to load the new sensor mode. Loading the new sensor mode takes approximately 30 seconds including a mandatory camera reboot. A progress bar indicates the sensor mode loading progress. Note: Switching from 16:9 to 4:3 and vice versa always includes a factory reset. Frame rate The maximum sensor frame rate in 4:3 is 48 fps.
Page 204: Licensed Features
ALEXA Studio Monitoring For monitoring, the 4:3 image is downscaled to 960 x 720 pixels for the EVF and 1440 x 1080 for the MON OUT. Only horizontal surround view is available in 4:3 mode. The image is not rescaled for surround view, but horizontally extended.
Page 205: Alexa M
Licensed Features ALEXA M The ALEXA M is a specialty camera where the camera is split into two parts. The camera head contains the image sensor, while the body contains the image processing modules. Both parts are connected via a fibre interface.
Page 206: Alexa M Images
ALEXA M 16.1 ALEXA M Images The following images show the ALEXA M head: Figure 116: ALEXA M head left Figure 117: ALEXA M head right Figure 118: ALEXA M head front...
Page 207 ALEXA M Images Figure 119: ALEXA M head back Figure 120: ALEXA M head top Figure 121: ALEXA M head bottom...
Page 208 ALEXA M The following images show the ALEXA M body with SxS module: Figure 122: ALEXA M body left Figure 123: ALEXA M body right...
Page 209 ALEXA M Images Figure 124: ALEXA M body top Figure 125: ALEXA M body bottom Figure 126: ALEXA M body front Figure 127: ALEXA M body back...
Page 210 ALEXA M The following images show the ALEXA M body with XR module: Figure 128: ALEXA M body right Figure 129: ALEXA M body left Figure 130: ALEXA M body top...
Page 211: Alexa M Camera Head
ALEXA M Camera Head Figure 131: ALEXA M body bottom Figure 132: ALEXA M body front Figure 133: ALEXA M body back 16.2 ALEXA M Camera Head The ALEXA M camera head contains the image sensor and parts of the image processing.
Page 212: 212
ALEXA M Due to the fibre connection, the ALEXA M has an increased power draw of approximately 120W, with the head drawing 40W. The head can be powered from the body with hybrid fibre cables of up to 30m length. Note: When powering the head from the body, power supplies with at least 24V output must be used, due to the voltage drop over the hybrid cable.
Page 213: Fibre Connection
Fibre Connection 16.4 Fibre Connection Figure 135: SMPTE 311optical fibre connectors The ALEXA M utilizes SMPTE 311 fibre connectors and cables. The camera head can be powered with hybrid fibre/power cables with a length of up to 30m, if the body power supply can deliver 120 W in total.
Page 214 ALEXA M Connect the camera head to the body via the optical link before powering the camera. Disconnecting the head from the body during operation requires both parts to be powered down and reconnected before powering up the system again. Figure 136: Correctly aligned fibre connectors Cleaning of fibre connectors Cleaning of the fibre connectors is an important task.
Page 215: 4:3 Mode
4:3 Mode 16.5 4:3 Mode In 4:3 mode, the camera captures images from a vertically extended sensor area. The used area is 23.76 x 17.82mm in size, which translates to 2880 x 2160 sensor photo sites. Note: The sensors of standard ALEXA and ALEXA Plus cameras can only be operated in 16:9 mode.
Page 216: Licensed Features
ALEXA M Frame rate The maximum sensor frame rate in 4:3 is 48 fps. 4:3 and Highspeed Mode It is possible to switch from 4:3 to High Speed mode and vice versa. If recording is set to ProRes, only the 16:9 center area of the image sensor is read out.
Page 217: Lens Data System
