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ARRI ALEXA MINI LF

Fly the Arri Alexa Mini LF on a drone

Alexa Mini LF on a drone
Alexa Mini LF on a drone
Alexa Mini LF on a drone
Alexa Mini LF on a drone

Optimised for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter (sold separately), which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.

Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.

ARRI Built Quality:

Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate – all features that ARRI digital cameras have inherited.

ALEV Sensors:

ARRI’s very own ALEV III sensor plays its strengths in a film-like look and feel with HDR capability (since 2010). Originally developed for ARRI ALEXA camera family, it had the same height and width as a 35mm film frame. Nowadays the ALEV III comes to live in different cameras and shapes: ALEXA 65 uses the A3X version – a 65mm sensor – whereas ALEXA LF and ALEXA Mini LF use A2X, the slightly smaller variant that covers a little bit more than “full frame”.

Image Processing:

A steady look-out for image quality is key to delivering the best possible image through a given pipeline. In this way new developments and ways to shape the DoP’s vision on set can be integrated into ARRI cameras via new software releases. ARIRAW footage recorded before such an update benefits as well as it can be re-processed through an updated pipeline.

Lens Mounts:

Great images derive from great lenses with their individual touch to the image. For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount. Get to know all ARRI lens mounts and find out what makes ARRI new LPL mount unique.

Viewfinders:

ARRI viewfinder are specifically designed to meet the needs of professional camera operators by offering an extremely fast image display, high image quality, accurate color reproduction and a number of features inherited from ARRI optical viewfinders, including surround view.

Workflow:

The concept behind the term “workflow” is the digital film lab. Hence being able to view, edit and “post” footage recorded with ARRI digital cameras. ARRI develop their own Software Development Kit (ARRIRAW SDK) for processing ARRIRAW data to RGB images and talk to 3rd party vendors to ensure support in their tools.

  • Immersive large-format look
  • Lower noise with higher usable sensitivity
  • Highest dynamic range of any production camera
  • ARRI colour science for natural skin tones, easy colour correction and clear VFX
  • Perfect for High Dynamic Range and Wide Colour Gamut displays
  • Robust and reliable
  • Easy to operate and use on set
  • Fast and efficient workflows
  • Uncompressed and unencrypted MXF/ARRIRAW
  • Fast and efficient MXF/Apple ProRes
  • New Codex Compact Drive 1TB is small, tough and cst-efficient
  • Affordable Compact Drive Reader works without license or extra software
  • Compact Drive Adapter is compatible with SXR Capture Drive Docks
  • Three internal, motorised large-format FSND filters, ND 0.36, 1.2 and 1.8
  • New dedicated, regulated 12V and 24V accessory power outputs
  • New SYNC IN and improved AUDIO connectors
  • Two built-in microphones
  • Six user buttons on camera’s left side
  • One LOCK button each for camera and viewfinder
  • Additional external WiFi antenna
  • Easier access to media, VF and TC connectors
  • Same sensor and recording formats as ALEXA LF
  • Compatible with LPL and PL mount lenses, Super 35 and full frame
  • Supports all anamorphic de-squeeze ratios
  • Compatible with ARRI and cmotin wireless remote systems
  • Works with 12V and 24V on-board batteries (65W power draw)

 