Lens Data System 16.7 Lens Data System The ALEXA M is equipped with a LA-PL-2 lens mount with LDS contacts. When using a LDS lens, such as Master Primes or LDS Ultra Primes, the camera reads, displays and records lens metadata. The LDS screen can be accessed through the menu, which contains an additional item "LDS".
Page 218: Alexa Xt Cameras
ARRIRAW. Please note that for cameras delivered before November 2013, a sensor calibration must be performed by an ARRI Service Center before the Open Gate mode can be enabled. Most cameras delivered after November 2013 have this calibration already included.
Page 219: In-Camera Filter Module Ifm-1
Studio), there is an IFM-1 upgrade. Both replace the conventional reflex tube that is located inside the PL lens mount tube with the IFM filter holder and allow the use of ARRI Full Spectrum Neutral Density (FSND) filters (available separately).
Page 220 ALEXA XT Cameras DO NOT POINT THE CAMERA INTO DIRECT SUNLIGHT, VERY BRIGHT LIGHT SOURCES, OR HIGH-ENERGY LIGHT SOURCES (e.g. laser beams)! This may cause permanent damage to the internal filter or the camera. Note: Internal filtration requires additional shimming and does not work with ALEXA Studio or ALEXA XT Studio.
Page 221: Safety Instructions For In-Camera Filtration
In-Camera Filter Module IFM-1 17.1.1 Safety instructions for in-camera filtration Proper shimming is crucial for the safe use of in-camera filters. Only correct shimming ensures the proper flange focal depth. 17.1.1.1 Maximum lens mounting depth Only cameras with the original IFM-1 Shim allow for 31.50 mm maximum lens mounting depth of PL mount lenses, when using in- camera filters.
Page 222: Basic Precautions
Never touch the filter glass with bare fingers (sweat and physical contact might damage the sensitive coating). Check and clean each filter before and after use. Store it properly. Use only original ARRI cleansing utensils and materials (others might damage the filter). 17.1.1.2 Basic precautions...
Page 223: Required Shimming And Maximum Lens Mounting Depth
In-Camera Filter Module IFM-1 1. Have the correct IFM-1 Starter Kit available 2. Ensure a clean, dust-and-moisture-free environment 3. Wear fresh rubber gloves to avoid fingerprints and smear 4. Place the camera on a flat, level and safe surface 5. Never touch the sensor 6.
Page 224: Fsnd Filter Set (Basic) For Alexa Xt
ALEXA XT Cameras ALEXA XT models come with an additional IFM-1 Empty Filter Frame. This glassless filter ring serves as a placeholder for in-camera filters and is not needed by ALEXA Classic cameras. Therefore, preparing an ALEXA XT for internal filtration differs slightly but crucially from preparing an ALEXA Classic (see Chapter Shimming the lens mount on page 228).
Page 225 In-Camera Filter Module IFM-1 IFM Optical Clear (1) ND 0.0 IFM-1 Wrench (2)* IFM-1 Reflex Tube (3)* IFM-1 Bottom Ring (4)*; locks internal filters magnetically Ground Glass/Frameglow tool (5) IFM Shim (6) Microfiber Cloth (7) 3 Internal Filters (8) FSND 0.6, 1.2, 1.8 Cleaning Instructions Figure 139: The IFM-1 Set for ALEXA Classic...
Page 226 ALEXA XT Cameras To prepare your ALEXA Classic (except Studio) for IFM-1: 1. Remove the lens or lid (1) from the PL lens mount (2): 2. Place the two longer noses of the IFM-1 Wrench (2) into the notches of the existing reflex tube (3) in the PL mount (1). The wrench inscription (2) must always face camera-outwards:...
Page 227 In-Camera Filter Module IFM-1 3. Untighten the reflex tube (2) with the wrench (1) and unscrew it with your fingers. Do not touch the sensitive sensor glass: 4. Accurately insert the IFM-1 Bottom Ring (1) into the PL mount (2). The square red nut must be in the 6 o'clock position and face camera-outwards, with the two smaller red pins taking the 10:30 and 1:30 positions:...
Page 228: Shimming The Lens Mount
ALEXA XT Cameras 5. Screw the IFM-1 Reflex Tube into the PL mount, using your fingers. Do not touch the delicate sensor glass 6. Tighten the IFM-1 Reflex Tube with the two shorter noses (1) of the wrench (1), with its inscription facing camera-inwards (see detailed section): 7.
Page 229 In-Camera Filter Module IFM-1 General shimming precautions: Fix the IFM Shim properly between lens lock and lens mount The shim's inscription must face camera-outwards Mount all proper shims correctly without omitting, adding or losing any. Otherwise, the flange focal depth will not be correct. Mark your cameras shimmed for IFM-1 to avoid confusion Specific ALEXA XT shimming (and de-shimming) precautions: Once ALEXA XT is shimmed for IFM-1: Immediately replace the IFM...
Page 230 ALEXA XT Cameras To shim the mount: 1. Remove lens or lid (1) from the PL lens mount and turn the lens lock into position CLOSED (2): 2. Unscrew (only with a TX6 torx screwdriver!) the four accessible torx screws (1) that hold the lens lock (the other two torx screws are still hidden by lock position CLOSED):...
Page 231 In-Camera Filter Module IFM-1 3. Turn the lens lock into position OPEN (2) to unhide and unscrew the other two torx screws (1): 4. Remove the lens lock (1) from the PL mount. Keep all installed shims (if any) carefully in place (2):...
Page 232 ALEXA XT Cameras 5. Accurately place the IFM Shim, with its inscription always facing camera-outwards (2), onto the PL mount. The shim's screw holes must line up exactly with the mount's thread holes and the index pin (3): 6. Fasten the lens lock, still in position OPEN (2), back to the PL mount; use two of the six torx screws (1) hand-tight:...
Page 233: Mounting In-Camera Filters
In-Camera Filter Module IFM-1 7. Turn the lens lock into Position CLOSED (2) and fasten the other four torx screws hand-tight (1). Check if all screws and the shim fit correctly: 8. Before mounting a lens, always check its mounting depth (see Chapters Safety instructions for in-camera filtration on page 221 and Maximum lens mounting depth on page 221) 17.1.4 Mounting in-camera filters...
Page 234 ALEXA XT Cameras To insert or change an in-camera filter: 1. Remove the lens or lid (1) from the PL lens mount (2): 2. Carefully screw the Ground Glass/Frameglow tool (1) into the filter ring’s (2) thread hole in the 12 o'clock position (1):...
Page 235 In-Camera Filter Module IFM-1 3. Pull the filter (2) from the bottom ring in the camera's PL mount. If the filter position is held by an IFM Empty Filter Frame (applies only to ALEXA XT), remove it likewise:...
Page 236 ALEXA XT Cameras 4. Clean the removed filter and stow it properly in its individual box and the storage case. If the filter position was held by an IFM Empty Filter Frame, store it likewise (in case the camera is no longer shimmed for IFM-1 in the future) 5.
Page 237: Filter Cleansing
In-Camera Filter Module IFM-1 7. Place the next filter onto the bottom ring in the camera’s PL mount. The Ground Glass/Frameglow tool has to be in the 12 o’clock position (1): 8. Align the filter ring’s main notch with the bottom ring’s red nut in the 6 o’clock position.
Page 238: Fsnd Filter Set (Completion)
ALEXA XT Cameras Cotton swab Purified alcohol Microfiber Cloth from IFM-1 Starter Kit To clean the filters: Note: To avoid in-camera damage, always clean all filters outside of camera. 1. Ensure a clean, dust-and-moisture-free environment 2. Wear fresh rubber gloves to avoid fingerprints and smear 3.
Page 239: Fsnd Filter Set (Full) For Alexa Xt