Sensor TypeLarge Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array
Sensor Size36.70 x 25.54 mm / 1.444 x 1.005″
⌀ 44.71 mm / 1.760″
Photosite Pitch8.25 μm
Sensor Frame Rates0.75 – 90 fps
Sensor Active Image Area (photosites)LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 3840 x 2160
LF 16:9 ProRes 2K: 3840 x 2160
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Sensor Active Image Area (dimensions)LF Open Gate ProRes 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006″
LF Open Gate ARRIRAW 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006″
LF 16:9 ProRes HD: 31.68 x 17.82 mm / 1.247 x 0.702″
LF 16:9 ProRes 2K: 31.68 x 17.82 mm / 1.247 x 0.702″
LF 16:9 ProRes UHD: 31.68 x 17.82 mm / 1.247 x 0.702″
LF 16:9 ARRIRAW UHD: 31.68 x 17.82 mm / 1.247 x 0.702″
LF 2.39:1 ProRes 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603″
LF 2.39:1 ARRIRAW 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603″
Recording File Container Size (pixel)LF Open Gate ProRes 4.5K: 4480 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4480 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Recording File Image Content (pixel)LF Open Gate ProRes 4.5K: 4448 x 3096
LF Open Gate ARRIRAW 4.5K: 4448 x 3096
LF 16:9 ProRes HD: 1920 x 1080
LF 16:9 ProRes 2K: 2048 x 1152
LF 16:9 ProRes UHD: 3840 x 2160
LF 16:9 ARRIRAW UHD: 3840 x 2160
LF 2.39:1 ProRes 4.5K: 4448 x 1856
LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856
Exposure Latitude14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the
ARRI Dynamic Range Test Chart (DRTC-1)
Exposure IndexAdjustable from EI 160-3200 in 1/3 stops
EI 800 base sensitivity
ShutterElectronic shutter, 5.0°- 356° or 1s – 1/8000s
Recording FormatsMXF/ARRIRAW
MXF/Apple ProRes 4444 XQ
MXF/Apple ProRes 4444
MXF/Apple ProRes 422 (HQ)
Recording MediaCodex Compact Drives
Recording Frame RatesLF Open Gate ProRes 4.5K: 0.75 – 40 fps
LF Open Gate ARRIRAW 4.5K: 0.75 – 40 fps
LF 16:9 ProRes HD: 0.75 – 90 fps
LF 16:9 ProRes 2K: 0.75 – 90 fps
LF 16:9 ProRes UHD: 0.75 – 60 fps
LF 16:9 ARRIRAW UHD: 0.75 – 60 fps
LF 2.39:1 ProRes 4.5K: 0.75 – 60 fps
LF 2.39:1 ARRIRAW 4.5K: 0.75 – 60 fps
Note: maximum fps values are preliminary information
Recording ModesStandard real-time recording
No Pre-recording
No Intervalometer
Viewfinder TypeMulti Viewfinder MVF-2 with 4″ flip-out monitor
Viewfinder TechnologyOLED viewfinder display
LCD fold out monitor
Viewfinder Resolution (pixel)1920 x 1080
Viewfinder DiopterAdjustable from -5 to +5 diopters
Color OutputRec 709
Rec 2020
Log C
Custom Look (ARRI Look File ALF-2)
Look ControlImport of custom 3D LUT
ASC CDL parameters (slope, offset, power, saturation)
White BalanceManual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
FiltersBuilt-in motorized ND filters 0.6, 1.2, 1.8
Fixed optical low pass, UV, IR filter
Image Outputs1x proprietary signal output for MVF-2 viewfinder
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G (SMPTE ST2081-10)
uncompressed video with embedded audio and metadata
Lens Squeeze Factors1.00
1.25
1.30
1.50
1.65
1.80
2.00
Exposure and Focus ToolsFalse Color
Zebra
Zoom
Aperture and Color Peaking
Audio Input1x LEMO 6pin balanced stereo line in with 12V power output
(Line input max. level +24dBu correlating to 0dBFS)
Audio OutputSDI (embedded)
3,5mm stereo headphone jack (on MVF-2)
Audio Recording2 channel linear PCM, 24 bit 48 kHz
Remote Control OptionsMVF-2 viewfinder can act as wired remote control with 10m/33ft cable
Web-based remote control from smart phones, tablets and laptops via WiFi & Ethernet
Camera Access Protocol (CAP) via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
SXU-1 hand-unit with control over one lens channel
OCU-1 and Master Grip control of lens and user buttons
Interfaces1x LEMO 5pin LTC Timecode In/Out
1x LEMO 10pin Ethernet for remote control and service
1x BNC SYNC IN
1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and 24V power output
1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable
1x USB 2.0 in media bay (for user setups, look files etc)
Wireless InterfacesBuilt-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Lens MountsLPL lens mount with LBUS connector
PL-to-LPL adapter
Leitz M mount (availbale from Leitz)
Flange Focal DepthLPL mount: 44 mm
with PL-to-LPL adapter: 52 mm
Power Input1x LEMO 8pin (10.5-34 V DC)
Power ConsumptionAround 65 W when recording ProRes 4444 with MVF-2 attached (preliminary information)
Power Outputs1x Fischer 3pin 24V RS
1x LEMO 2pin 12V
1x LEMO 7pin EXT 24V power output
Measurements (HxWxL)140 x 143 x 188 mm / 5.5 x 5.6 x 7.4″ (camera body with LPL lens mount)
Weight~ 2.7 kg / ~ 6.0 lbs (camera body with LPL lens mount)
Operating Temperature-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max,
non condensing, splash and dust proof through sealed electronics
Storage Temperature-30° C to +70° C / -22° F to +158° F
Sound Level< 20 dB(A) at 24fps

 

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