In-Camera Filter Module IFM-1 To insert or change a filter: See Chapter Mounting in-camera filters on page 233. Each filter is also available separately or in bundles. 17.1.7 FSND Filter Set (Full) for ALEXA XT The FSND Filter Set (Full) for ALEXA XT is a set with all FSND filters and required tools, which requires a pre-installed IFM-1.
Page 240: Open Gate Sensor Mode
Note: Switching between sensor modes always includes a factory reset. Note: For cameras delivered before November 2013, a sensor calibration must be performed by an ARRI Service Center before the Open Gate mode is enabled. Most cameras delivered after November 2013 have this calibration already included.
Page 241: Alexa Fiber Remote Option
OB van productions. With the Fiber Remote Option attached, the ALEXA is connected through a SMPTE 311M fiber connection and can be remote controlled for live painting operation. For more information about the ALEXA Fiber Remote Option, please refer to its manual or visit http://www.arri.com/camera/digital_cameras.
Page 242: Remote Control Unit Rcu-4
Remote Control Unit RCU-4 Remote Control Unit RCU-4 The camera can be remotely controlled with an RCU-4. This device mirrors the controls on the camera's right side. It is connected to the camera's Ethernet port. Power is supplied via the Ethernet cable. Note: The ALEXA M features two ports labeled "ETH"...
Page 243: Index
ALEXA XT Cameras ..........218 Filter cleansing ............ 237 Appendix ............. 247, 248 Firmware - Software Update Packets (SUPs) ..127 ARRI Look Files ............ 82 FPS ....... 70, 105, 106, 141, 142, 143, 152 AUDIO ..............75 Frame grabs ............129 AUDIO IN ..............
Page 244 Index INFO ..............91 Power Management ..........30 INTERNAL ............103 Power Outputs ............35 Internal recording ..........138 Power Supply ............30 Internal Recording Formats ......... 139 Powering 12 V Accessories ........35 Introduction to the ALEXA ........14 Powering 24 V Accessories ........
Page 245 Index Shimming the lens mount ... 222, 223, 224, 228, 233, Shoulder Pad SP-3 ..........46 SHUTTER ............. 78 Side Camera Handle SCH-1 ......... 42 Specific Safety Instructions ........26 Status Info Overlays ..........156 Storage and Transport .......... 28 Studio Camera Controls ........
Page 247: Appendix
Appendix In this appendix Appendix Connector Pin Outs False Color Display Warning and Error Messages Dimensions, Weights and Menu Structure Trees...
Page 248: Appendix
248 Appendix Appendix A.1 Appendix ALEXA EV Image Sensor Type ALEV III CMOS sensor Sensor frame rates 0.750 - 60.000 fps 60.000 - 120.000 fps in High Speed mode Shutter angle 5.0° - 358.0° 5.0° - 356.0° in High Speed mode Total active photo 3168 x 1782 (16:9) sites (incl.
Page 249 Appendix Appendix 249 Type ARRI EVF-1 Technology LCOS imaging device Resolution 1280 x 784 pixels Power Power supply DC 10.5 - 34V Power management Active ORing between BAT connector and onboard battery adapters Power consumption ca. 85W w/o accessories Power outputs...
Page 250 250 Appendix Appendix TC input LTC in TC outputs LTC out HD-SDI LTC/VITC out Dimensions and weight Length x Width x 332 x 153 x 158 mm 12.95" x 6.02" x 6.22" Height (body with SxS module) Length x Width x 332 x 161.6 x 158 mm 12.95"...
Page 251 Appendix Appendix 251 Camera body weight 7.3 kg / 16.1 lb with XR module Camera setup weight 8.7 kg / 19.2 lb with XR module (incl. EVF-1, VMB-1, CCH-1) Lens mount Exchangeable lens mount, with PL mount LA-PL-2 installed ALEXA Studio Length x Width x 363 x 177 x 163 mm Height (body with SxS...
Page 252 252 Appendix Appendix Length x Width x 323 x 161 x 158 mm 12.72" x 6.34" x 6.22" Height (M backend, XR module) M backend weight with 5.5 kg / 12 lb SxS module M backend weight with 5.8 kg / 12.8 lb XR module Lens mount Exchangeable lens mount, with PL mount...
Page 253: Connector Pin Outs
Connector Pin Outs Appendix 253 A.2 Connector Pin Outs Note: The drawings of the connectors are not to scale. +24V BAT-COM 24V-AUX...
Page 254 254 Appendix Connector Pin Outs 12V-AUX LTC IN ASCII TUNE OUT LTC OUT...
Page 255 Connector Pin Outs Appendix 255 RS422-TXD(+) RS232-TXD CAN1-L CAN1-H CAN2-L CAN2-H 24V-AUX RS232-RXD RS422-RXD(-) RS422-RXD(+) RS422-TXD(-) TTL-IN1 TTL-IN2 24V-AUX...
Page 256 256 Appendix Connector Pin Outs ETHERNET Camera Side MX-1P CTS (white-orange) MX-1N DTR (orange) MX-2P GND (white-green) MX-2N DCD (green) MX-3P TXD (blue) MX-3N RXD (white-blue) MX-4P DSR (white-brown) MX-4N RTS (brown) 24V-ETH...
Page 257 Connector Pin Outs Appendix 257 ETHERNET PC Side brown white-brown green white-blue blue white-green orange white-orange AUDIO IN...
Page 258 258 Appendix Connector Pin Outs AGND L-IN(+) L-IN(-) R-IN(+) R-IN(-) AUDIO OUT R-OUT L-OUT...
Page 259: False Color Display
False Color Display Appendix 259 A.3 False Color Display The false color display is a tool to check correct exposure. It can be activated on EVF and MON OUT, and takes the respective gamma setting as a basis for calculation. When active, the image is turned into a greyscale image with important luminance ranges shown in signal colors.
Page 260 260 Appendix False Color Display...
Page 261: Warning And Error Messages
A white temperature icon indicates that the sensor temperature is not optimal, but image quality is still within the (very high) quality limits required by ARRI. The related messages in the INFO screen are shown in the following tables.
Page 262 262 Appendix Warning and Error Messages Media: Low capacity The recording medium has less than 3 minutes recording time left. Prepare a new card for recording. Card 1/2: Prerec The prerecording duration nearly fills the space low remaining recording time on the SxS PRO card in slot 1/2.
Page 263 Reboot camera. If error continues to occur, problem contact ARRI service. Internal battery error The internal battery which powers the real- time clock must be replaced. Contact an ARRI service center near you. System problem Reboot the camera. If error continues to occur, contact ARRI service.
Page 264 Warning and Error Messages System problem (I2C Problem on camera data bus. Reboot the bus error) camera. If error continues to occur, contact ARRI service. External TC: The external TC signal's time base is not accepted by the camera. Incompatible frame rate HD outs not synced.
Page 265 Warning and Error Messages Appendix 265 Temperature at limit. With camera fan is in "Rec low" mode, fan Fan RPM raised noise might exceed silent level because camera is becoming too hot. Master/slave: Focus With ALEXA Plus and 3D lens sync, both unit mismatch cameras must have same focus unit activated, which is not the case here.
Page 266 266 Appendix Warning and Error Messages M head: Power The power level on the ALEXA M camera warning head is insufficient. Use a power source with a power supply of at least 40 W. M head: High The temperature of the camera head is too temperature high.
Page 267 ARRI service. Fan error. Contact service. The fan module is not working properly. Either install an SFM-1, or contact the ARRI service. Fatal system error. Shut down Camera has to be rebooted. If camera. this error continues to occur, a hardware problem might be the reason.
Page 268 Error in the recording module. Reboot camera. Mirror shutter not calibrated ALEXA Studio only. Mirror shutter must be calibrated by ARRI service. Mirror shutter phase error ALEXA Studio only. Mirror shutter continuosly not in phase with sensor. If rebooting does not solve the problem, contact ARRI service.
Page 269 M head: Fan error. Contact The fan of the ALEXA M camera service. head is defect. If replacing the fan does not solve the problem, contact the camera service. If any error that requires rebooting continues to occur regularly, contact the ARRI service.
Page 270: Dimensions, Weights And Menu Structure Trees
Dimensional drawings including weights information are attached to the end of this document. A version with higher resolution can be downloaded from the ARRI website: http://www.arri.com/camera/digital_cameras/downloads. A Menu Structure Tree can also be found at the end of this document.
Page 311 SUP 9.0 HOME set sensor speed (0.75 fps-60fps /120fps* ; 24fps) ALEXA XT/HS add/delete value HIGHSPEED/EXIT HS *ALEXA XT/HS (boot ALEXA to HS mode; 60-120fps) MODE (MENU > RECORDING > INTERNAL) MEDIA INFO (INFO > MEDIA INFO) SDI FPS >> Quick-option for choosing REC OUT (23.976, 24, 25, 29.97 or 30fps)
Page 312 SUP 9.0 HOME COLOR SET LOOK choose/delete/load look from SD ARRI LCC look loaded by default CONF* > set ip adress ALEXA XT (On/Off) ALEXA XT set COLORPATH (Look ON/OFF for REC 709) MON OUT (Look ON/OFF for REC 709)
Page 313 SUP 9.0 MENU MONITORING menu Electronic viewfinder >> Brightness (0-5) Rotate image (On/Off) Smooth mode (On/Off) Surround view (On/Off) Frame lines + status info >> Frame lines (On/Off) Surround mask (Black line/Color line/Mask 25%/50%/75%) Center mark (Off/Dot/Cross) Status info (On/Off) Electronic horizon(On/Off) LDS info...
Page 314 SUP 9.0 MENU PROJECT menu Sensor Mode* (16:9/4:3/OPEN GATE) XT/STUDIO/M/PLUS 4:3 Rec. resolution (Menu > Recording > INTERNAL) Codec (Menu > Recording > INTERNAL) Project frame rate (23.976/24/25/29.97/30fps) Camera index (A-Z) Next reel count (001-999) Production info >> Production Prod. Company Director Cinematographer Camera Operator...
Page 315 Compare mode (Toggle/Interleave) Active on EVF (On/Off) Active on MON OUT (On/Off) Grabbed images inherit REC OUT settings! Ari only possible, when REC OUT = ARRI RAW USER SETUPS menu Save current setup Load setup Factory reset USER USER BUTTON ASSIGNMENT...
Page 316 SUP 9.0 PLAY PLAYBACK screen start Playback of last clip (press wheel or PLAY 2x on operator’s side) +/- 10% CLIPLIST OPTIONS PLAY Options >> Clip end action (Pause/Loop) Show frame lines (On/Off) Status info on MON OUT (On/Off) STEPSIZE (1 frame/1 second) CIRCLE CLIP INFO...
Page 317 SUP 9.0 WRS* ALEXA (XT) PLUS/PLUS 4:3 & STUDIO On ALEXA (XT) M RADIO via SYSTEM > LDS STATUS Channel: Units: Ready/Off WRS > RADIO >> WRS radio power (On/Off) WRS radio channel (0-7) CAM LEVEL STATUS READOUT FROM SENSORS Tilt: 0.0°...
Page 318 SUP 9.0 ELECTRONIC VIEWFINDER EVF-1 set sensor speed (0.75 fps - 60fps /120fps* ; 24fps) XT/HS SHUTTER set shutter angle (5.0°-358.0°; 172,8°; in High Speed Mode 5.0°-356.0°)* XT/HS set exposure index (160ASA - 3200ASA; 800ASA) set white balance (2000K - 11000K, Auto WB; 5600K; and CC SHIFT) EVF menu Brightness...

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ARRI ALEXA Series User Manual

1 Disclaimer

2 Scope

3 Introduction to the ALEXA

4 Layout of the ALEXA

5 Safety Guidelines

6 General Precautions

7 Power Supply

8 Camera Support

9 Connectors

10 Lens Mounting

11 Camera Controls

12 Operation of the Camera

13 ALEXA Plus

14 ALEXA Plus 4:3

15 ALEXA Studio

16 Alexa M

17 ALEXA XT Cameras

18 ALEXA Fiber Remote Option

19 Remote Control Unit RCU-4

20 Index

Appendix

Appendix

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